Miniature Landscape Photography

The photo was done during a lovely walk in the park during the pandemic.

This late 1960s photograph, captured by society photographer Slim Aarons, features women in colourful hats at an apres ski party in Snowmass Village, in Pitkin County, Colorado, in M...

Oleander (Life on Mars) - 2024 20x20m, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 22313....

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features a couple sunbathing by the sea at Palm Beach, Florida. This is an estate stamped and hand ...

Manhattan Bridge, Brookly, New York City, USA - no. 18069 Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity include...

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 The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised.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...

Eden Rock The mansion of Remy de Haenen on a peninsula in the bay of St. Jean at Eden Rock on the Caribbean island of St Barts (Saint-Barthelemy), March 197...

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...

Black and White Fine Art cityyscape - landscape photography. Reflection, Santa Maria della Salute, Venice, Italy. Archival pigment ink print, edition of 9. Signed, titled, dated and ...

Black and white fine art landscape photography. Antelope Canyon sandstone formation detail, Page, Arizona, USA. Archival pigment ink print as part of a limited edition of 9. All Gera...

This late 1960s landscape photograph, captured by society photographer Slim Aarons, features a couple walking on Caleta Beach holding hands, Acapulco, Mexico, 1968. This is an esta...

In 2015 I visited many ancient olive groves in Italy. The Province of Lecce is known for having the oldest trees. The groves, only accessible by stone paths or mule tracks, give a se...

Incredible important historic photograph by one of the most famous women photographers. Excellent condition been framed since purchased. Signed in Pencil on Lower Right Recto Mat Dry...

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” David H. Gibson is a lifelong ph...

A rare, unique original silver gelatin black and white photograph by Agence Meurisse, Paris, circa 1930. The flood of the Seine River at Port de la Tournelle. Features: Original silv...

Palm Springs Palm Trees (Californication) - 2023 20x20cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist I...

Tree on the Waterfront Study 2, Portugal - no. 21297 Black and white fine art monochrome landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gera...

Onishi Tree, Study 3, Hokkaido, Japan by Michael Kenna is a black and white landscape photograph of a single barren tree against a dramatic sky. Gelatin Silver Print Print date: 202...

A unique original silver gelatin black and white photography. View from the Place des Vosges in Paris, November 1928. Features: Original Silver Gelatin Print Photography Unframed. Press Photography. Press Agency: Anonymous. Photographer: Anonymous. Title: Place des Vosges in Paris, November 1928. Provenance: Private collection. Image Size: 4.33 in high (11.6 cm) x 5.51 in wide (14.5 cm) - Archivally matted in a 17 x 13 mat. We will ship the piece in a mat (17 x 13 in) that fits a standard-sized frame. No ink stamp, no legend. Note: The Place des Vosges, originally the Place Royale, is the oldest planned square in Paris, France. It is located in the Marais district and straddles the dividing line between The 3rd and 4th arrondissements in Paris. It was a fashionable and expensive square to live in during the 17th and 18th Centuries and one of the main reasons for the chic nature of Le Marais among the Parisian nobility. Originally known as the Place Royale, the Place des Vosges was built by Henri IV from 1605 to 1612. It is an authentic square (140 m × 140 m) and embodied one of the first European programs of royal city planning (Plaza Mayor in Madrid, begun in 1590, precedes it). It was built on the site of the Hôtel des Tournelles and its gardens: at a tournament at the Tournelles, a royal residence, Henri II was wounded and died. Catherine de Medici had the Gothic complex demolished, and she moved to the Louvre Palace. The Place Royale, inaugurated in 1612 with a grand carousel to celebrate the engagement of Louis XIII and Anne of Austria...

Summer Interlude II (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Art...

Granite Pylon, Karnac Original gold toned albumin photograph, c. 1862 Unsigned as is usual From: Upper Egypt and Ethiopia, c. 1862, Vol 1, (36 plates) Published by William Mackenzie,...

A unique original silver gelatin black and white photograph. Street musicians and singers in Lyon, France, circa 1930. Street musicians playing accordion with singers in Lyon, Franc...

