C Print Photography

“From the famous photo shoot of The Rolling Stones for their Beggars Banquet album at Sarum Chase mansion, Hampstead, London, 1968. Featuring Mick Jagger, Keith Richards, Brian Jones...

Richard Heeps' eye for capturing "Sign Porn" has meant he is extremely popular in this genre. He has a big collection of "Signs" from around the world and he is always adding to them...

Untitled 2019, 20x24cm, Edition of 1/10. Digital C-Print based a Polaroid Collage. Hand-signed and numbered by the artist on the back with Certificate. Not mounted. Josey Cary Pol...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Half Light 6, 2016 - Autumn Leaves in English Forest Woodland Landscape by Ellie Davies Half Light 6 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this...

Conca dei Marini - Amalfi Coast Italian Coastline Cove Photograph by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Conca dei Mar...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

Unique stunning piece consists of three individual prints, framed together in one frame as a triptych. All prints are signed by Masayoshi Sukita, and are all limited edition number 5/30. David Bowie, "See No Evil...

ALBERT WATSON (*1942, Scotland) Kate Moss Veil (color), 1993 Special Carbon Series on lithographic paper image 76 x 56 cm (29 7/8 x 22 in.) Edition of 7, plus 2 AP; Ed. no. 3/7 Prin...

Thrills, the iconic Coney Island Wonder Wheel photograph by Richard Heeps. The bold typography of the architectural structure fills the Fuji Film frame combining Richard's signature ...

Trailer Park Sunset - 2007 20x24cm, Edition of 10. Archival C-Print print, based on the Polaroid, Certificate and Signature label. Artist Inventory # 4791. Not mounted. The w...

This giant isolated roadside sign set against a vast blue sky is a remnant of 'The Sundowner Bar and Restaurant' of the motel which is sadly no more. This photograph, part of Richard...

Thrills, the iconic Coney Island Wonder Wheel photograph by Richard Heeps. The bold typography of the architectural structure fills the Fuji Film frame combining Richard's signature ...

Jersey Girls Magenta, photograph from Richard Heeps Jersey Shore series. Vintage matchbooks from New York's Chelsea Flea Market featuring nudes from the 1940's are reimagined by Rich...

Mascot, photograph from Richard Heeps' series, Man's Ruin. Captured at the Hot Rod Hayride this Jesus on a Cross, was meant to protect the Hot Rodders in their cars. There is somethi...

At first glance, Mark Bartkiw’s artwork looks like another beautiful photograph. Look again and you’ll see a clever collage of images that creates an almost magical, ethereal landsca...

'Hotel Taormina Pool' 1975 Slim Aarons Limited Estate Edition Print The seaside swimming pool at the Hotel Taormina, Sicily, August 1975. (Photo by Slim Aarons/Hulton Archive/Getty...

A man with x-ray vision, Nick Veasey creates art that shows what it is really like inside. Original artwork. C print, Chromaluxe. Signed and numbered out of 25. Accompanied with th...

Museum quality fine art print of Beyonce by photographer Markus Klinko. Shot in 2003 for the cover of the album, Dangerously In Love This print is available in the following sizes,...

'Telephone' from Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography has a dreamy mid-century modern nostalgic vibe. Primarily known as a color photo...

There is a cinematic style to this artwork, Lone Pine, taken in a former movie town in California, many Western films were made there. Taken outside Richard's iconic interior photogr...

The spectacular rugged coastline of Fuerteventura in the Canary Islands is a sight to behold. This is 'La Pared' which is a popular spot for surfers and fans of amazing sunsets. Andr...

Titled the 'Sundance Series', these artworks are a development of traditional landscape photographs and they have created a unique perspective as if captured through a telescope or a...

Signed limited edition print of Led Zeppelin by legendary rock photographer, Robert M Knight, taken in Hawaii at Honolulu airport on 12th May 1969, holding the master tapes to Led Ze...

Series: Suspense Chromogenic Print on Kodak Endura Luster Paper All available sizes & editions: 18" x 18" 30" x 30" 45" x 45" 60" x 60" 70" x 70" Editions of 3 + 2 Artist Proofs...

