Light Color Photography

New York: Bright Lights, Big City, 2018 by Roberta Fineberg is a 20" x 16" signed archival pigment print on baryta paper in an edition of 5. The contemporary color landscape photogra...

Sol Mallorca and Moonrise I, Diptych, 2023 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Overall size: 43 in H x 72 in W Individual Size: 43 in ...

Mels (Stranger than Paradise) - 1999 44x59cm, Edition 2/10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventor...

Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...

Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...

Woman at Window, 2013, limited edition photograph, signed and numbered Hopper Meditations is a personal photographic response to the work of the American painter, Edward Hopper. My images are created by digitally marrying dollhouse-size dioramas with live models. The sets I built, painted and photographed in my studio. I then photographed the models, and lastly, made the digital composites in Photoshop. I have always loved the way Hopper’s paintings...

Christmas Traffic 1953 by Slim Aarons Slim Aarons Limited Estate Edition Red and white automobile lights on Park Avenue, New York at Christmas time. The rear and headlights at nig...

'Stars in the Dance', 2009 30x30cm. Edition 1/10. Archival C Print based on a multiple exposure Polaroid, mounted under Plexi. Signed on back. 'We are all in the gutter, but some of us are looking at the stars' - Oscar Wilde This piece will be exhibited at the Bombay Beach Biennale in the newly founded Polaroid Museum in it's permanent collection. The Museum opens its doors in March 23rd, 2019. AND in the "Instant Dreams" Polaroid curation by Stefanie Schneider at Saatchi's The Other Art Fair in Los Angeles 28/03/19 - 31/03/19. Urizen Freaza was born in Tenerife in 1982 and is based in Berlin since 2010. He's a self-taught photographer and film-maker. Self-taught meaning that this is a path he's still walking, while hoping there is always more path to walk. He's a member of the Film Shooters Collective and part of the team behind the analogueNOW! festival in Berlin. Vita: Group exhibitions: 2018 'Feel', Brooklyn Film Camera, New York, USA 2017 'The decisive light', Projekteria, Barcelona, Spain 2017 'The face', Darkroom Gallery, Vermont, USA 2017 'A surreal vision', Galería LoosenArt, Roma...

WC, a kitsch vintage sign captured in Ho Chi Minh City, Vietnam. This artwork has a beautiful balance of neutral colour tones, texture and typography. ...

From the Vanishing Vernacular series. Vanishing Vernacular features a selection of color works by photographer Steve Fitch focusing primarily on the distinctive, idiosyncratic, and ...

