Flower Color Photography

Epidendrum radicans. Orchids All of my work is produced to museum archival standards. :: Photograph :: Color :: This piece comes with an official certificate of authenticity signed b...

Pulsatilla, commonly known as Easter flower and meadow anemone. Like many of my botanical subjects this is grown in my garden. All of my work is produced to museum archival standar...

Ginger I works well with Ginger II as a wonderful pair, displayed side by side. Like many of my botanical subjects this is grown in my garden. All of my work is produced to museum...

Ginger II works well with Ginger I as a wonderful pair, displayed side by side. This is grown in my garden like many of my botanical subjects. All of my work is produced to museum a...

Ginger V. Like many of my botanical subjects, this is grown in my garden. All of my work is produced to museum archival standards. :: Photograph :: Color :: This piece comes with...

Epidendrum radicans. Orchids All of my work is produced to museum archival standards. :: Photograph :: Color :: This piece comes with an official certificate of authenticity signed b...

Edition 2/15 +2 AP Sharon Johnson-Tennant is a photographer living in Los Angeles, California. She received a degree in Fine Arts from Skidmore College in New York and continued wit...

Edition 2/15 +2 AP Sharon Johnson-Tennant is a photographer living in Los Angeles, California. She received a degree in Fine Arts from Skidmore College in New York and continued wit...

Brigitte LUSTENBERGER (*1969, Switzerland) Are you here or just a memory, 2023 From the series 'An Apparition Of Memory' C-print 100 x 72 cm (39 3/8 x 28 1/4 in.) Edition of 5, plus ...

Untitled - Galesburg (Cousin Candi's Wedding), 1997 Color coupler print 15 1/2 x 15 1/2 in. Titled in ink on margin Signed in ink on print verso by Chri...

Hand Printed by Artist. One of a kind photograph. Unique Printed on Cibachrome

Edition of 15 Signed by Patty Carroll Paper size: 30 x 30 in., Image size: 22 x 22 in. From the series, Anonymous Women: Domestic Demise Patty Carroll is an American photographer wh...

Edition of 5 Signed, titled, dated and numbered. Archival pigment print Paper size: 27 x 38 in., Image size: 33 x 25 in.

"In joy or sadness, flowers are our constant friends." - Okakura Kakuzo Calla Lilies - flower study, originally taken on medium format Fujichrome transp...

20 x 24 inch type-c print Edition 10. Signed on verso. Throughout her career, photographer Yoko Ikeda has been finding poetry in the prosaic, and mystery in the mundane. Her photog...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This otherworldly look at an opening Ranunculous is made of 70 individual images, each with a slightly different focal length, which are then "stitched together" using AI in Zerene S...

One of kind photograph, Printed by the artist on Cibachrome paper.

Okurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `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 forest fires due to climate change. In 2005, my series `Arctic Technology`, was shortlisted for the BMW Prize at Paris Photo (Scout Gallery, London). In 2015, my series `Paradise Lost`(containing three of my main environmental series) toured between three large museums in China. My other environmental work has been nominated for the annual Prix Pictet Award twice, with my series, `Barentsburg` and `Shadow Within`, 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 work has been shown in numerous museums, including a symposium at Johnson Museum, N.Y., was included in traveling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice`, as well as a two-year museum tour in China environmental issues with Three Shadows Photography Art Centre in Beijing and the Norwegian Embassy. Publications/books include `Vanishing Ice`and `Altered Landscape` (Nevada Museum of Art), including purchased work for their collection at Center for Art and Environment. Selected exhibitions CV: Christian Houge (born in Oslo 1972) - Curriculum Vitae 2021 `As far as my Eye can Sea – The Expedition Exhibition` Rev Ocean, Bomuldsfabrikken Kunsthall, Arendal `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography Continuation `Death of a Mountain`/ In;Human Nature`, Buer Gallery, Oslo 2020 `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography 2019 `Metafysica`, `Residence of Impermanence`,collaborative, Haugar Kunstmuseum, Vestfold `Residence of Impermanence`, Fotografiska Museum, Stockholm. Solo `Helt Dyrisk` Residence of Impermanence`, collaborative, Preus Museum, Horten `Residence of Impermanence`, Galleri Fineart, Oslo. Solo 2017 `Shadow Within/Rituals` Gulden Kunstverk, Drammen. Solo Commission, MAAEMO restaurant. `In;Human Nature` `Mirror,Mirror` Hosfelt Gallery, San.Fran. Collaborative w/Ed Ruscha, Adam Fuss, Liliana Porter 2016 `In;Human Nature`, TM51 Gallery, Oslo. Solo Fotofever/ParisPhoto, Louvre, Paris Cornette de Saint Cyr, Auction, Paris 2015 Three Shadows Photography Art Center, Beijing, China. `Paradise Lost` . `Arctic Technology/Barentsburg`/ Shadow Within. Solo Fotofever (ParisPhoto), Artistics Art Gallery, Paris. Collaborative How Art Museum, Wenzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo Redtory, Guangzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo 2014 Fineart Gallery, Oslo `Shadow Within` 2010-2013 / `Darkness Burns Bright` 2013/2014. Solo Beyond Earth Art • (contemporary artists and the environment) Johnson Museum of Art, New York. Shadow Within. Collaborative (incl. Olafur Eliasson, Edward Burtynsky, Mathew Brandt, Yun-Fei Ji amongst others) The El Paso Museum of Art, Texas. `Arctic Technology`. Collaborative Glenbow Museum, Alberta. `Arctic Technology`. Collaborative LIFF (Lofoten International Photofestival) `Shadow Within` w/speaking. Solo 2013 Nominated for the Prix Pictet Award/ `Shadow Within`. Hosfelt Gallery, San.Fran. USA. `Shadow Within`. Solo Accompanied by Call of the Wild`( Joseph Beuys, Ed Ruscha, Patricia Piccinini and Alan Rath...

