Landscape Photography

A Cowboy silhouette, captured in Kanab, the home of many Western Movies. This artwork is typical of one of Richard's signatures, a surreal twist using composition to play with realit...

Edition of 5 Carolyn'Monastra's series called "lovely, dark and deep,” excerpted from Robert Frost poem, explores the natural wonders of the wilderness. Dramatic and awe-inspiring l...

Edition of 5 Carolyn'Monastra's series called "lovely, dark and deep,” excerpted from Robert Frost poem, explores the natural wonders of the wilderness. Dramatic and awe-inspiring l...

17 x 21 inches framed

Hake's Drove, British landscape photograph from Richard Heeps series, 36 Minutes in Cambridgeshire. Richard Heeps was awarded a Millennium Year of the Artist Arts Council Grant to m...

Black and white fine art landscape photography print. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Pr...

Archival photo print under acrylic glass. Dimensions: 36 x 72 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutti...

Slim Aarons Dining Al Fresco On Capri 1980 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Italian artist and actress Domizian...

Bamboo Sticks in Sudan is a black and white vintage photo, realized in the early 20th century by M. Venieris. 

The latest and final release in Australian photographer Tom Blachford’s long-running project, Midnight Modern, will be exhibited for the first time at TOTH Gallery in New York. Loos...

The latest and final release in Australian photographer Tom Blachford’s long-running project, Midnight Modern, will be exhibited for the first time at TOTH Gallery in New York. Loos...

Field East of Hardwick, British landscape photograph from Richard Heeps series, 36 Minutes in Cambridgeshire. Richard Heeps was awarded a Millennium Year of the Artist Arts Council ...

Untitled (The Last Picture Show), 2005 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original SX-70 Polaroid. Inventory No. 781.02. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland...

Alyson Belcher's Ice Portals series of black and white photographs depict an unusually cold Northwestern winter. These photographs are records of the unique ice formations that the ...

Alyson Belcher's Ice Portals series of black and white photographs depict an unusually cold Northwestern winter. These photographs are records of the unique ice formations that the ...

Alyson Belcher's Ice Portals series of black and white photographs depict an unusually cold Northwestern winter. These photographs are records of the unique ice formations that the ...

Alyson Belcher's Ice Portals series of black and white photographs depict an unusually cold Northwestern winter. These photographs are records of the unique ice formations that the ...

Edition of 5 Carolyn'Monastra's series called "lovely, dark and deep,” excerpted from Robert Frost poem, explores the natural wonders of the wilderness. Dramatic and awe-inspiring l...

"Seven Trees, Sunnyside Beach" is a black & white landscape photograph measuring 22.75x36" unframed. All of Rick's photographs are printed on Hahnemühle Fine Art Paper using archival pigment-based inks. There are other edition sizes available, namely 10.75x17" and 6.5x10". Photographs are rolled carefully and shipped in a tube. Framing is optional and quoted separately. Seven Trees, Sunnyside Beach – Fog seems like a rare occurrence in Toronto. When it happens, one needs to act quickly. In this instance, Rick opted to head to the shores of Lake Ontario near Sunnyside Beach by his home. He found this stand of trees near Sunnyside Pavilion. The fog produced an unearthly, meditative esthetic. Rick Bogacz...

The Old Days  Photo - Ivory is a black and white vintage photo, realized in the early 20th century.  The scene is meticulously captured.

River in Sudan is a black and white vintage photo, realized in the early 20th century. 

"Ashore" Ancient spruce trees revealed by a storm dot this remote stretch of the Pacific Coast. Inspired by this once-in-a-lifetime sunrise, the print series Ephemeral Shores is D...

17 x 21 inches framed

Series: Historical Fiction Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 20" x 30" 30” x 40" 40" x 60" 48" x 72" 63" x 84" Editions of 3 + 2 Artist...

Black and white fine art cityscape - landscape photography print. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity ...

This piece has been matted - image of flower is: 16 x 21.5 in. - matted with 8 ply museum archival matt, external dimensions: 22.5 x 28 in.- Edn of 25. 3 sizes, framing available up...

Edition of 5 Carolyn'Monastra's series called "lovely, dark and deep,” excerpted from Robert Frost poem, explores the natural wonders of the wilderness. Dramatic and awe-inspiring l...

Edition of 5 Carolyn'Monastra's series called "lovely, dark and deep,” excerpted from Robert Frost poem, explores the natural wonders of the wilderness. Dramatic and awe-inspiring l...

House in Sudan is a black and white vintage photo, realized in the early 20th century by M. Venieris. 

Limited Edition Black and White Photograph - "Corn Field and Cloud" 17 x 22. Taken while wandering in the iconic Amish country of Pennsylvania, USA. About Howard Lewis: Lewis’ ...

Old Days - is a  vintage photo, realized in the Mid-20th Century . The artwork is a well-balanced composition.

Old Days  is a  vintage photo, realized in the Mid-20th Century . The artwork is a well-balanced composition.

Khartum Market is a black and white vintage photo, realized in the early 20th century by M. Venieris. 

