Light Photography

Red Sea Edition of 25 signed and numbered by the artist The blood-red sun sinks into the sea. JJK is a pseudonym for one of the world's most successful photo artists. In his series...

Patrick Sansone uses analog cameras and film to create photographs that reference stillness, lure, and intermission. Decaying signage, abandoned indust...

Hotel Chelsea, New York. Room 822, 2011 Photographs from the photography book entitled Hotel Chelsea (publisher pointed leaf press 2013). C-print archival Size: 20 H x 30 W in. Edit...

Bad Sign (The Last Picture Show) - 2005, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist...

Neon Red (The Last Picture Show) - 2005, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist...

Silkscreen in 7 colors with diamond dust 40 x 54 inches 2-Ply Museum Board Edition of 50 2014 Bob Gruen is one of the most well-known and respected photographers in rock and roll. F...

Limited Edition of 3 Framed size 70 x 100 cm All works are Archival Pigment prints, floating in an all black wooden frame behind museums glass.  More sizes on request. Sara Punt...

Hotel Chelsea, New York. Room 419, 2011 Photographs from the photography book entitled Hotel Chelsea (publisher pointed leaf press 2013). C-print archival Size: 40 H x 60 W in. Edit...

Nick Vedros Morning Fog Mailbox Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2021 Size: 8x12in Edition: 15 Signed, dated and numbered by hand on label Stamped COA p...

Light painting technique, realized in a completly dark photographic studio, where the photographer manually "paint" by torch with light of different colours, the subjects and the ba...

Adam Ekberg Being There 2024 Signed and numbered, verso Archival pigment print 50 x 40 inches (Edition of 2) $6,500 40 x 30 inches (Edition of 3) $4,200 24 x 20 inches (Edition...

At nearly the same time that photography was invented, the practice of Spiritualism was being born in the "burned-over district" of New York. Central to its belief was the practice o...

Limited Edition large scale ( 44 x 35 inches ) 35mm photograph, taken in Norfolk. One of only three and only available in this size. David Koppel served his photographic apprenticesh...

Pete Kasprzak’s passion for city life is expressed in his dynamic urban artworks. Kasprzak’s artworks express energy and life with animated brush strokes. He adds dynamic movement an...

Hotel Chelsea, New York. Room 227, 2011 Photographs from the photography book entitled Hotel Chelsea (publisher pointed leaf press 2013). C-print archival Size: 26.6 in H x 40 in W E...

Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...

Outtake (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper, matte surface, based ...

'Venice No.9' Venice, Italy 2024 A photograph captured with a Polaroid camera. Printed on the finest archival paper, these limited edition photographs are designed to withstand th...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. This print may be available in another size, please contact the gallery for more information. "Ice Cream Stand...

The artist inspiration is deeply rooted in the notion of discovery through visual reflections and a strong passion for symmetry and linear structure. Her architectural works of Refle...

For X-Ray, New York City, 2012 by Roberta Fineberg, the artist uses long-exposure photography and light trails for the color photograph of a woman crossing Park Avenue in New York City. The image shot at night is in the photographer's Cities series. A 20" x 16", signed, titled, dated archival pigment print in an edition of 5. Provenance: RF Studio *** Artist's Bio: As a visual artist, Roberta Fineberg (RF) focuses on the themes of serendipity, inventiveness, and the development of ideas for her photography, video, installations, works on paper, and painting. Drawn to experimentation, she explores diverse mediums and concepts such as the ephemeral (Butterfly Series), stolen moments (documentary photography), play, timelessness, the enduring, and the significance of matter. RF, living in New York City, began her career as an editorial photographer while studying in Paris. In France she contributed both photography and writing to publications, landing a column (photos and text) with The Saturday Review while exhibiting photographs in public spaces. Roberta Fineberg’s freelance photography appeared in Le Monde, Jeune Afrique, Paris Match, L’Officiel Femme, Ms, Weltwoche, Vanguardia, among others with images licensed through stock agencies. Photographs were selected for cover art at W.W. Norton, St. Martin’s Press, Harcourt, Bookspan, Simon & Schuster, etc. Print Regional Design Annual New York (2003) awarded her for book jacket photography for If Wishes Were Horses. In 1997 Macmillan published City Riders: A Story of Riding and Friendship her first book of black-and-white photographs and a story about three teenage girls in the 1990s who rode horses at the now-defunct Claremont Riding Academy and oldest stable in New York City. In 2023, RF created an interactive installation, works on paper on the female body, in a public space. In July 2022, Fineberg’s Double Helix was included in a Sotheby’s auction in New York City and exhibited in the preview show Contemporary Discoveries. Selected exhibitions include Time Gallery New York (2022), Phyllis Harriman Gallery New York studio shows (2020, 2022), CADAF online art...

