Dye Transfer Color Photography

large format photograph of glossy cherry red vintage private airplane on airport runway tarmac Red Jet by Frank Schott 48 x 74 inches (122 x 188cm...

Mascot, photograph from Richard Heeps' series, Man's Ruin. Captured at the Hot Rod Hayride this Jesus on a Cross, was meant to protect the Hot Rodders in their cars. There is somethi...

Underwater photograph of a man diving in a pool, leaning toward a flower. A very bright photograph with plenty of sun and positivity. Original digital print on aluminum plate signed...

Shot in Hanoi in 2016, there are so many beautiful elements to this piece. The lines, the tone and the abstract nature of the books allowing you to make it your own bookcase. This a...

This striking underwater fine art photograph captures a figure draped in flowing white fabric, suspended between worlds with vibrant red blossoms and yellow spherical elements. The r...

Salt Water Taffy in the Mist, Atlantic City your eye takes you past the Boardwalk Empire facade down the atmospherically misty boardwalk. Photograph from Richard Heeps' Jersey Shore ...

This elegant underwater photograph captures a ballet dancer in pointe shoes and flowing white tutu, suspended in deep teal waters. The rich contrast between the pristine white costum...

'Call Booth', photograph from Richard Heeps Salton Sea series. This cinematic neo-noir style picture shows the classic American roadside Phone Booth, something which we look at very ...

Amusements, seaside typography photography from Richard Heeps' On-Sea series. This artwork is a limited edition of 25, gloss photographic print, dry-mounted to aluminium, it is pres...

This contemporary figural limited edition photograph by Alyssa Fortin is a reinterpretation of the mythological story of Asopus' beautiful daughters who were abducted by gods to beco...

This image is from the series "Kroma". Pascal Goet looks for flowers, butterflies and other insect of items from the microworlds to attract our attention to the beauty of nature. P...

Reviewing the photographs of Julie Blackmon, critic Leah Ollman of the Los Angeles Times wrote: “Each frame is an absorbing, meticulously orchestrated slice of ethnographic theater … that abounds with tender humor but also shrewdly subtle satire.” Blackmon is a native of Springfield, MO, and her photographs are inspired by her experience of growing up the oldest of nine children—including five sisters—in what she calls “a generic American town in the middle of the U.S.” In college, Blackmon was introduced to the work of artists Sally Mann, Diane Arbus, and Helen Levitt, and she describes herself as “obsessed” with their images. “When my three children were small,” she recalls, “we moved into an old house with a darkroom in the basement. Like any mother, I wanted to take pictures of my kids. But I didn’t want to be just the ‘mother photographer.’ I wanted my work to be more: more penetrating, more artful, more striking, more thoughtful, more a reflection of the times. “Over the next few years, I progressed from making documentary black and white photographs of my life and the lives of my sisters to creating colorful, fictitious images that offered a more fantastical look at everyday life. My work became more conceptual, as I began to realize that I was not obligated to capture “reality” exactly, but that I could work more like a painter or a filmmaker, actively shaping the images I was creating. This realization—that fiction can often capture the truth more memorably than reality—was a major shift in how I saw the world around me, and it transformed my work.” “It’s thrilling to see the most common aspects of everyday life as potential stories or themes for a photograph. It changes how you see things: suddenly, a Starbucks employee on a smoke break, or an outmoded beauty shop catering to an elderly clientele, can spark a memorable image. As Nora Ephron...