Early 2000s Landscape Photography

"The Spirits of Stonehenge" is an original fine-art photograph by Robert Kawika Sheer. The image is signed in the lower right and editioned in the lower left. Edition 51/250. The ima...

Whirlwind Measures: 48" x 84" x 1 D C-print large color photograph mounted on plexiglass Dated and signed by the artist Unique. 2007 Born in Tehran and raised in Europe and the United States, Iran, Issa-Khan began her photography career in the late 1970s studying with William Minor, Jr. Throughout the 1980s and 1990s, Issa-Khan photographed Paulina Porizkova...

Edward Burtynsky (b. 1955) is Canada's most successful photographer. A noted filmmaker, entrepreneur and environmental advocate, Burtynsky is best known internationally for his larg...

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...

Photographed at El Mirage Lake, where the Southern Californian Timing Association, Land Speed Racing event, tracks in the ground from the previous days racing, adding a beauty to th...

Set of three framed landscape photography artworks from Richard Heeps' South African road trip series. Richard Heeps' work takes you on a...

Schoeman's Drift, landscape photograph from Richard Heeps South Africa series, The New Lantern. Richard Heeps' work takes you on a journey, the road is a reoccurring theme, often the...

Palm Tree, Salton Sea and Joshua Tree, Mojave Desert, two Californian landscape photographic artworks by Richard Heeps. Each artwork framed dimension measures 27.6" x 23.5" Each art...

Leaving Town (Sidewinder) - 2005 80x80cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 3...

Fabien (The Last Picture Show) triptych - 2005, 30x30cm each, Edition of 10 plus 2 Artist Proofs. 3 Archival C-Prints, based on the three original Polaroids. Certificate and sign...

Joshua Tree American Desert photograph from Richard Heeps' series, Dream in Colour. The iconic Joshua Tree stands proudly silhouette against the magical rich layered hues of the dese...

She need not move (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3298 Not mounted. St...

Blowin' In The Wind III (The Last Picture Show) - 2002, 38x37cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature ...

Wonder Valley (29 Palms, CA) - 2008 125x154cm, Edition 2/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, artist inventory numbe...

Joshua Tree American Desert landscape photograph from Richard Heeps' series, Dream in Colour. The iconic Joshua Tree stands proudly silhouette against the magical rich layered hues o...

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 ...

Drangarnir Sea Stacks Study 2, Faroe Islands - no. 21295 Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berg...

Wandering - switched off - (Wastelands) - 2003 Edition 4/5, 57x56cm. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist inven...

Athena and Henry (Stay), from Ryan Gosling's memory sequence - 2006 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate a...

Part of Richard Heeps 'Dream in Colour' Series, he was set a challenge to find something interesting on the road from LA to Las Vegas. In the heart of the Mojave Desert, Richard foun...

'Renée's Dream' (Days of Heaven) - 2005 part of the 29 Palms, CA project 3 pieces 18x22cm each Edition 15/100. 3 Archival C-Prints, based on the 3 original Polaroids. Certificate ...

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

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...

Joshua Tree American Desert landscape photograph from Richard Heeps' series, Dream in Colour. The iconic Joshua Tree stands proudly silhouette against the magical rich layered hues o...

Dream Scene on Salt Lake - 2007 from the 29 Palms, CA project 50x65cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #96...

Brooklyn Bridge 04 (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 1566. Not mounted. St...

Autumn Drift (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 ...

"Twilight, Kyoto, Japan" is a unique (one-of-a kind) photo-based mixed media sepia toned print with hand manipulation on hand-edged Japanese artist's...

Leaving (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 inv...

It's gonna be ok (Till Death do us Part) - 2008 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 202...

Edward Burtynsky (b. 1955) is Canada's most successful photographer. Through masterful technique and frequently dizzying compositions, Burtynsky presents thought-provoking inquiries...

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 ...

A stunning photograph of light. Hand printed by the artist. Edition 3/15 Gum Bichromate over Platinum / Palladium

Color fine art landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to order in limited editions on Hahnemuehle ...

Ferguson Racing Streamliner, photograph taken in the iconic home of speed, Bonneville Salt Flats, just as the mountains contrast with the flatness, Richard Heeps captured this racing...

Driving - Henry's Memory Sequence (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 2498 Not mo...

Edition 41 of 45 Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains hig...

A Cowboy silhouette, captured in Kanab, the home of many Western Movies. This artwork is typical of one of Richard's signatures, a surreal twist using composition to play with realit...

Richard Heeps' work takes you on a journey, the road is a reoccurring theme, often the location is ambiguous allowing you to see your own road trip. The moody sky over over this open...

Untitled (Fairytales) - 2006, 48x59cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Certi...

A Vision you can't Capture #04 (29 Palms, CA) - 2007 A piece from the 29 Palms, CA project 40x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. A...

El Mirage Lake, where the Southern Californian Timing Association, Land Speed Racing event, tracks in the ground from the previous days racing, adding a beauty to the natural landsca...

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...

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...

Edition 18 of 45 Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains hig...

Palm Springs Pool Side, photograph by Richard Heeps taken at Ballantines Movie Colony. This artwork captures the classic mid-century Palm Springs architecture set against saturated b...

Snow Silence (Stranger than Paradise) - 2003 57x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist invento...

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...

"4 Corners I" (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 a Polaroid, Not m...

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...

'Zzyzx Resort Pool', part of Richard Heeps 'Dream in Colour' Series, he was set a challenge to find something interesting on the road from LA to Las Vegas. In the heart of the Mojave...

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...

Edition 11 of 45 Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains hig...

Magic Mountain III (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, Artist...

Gasoline III (Stranger than Paradise) - 1999 Edition 10, 120x120cm, analog C-Print, hand-printed by the artist, based on the Polaroid, Not mounted, Certificate and Signature label, artist Inventory No. 271.01 Exhibition photos from the solo show 'Rough Cuts' at the Susanne Vielmetter gallery, LA Projects. The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century? In this captivating artwork, we are drawn into the enigmatic world captured by Stefanie Schneider, where a solitary man, lost in his own thoughts, embarks on a journey while engulfed in a cloud of smoke...

'The Road to Death Valley', taken in the Majove Desert, California, features a clouded blue sky met my mountains on the horizon. This American landscape artwork is part of Richard He...

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 ...

Hidden Valley (Till Death Do Us Part) - 2005 78x77cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Signature label and Certificate. artist Inventor...

Tom Thumb Special, captured in the iconic home of speed, Bonneville Salt Flats. The powerful, this iconic Ford Coupe Land Speed Racing Car, sits in the foreg...

Very large and exquisite, intensely vivid Archival Pigment print - signed and numbered by photographer on front - this paper size - edition of 10 only this size. 40x30" inches / 101...