Four Corners (The Last Picture Show) - 2005 Edition 1/5, 58x57cm. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, based on the original Polaroid. Artis...

New York: Bright Lights, Big City, 2018 by Roberta Fineberg is a 20" x 16" signed archival pigment print on baryta paper in an edition of 5. The contemporary color landscape photogra...

Sol Mallorca and Moonrise I, Diptych, 2023 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Overall size: 43 in H x 72 in W Individual Size: 43 in ...

Mels (Stranger than Paradise) - 1999 44x59cm, Edition 2/10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventor...

Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...

Candid image of Hollywood star Brigitte Bardot smoking while sitting next to a candelabra in the dark. This listing is for a limited edition archival print. What's included: - Limi...

Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...

Woman at Window, 2013, limited edition photograph, signed and numbered Hopper Meditations is a personal photographic response to the work of the American painter, Edward Hopper. My images are created by digitally marrying dollhouse-size dioramas with live models. The sets I built, painted and photographed in my studio. I then photographed the models, and lastly, made the digital composites in Photoshop. I have always loved the way Hopper’s paintings...

Signed limited edition. print by Ed Caraeff of Iggy Pop taken during a Stooges show at Whisky a Go Go, Los Angeles, CA, US, May 1970 by celebrated photographer, Ed Caraeff Signed limited edition print number 2/50 This stunning print is also available in the following sizes with a limited edition of 50. 20" x 24" 30" x 40" 40" x 60" Ed Caraeff is a photographer and art director. He has worked with, photographed, designed or art directed hundreds of album covers. His photography archive includes Jimi Hendrix, Jim Morrison, Iggy Pop and The Stooges, Elton John, Carly Simon,Linda Ronstadt, Dolly Parton, Tom Waits, Tim Buckley, Tom Petty & The Heartbreakers, Neil Diamond...

Light painting technique, realized in a completly dark photographic studio, where the photographer manually "paint" by torch with light of different colours, the subjects and the ba...

Still life photographer Russel Kiehn’s interests lie in images that are in plain sight yet are often overlooked. He seeks a dialogue between a subject and the photographic medium; be...

Christmas Traffic 1953 by Slim Aarons Slim Aarons Limited Estate Edition Red and white automobile lights on Park Avenue, New York at Christmas time. The rear and headlights at nig...

'Stars in the Dance', 2009 30x30cm. Edition 1/10. Archival C Print based on a multiple exposure Polaroid, mounted under Plexi. Signed on back. 'We are all in the gutter, but some of us are looking at the stars' - Oscar Wilde This piece will be exhibited at the Bombay Beach Biennale in the newly founded Polaroid Museum in it's permanent collection. The Museum opens its doors in March 23rd, 2019. AND in the "Instant Dreams" Polaroid curation by Stefanie Schneider at Saatchi's The Other Art Fair in Los Angeles 28/03/19 - 31/03/19. Urizen Freaza was born in Tenerife in 1982 and is based in Berlin since 2010. He's a self-taught photographer and film-maker. Self-taught meaning that this is a path he's still walking, while hoping there is always more path to walk. He's a member of the Film Shooters Collective and part of the team behind the analogueNOW! festival in Berlin. Vita: Group exhibitions: 2018 'Feel', Brooklyn Film Camera, New York, USA 2017 'The decisive light', Projekteria, Barcelona, Spain 2017 'The face', Darkroom Gallery, Vermont, USA 2017 'A surreal vision', Galería LoosenArt, Roma...