Kali as The Queen of Earth (2020) Edition of 10 plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not moun...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 48x60cm. Archival Print, based on the Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Certificate. Artist Inventory No. 534. Published in Stranger than Paradise, Hatje Cantz (monograph) Stefanie Schneider: A Discovery on Polaroid. An essay by Eugen Blume How is it that the photographic works of Stefanie Schneider do not allow anything other than one single association, namely that of America? Because they were taken in America itself? That fact alone would not yet be a compelling argument. Many photographs of America possess a reckless ambivalence which allows even the different country of their own particular creator to seem so similar as to be confused with America itself. Does this ambiguity have something to do with the ongoing, accelerating Americanization of the entire world? Or is it simply connected with our personal clichés which we attribute to a country the size of North America as valid expressions of its very essence, thereupon negligently allowing it not only to dwindle down into any size whatever, but also to expand to a great extent, from Germany by way of Luxembourg right through to Japan? Now it is certainly true that the figures of Thelma and Louise in the desert do not represent an American reality, not even after their resurrection as Radha and Max in the series 29 Palms from 1999. Strangely enough, it is nature which allows this utterly artificial scene to grow into an American verity. The harsh sunlight in the barren landscape establishes the fundamental tone out of which the women emerge in excessive hysteria from beneath their colored wigs. It is inherently absurd to celebrate the feminine aspect in the middle of a mercilessly inhospitable environment. The image of the two women is a monument of resistance, the meaningful assertion of a lifestyle which stands in contradiction to each and every convention. The pictorial structure and the captured movement along the edge of the format are a means of blending the glaring luminosity with the plot in a manner which perhaps functions successfully only in the “simple” instant technique of the Polaroid. Stefanie Schneider’s pictorial narratives are striking in their formal elegance. She utilizes the chemical faults of the Polaroids, their tendency towards overexposure and double-images as a sovereignly controlled means of artistic design. The defects become, as it were, metaphorical levels which plumb depths lying far beneath the surface. The overly bright colors and schlieren seek out the uncanny; they provide a counterweight to a narration that is deliberately kept superficial. They tell of an invisible strand. They illuminate, in the truest sense of the word, underground processes. Although we are familiar with a series featuring American flags which could not indicate the site of its narrations any more clearly, nevertheless there remains a fundamental doubt as to whether the initially described association with America is identical with that which we deem to be America in a geographical sense. Although I have in the meantime been in America several times, in both South and North America, deep down I remain uncertain as to whether the New World actually exists. Columbus’ error of continuing to believe, even when having arrived on land, that he was encountering the India which was the actual goal of his journey has burrowed down deep into the European unconscious as a cultural convention. Peter Bichsel’s amusing story “Amerika gibt es nicht” (There is no America) still remains today an undeniable truth: America’s northern half is a film, not a continent. Everything which signifies the U.S.A. – from the Indians, whose most noble savages were invented in Europe, all the way to September 11th and the subsequent war in Iraq, the aliens and the revival of the dinosaurs, the terminators as governors and presidents as actors and vice versa, the electric chairs, the godfather Marlon Brando and the eternal singer Bob Dylan, the neurotic Woody Allen, Velvet Underground and Andy Warhol – all this is an invention of the media. Everything that I know about America has been conveyed to me by Hollywood films. My trip into this fictional wonderland, this country where nothing seems impossible, began with a landing at Kennedy Airport, along with a list of questions investigating my existence up to that point in time and inquiring whether I belonged or belong to any Communist organization. There went by three long hours of waiting, without my having seen anything that was actually real, among variously colored passengers until there was a call to board my flight to Houston, Texas, the destination of my first trip to America. The airplane traveled for an endless stretch of time just to reach the take-off runway and thereby crossed bridges under which dense auto traffic flowed ceaselessly towards somewhere, like a never-ending caravan. My little onboard window was nothing more than a monitor tuned to one of the many road movies at which I gazed in boredom. Finally the machine came to a standstill and the massive doors were opened, warm air hung heavily amid functional concrete buildings and a few palms: I was in the southern region of North America. In front of the airport was the usual scene from the beginning of a film viewed hundreds of times: yellow cabs with black drivers. Along the highway to Houston, seen from car windows that were once again nothing more than monitors, there rose up upon high poles to the right and left vastly oversized, widescreen-formatted billboards advertising everything that for a long time now we in Europe have internamericalized: Coca-Cola in an immediate love-hate relationship to Pepsi, the successful taste plagiarizer, McDonald’s, cornflakes. Concrete streets above and below me, in the distance the skyline of Houston set against the background of the desert: high-quality Cinemascope. Spontaneously there came to mind the first scenes of Tarkovsky’s Solaris, that never-ending stretch of concrete, filmed from within the automobile which, remotely controlled, brings its passenger somewhere, anywhere, just not into reality. I didn’t understand the first Texan whom I met; the ponderous dialect, spoken in the interior of his mouth, was not compatible with my knowledge of English. America was not only a film but also a collection of clichés. In the evening I attended the opening of an museum exhibition, which was the actual reason for my journey: rich women wearing fur coats in approximately thirty degrees Centigrade; first the buffet, then the art; no wordily wandering speeches, but rather everything economically tailored to momentary pleasure and external appearance. Modern Houston was nothing more than a city of offices; the last skyscrapers in the series already end in the desert sand; some are nailed up and carry signs of warning: “Contaminated with Asbestos.” In the bus I am the only white person among variously hued immigrants from South America or scions of long-established families of former slaves, and I myself am marveled at like a strange, stray soul. In search of the DeMenil Collection amid endless single-family dwellings, there was the usual action scene: an identity check, police vehicles outfitted with sirens and sporting double, revolving lights upon their roofs, the role of the sheriff well cast, a successful sequence filmed on the first take and put right in the can. I am not given any trouble with my status as a European, such as can easily be seen from my passport. The whole atmosphere is friendly, suffused with an almost unbelievable amicality. The colleagues in the Museum of Fine Arts, an astounding universal museum with artworks ranging from antiquity all the way to the present and a Mies van der Rohe building extension, are enthusiastic about my idea of traveling on to California as soon as possible. Beneath me a nature film presented by National Geographic, the Grand Canyon, red cliffs of incredible dimensions, somewhere Death Valley and Hollywood, to which I owe so much. In San Francisco friends are waiting for me at the airport, two American biographies such as are only written here. Everything is just as I know it, the soundtrack is right on the money: Crosby, Stills, Nash and Young, and up further in the surf, the Beach Boys. The Golden Gate Bridge in fog, the wonderful district of Sausalito, and far across the bay the city of Oakland. A paradise of hippies, twenty degrees Centigrade as the average annual temperature. William Seward Burroughs is reading in a bookshop, Alan Ginsburg, and somewhere Patti Smith is singing. I do not intend to write here about my next destination, New York City, not about the wonderful people who were my hosts, not about Mildred the pianist, who worked with John Cage, not about her husband, the painter who was friends with Alexander Calder… When I recall this first trip to America, my images are strangely blurred in their colors, and the sharply focused photographs which I have kept among many useless ones convey nothing of that which remains in my head. I think back to the magical places, just like to the inhospitable ones, from a certain aesthetic perspective, and it is this very aesthetic which I rediscover in the pictures of Stefanie Schneider. Tales of America, a discovery on Polaroid. Basically we know nothing about how our remembered images in fact look; we believe that we recall pictures and we tell of images which nocturnal dreams implant in our brains, but we would have great difficulty in specifying their actual form. From time to time we consider ourselves to have seen distinct pictures, but mostly we think of blurred appearances, more of shadows than of sharp contours. For her part, Stefanie Schneider as a native German sees her chosen country of residence as if in a dream. She stages a land which does not exist, a land of visions and spirits. During 2005 in the film Hitchhiker and in the photo series Sidewinder, she tells about love in terms of the hippie clichés of the 1960s: the long-haired girl with no makeup together with the preacher in a trailer amid the eternal heat, God’s warm canopy above California, Jack Daniels as the celebratory wine of the mass, the Colt revolver...