Foyer IV, from Richard Heeps series A Short History of Milan which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become ...

Richard Heeps series A Short History of Milan began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become popular with art buye...

Slim Aarons Sea Drive, 1967 40 x 60 inches Framing is additional Film producer Kevin McClory takes his wife Bobo Segrist and their family for a drive in a...

American model Jean Patchett photographed in Paris wearing a Jean Dessès evening gown. American Vogue magazine April 1, 1950. Paris Drama, 1950 C print Estate stamped and numbered e...

Sunbathers lounge on the white-painted terrace of Il Canille, built into the rocks of Pizzolungo overlooking the waters off the coast of the island of Capri, Italy, in August 1980. I...

Floaties #1 (Beachshoot) - 2005 50x50cm, Edition 10, digital C-Print print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 1430. Not mounted The Tooth ...

Mirando al Cielo 5 is a beautiful 30cm x 30cm Digital Print on 50cm x 50cm Cotton Paper. This is a Limited Edition of 9 + 2 Artist Proofs in this size. Rosa Basurto is a self-taught...

'The Last Kiss', from Richard Heeps series, 'A Short History of Milan', featuring a traditional Italian street book kiosk. A Short History of Milan began in November 2018 for a spe...

Anfiteatro della Ecole des Beaux Arts a Parigi 1994 C print Edition of 5 Available in three sizes 100X120 120X150 180X225 inch 39.40x47.28 47.2...

A Princess' Life (High Desert) - 2019 Edition 1/10, 20x20cm. Digital C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 22182 Not mounted. Stef...

Tinted Oval Window Cassette from the Heidler & Heeps Tape Collection. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal ...

London, 1993. Signed and Numbered Lifetime Edition C-Type Print from the Terry O’Neill Estate. 16" x 20" - Edition of 50 + 10 Artist Proofs Your certificate of authenticity will b...

Untitled (Paradise) - 1999, 98x97cm. Edition 3/10. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist Inventory No. 20451. Not mounted. ...

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

Twenty-Five Cents, New York City street neon. This artwork is part of Richard's portfolio of street photography he is building up which depict the colour, fabric and structure of cit...

LTD ED Vinyl Spring, a pink and orange artwork in the Heidler & Heeps B Side Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and N...

Seaside Heights boardwalk beach after Hurricane Sandy American landscape typography photography by Richard Heeps. This artwork is a limited edition of 25 gloss photographic print f...

Lariat Motel, photograph from Richard Heeps Dream in Colour series. The neon in this classic Americana roadside sign glows in the evening light. It was captured in its original site ...

Christine's '52 Henry J & Teardrop Caravan, photograph by Richard Heeps, captured in the iconic home of speed, Bonneville Salt Flats. Just as the mountains contrast with the flatness...

Hotel Hacienda, 1978 by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Hotel Hacienda' is a Limited Edition Estate Stamped Digi...

Hallway III (Suburbia) - 2004 20x24cm, Edition of 1/10, digital C-Print based on the Polaroid, Not mounted. Signature label and Certificate. Artist Inventory No. 430.01. Subur...

ICES Lemon Yellow, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex coast...

'Eleuthera Pool Party' by Slim Aarons LIMITED EDITION ESTATE STAMPED PRINT Numbered in ink to 150 only and emboss stamped on front. Guests at the French Leave...

Foyer IV, from Richard Heeps series A Short History of Milan which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become ...

1981 Blue Orange, from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collab...

Basketball, Clapham I is a stunning C-Type Print by contemporary photographer Samuel Hicks. It is in an Edition of 25 in this size, and sold unframed. A singular basketball player ...

Paul McCartney and John Lennon of The Beatles pictured during the recording of their annual Christmas message to the groups’ fan club at the Marquee St...

Private Booths, New York City street neon. This artwork is part of Richard's portfolio of street photography he is building up which depict the colour, ...

Vintage chairs, poolside at the La Concha Motel Las Vegas swimming pool. Part of Richard Heeps Dream in Colour series. This motel is a part of Las Vegas history, designed by Paul Wi...