Digital C-print Signed and numbered on label, verso 14 x 11 inches (Edition of 5) 24 x 20 inches (Edition of 5) 40 x 30 inches (Edition of 5) This photograph is offered by ClampAr...

Black and white fine art photography. Lifeguard tower on Miami beach with palm trees and beach chairs, Florida, USA. Archival pigment ink print, edition of 9. Signed, titled, dated a...

This contemporary minimalist seaside photo, "Evening Light, Endless Sea," was captured by French artist and photographer Natalya Mougenot during her travels in Italy. With this work,...

Atlas Shrugged 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Not Mounted.

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...

Black and white fine art landscape photography. Fort Lauderdale Beach with lifeguard tower and palm trees, Florida, USA. Archival pigment ink print as part of a limited edition of 9....

Titled with artist's reference number on back of mount. Stamped, 'Edward Weston printed by' and signed by Cole Weston on back of mount.

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...

Fifth Avenue, Broadway, New York City - no. 11777 Black and White Fine Art cityscape photography. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by arti...

Black and white fine art cityscape - waterscape photography. View from the rialto bridge into the grand canal of Venice, Italy. Archival pigment ink print, edition of 9. Signed, titl...

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...

Empire State Building Study 6, New York City, USA - no. 11917 Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity incl...

Trees, Yosemite, California, USA by Michael Kenna presents tall, slender trees against a stark white background. This photograph is listed as a 6 x 8.75 inch sepia toned silver gelat...

Snow Flakes (Californication) - 2021 20x24cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Numb...

December Gondolas, Venice, Italy by Michael Kenna is a black and white photograph depicting a row of boats floating in the river, blurry from the intense waves. Gelatin Silver Print...

An original silver gelatin black and white photograph by the Associated Press, Paris. It shows a demonstration on Boulevard Saint Germain in June 1947. Features: Original silver gela...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

Mind Screen (Last Picture Show), 2005, Edition 2/10, digital C-Print based on a Polaroid, Certificate and Signature label included artist Inventory Nr. 1043.11 not mounted LIFE’...

Artist Statement For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both i...

Cambodia temple is a Vintage b/w Photo realized in the 1960s. Good conditions.

A unique, original silver gelatin black and white photograph. On the 12th of April, 1927, the iconic "Foire au Jambon" (Ham Fair) was a well-known outdoor antique...

Black and white fine art landscape photography. Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed ...

Lakelands is a color vintage photo, realized in 1960s. Good conditions and aged. It belongs to a historical and nostalgic album including hi...

"Distant Trees Sorachi Hokkaido Japan, 2023 is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is matted to 20x16...

These are two separate 11 x 8.5 inch (45 x 60 cm) original hand-printed original cyanotype photographs sold together. Cyanotypes are an antique photographic process dating back to t...

'Bluebell Dream', 2017 Edition 2/7 plus 2 Artist Proof Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-306 Kirste...

A unique, original silver gelatin black and white photograph. View of a bridge in Lyon, France, March 1927. This view of the Pont de l'Université in Lyon, France, was taken from the...

Keith Barnhart Back Alley Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal ...

Harness racers on the lonely beach of normandy, France. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity included....

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...

This early albumen silver print is titled in ink on the front of the mount. Printed before 1876, when Watkins lost his negatives to a creditor, who sold them to his competitor, Isaia...

Pavillon Denon, Louvre, Paris, France - no. 11915 Black and white fine art cityscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald...

About the BRUMA series: What began as a pretext to exercise MIguel Wynograd's gaze, little by little became a meditation on different intertwined temporalities. The superposition of ...

A unique original silver gelatin black and white photography. Paris, a salt truck on Place de la Concorde under the snow, January 16th, 1926. The employees of the mayor of Paris spre...

An exceptional original silver gelatin black-and-white photograph capturing the International Decorative Arts Exhibition in Paris, October 1925. Floating on the Seine River, the "Bel...

Istanbul 1960 – Sultan Ahmed Mosque – Original Vintage – Black & White Photographer: Klaus Redenbacher Captured during a journey through Turkey in 1960, this striking black-and-white...

Horses - Vintage Photograph is a black and white photograph realized in the 1960s. Good conditions.

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...