Machinery Color Photography

Captured in the iconic home of speed, Bonneville Salt Flats, the powerful iconic Ford Coupe Land Speed Racing Car sits in the foreground of the powerful expansive landscape. This ar...

XX Centuries (2011)
 55 x 66 cm, Edition of 2/5. Photography printed in Canson Baryta Prestige 340gr (not mounted) Signed on back with Certificate. About myself I was born and rai...

Are you my Angel (2011)
 from the series Monuments 50 x 65 cm, Edition of 1/10 plus 2 Artist Proofs. Digital Photography printed on Canson Barita 310gr (not mou...

Peter (2011)
 80 x 109 cm, Edition 1/3 plus 2 Artist Proofs. Photography printed on Canson Barita 310gr. (not mounted) Signed on back with Certificate. About myself I was born and...

Overpass by Christian Stoll 27 x 40 inches (68 x 102cm) edition of 25 signed 48 x 72 inches (122 x 183cm) edition of 7 signed archival fine art pigment print signed + numbered by ...

'God Speed Good Year', captured in the iconic home of speed, Bonneville Salt Flats. The bold graphic 'God Speed Good Year' contrasts in size against the vast...

'God Speed Good Year', captured in the iconic home of speed, Bonneville Salt Flats. The bold graphic 'God Speed Good Year' contrasts in size against the vast...

A moment in time In 2021, a gallery from Brussels contacted us. There, a photographic collection had been kept in tin boxes for decades, consisting of 6x6 glass slides in color. Th...

I am still waiting (2011)
 from the series Monuments 50 x 65 cm, Edition of 1/10 plus 2 Artist Proofs. Digital Photography printed on Canson Barita 310gr (not mounted) Signed on back...

Gas Station at Night (Stranger than Paradise), 2006 Edition 1/5, 2 pieces 58x120cm installed, 58x56cm each. 2 Analog C-Prints, hand-printed by...

Austrian GP John Watson's Penske PC4 Ford. Championship: Formula 1 1976 (Formula 1, 1976) Event: Austrian GP Date taken: Sunday, August 15, 1976 Location: Red Bull Ring...

The same year, the iconic science fiction movie Close Encounters of the Third Kind was released, visionary still photographer Mitchell Funk shot this SciFi-like image. It's of an un...

20"x60" c-print photograph, limited edition of 10 signed upon reverse, depicting a yellow locomotive from the Union Pacific railroad, taken in Wendover, UT You can see the This is...

RINKO KAWAUCHI (*1972, Japan) Untitled, from the series 'Utatane' 2001 C–type print Sheet 101,6 x 101,6 cm (40 x 40 in.) Edition of 6; Ed. no. 4/6 This photograph belongs to the se...

Blue Bird by Erik Pawassar 48 x 65 inches (122 x 165cm) edition of 7 signed 30 x 40 inches (76 x 102cm) edition of 25 signed archival fine art pigment print signed & numbered by ...

20"x60" c-print photograph, limited edition of 10 signed upon reverse, depicting a caboose from the Union Pacific railroad, taken in Great Salt Lake, UT- the dust and dirt from use ...

