Vertical Landscape Photography

Each photograph is hand printed on Canson Baryta Paper and is signed and editioned by the artist. Sarah Hadley's narrative work focuses on memory, place and the subconscious. She received degrees from Georgetown University and the Corcoran College of Art. Hadley was named one of the “jeunes talents” by Le Monde in 2014. She has had solo exhibitions at the Griffin Museum of Photography, the Loyola Museum of Art, Richard Levy Gallery...

Hailing from the picturesque city of Zaragoza, nestled near the Pyrenees, Carlos Blanchard's journey into the realm of photography was influenced by the rich tapestry of his upbringi...

El Palmar en la Niebla Chingaza, 2019 by Miguel Winograd From the Series Bruma Selenium- Toned Gelatin Silver Prints Sheet Size: 14 in H x 11 in W Image si...

Dusk (The Last Picture Show) - 2005 Edition 4/5, 38x36cm each, 131x127cm installed including gaps. 9 Analog C-PrintS, hand-printed by the artist on Archive Fuji Chrystal Paper, base...

Series: Diamond Dust All available sizes & editions for each size of this photograph: 31" X 46.5" - Edition of 10 Diamond Dust Collection Diamond Dust is a glittering material t...

Series: Provocateur Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 20" x 15" 30" x 22.5" 40" x 30" 60" x 45" 72" x 56" 84" x 63" Editions of 3 + 2 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...

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...

Slim Aarons Relaxing at the Club 1970 Chromogenic Lambda print Estate stamped and hand numbered edition of 150 with certificate of authenticity. Members sunbathe around the pool at...

"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...

This one depicts fragmented space photos and is titled Moon and Earth. it depicts a view from outer space. SIMONS, Vera (1920 - 2012) Vera Habrecht Simons...

Three Girls II (The Last Picture Show) - 2006, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. ...

A Rainy Day (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Art...

A Rainy Day (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Art...

A Mirage (The Last Picture Show) - 2006, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist...

Fall (The Last Picture Show) - 2006, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inv...

On the Way to Big Sur (The Last Picture Show) - 2000 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory number: 969. ...

Guadalupe (The Last Picture Show) - 2005 38x37cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper, based on the Polaroid. Artist inventory...

Mojave Airfields (The Last Picture Show) - 2005 - 128x126cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Artist Inventory No. 695.03...

Dodger Stadium (The Last Picture Show) - 2000 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory number: 782. Signat...

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...

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...

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

Thirty Six Birds, Isle of Skye, Scotland by Michael Kenna depicts a flock of birds flying overhead against a bright sky. Sepia toned gelatin silver print Image size: 8 x 7.75 in. Mo...

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 ...

"Grenadier Pond" is a black & white landscape photograph measuring 36x25" 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 17x12" and 10x7". Photographs are rolled carefully and shipped in a tube. Framing is optional and quoted separately. Grenadier Pond is in High Park in Toronto, which opened to the public in 1876. It spans 161 hectares (400 acres) and is the second-largest municipal park in Toronto. It is a great location for photographers and naturalists. This image was taken at around 6:30 a.m. at the park’s Grenadier Pond. A long exposure really enhances the reflection of the trees and brush at the pond’s shoreline. Rick Bogacz...

Slim Aarons Pool On Amalfi Coast (Slim Aarons Estate Edition), 1984 Chromogenic lambda print Estate stamped and numbered edition of 150 60 x 40 inches A view of the seaside pool at ...

Hotel du Cap Eden-Roc, 1976 (printed later) C print edition of 150 Guests by the pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. Estate stamped and hand numbered e...

This one depicts a sports wristwatch over an aerial landscape and is titled Fields Pattern. SIMONS, Vera (1920 - 2012) Vera Habrecht Simons, was a German/American aviation pioneer, ...

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...

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...

A perfect day with penetrating light and a deep cobalt-blue sky was the ideal context for Mitchell Funk to photograph the punchy primary colors of a mid-century Las Vegas hotel sign....

Portfolio, 2021 by Miguel Winograd 12 Selenium- Toned Gelatin Silver Prints (B&W) Sheet Size: 10 in H x 8 in W Acid-free box. Edition 1/3 + 1AP 1. Road to El Palmar, Chingaza 2. La...

This one Mona Lisa, some with glasses drawn on, cut and torn newspaper, collage, assemblage and looks like a Guerrilla Girl ad in a pattern and decoration style. It is not signed or ...

"Rocks in Shallow Water" is a black & white landscape photograph measuring 36x30" 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 17x14" and 10x8.5". Photographs are rolled carefully and shipped in a tube. Framing is optional and quoted separately. A trip to Goderich, Ontario inspired this photograph of a group of rocks peaking above the surface of the beach. A long exposure revealed the silky texture of the water from Lake Huron. Rick Bogacz...

SIMONS, Vera (1920 - 2012) Vera Habrecht Simons, was a German/American aviation pioneer, aeronaut and photo collage artist. She played a very important role in balloon development...

"Baia delle Zagare, 1970" is a beautiful offset realized by Franco Fontana. Rondanini Galleria D'arte Contemporanea - Roma. Limited edition of 1.000 Coloured poster from a photogra...

La Valeur de la vie - 21st Century Color Landscape Photography Collage Paris A Edition 3 + 1 AP Hubert Blanz's artistic works mainly deal with urban infrastructure, spatial pattern...

Slim Aarons Las Brisas, Acapulco 1978 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity The coastline near Warren Avis' villa in ...

Hotel du Cap Eden-Roc, 1976 (printed later) C print edition of 150 Guests by the pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. Estate stamped and hand numbered e...

A boldly composed Las Vegas casino sign consisting of a three-dimensional red die rests on a King of Clubs. The very graphic sign is captured in an equally bold way by street photog...

