Fire Color Photography

Fires 10 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size only. This is Artist Proof 2 of 2, and is the last print of the Limited Edition. Th...

The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, scho...

'Tree' From Nina Dietzel's Borderland series. Archival Pigment print is Ed. 1/7 - Unique. 12 x 16 inches / Frame outer dimension is 15 x 19 x 1 inches. Contemporary white powder coat...

“The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, sch...

Ahmadi Oil Fields by Steve McCurry depicts two figures standing in a fiery landscape. They are both dressed in white hazmat suits with gas masks. Both figures are fixated by the fire...

Fires 1 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the forests o...

All available sizes & editions for each size of this photograph: 90 cm. x 120 cm. Edition 7 126 cm. x 170 cm. Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award on several occasions with my previous series for both Earth, Power and Fire themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

Rinko KAWAUCHI (*1972, Japan) Untitled, from the series 'Ametsuchi', 2013 Lambda print Sheet 148 x 185 cm (58 1/4 x 72 7/8 in.) Edition of 3; Ed. no. 2/3 Print only Kawauchi, curre...

JUN AHN (*1981, South Korea) Self Portrait 2021 Archival pigment print, face mounted to Acrylic (Diasec) Brown flame stained and hardened wood frame Image 101,6 x 134,6 cm (40 x 53 i...

'Rendez-vous 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-print, Based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-8612 Not ...

“The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, sch...

Fires 8 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. This is print 6 from the Limited Editio...

Influenced by late nineteenth-century expeditionary photographers such as Timothy O'Sullivan, who documented the "unexplored" territories of the West, Mark Klett visually explores th...

Fires 6 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the forests o...

c-print mounted on board. Unframed. Still image of a wedding dress burning. Edition of 4. 2 framing options available. Series of 6 images available individually or together. Inquir...

Jason Statham Photo by Markus Klinko Limited Estate Edition C Print Produced from the original transparency Certificate of authenticity supplied Paper size 20×24 inches/ 51 x 61...

Untitled Chimney, 2010 by Rodrigo Etem From the series Ser Cosa Archival pigment print on fine art paper Size: 40 H x 26 W inches. Edition of 7 Unframed …this series of portraits t...

The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, scho...

'Fire' (Bombay Beach), Edition 1/10, 20x30cm, 2016, Color Print, printed on Velvet Watercolor, 310gsm, Bright White, Acid Free, Signature label and Certificate. About Tao Ruspoli (b...

Narcissus [From the series Broken Flowers] 30x60cm, Edition of 7. Archival art print based on the Polaroid, mounted on Aluminium 5mm. Finished with a high-gloss epoxy layer for de...

Fires 4 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the forests o...

Fires 2 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the forests of...

Fires 3 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the forests o...

Laurent Chéhere, a French photographer born in 1972 in Paris, makes images of flying houses and other dwellings that are informed by his wanderings in the...

Clay Lipsky's Atomic Overlook re-contextualizes a legacy of atomic bomb tests. In an attempt to keep a nuclear threat feeling contemporary and omnipresent, Lipsky introduces archival images of atomic explosions among casual scenes of vacationers. The surreal images speak to a voyeuristic culture where catastrophe is viewed as entertainment by increasingly desensitized masses. The iconic mushroom cloud in each image serves as metaphor for larger societal issues such as: global warming, nuclear power...

Clay Lipsky's Atomic Overlook re-contextualizes a legacy of atomic bomb tests. In an attempt to keep a nuclear threat feeling contemporary and omnipresent, Lipsky introduces archival...

'Yucca' From Nina Dietzel's Borderland series. Archival Pigment print is Ed. 1/7 - Unique. 16 x 12 inches / Frame outer dimension is 19 x 15 x 1 inches. Contemporary white powder coa...

Neal Slavin (American, b. 1941) Firemen, New York City Fire Department FDNY Vintage C-print [Chromogenic development print; Ektacolor prints] Hand signed and numbered by the photogra...

Title: A Landscape Aglow Location: Bryce Canyon National Park, Utah Edition: 1 of 5, signed by artist Description: The Sun kisses the horizon, and then quickly departs that embrace to climb the sky. Shadows shorten, golden light fades, morning arrives. In that brief instant between...

c-print mounted on board. unframed. Still image from a video of a burning wedding gown. 2 framing options available. Edition of 4.

c-print mounted on board. unframed. still image from a video of a wedding gown burning. Edition of 4. 2 framing options available. series of 6 photographs available individually ...

c-print mounted on board. unframed. still image from a video of a burning wedding gown. Edition of 4. 2 framing options available. 1 of a series of 6 images. Inquire about discount...