Rendering Memories II (The Girl Behind the White Picket Fence) - 2013 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and certificate. Artist Inventory #13388. Not mounted. Offered is a piece from the movie: The Girl Behind the White Picket Fence. Written and directed by Stefanie Schneider A tale told with blemished and expired Polaroid film about the hopes and dreams of a newly orphaned girl after losing her parents who lived in the Californian desert in an old travel trailer. -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monologue - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girl's journal. (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge, little crocheted doilies, and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose property in Morongo is dotted with vintage trailers. They surround her midcentury home and serve as sets for her photoshoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer. Her name is Heather, and she is played by model Heather Megan Christie, girlfriend of actor Joaquin Phoenix, and former partner of Red Hot Chili Peppers singer Anthony Kiedis, with whom she has a son. Heather stars opposite Kyle Larson (who plays ‘Hank’), a real-life gypsy fisherman who catches crab in Alaska when he’s not surfing in Southern California. Neither of the two had ever acted before, and never in the history of movie-making has a director shot a film entirely on Polaroid film. “There was great difficulty shooting a film this way,” says Schneider, who, with her long straight hair, wide innocent eyes, and thick-framed glasses, conjures an art-house Gretel. “If I had used a regular camera I would have had 36 exposures per minute, much faster and easier than using the old Polaroid camera which takes a long time to shoot one frame. Also, sometimes it doesn’t shoot at the exact moment you think it’s going to—but that’s really great because then you miss the perfect moment…and often those are the best shots.” Individually, the Polaroid photographs that comprise 29 PALMS, CA stand alone, but together and in sequence, filmed with super 8 and 16mm film stock and overlaid with poetic voice-over monologues, they create a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick. Gus Van Sant, and pages torn from a lonely girl’s journal. The idea to shoot a movie in this way came about in 2004 when Schneider was working with leading German director Mark Forster (Monster’s Ball, Finding Neverland, Quantum of Solace) on his film Stay. She had met Forster at director Wim Wender’s birthday party in Hollywood. A few years later, Forster asked Schneider to shoot Polaroids of scenes from Stay as he filmed; he used those photographs for dream and memory sequences in the movie. For the first time, Schneider saw her Polaroids strung together in sequence, moving with rhythm like a flipbook, in the context of a story. When Forster urged her to consider making a feature film using that technique, the seed of 29 PALMS, CA was sown. She mentioned the idea to her good friend German actor Udo Kier, who also gave the idea a big thumbs up, and agreed to play the part of a mysterious shaman in the film. Thanks to her strong reputation in the art world and her Hollywood connections, getting talented people on board was the easy part (for a while, Charlotte Gainsbourg was pegged to play the starring role, although she pulled out two weeks before shooting commenced because she was pregnant and not fit to travel to the desert.) The hard part was finding the perfect trailer—and bringing it to the desert. “This trailer almost killed us,” says Schneider’s partner Lance Waterman, who lives and works with Schneider in Morongo Valley. After finding it on eBay, the couple drove to Utah to pick it up, the plan being to tow it all the way back to the high desert themselves. Bad idea. “We were driving down a hill with this enormous trailer behind us when we realized that if we wanted to stop, there would be no way to do so without the trailer crushing us,” says Waterman. Adds Schneider: “Lance was even giving me instructions on how to jump out of the truck if we needed to.” Thankfully the road leveled and as soon as they were able to slow down and pull over, they called a professional towing company, which transported the trailer the remaining distance to Morongo Valley. Filming took place in Spring 2011 and 2012. Schneider recently submitted the film to major film festivals in Europe and the US, and it will be broadcast in 2013 by leading German television channel, Arte. While Schneider may come from a long tradition of photographers-turned-filmmakers—Stanley Kubrick started out as a photographer, as did Ken Russell (Tommy, Women in Love) and Larry Clark, who was a controversial fine art photographer before directing smash hit Kids—she does not see her future in Hollywood, directing blockbusters. Not necessarily. “I don’t think I want to make more films,” she says. “The actors were saying they would love to work with me again, and were asking if I would like to make other movies. But being on movie sets is far too stressful, and at least with this, I was in complete power of what was going on creatively. That said, if this gets a lot of acclaims…we can always think again. One should never say never.” Film features original soundtrack with songs by Adam Weiss, Daisy McCrackin, Billy Harvey, Sophie Huber, Zoe Bicat, Max Sharam, Cheyenne Randall...

from a series of Industrial Style still life photographs captured at a high performance race car performance garage 32 x 40 inches / 81cm x 102cm signed edition of 25 archival qual...

Hard Sun (Bombay Beach, CA) - 2022 20x20cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist Inv. #PL...

Automobili III by Frank Schott, from a series of environmental still life photographs at a high performance race car body shop 48 x 72inches / 122cm x 183cm signed edition of 7 27 ...

Untitled (9/11) - 2001 Edition of 5, 38x37cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1539. Signature label and certifi...

Gas station at Night I (Stranger than Paradise) - 2006 Edition 1/5, 48x46 each, 93x91cm installed with gaps. 4 analog C-Prints, hand-printed by the artist, based on the 4 Polaroid...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 48x46cm. Archival Print, based on a Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Certifi...

Selfie, Florence Italy. 2022 I love old photo booths. The real photo booths. Photo booths that take real photos that have to ...

Automobili I by Frank Schott a series of Industrial Style still life photographs (Ferrari) - details at iconic Italian race car performance garage 48 x 72inches / 122cm x 183cm edi...

Tom Thumb Special, captured in the iconic home of speed, Bonneville Salt Flats. The powerful, this iconic Ford Coupe Land Speed Racing Car, sits in the foreground of the powerful exp...

Urban Wallpapers 9 is a limited-edition photograph by contemporary artist Bruno Fontana. This photograph is sold unframed as a print only. It is available in 2 dimensions: *80 cm × ...

#40758, 1 September, Ariel color photograph, limited edition, signed. ATACAMA: Renewable Energy and Mining in the High Desert of Chile CHANGING PERSPECTIVES: Renewable Energy and the Shifting Human Landscape is a long-term aerial and ground-based photography project documenting global renewable energy development. Chile is the world's leading copper exporter and the second-largest lithium producer. We use Chilean copper...

'Homestead I', is the first in a sequence of abandoned buildings in the Californian High Desert, Wonder Valley The three part series is part of Richard Heeps' larger series 'Dream in...

Chowchilla #131, 2007 [From the series US Road Trip Diary] Edition of 7 - numbers 1/7-3/7, 20x44x0,5cm. Photo compilation based on 2 expired Polaroids, printed on Plexiglass Dias...

Automobili I by Frank Schott 27 x 40 inches / 69cm x 102cm edition of 25 signed 48 x 72inches / 122cm x 183cm edition of 7 signed archival quality fine art pigment print limited a...