EUR is a beautiful offset realized by Franco Fontana . Very Good conditions. Colored poster from a photograph by Franco Fontana (Modena, 1933), one of the Italian most famous conte...

'Azure' 2020 Amalfi coast, Italy Limited edition of 15. Printed on archival Hahnemühle Photo Rag Baryta paper. Signed both front and back with Certificate of Authenticity. Photog...

Gallagher's Red is a limited edition photograph by Nancy C. Woodward. It is a photographic print on archival paper, 24x20 framed to 32x48. It is $1,400. This is an edition of 30. It was originally photographed in 2013. Also available printed directly onto Aluminum in a 30x30 size Nancy C. Woodward is an award winning photographic and mixed media artist. Her shadow portraits...

Each photograph is hand printed on Canson Baryta Paper and is signed and editioned by the artist. Framing options are available. Sarah Hadley's narrative work focuses on memory, place and the subconscious. She received degrees from Georgetown University and the Corcoran College of Art. Sarah Hadley was named one of the “jeunes talents” by Le Monde in 2014. She has had solo exhibitions at the Griffin Museum of Photography, the Loyola Museum of Art, Richard Levy Gallery...

A New York City snowstorm changes the superficial look of the city and, for photographers, yields creative possibilities. Veteran Street Photographer Mitchell Funk captures a toddler...

Presenze is a print realized by Franco Fontana, in 1981. Offset print. Rondanini Galleria D'arte Contemporanea - Roma. Coloured poster from a photograph by Franco Fontana (Modena, ...

An original silver gelatin black and white photograph by Press Agency New York Times office in Paris (Wide World Photos.) Sled race in Central Park, New York, 1934. Features: Original silver gelatin print photography framed. Press Agency New York Times Office in Paris - Wide Wolrd Photos. Photographer: unknown. Title: Sled Race in Central Park, 1934. Provenance: Private collection. Frame Size: 20.63 in high (52.5 cm) x 16.75 in wide (42.5 cm) x 1.57 in deep (4 cm). Image Size: 5.51 in high (14.2 cm) x 7.48 in wide (19.8 cm). French typed legend, copyright credit, and ink stamp at the back that read: "Course de traineaux dans un parc a New York. Sur la neige qui recouvre les allées du Central Park Casino a new York, un groupe d'artistes a eu l'idée d'organiser une course de traineaux - voici une vue de la course - Photos NYT - NY 5/1/34 - SP." (Sled race in a New York park. On the snow covering the paths of the Central Park Casino in New York, a group of artists had the idea of ​​​​organizing a sled race - here is a view of the race - Photos NYT - NY 5/ 1 /34 - SP.) Note: The Central Park Casino, originally the Ladies' Refreshment Salon, was a restaurant in Central Park, near East 72nd Street in Manhattan, New York City. The name of the building came from the Italian for "little house," but the Casino itself was never a gambling business. Originally, Calvert Vaux designed the building in 1862 as part of the Greensward Plan for Central Park. The original plan was a wooden chalet-style structure with a broad hip roof. Before construction began, however, Vaux decided that a more permanent building was needed. The following year, with the assistance of Edward C. Miller and Jacob Wrey Mould, the Casino was redesigned as a Gothic Revival stone structure. The building opened in early 1864 as a restaurant planned for unaccompanied female visitors to Central Park and was one of Central Park's three original restaurants. Soon, it was patronized by both men and women. The building that housed the Casino belonged to the City of New York, and the City often leased the Casino to independent operators. In the early 1920s, the Casino was rundown and renovated during the winter of 1921–1922. Jimmy Walker, mayor of New York City during the late 1920s, frequented the Casino and reportedly spent more time there than in New York City Hall. Besides entertaining elite guests in the restaurant, Walker had an office in the Casino and conducted city administration there while meeting with political cronies. In 1929, Walker terminated the lease of C.F. Zittel and allowed a friend, Sidney Solomon, to transform the Casino into one of New York's most expensive nightclubs. In February 1929, they released the new project. Solomon changed the Casino's interior using a design from Viennese designer Joseph Urban, though he kept the exterior mostly the same. The renovated Casino reopened on June 4, 1929. When the Great Depression hit four months after the Casino reopened, the nightclub faced increasing criticism for operating on city land while maintaining prices only the wealthiest New York residents could afford. In 1930, as part of the enforcement of Prohibition, the United States government raided the Casino and seized alcoholic beverages. Walker's successor, Fiorello H. La Guardia, and his parks commissioner Robert Moses, who held a vendetta against Walker, wanted to tear down the Casino to build a playground on the site. In 1934, Moses served an eviction order on the Casino's management. When the Parks Association of New York City objected...

This photography was created by Alexandre Onimus. It is printed by a famous printer in Paris. It was shot using the wet Collodion technique. The artist: Alexandre Onimus is a contem...

"Blanc I" The details of the salt-drenched manes against the Camargue horse's wet coats were abstract and painterly. The print series Band of Rebels: White Horses of Camargue capt...

Archival pigment print Hand printed by Sarah Hadley on Canson Baryta Photo paper From the series Story Lines Sarah Hadley is a Los Angeles based artist whose narrative work focuses on issues of female identity and memory. Hadley's photographs have been exhibited at the Milan Photo...

'Jumbo rocks California #2' 2023 Limited edition of 20 Photograph shot using mid-century large format film camera Linhof. Printed on archival Hahnemühle Photo Rag Baryta paper. Si...

Archival pigment print Hand printed by Sarah Hadley on Canson Baryta Photo paper Hadley's photographs have been exhibited at the Milan Photo Fair (Italy)...

'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...

Marie Craig's "We All Shine On" is an original montage of four hand-colored deep blue photographs of the Mill Mountain Star. This piece was created using cyanotype, an early photogra...