View of Chambei is a black and white vintage photo, realized in the early 20th century 

My Literature - Signed limited edition archival pigment print, Edition of 3 Signed + numbered by artist with certificate of authenticity , unframed This is an Archival Pigment print...

Slim Aarons Poolside Pairs, Kaufmann Desert House 1970 C Print Estate stamped and numbered edition of 150 January 1970: The Kaufmann Desert House in Palm Springs, California, desig...

Bathers by a pool on the shore of Lake Tahoe, California, 1959. Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Slim Aarons (191...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

Series: Suspense Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 16" x 20" 24" x 30" 32" x 40" 48" x 60" 56" x 72" 67" x 84" Editions of 3 + 2 Artist...

Series: Fairytale Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of 3 + 2 Artist Proofs...

Stamford Bridge (1920) Limited Edition Silver Gelatin Fibre Print (Photo by Alfred Hind Robinson/Getty Images Archive) Stamford Bridge, Chelsea Foo...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California....

Hand printed by artist Signed in pencil on recto. Taken in Quebec City

In the visual madness of Times Square, a beacon of futuristic design and color in the form of a hot pink Corvette stops before a light. The uncanny ima...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to orde...

'Wonder Wheel' (Strange Love) - 2010 40x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory No. 6...

Juilliard Building, New York, 2023 by Roberta Fineberg is an 18” x 24" archival pigment print (on baryta paper) in an edition of 5. Signed, dated, and titled by the artist on front a...

'Baltic freeze #4' 2022 A photograph captured with a 35mm camera showcases the winter landscape of Lithuania in black and white. Printed on the finest archival paper, these limited...

Series: Suspense Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 20" x 30" 30" x 40" 40" x 60" 48" x 72" 63" x 84" Editions of 3 + 2 Artist Proofs T...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

The iconic Googie Roy's Motel sign on the famous Route 66 which is the backdrop to some of the best American road trips. Photograph by Richard Heeps as part of his Dream in Colour se...

Desert House in Palm Springs, 1970 Chromogenic Lambda Print Estate edition of 150 Former fashion model Helen Dzo Dzo Kaptur (in white lace), Nelda Linsk (in yellow), wife of art dea...

Series: Suspense Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 20" x 30" 30" x 40" 40" x 60" 48" x 72" 63" x 84" Editions of 3 + 2 Artist Proofs T...

Lightning/Cotton Field, limited edition photograph, archival, signed The adrenaline of seeing Mother Nature during some of her finest moments will be ingrained in me forever. It is a humbling experience - and I feel fortunate to have witnessed her power and grandeur over the past 12 years. My experiences are hard to describe in words During this last trip (July 2021) we traveled over 6400 miles in 10 days crossing through 10 different states - all in my quest/passion to photograph these storm systems. But this time the events of the last year made me more aware, opened my eyes wider, and had a different effect on me. The effects of Climate Change have become obvious. The current patterns are changing and they are accelerating faster than anyone realized or predicted. Just over the past decade, the characteristics of the Jet Stream and the Gulf Stream...

"Black Rocks, Lake Superior" is a black & white landscape photograph measuring 17.5x15.5" unframed. All of Rick's photographs are printed on Hahnemühle Fine Art Paper using archival pigment-based inks. There are other edition sizes available, namely 14x12.5" and 10x8". Photographs are rolled carefully and shipped in a tube. Framing is optional and quoted separately. Black Rocks, Lake Superior is from a series that was taken in and around Lake Superior Provincial Park near Wawa, Ontario. The rocks are along the shoreline near Michipicoten. Rick Bogacz...

"Tree on Snowy Hillside" is a black & white landscape photograph measuring 25x36" unframed. All of Rick's photographs are printed on Hahnemühle Fine Art Paper using archival pigment-based inks. There are other edition sizes available, namely 12.25x17" and 7.25x10". Photographs are rolled carefully and shipped in a tube. Framing is optional and quoted separately. Tree on Snowy Hillside is a fine example of the Japanese philosophy of Ma – the celebration of the space between things. This image of a lone tree was taken at a snow covered golf course in Caledon, Ontario. It was a Gold Medal winner at the 2023 PX3 Prix De La Photographie Paris, France. Rick Bogacz...

Selected art photography exhibitions 1993 – "Limbos - a place for photography", Tel Aviv, Israel Curator - Judith Guweta 1994 - "Monada", cobalt - Jerusalem. ...

"Line of Trees in Snowy Field" is a black & white landscape photograph measuring 24x36" unframed. All of Rick's photographs are printed on Hahnemühle Fine Art Paper using archival pigment-based inks. There are other edition sizes available, namely 11x17" and 6.5x10". Photographs are rolled carefully and shipped in a tube. Framing is optional and quoted separately. Trips north of Toronto are required to get large expansive fields of fresh, untrodden snow. This image was taken at a hillside intersection near the town of Caledon, Ontario. What attracted Rick to this view was the curved lines at the base of the trees and the snowy field. Rick Bogacz...