Overpass by Christian Stoll 48 x 72 inches (122 x 183cm) signed edition of 7 27 x 40 inches (68 x 102cm) signed edition of 25 archival fine art pigment print signed + numbered by ...

Turbine by Christian Stoll 48 x 57 inches (122 x 145cm) signed edition of 7 34 x 40 inches (86 x 102cm) signed edition of 25 archival fine art pigment print signed + numbered...

Tom Thumb Special, captured in the iconic home of speed, Bonneville Salt Flats. The powerful, this iconic Ford Coupe Land Speed Racing Car, sits in the foreg...

Beach Comber by Erik Pawassar 27 x 40 inches (69 x 102cm) signed edition of 25 48 x 71 inches (122 x 180cm) signed edition of 7 archival fine art pigment print signed & numbered ...

Come Home 2019, 20x24 cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2019 - 70...

Two Bonnerville Motorcycles, captured in the iconic home of speed, Bonneville Salt Flats. Set against the bold blue sky in Utah. This artwork is a limited edition of 25 gloss photog...

Automobili III by Frank Schott 27 x 40 inches / 69cm x 102cm edition of 25 signed 48 x 72 inches / 122cm x 183cm edition of 7 signed archival quality fine art pigment print limite...

From the series, 'A Different Light' a book commissioned by Thurrock Arts Generate, part of a regional initiative funded by Arts Council England, East Richard Heeps provides an alter...

Belly Tank Lakester 'Raspberry Rocket', captured in the iconic home of speed, Bonneville Salt Flats, Richard's bold graphic car contrasts in size against the vast landscape in the ba...

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

The muted colours of yesteryear on show at an old forecourt in the South of France – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfort...

Corvette in the desert - Signed limited edition archival pigment print - Edition of 5 Arizona 1998 This image was captured on film. The negative was scanned creating a digital file which was then printed on Hahnemühle Photo Rag® Baryta 315 gsm (Acid-free and lignin-free paper, Museum quality paper for highest age resistance and a popular alternative to analogue baryta paper) using pigment inks which are known for their longevity. Signed + numbered by artist with certificate of authenticity Please note. There are three sizes of this print; each is an edition of five (5) making the total that can be printed as fifteen (15). This will include any custom sizes requested. Available sizes ( Image size , the white margin is not counted) : 35 x 52 cm / 13,78 x 20,74 in. - Edition of 5 50 x 75 cm / 19,68 x 29,53 in. - Edition of 5 67.5 x 101.6 cm / 26,37 x 40 in. - Edition of 5 Geoff Halpin...

Edition of 25 Signature and date written in black ink on print verso. Published: West of Last Chance (2008) Paper size: 20 x 24 in., Image size: 16 x 20 in. *Images and video show p...

Corvette in the desert - Signed limited edition archival pigment print - Edition of 5 Arizona 1998 This image was captured on film. The negative was scanned creating a digit...

Rendering Memories (The Girl Behind the White Picket Fence), - 2013 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by ...

Rendering Memories (The Girl behind the White Picket Fence) - 2016 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signatur...

'Cafè Cars' 1981 by Alain Le Garsmeur Limited Edition Archival Pigment Print Taxis outside a cafe in Tegucigalpa, Honduras, Central America, 1981. Paper size : 40x30 inches / 101...

Chariot (Till Death do us Part) - 2005 40x40cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist In...

Defender Digital C-Print / Archival Pigment Print Edition of 5 per size Available sizes: 24" x 24" 36" x 36" 48" x 48" Lusztyk’s “Collectible” series is a macro level exploration of...

Jim Jard '32 Roadster, photograph by Richard Heeps from his Bonneville series. Cars at the Bonneville speedway contrast with the unique landscape of the Salt Flats. This artwork is ...

Gas Station at Night I (Stranger than Paradise) - 1999 37x36cm, Edition of 30, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #391. Not...

Selfie, Florence Italy. 2022 I love old photo booths. The real photo booths. Photo booths that take real photos that have to be developed. You have to wait a little longer for them to finish drying. They look like nothing else. A little darker with more contrast. They seem to be from a time long ago. In a world where everyone has a high-resolution camera on their mobile device. It’s nice to see the lines of young people waiting to have their pictures taken. 20x20cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on back with Certificate. Not mounted. Erin Dougherty...

Wind Power (California Badlands) - 2021 24x34cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 4595. Not mounte...

Self Service - 2017, Edition of 7 plus 2 Artist Proofs. Archival C-print, based on an original Polaroid, not mounted. Signed on the back and with certi...

The artist's photographs capture the transformation of everyday life into another reality. Images that explore what the future will be like. Industrial, eccentric and progressive, Ca...

'God Speed Good Year', captured in the iconic home of speed, Bonneville Salt Flats. The bold graphic 'God Speed Good Year' contrasts in size against the vast...

Beach Comber by Erik Pawassar 48 x 71 inches (122 x 180cm) edition of 7 signed 27 x 40 inches (69 x 102cm) edition of 25 signed archival fine art pigment print signed & numbered ...