Tom Ferderbar

Charred Tree, Yosemite

1958

'Under the Manhattan Beach Pier No. 1' exemplifies the long-exposure photography of Robert Kawika Sheer. The artist signed this piece in the lower right and editioned in the lower le...

'Under the Manhattan Beach Pier No. 2' exemplifies the long-exposure photography of Robert Kawika Sheer. The artist signed this piece in the lower right and editioned it in the lower...

"Aliens at Goblin Valley," is an original fine-art performance photograph by Robert Kawika Sheer. The artist signed the piece in the lower right and editioned it in the lower left. E...

"Mono Lake, Spirit Shadows No. 1," is an original fine-art performance photograph by Robert Kawika Sheer. The artist signed this piece in the lower right and editioned it in the lowe...

Paper size - 20 by 28 inches Image size - 16 by 24 inches In addition to photographing fine art projects, Landon photographs for commercial and editorial clients around the wo...

Photograph, 2016. Ultra HD, printed on Fuji Crystal DP I II. 1 of 30 prints behind acrylic glass. Framed. Signed, titled, dated and numbered on the back. It comes directly from the s...

Series: Historical Fiction 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 Arti...

Sunburned GSP#871 (Great Salt Lake, Utah), 2015 Gelatin Silver Paper Negative Unique 12" x 20" (30.5 x 51 cm) Framed: 15 5/16" x 23 15/16" (39 x 59 cm) Chris McCaw builds his own large-format cameras and outfits them with powerful lenses typically used for military surveillance and aerial reconnaissance. Instead of film, McCaw inserts expired fiber-based gelatin silver photo paper directly into the camera. Pointing the lens at the sun, McCaw makes recordings ranging from thirty seconds to as long as 36 hours. The sun, intensified by the lens, scorches its path across the paper while creating a solarized image of the landscape or seascape below – a “direct positive” image made in-camera, without an intervening negative. These burned lines and holes are tangible traces of the act of making each photograph: marking time, recording location, mapping weather conditions and channeling light.