WC, a kitsch vintage sign captured in Ho Chi Minh City, Vietnam. This artwork has a beautiful balance of neutral colour tones, texture and typography. ...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Currency fluctuations may cause the price to change. This is a contemporary print from the Getty Archive using Slim Aarons negatives. All prints feature a Slim Aarons blindstamp, and are accompanied by a Slim Aarons Certificate of Authentication issued by Getty. 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Burlington Arcade...

Monica Vitti is a black and white photo of Italian actress, taken in 1970s Monica Vitti is born in Rome on November 3, 1931. Admitted in 1950 to the A...

Lord Fauntleroy KCMO-240926-09 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 20 x 9.34 inches (60.96 x 60.96cm) Edition: 17 Signed, titled and dated on label COA...

Jarvis Cocker Paris Olympia NME Cover Shoot (photo Kevin Westenberg) NB All prints are signed and numbered by the artist. Unframed Signed and numb...

From the Vanishing Vernacular series. Vanishing Vernacular features a selection of color works by photographer Steve Fitch focusing primarily on the distinctive, idiosyncratic, and ...

Kali as The Queen of Earth (2020) Edition of 10 plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not moun...

Coldplay - signed Limited Edition Oversize print COLDPLAY VIDEO BLUE APRIL 23 2005 LOS ANGELES BAND VIDEO STILLS Exquisite print of the superband Coldplay during a video shoot unframed signed and numbered by the artist. limited to 10 only this size. About the artist : Kevin Westenberg is famed - for his creation of provocative and electrifying images of world-class musicians, artists and movie stars for over 25 years. His technique of lighting, colour and composition has helped to produce his own unique visual style. Shortly after receiving an Architecture degree he moved to London where he’s been based since 1983. Westenberg is self-taught and learned his trade working for the UK inkies “New Musical Express” and “Melody Maker” mainly throughout the late 80’s and 90’s documenting amongst others all the UK ‘Britpop’ bands. The breakthrough came in 1993-1994 with the release of Sting’s Ten Summoner’s Tales and Mary J Blige’s Share My World. These two album covers changed the perception of the work worldwide and thus began a run of 20 years of commissions and choice opportunities. For the last 25 years, his musical heritage includes portraits of Radiohead, Thom Yorke, Coldplay, White Stripes, Jane...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 48x60cm. Archival Print, based on the Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Certificate. Artist Inventory No. 534. Published in Stranger than Paradise, Hatje Cantz (monograph) Stefanie Schneider: A Discovery on Polaroid. An essay by Eugen Blume How is it that the photographic works of Stefanie Schneider do not allow anything other than one single association, namely that of America? Because they were taken in America itself? That fact alone would not yet be a compelling argument. Many photographs of America possess a reckless ambivalence which allows even the different country of their own particular creator to seem so similar as to be confused with America itself. Does this ambiguity have something to do with the ongoing, accelerating Americanization of the entire world? Or is it simply connected with our personal clichés which we attribute to a country the size of North America as valid expressions of its very essence, thereupon negligently allowing it not only to dwindle down into any size whatever, but also to expand to a great extent, from Germany by way of Luxembourg right through to Japan? Now it is certainly true that the figures of Thelma and Louise in the desert do not represent an American reality, not even after their resurrection as Radha and Max in the series 29 Palms from 1999. Strangely enough, it is nature which allows this utterly artificial scene to grow into an American verity. The harsh sunlight in the barren landscape establishes the fundamental tone out of which the women emerge in excessive hysteria from beneath their colored wigs. It is inherently absurd to celebrate the feminine aspect in the middle of a mercilessly inhospitable environment. The image of the two women is a monument of resistance, the meaningful assertion of a lifestyle which stands in contradiction to each and every convention. The pictorial structure and the captured movement along the edge of the format are a means of blending the glaring luminosity with the plot in a manner which perhaps functions successfully only in the “simple” instant technique of the Polaroid. Stefanie Schneider’s pictorial narratives are striking in their formal elegance. She utilizes the chemical faults of the Polaroids, their tendency towards overexposure and double-images as a sovereignly controlled means of artistic design. The defects become, as it were, metaphorical levels which plumb depths lying far beneath the surface. The overly bright colors and schlieren seek out the uncanny; they provide a counterweight to a narration that is deliberately kept superficial. They tell of an invisible strand. They illuminate, in the truest sense of the word, underground processes. Although we are familiar with a series featuring American flags which could not indicate the site of its narrations any more clearly, nevertheless there remains a fundamental doubt as to whether the initially described association with America is identical with that which we deem to be America in a geographical sense. Although I have in the meantime been in America several times, in both South and North America, deep down I remain uncertain as to whether the New World actually exists. Columbus’ error of continuing to believe, even when having arrived on land, that he was encountering the India which was the actual goal of his journey has burrowed down deep into the European unconscious as a cultural convention. Peter Bichsel’s amusing story “Amerika gibt es nicht” (There is no America) still remains today an undeniable truth: America’s northern half is a film, not a continent. Everything which signifies the U.S.A. – from the Indians, whose most noble savages were invented in Europe, all the way to September 11th and the subsequent war in Iraq, the aliens and the revival of the dinosaurs, the