This image is currently on display at the Robin Rice Gallery in the Summertime Salon 2018. It depicts the strength and beauty of nature with a whale jumping from the ocean water. The...

Archival pigment print Signed, titled, numbered, and dated, verso 17 x 22 inches, sheet (Edition of 15) 32 x 44 inches, sheet (Edition of 9) This photograph is offered by ClampArt...

Archival pigment print Signed and numbered, verso 20 x 24 inches (Edition of 5) $2,900 30 x 40 inches (Edition of 3) $4,200 40 x 50 inches (Edition of 2) $6,500 This photograph is...

This is an original photographic print from Southern California artist Michal Greenboim. It is an abstract color print that is 13" x 19" x 0.5" (HxLxD) and is edition 5 of 10. It is ...

Abstract Nature shot. Beautiful swamp shot in Texas. About the artist: Mital Patel is an internationally recognized nature and wildlife photographer who focuses on capturing b...

All available sizes & editions for each size of this photograph: 90 cm. x 120 cm. Edition AP 1 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award twice before with my previous series for both Earth and Power themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

c-print mounted on board. Unframed> framing options available. Still image from a video of a burning wedding gown. Edition of 4. series of 6 photographs available as set or individu...

`Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I hav...

`Zebra 2` Oslo, 2019- from the series `Residence of Impermanence` 120 x 170 cm Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, ...

`Residence of Impermanence` 2017-2019 90x120 cm. Edition 7 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award on several occasions with my previous series for both Earth, Power and Fire themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

The Jewish holiday of Lag BaOmer has many customs. The most well-known custom is the lighting of bonfires throughout Israel, especially by children and families. ***** Limited ...

Jung LEE (*1972, South Korea) Have You Ever Loved Me?, 2010 C-Type Print, Diasec Sheet 125 x 100 cm (49 1/4 x 39 3/8 in.) Frame 127,3 x 102,4 x 3,2 cm (50 1/8 x 40 3/8 x 1 1/4 in.) E...

Dadaist is, without a doubt, the scene illuminated by a bonfire in some place of the Corsican bush. The creators of the image has an interest in the fantastic, the dreamlike and the ...

Gabriel Wickbold I am light #1, 2018 64 x 44 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Label Certificate of Authenticity

Gabriel Wickbold I am light #6, 2019 64 x 44 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Label Certificate of Authenticity

Signed, titled, and dated. Paper size: 17 x 17 in., Image size: 12 3/4 x 16 in. Neal Slavin is an American photographer, born in Brooklyn, New York City in 1941. His thriving career...

90 x 120 cm Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the...

`Zebra`, Oslo, 2018 Edition 6 of 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature...

Signed on reverse Digital chromogenic print 22 x 18 inches From a limited edition of 7 prints For the last fifteen years, Gregory Halpern has been photographing in Omaha, Nebraska, ...

David Drebin Chromogenic Print Mounted and Framed Available in two sizes: 30 x 37.5 inches (Edition of 10) 48 x 60 inches (Edition of 7) David Drebin’s photographs occupy a singu...

Ferrari on Fire, photographed by Tyler Shields in 2022. All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done and signed by ...

All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done and signed by the artist. The collector receives an additional certific...

The artwork is made and signed by the artist in a strictly limited edition of 10. Other sizes and high-end frame on request. German born Vincent Peters...

Steve McCurry Struggling camels silhouetted against the oil-fire, al-Ahmadi oil field, Kuwait, 1991 Ultrachrome print 30 x 40 inches Magnum photographer Steve McCurry is best known ...

Bushfire Lit to Clear Land, Australia, 2008 Olaf Otto Becker Signed on reverse Archival pigment print Available in three sizes: 24 3/4 x 29 1/2 inches – edition of 5 43 1/2 x 54 1/4 inches – edition of 5 Ever since his first visit to the Arctic in 2003, the photographer Olaf Otto Becker (b. 1959 in Travemünde, Germany) has returned there again and again. Starting in Ilulissat, one of the oldest settlements in western Greenland, Becker and his camera have traveled by boat on the polar sea...

Camel and Oil Fields, Al Ahmadi, Kuwait, 1991 - Steve McCurry Signed and numbered on photographer’s edition label on reverse Digital c-type print 20 x 24 inches Edition of 30 Also available in two larger sizes, please contact the gallery for more details. Steve McCurry (born 1950) is best known for his evocative colour photographs that document both human struggles and joy. Having travelled the globe for over thirty years, McCurry has photographed warzones, burning oil fields, refugee camps, ship breaking yards and monsoons all over the world. A member of Magnum Photos...