Read till you need no more…Words - from the series Schoffie - 2008 30x30cm, Edition of 7. Archival Print based on a Polaroid, mounted on Dibond - gloss. Hand-signed & numbered b...

Mindscreen 7, 1999, 58x56cm, Edition 3/10. Analog C-Print, hand-printed by the artist, based on an expired Polaroid. Signature label and Certificate. Artist Inventory No. 248.03. No...

Part of Richard Heeps 'Ordinary Places' Series, it captures Britain on the brink of change. It was Richard's first colour series and it achieved much success with an exhibition at th...

Pool at Night (Suburbia) 2004, 50x50cm, Edition of of 10, digital C-Print based on an expired Polaroid. Signature label with Certificate, unmounted. The project "Suburbia" was shot...

Hanging Off Bed (Bobby Kendall), mid- to late 1960s/2022 Signed, dated, and numbered, verso Digital C-print 31 x 31 inches, image (Edition of 15) $4,500 22 x 22 inches, image (Ed...

Monocled Miss 1964 by Slim Aarons Slim Aarons Limited Estate Edition Renata Boeck enjoying breakfast in bed at the Regency Hotel in New York, 1964 unframed c type print printed 2...

Artist: Jeffrey Mayer Limited Edition: Signed and hand numbered in the margin, archival pigment print on 100% cotton paper with a Baryta finish. Authorized worldwide release of 100 ...

