Archival Paper Landscape Photography

Olancha (Stranger than Paradise) - 1999, (6 pieces) 38x36cm each, 80x120cm installed with gaps, Edition of 10, plus 2 Artist Proofs, 6 archival C-Prints, based on the 6 Polaroids. ...

Black and white fine art long exposure panorama waterscape - landscape photography. Railway tracks in the Atlantic Ocean in France. Archival pigment ink print, edition of 9. Signed, ...

Amboy Salt Flats (California Badlands) - 2010 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 10937. Not mou...

Gerald Berghammer - Limited edition of 9. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm white ...

Gerald Berghammer - Limited Edition 1/9 Silver Gelatin Prints, Selenium Toned, Printed 2020 Signed, numbered, dated by Artis. Handmade wood frame, dark-brown, natural white archival Passepartout, anti-reflection white glass, UV 70, metal corners for wall mounting. Gerald Berghammer, born 1975 in Austria...

Black and white fine art cityscape - landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to order in limited ed...

Contemporary aerial landscape photograph of sand dunes and deep green ocean water captured from the photographer's plane over Gulfport, Mississippi Archival digital print, edition 4 ...

Loneliness - Signed limited edition archival pigment print, 2011 - Edition of 8 This is an Archival Pigment print on fiber based paper ( 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). The inks used are also known for their longevity. Signed + numbered by artist with certificate of authenticity. Archival pigment print available sizes : 42 x 90 cm/ 16.53 x 35.43 in- Edition of 8 56 x 120 cm / 22.04 x 47.24 in- Edition of 8 Laurent Campus is an Italian freelance producer and photographer. In addition to an academic training in international trade, he has forged a solid musical, pictorial and cinematographic culture which led him gradually and naturally to the photography he has been practicing for more than twenty years full-time professionally. Its customers are brands that have supported the film industry for many years ( L'Oréal, Renault, DIOR, GENERAL MOTORS, FranckProvost, FranceTV, Canal +, EPSON, CANON, FESTIVAL DE CANNES, HFPA, VUELING, CARL F. BUCHERER , IWC, ParisMatch,…) as artists (filmmakers, actors, musicians) or producers and distributors. He has gravitated for more than 20 years at the heart of French and international cinema. Cinema photographer and reporter, making of : “Cannes Film Festival official” photographer "Official Golden Globes ceremony” photographer SONY Spain Photo...

Magic Mountain II (Memories of Green) - 2003 Edition of 10, 58x56cm. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on an expired Polaroid. Signa...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘Winter ‘ who was captured on film in 198...

Gerald Berghammer - Limited edition of 9. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm white ...

Gerald Berghammer - Limited edition of 9. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm white ...

Horizon (Zuma Beach) - Malibu - 2004 38 x 37 cm, Edition of 5, Analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper, based on the Polaroid. Artist in...

Mitchell Funk's continued exploration into the endless and fascinating beauty of the Chrysler Building's spire takes an unexpected turn in this semi-abstract image. His use of a 500mm lens throws out-of-focus the foreground while it simultaneously frames and compliments the Manhattan art...

This large-scale photograph is an archival inkjet print on 100% cotton paper mounted to Dibond. Edition of 8. Additional sizes available. Beth Lilly is inspired by the work of Thom...

Gasoline (Stranger than Paradise) - 1999 6 pieces 128x126cm each, 263x390cm installed with gaps, sold out Edition of 5, Artist Proof 1/2, 6 analog C-Prints, hand-printed by the ar...

Master of design, light, and composition, Street Photographer Mitchell Funk outdoes himself with this visually intriguing image of street patterns created by raking light. The line...

Aditya Dicky Singh Untitled Infrared photograph on fine-art Hahnemuhle archival paper, 36" x 36" *please note this artwork can be printed at any size so long as the ratio remai...

Mammoth - Jardin du Plantes (Paris) - 1995 - Edition of 5, 50x60cm including white borders. Analog C-Print, hand-printed by the artist and based on the Polaroid, Signature labe...

Aditya Dicky Singh, Untitled, Infrared photograph on fine-art Hahnemuhle archival paper *please note this artwork can be printed at any size so long as the ratio remains the same...

'Elf' (iceland) - 2018 Edition of 10, 20x30cm, printed on Velvet Watercolor, 310gsm, Bright White, Acid Free, Signature label and Certificate. not mounted Tao Ruspoli (born 7 No...

The Edge of Suburbia (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, not mounted. Signature label and Certificate. Artist Inventory No. 422.01....

A limited Edition Print by National Geographic Photographer Keith Ladzinski from his “Crown’s of the Earth” collection. This series focuses on the planets most spectacular mountain r...

There is no better time to witness an iceberg than moments after it's rolled and permeated with water. These conditions bring the ice to life, creating a sapphire hue through refract...

'Samaria Gorge' 32x40 cm limited edition of 20. Taken in Crete, Greece 2022. Printed on heavyweight Photo rag Baryta Hahnehnmule fine art paper. Signed front and back, comes with...

