Birch Black and White Photography

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” - David H. Gibson David H. Gibso...

The image, Aspen, Quiet Light, was made just after the conclusion of an intense week-long photography workshop. I went to one of my favorite aspen groves fully intending not to make ...

Edition of 25 Signed, titled, negative date, print date and numbered. Sepia toned gelatin silver print Michael Kenna's black and white photographs are powerful and alluring. His ima...

Mint Condition Hand Printed Photograph by artist Book not available with print. Originally sold as a book and print set. Edition out of 75. Framed in black wood & high grade plexig...

The beauty of nature's rhythm is captured in this black and white landscape photograph of a forest of Aspen trees by American photographer and film maker, John Henry Johnson (America...

Black and White Fine Art landscape photography. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed ...

Original, vintage silver gelatin print by Imogen Cunningham. Printed by the artist circa 1949 with Certificate of Authenticity from the trust on the back of the mount. Artist Biograp...

Born in 1939 in Louisville Kentucky, David Gibson is primarily a self-taught photographer. Years of developing and refining his photographic technique have afforded him much recognition, especially for his panoramic landscapes of Texas and the Four Corners region. Gibson's luminous black-and-white landscapes demonstrate a remarkable sensitivity to light and mood. Dramatic clouds, imminent storms and an occasional lighting strike...

Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains highly influential amon...

'Eyed Birtch' 2024 A photograph captured with a Polaroid camera. Printed on the finest archival paper, these limited edition photographs are designed to withstand the test of time, ...

2015 black and white archival inkjet print on watercolor paper 10 x 15 inches unframed 16.5 x 21.5 inches framed $1250 Photographed in Maine, this black and white archival pigment print by Betsy Weis captures white birch trees in rows. The ordered arrangement evolves into an organic complexity as the trunks spread out into branches. This photograph is available unframed. The image measures 10 x 15 inches. 16.5 x 21.5 inches framed $1250 Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Signed and editioned mount recto. Titled, editioned and dated on Artist’s Choice stamp on mount verso.

Spring Poplar Trees by Michael Kenna depicts a forest scene. The barren white trees stand tall in rows, seemingly multiplying as they get further in the distance. Spring Poplar Tre...

"Forest at the bottom of the Slagheaps", Walbrzych, Silesia, Poland, 1978 Silver Gelatin Print, Signed and dated in pencil on verso Printed in 2008 by the Photographer, hand printed darkroom print. 17 3/10 × 12 1/5 in 44 × 31 cm 50 x 37 cm paper size with white border , 44 x 31 cm (image size) "My fascination started when I first saw industrial centres of Upper and Lower Silesia,’ says Cała. ‘The landscape was terrifying and beautiful at the same time. It did not change for the whole period from the 19th century to the end of communism in Poland." - Michal Cala Exhibition frame as seen on additional picture available upon request - please contact gallery for further details or purchase unframed print with a free shipping worldwide. About the Artist: "Cala become relatively well known in Poland but he is still little known in the West, despite the fact that his work bears comparison with masters such as Bill Brandt and Robert Frank." - Bill Kouwenhoven, British Journal of Photography, 2007 Michal Cala was born in Toruń, Poland in 1948 and studied aircraft construction in Warsaw at the University of Technology in the early 1970's. From 1974 to 1983 he worked as an engineer in various companies in Silesia, and began photographing in the area. In 1977, he moved to Tychy in Upper Silesia, where he co-founded the photographers' association KRON and become a member of the ZPAF - the Union of Polish Art Photographers. Relatively unknown outside of his native country, his work is in several museum collections in Poland; in the Silesian Museum of Katowice, the Silesian Library in Katowice, the Upper Silesian Museum in Bytom, the Coal Mining Museum in Zabrze as well as local government building in Duisburg in the Ruhr (Germany) and MAST Foundation (Bologna) and various international private collections. His work has received much acclaim and won numerus awards; among which are the Grand Prix at the Polish Landscape...

Edition of 45 Signed, dated and numbered in pencil on mount margin recto. Signed, titled, negative date, print date and numbered in pencil with the artist's stamp in black ink on...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 1. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: For the last two years Mark and Kristen have collaborated using one of the earliest photographic methods, collodion wet plate to create ambrotypes on glass and tintypes on aluminum. They use a 1860 style view camera to create one-of-a-kind images, which become windows into an intimate, romantic, and beautiful world of faces, still lives, nudes, and landscapes. In this demanding process, the collodion coated tin or glass plates are immersed in a silver nitrate solution, and then they must be exposed in the camera and developed while still wet. Serendipitous flaws and beautiful imperfections are an inevitable part of this imprecise hands-on process. This show includes a combination of 24 tintypes and ambrotypes, which are 8x10 and smaller in size. Their intimate sizes ask the viewers to look closer and spend more time with these photographs to fully appreciate their power. — A welcome antidote to today's nonstop, ¬instantaneous imagery. Paradoxically, this intersection of past and present gives these pieces an unmistakably contemporary feel. The two collaborators deliberately play up the ambiguity of time. The nudes (some recalling E.J. Bellocq's alluring portraits of New Orleans prostitutes in 1912) are suffused with freshness and sensuality, even eroticism at times, with nearly all of them coming off as refined rather than crass. Fredrick Scott Archer developed the collodion process in 1851. Artists such as Julia Margaret Cameron, Lewis Carroll, William Henry Jackson and Civil War photographer Mathew Brady used the process, due to its cost and versatility advantages. In addition Sink and Hatgi’s work can also be seen revived in contemporary artists work...

Poplar Trees, Fucino, Abruzzo, Italy, 2016 - Michael Kenna (Black and White) Signed, dated and numbered on mount Signed, dated, inscribed with title and s...

Corridor of Leaves, Guastalla, Emilia Romagna, Italy, 2006 - Michael Kenna Signed, dated and numbered on mount Signed, dated, inscribed with title and stamped with photographer's c...

Signed, numbered and dated on front of the mount. Signed, dated, numbered and titled with artist's copyright stamp on back of the mount.