Queen in Concert Freddie Mercury and Queen in concert Photo by Martyn Goddard Printed 2024. Signed limited edition photograph; edition of 25 in this size. 20×24 inch paper size...

High Noon - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #21980. S...

The Dead of the Night (2020) Polaroid 600 Wakefulness and longing in the middle of the night. Edition of 10 - 40 x 40 cm Digital C-Print based on a on a Polaroid, not mounted. Si...

Tropics Motor Hotel (Stranger than Paradise) 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory...

Henry watching Athena Dance (Stay) III - with Ryan Gosling, 2006, 50x50cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 5065. Not mounted. featuring Ryan Gosling. Stefanie Schneider's art work was used for the Marc Forster movie 'Stay'. featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, Film...

Blue Light – (2020) Polaroid 600 Was inspired by a dream of David Carradine sitting on the end of a bed wearing white and transmitting ideas. Edition...

The Enlightened Philosopher [From the series Famous in Flanders] - 2010 20x16cm, Edition of 30. Giclee archival pigment print on PHOTO RAG ® ULTRA SMOOTH paper
305gsm, 100% cotton...

High Noon - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #348. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

The subject is the conflation of women and the home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she performs domestic trickery. The photographs are vignettes of women hidden behind drapes containing one figure and drapery, with an occasional prop or piece of furniture. In this series, “Reconstructed,” the woman becomes part of her domestic trappings and activities. I am creating narrative, full-size, still-life images comprised of many objects. “Reconstructed Series” is a commentary on our obsession with collecting, accumulating designing, and decorating, inviting hilarity and pathos about our relationship with “things.” They are installations made in the studio for the camera that play with color, space, and scale, and use household objects as subject matter. We are making a life-size box in the studio as a substitute for the home. A mannequin substitutes for the woman, who is camouflaged among her domestic objects in the space. The final outcome is a photograph and/or a short video. Growing up in the suburbs of Chicago provided the basis of all of my work, and I continually seek to come to terms with it. I grew up when suburban life was idealized; the home was a place of perfection and harmony, free from the harsh realities of the city, without crime, or messy interiors, where everyone’s drapes and sofa matched, where people were normal, without dark little secrets. It was at a time when the “woman’s place...

'Pink Champagne Ceiling' (1966) Photo By Phillip Harrington / Alamy New York City, 1966. Interior of the Metropolitan Opera House at Lincoln Center. Additional Information: Unframed Paper Size: 16x20'' Note image size may differ from paper size - please contact us for exact image dimensions Printed to order 2021 About the Image: The Metropolitan Opera House is an opera house located on Broadway at Lincoln Square on the Upper West Side of Manhattan in New York City. Part of Lincoln Center for the Performing Arts, the theater was designed by Wallace K. Harrison. OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12'' 12 x 16'' 16 x 20'' 20 x 24'' 20 x 30'' 30 x 40'' FRAMING AVAILABLE ON REQUEST About the Artist: Phillip A. Harrington was born in 1920 and grew up in Holland, Michigan. He developed an interest in photography at an early age, joining the high school camera club at 16. At the age of 19, Harrington moved to New York City to study at the Clarence. H. White school of photography, a prestigious institution with graduates such as Margaret Bourke-White, Dorothea Lange, Laura Gilpin...

Mesmerizing abstract color play of muted tones and surreal shapes, from a series of still life works created entirely in camera Caleidoscope l by Christian Stoll 40 x 28 inches (10...

Morning (Last Picture Show) - 1999 40x40cm, Edition of 10, Lambda Print based on the Polaroid Certificate and signature label artist inventory number: 21181. Not mounted. Insta...

I present unspoken stories which illustrate fleeting moments in time and which are intended to evoke a mood in the viewer. These mythical illustrations might address the fragility of...

Droulers And Daughters (1984) Limited Estate Stamped - Giant (Photo by Slim Aarons) Roberta Droulers sitting with her daughters, Nathalie and Virginie, in the lobby of the Villa D...