'Untitled' (Oilfields) 2004, 128x125cm, Edition 3/3. Analog C-Print (Vintage Print), hand-printed by the artist, based on a Polaroid. Certificate and Signature label, not mounted...

Museum in a car - The artsiest of art museums is artfully depicted in street photographer Mitchell Funk's imaginative photograph. A passing red car with similar curvilinear forms has the museum's facade reflected in its roof window...

The color-hunting eye of veteran street photographer Mitchell Funk transforms drab street scenes into sanctuaries of luminous bright colors. Manhattan's grey canyons receive only fl...

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. A cold winter sunset along the Danube River in Budapest, Hungary, the secon...

A formal and highly balanced composition based on the random positions of pigeons caught the eye of street photographer Mitchell Funk. Each pigeon has it's own pose and personality. ...

Springtime (Paris) - 1995 Edition of 5, 50x60cm including white borders. Analog C-Print, hand-printed by the artist and based on the Polaroid. Signature label and Certificate....

Wonder Valley (29 Palms, CA) - 2008 125x154cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, artist inventory nu...

The Urge to Disappear (Stranger than Paradise) - 1997 59x43cm, Edition 3/10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. A...

Aditya Dicky Singh, Untitled, Infrared photograph on fine-art Hahnemuhle archival paper, 64" x 42.7", Edition 1/8, 2022 *please note this artwork can be printed at any size so l...

This is a long lens selective focus shot of a "Pigeon Party" atop one of Manhattan's many wood water towers. Like all of Funk's street photography, he designs his pictures with the...

Aditya Dicky Singh, Untitled, Infrared photograph on fine-art Hahnemuhle archival paper *please note this artwork can be printed at any size so long as the ratio remains the sam...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20452. 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, that 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 have 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, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club...

Perfect Blend, 2017 Edition of 7 plus 2 Artist Proofs Based on a Polaroid, Archival C-print, Not mounted. Signed on the back and with certificate. Artist inventory PL2017-162 Kirs...

Burning Field (Stranger than Paradise) - 2004, 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Artist Inventory # 779.20. Mounted on Aluminum with matte UV-Pro...

'Salton Baptistes' (California Badlands) - 2010 50x60cm, Edition of 5. Analog C-Print, hand-printed by the Artist, based on the Polaroid. Mounted on 3mm Aluminum with matte UV-Pro...

Stefanie Schneider's work was used for Marc Forster's 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. “I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster) This piece: Brooklyn Bridge (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 2172. Not mounted. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham...

"4 Corners II" (Last Picture Show) - 2005 58x57cm, Edition of 5 Analog C-Print, hand-printed and enlarged by the artist on Archive Fuji Chrystal Paper, based on the Polaroid, moun...

Black and white fine art long landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editions ...

Aditya Dicky Singh, Untitled, Infrared photograph on fine-art Hahnemuhle archival paper, 64" x 42.7" *please note this artwork can be printed at any size so long as the ratio r...

"Rising Sun" Photography 40" x 30" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) Ships in a tube 2022 ABOUT Rob Woodcox Rob Woodcox is a fi...

A hunched-over nude man on an endless sunset road conjures up big themes. Time, distance, life, death, rebirth, and infinity are weaved together in a purposely enigmatic and dreamli...

Planes (Stranger than Paradise) - 2001 57x56cm each plus 5 cm in between each print, installed 122x183cm, Edition of 10, 6 analog C-Prints, hand-printed by the artist on Fuji Cry...

A limited Edition Print by National Geographic Photographer Keith Ladzinski from his series “Rooted: The Importance and Beauty of Trees”. Over the last 10,000 years, the planet has l...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

Jean-Michel’s L’Arc de Triomphe Wrapped, 2021 is a contemporary experimental color photograph of the Arc de Triomphe in Paris wrapped in fabric in Paris by Christo. The art duo Chr...

"Teton Full Moon" is an original photograph created by Thomas Ferderbar. A vast and sweeping landscape photo encapsulating the moon overlooking the mountains. A magnificent view show...

Aditya Dicky Singh, Untitled, Infrared photograph on fine-art Hahnemuhle archival paper, 36" x 36" *please note this artwork can be printed at any size so long as the ratio rema...

Aditya Dicky Singh, Untitled, Infrared photograph on fine-art Hahnemuhle archival paper, 36" x 36" *please note this artwork can be printed at any size so long as the ratio remai...

Gerald Berghammer - Limited edition of 9. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm white ...

Black and white fine art long landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editions ...

My own private Travel Diary - Bishop, CA - Happy - 2001 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Slide. Signature label and Certifi...

Summertime (Malibu) - 2004 Edition 4/5, 39x37cm. Analog C-Print, hand-printed by the artist, based on a Polaroid. Artist inventory Number 660.04. Mounted on Aluminum with matt...

Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editions on Ha...