terminators as governors and presidents as actors and vice versa, the electric chairs, the godfather Marlon Brando and the eternal singer Bob Dylan, the neurotic Woody Allen, Velvet Underground and Andy Warhol – all this is an invention of the media. Everything that I know about America has been conveyed to me by Hollywood films. My trip into this fictional wonderland, this country where nothing seems impossible, began with a landing at Kennedy Airport, along with a list of questions investigating my existence up to that point in time and inquiring whether I belonged or belong to any Communist organization. There went by three long hours of waiting, without my having seen anything that was actually real, among variously colored passengers until there was a call to board my flight to Houston, Texas, the destination of my first trip to America. The airplane traveled for an endless stretch of time just to reach the take-off runway and thereby crossed bridges under which dense auto traffic flowed ceaselessly towards somewhere, like a never-ending caravan. My little onboard window was nothing more than a monitor tuned to one of the many road movies at which I gazed in boredom. Finally the machine came to a standstill and the massive doors were opened, warm air hung heavily amid functional concrete buildings and a few palms: I was in the southern region of North America. In front of the airport was the usual scene from the beginning of a film viewed hundreds of times: yellow cabs with black drivers. Along the highway to Houston, seen from car windows that were once again nothing more than monitors, there rose up upon high poles to the right and left vastly oversized, widescreen-formatted billboards advertising everything that for a long time now we in Europe have internamericalized: Coca-Cola in an immediate love-hate relationship to Pepsi, the successful taste plagiarizer, McDonald’s, cornflakes. Concrete streets above and below me, in the distance the skyline of Houston set against the background of the desert: high-quality Cinemascope. Spontaneously there came to mind the first scenes of Tarkovsky’s Solaris, that never-ending stretch of concrete, filmed from within the automobile which, remotely controlled, brings its passenger somewhere, anywhere, just not into reality. I didn’t understand the first Texan whom I met; the ponderous dialect, spoken in the interior of his mouth, was not compatible with my knowledge of English. America was not only a film but also a collection of clichés. In the evening I attended the opening of an museum exhibition, which was the actual reason for my journey: rich women wearing fur coats in approximately thirty degrees Centigrade; first the buffet, then the art; no wordily wandering speeches, but rather everything economically tailored to momentary pleasure and external appearance. Modern Houston was nothing more than a city of offices; the last skyscrapers in the series already end in the desert sand; some are nailed up and carry signs of warning: “Contaminated with Asbestos.” In the bus I am the only white person among variously hued immigrants from South America or scions of long-established families of former slaves, and I myself am marveled at like a strange, stray soul. In search of the DeMenil Collection amid endless single-family dwellings, there was the usual action scene: an identity check, police vehicles outfitted with sirens and sporting double, revolving lights upon their roofs, the role of the sheriff well cast, a successful sequence filmed on the first take and put right in the can. I am not given any trouble with my status as a European, such as can easily be seen from my passport. The whole atmosphere is friendly, suffused with an almost unbelievable amicality. The colleagues in the Museum of Fine Arts, an astounding universal museum with artworks ranging from antiquity all the way to the present and a Mies van der Rohe building extension, are enthusiastic about my idea of traveling on to California as soon as possible. Beneath me a nature film presented by National Geographic, the Grand Canyon, red cliffs of incredible dimensions, somewhere Death Valley and Hollywood, to which I owe so much. In San Francisco friends are waiting for me at the airport, two American biographies such as are only written here. Everything is just as I know it, the soundtrack is right on the money: Crosby, Stills, Nash and Young, and up further in the surf, the Beach Boys. The Golden Gate Bridge in fog, the wonderful district of Sausalito, and far across the bay the city of Oakland. A paradise of hippies, twenty degrees Centigrade as the average annual temperature. William Seward Burroughs is reading in a bookshop, Alan Ginsburg, and somewhere Patti Smith is singing. I do not intend to write here about my next destination, New York City, not about the wonderful people who were my hosts, not about Mildred the pianist, who worked with John Cage, not about her husband, the painter who was friends with Alexander Calder… When I recall this first trip to America, my images are strangely blurred in their colors, and the sharply focused photographs which I have kept among many useless ones convey nothing of that which remains in my head. I think back to the magical places, just like to the inhospitable ones, from a certain aesthetic perspective, and it is this very aesthetic which I rediscover in the pictures of Stefanie Schneider. Tales of America, a discovery on Polaroid. Basically we know nothing about how our remembered images in fact look; we believe that we recall pictures and we tell of images which nocturnal dreams implant in our brains, but we would have great difficulty in specifying their actual form. From time to time we consider ourselves to have seen distinct pictures, but mostly we think of blurred appearances, more of shadows than of sharp contours. For her part, Stefanie Schneider as a native German sees her chosen country of residence as if in a dream. She stages a land which does not exist, a land of visions and spirits. During 2005 in the film Hitchhiker and in the photo series Sidewinder, she tells about love in terms of the hippie clichés of the 1960s: the long-haired girl with no makeup together with the preacher in a trailer amid the eternal heat, God’s warm canopy above California, Jack Daniels as the celebratory wine of the mass, the Colt revolver...