San Diego Home 1956 by Slim Aarons Slim Aarons Limited Estate Edition A woman in a day dress in the sitting room of a house in San Diego, California, October 1956. unframed c ty...

The distance between you and me (2011)
 80 x 106 cm, Edition 1/3 plus 2 Artist Proofs. Photography printed on Canson Barita 310gr. Signed on back with Certificate. Not mounted. A...

Monitored (Stay) - with Ryan Gosling 2003, 60x30cm, Edition of 10, digital C-Print, based on a 35mm analog Negative strip, signature label and certificate, artist Inventory No. 30...

ABOUT THIS ARTIST: Jessica C. Nugent is a photographer from California known for her contemporary images of nature. She uses her graphic design background to create an emotional connection with the natural world through the use of color. Jessica’s art has recently been featured with Artsy, Domino Magazine, Pottery Barn Teen...

circa 1955: Film star Joan Collins in a pink and white bedroom with an accessory pink poodle. Estate stamped and hand numbered edition of 150 with certificate of authenticity from ...

Ghost Story - 2021 25x20cm, Edition of 10 plus 2 Artist Proof. Archival Print based on an original Polaroid on Hahnemühle photo rag paper. Signature label and certificate. Not mou...

Henry watching Athena Dance (Stay) - 2006 37x36cm, Edition of 9/10, analog C-Print, hand-printed by the artist, based on a Polaroid. Certificate and Signature label, artist Inven...

Act I (2012)
 50 x 68 cm, Edition of 10 plus 2 Artist Proofs. Digital Photography printed on Canson Barita 310gr (not mounted) Signed on back with Certificate....

Fashion At Hartnell’s 1955 by Slim Aarons Slim Aarons Limited Estate Edition A fashion show at the Burton Street salon of British couturier and court dressmaker Norman Hartnell, L...

Queen in Concert Freddie Mercury and Queen in concert Photo by Martyn Goddard Printed 2024. Signed limited edition photograph; edition of 25 in this size. 20×24 inch paper size....

Satin Seduction 1955 by Slim Aarons Slim Aarons Limited Estate Edition Film star Diana Dors (Diana Fluck) (1931 – 1984) in blonde bombshell pose on a satin covered bed. unframed...

Falling Stars - 2021 Archival C-Print based on an original Polaroid on Hahnemuhle photo rag paper. Edition of 10 plus 2 Artist Proofs. Signature label and certificate. Not mount...

Ritz, 2018, Edition of 10 - 20 x 20 cm - Digital C-Print based on a on a 35mm film, not mounted. Signed on back and certificate. Artist: This was influenced by country music documen...

Irrigation, part of Richard Heeps Salton Sea Collection, this sun-drenched multi-layered landscape photograph from Garst Road came about from his interest in photographing areas belo...

Kali as The Queen of Earth (2020) Edition of 5 plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative. (not mo...

Henry watching Athena Dance (Stay) - 2006 With Ryan Gosling. 48x46cm, Edition 1/10. Archival C-Print, printed on Fuji Crystal Archive Paper, matte surface, based on a Polaroid. ...

'Light my Fire’, 2017, 20 x 20 cm, Edition 1/10, Digital C-Print based on a Polaroid, not mounted. Numbered and signed on the back by the artist. Artist...

Patty Carroll has been known for her use of highly intense, saturated color photographs since the 1970’s. Her most recent project, “Anonymous Women,” consists of a 3-part series of s...

Heidler & Heeps B Side Vinyl Collection Six Piece Set. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising ...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...

Kanariepiet (Odd Stories) 2/25, 2014 digital print mounted on mdf (15x11cm - 0,8 mm), matt coating hand signed by the artist on the back. -- Part of Carmen De Vos' solo show Odd St...

Blondie Backstage Best of Blondie photo shoot on the roof of the Record Plant recording studio New York 1978 Photo by Martyn Goddard Printed 2024. Signed limited edition photograp...