Scout Tufankjian: President Barack Obama and First Lady Michelle Obama Inauguration Night, 2009 Chromogenic print, 2009, signed and numbered 1/25 on a label from Danziger Projects, NY. 20 x 24 in. (sheet), 22 x 29 in. (frame). Provenance: A Contemporary Vision: Works from the Melva Bucksbaum Collection Sold to Benefit Art for Access at Bennington College Scout Tufankjian is an Armenian-American photojournalist and author based in Brooklyn, New York. She is well known for her photos of American President Barack Obama during his campaign leading up to his presidency. She is also known for her photojournalism work on the Armenian diaspora. She was born in Boston, Massachusetts to an Armenian-American father, Allan, a lawyer, and an Irish-American mother, Betty. She grew up in the south shore towns of Whitman and Scituate, both in Massachusetts. As a child she was separated from the Armenian community in Massachusetts. Her knowledge of the her Armenian heritage came from reading magazines and newspapers that she found at her grandparents home. She started shooting photographs in Northern Ireland at age 18. She attended and earned a B.A. in Political Science and Government from Yale University in 2000. She speaks English and Arabic. From 2006 to 2008 she covered Senator Barack Obama's campaign for President of the United States, and was the only independent journalist to follow him from the run up to his announcing his candidacy through his victory on election night. Tufankjian took more than 12,000 photographs throughout the campaign. She released a book featuring a selection of the photographs titled Yes We Can: Barack Obama's History-Making Presidential Campaign in December 2008, which sold out its initial 55,000 copy run a month before it was released. In 2010 she went to cover the Haiti Earthquake and its aftermath. From 2011 to 2012 Tufankjian went to Egypt to photograph The Egyptian Revolution. From this time she has Photos categorized as The Egyptian Revaluation, The Detainees, Along the Barricades, Endgame, The Egyptian Elections and Egypt's Salafi Community. In August 2012, Tufankjian took a photo of Michelle Obama and President Barack Obama hugging each other. The photo was taken in Dubuque, IA in Aug15th. Instead of focusing on the Obamas as political figures, Tufankjian focused on them as a couple. The Obama campaign staff sent this picture out on the official Obama Facebook and Twitter accounts the night of the election, 6 Nov. 2012. This picture became the most liked photo on Facebook and most retweeted tweet in history. In 2015 Tufankjian published in commemoration of the Centennial of the Armenian genocide, There is only the Earth: Images for Armenian Diaspora. Tufankjian took 6 years and traveled to 5 different continents gathering stories and photos of the Arminian people who were killed and displaced from their homes by the Turkish Ottoman government between 1915 and 1923. Tufankjian traveled to Ethiopia, Syria, Turkey, Lebanon, Argentina, France, United States, Hong Kong, and Canada in search of Armenian communities, photographing Armenian lives around the world. In showing how the Armenian people survived Tufankjian's photos capture everyday life, the from religious to the romantic to the familial. Works Images from the Middle East (2006) Yes We Can: Barack Obama's History-Making Presidential Campaign (2008) Haiti 2010 The Haitian Earthquake, A Tale of Two Camps Egypt 2011-2012: A Year of Revaluation There Is Only the Earth: Images from the Armenian Diaspora Project, Melcher Media, 2015. A photojournalist's study of the Armenian diaspora on its 100th anniversary Commissioned work: The HALO Trust: 100 Women in Demining (2017) Ongoing Projects Karabakh: 2002-2020 Danziger Gallery is a leading photography dealer. they have shown Robert Frank, Henri Cartier Bresson, Alice Mann...

La Belle Femme in the Sun, Atlantic City photograph from Richard Heeps', 'Jersey Shore' series. This is one of Richard's photographic signature styles where he uses surreal twists, m...

Whisky Dance I (Sidewinder) - 2005 Edition 5/10, 8 pieces installed including gaps 172x,338cm, 82x80cm each. 8 analog C-Prints, hand-printed by the artist, on Fuji Crystal Archiv...

ICES Cornflower Blue, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex co...

Jimi Hendrix, London 1967 by Gered Mankowitz A portrait of Jimi looking serious while holding a cigarette in an embroidered jacket. "Shot during my first session with Jimi at my Stu...