Read till you need no more…Words - from the series Schoffie - 2008 30x30cm, Edition of 7. Archival Print based on a Polaroid, mounted on Dibond - gloss. Hand-signed & numbered b...

Mindscreen 7, 1999, 58x56cm, Edition 3/10. Analog C-Print, hand-printed by the artist, based on an expired Polaroid. Signature label and Certificate. Artist Inventory No. 248.03. No...

Frames that capture the transformation from everyday life into another reality. Images that explore how the future will look. The proposal comes from the contemporary but goes beyond...

Part of Richard Heeps 'Ordinary Places' Series, it captures Britain on the brink of change. It was Richard's first colour series and it achieved much success with an exhibition at th...

Pool at Night (Suburbia) 2004, 50x50cm, Edition of of 10, digital C-Print based on an expired Polaroid. Signature label with Certificate, unmounted. The project "Suburbia" was shot...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

Lord Fauntleroy KCMO-240926-12 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 9.34 x 20 inches (60.96 x 60.96cm) Edition: 17 Signed, titled and dated on label COA...

Lord Fauntleroy KCMO-240926-07 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 9.34 x 20 inches (60.96 x 60.96cm) Edition: 17 Signed, titled and dated on label COA...

Hanging Off Bed (Bobby Kendall), mid- to late 1960s/2022 Signed, dated, and numbered, verso Digital C-print 31 x 31 inches, image (Edition of 15) $4,500 22 x 22 inches, image (Ed...

Styrofoam - 2021 50x40cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2021-1078. Not mo...

In the Dare alla Luce series, I initially responded to a collection of vintage photographs, retrieved from a variety of sources both personal and anonymous. Through hand-manipulated ...

Monocled Miss 1964 by Slim Aarons Slim Aarons Limited Estate Edition Renata Boeck enjoying breakfast in bed at the Regency Hotel in New York, 1964 unframed c type print printed 2...

Artist: Jeffrey Mayer Limited Edition: Signed and hand numbered in the margin, archival pigment print on 100% cotton paper with a Baryta finish. Authorized worldwide release of 100 ...

Queen in Concert Freddie Mercury and Queen in concert Photo by Martyn Goddard Printed 2024. Signed limited edition photograph; edition of 25 in this size. 20×24 inch paper size...

High Noon - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #21980. S...