Second Hand Flowers Nr. 47 is a unique photo work of German artist Karin Elmers. C-print on photographic paper mounted on alu-dibond under 3mm acrylic. Easy hanging mechanism on bac...

Photo Doesn't do it justice. Printed on Cibachrome a postive very reflective archival paper. Carol Henry's photographs are made without a camera. The Flowe...

“Nature creates nothing without the purpose” - Aristotele Anthurium - flower study, originally taken on medium format Fujichrome transparency colour film in the studio setting, in 1...

Flower Seller, Dal Lake, Srinigar, Kashmir, 1996 - Steve McCurry Signed and affixed with photographer's edition label and numbered on reverse Digital c-type print 20 x 24 inches, e...

Pamela Ellis Hawkes's innovative photography revitalizes antique traditions of still life painting with a playful contemporary spirit and a keen eye for seductively mysterious beauty...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

The history of photography is replete with examples of image capture without a camera. My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Ins...

The Alm Hill Farm series began in 2008 when I relocated to Seattle and began shopping at the Pike Place market. Alm Hill Farm is a local farmer growing flow...

The history of photography is replete with examples of image capture without a camera. My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Ins...

The Alm Hill Farm series began in 2008 when I relocated to Seattle and began shopping at the Pike Place market. Alm Hill Farm is a local farmer growing flow...

The Alm Hill Farm series began in 2008 when I relocated to Seattle and began shopping at the Pike Place market. Alm Hill Farm is a local farmer growing flow...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

From the series Chasing Good Fortune. Two prints each measuring 80 x 60 cm or 31 1/2 x 23 5/8 inches. Overall 80 x 120 cm or 31 1/2 x 47 1/4 inches.

Brigitte LUSTENBERGER (*1969, Switzerland) A new dawn blooms, 2021 From the series 'An Apparition Of Memory' C-print 100 x 121 cm (39 3/8 x 47 5/8 in.) Edition of 5, plus 2 AP; Ed. no. 1/5 print only Born in Zurich, Switzerland, Brigitte studied at Zurich University and received her MA in Social and Photo History in 1996. In the following years she established herself as an fine art photographer. She moved to New York and received her MFA in Fine Art Photography and Related Media at Parsons The New School of Design in 2007. The main issues in her works lie in her interest in the study of the gaze, the interplay between absence and presence in a photographic image, and the fact that the reading of a photograph is most often triggered by a collective memory. She explores the media itself and its close connection to themes like decay, memory, death and transitoriness. Brigitte Lustenberger has shown nationally and internationally in both solo and group shows. She had Solo Shows at the Museée de l’Elysée in Lausanne/Switzerland, at Walter Keller’s Scalo Gallery in Zurich and New York, at Le Maillon...

RISAKU SUZUKI (*1963, Japan) Water Mirror 17, WM-788, 787 (diptych) 2017 Chromogenic print (2x) Sheet 120 x 155 cm (47 1/4 x 61 in.) Edition of 5; Ed. no. 2/5 Framed ‘Water Mirror’i...

They're doing the "Swirl." The roses are stationary, but their circular structure gives the illusion that they are rotating or dancing. This is straight photography without digital m...

John Dolan’s photographs revel in the extraordinary that lies beneath everyday, fleeting occurrences. And in this eloquent collection of twenty images shot in ravishing color and bla...

Fine art photography 2022. Made in Hanoi, Vietnam and inspired by the legendary lacquer painting techniques of Vietnam. The Lotus flower is regarded in many different (buddhist) c...

RISAKU SUZUKI (*1963, Japan) Water Mirror 17, WM-707 2017 Chromogenic print Sheet 120 x 150 cm (47 1/5 × 59 1/10 in.) Frame 124 x 154 x 5 cm (48 7/8 x 60 5/8 x 2 in.) Edition of 5; E...

Fine art photography combining a photograph and painting textures. The artwork/photo is sold unframed (only the art print) and will be sent in a hard tube by UPS. The photo...

The Lotus flower is regarded in many different (buddhist) cultures as a symbol of purity, enlightenment, self-regeneration and rebirth. Its characteristics are a perfect analogy for the human condition: even when its roots are...

MILES ALDRIDGE (*1964, Great Britain) Doors #2, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

Edition of 10. Fujicolour / DMEL: professional photo paper (from Kodak).

Edition of 10. Fujicolour / DMEL: professional photo paper (from Kodak).

RISAKU SUZUKI (*1963, Japan) SAKURA 21, 4-570 2021 Chromogenic print Sheet 120 x 150 cm (47 1/4 x 59 1/8 in.) Edition of 5; Ed. no. 4/5 Framed A Label signed by the artist is provid...

Yoshinori MIZUTANI (*1987, Japan) sakura 013, 2015 Archival pigment print on Hahnemuhle Fine Art Baryta paper 145.6 x 97 cm (57 3/8 x 38 1/4 in.) Edition of 3, plus 2 AP framed print...

Brigitte LUSTENBERGER (*1969, Switzerland) Kaleidoscopic vision, 2023 From the series 'An Apparition Of Memory' C-print 100 x 132.5 cm (39 3/8 x 52 1/8 in.) Edition of 5, plus 2 AP; ...

Still Image Motion Photography. :: Photograph :: Color :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes :: S...

Still Image Motion Photography. :: Photograph :: Color :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes :: S...