C Print Photography

Joshua Tree National Park an extremely interesting rural landscape, made famous through its popularity in pop culture. Here, the Joshua Tree captured in the Mojave Desert at dusk whi...

'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...

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 photographed the Rockabilly scene in England, Europe and America over seven years culminating in his book, 'Man's Ruin'. 'Poolside' captures the chic vintage fashion and lifestyle at Viva Las...

Ferguson Racing Streamliner, in the iconic home of speed, Bonneville Salt Flats. Bonneville has been the setting of many land speed attempts and records, the unique landscape creates...

This stylish artwork, 'Gloves & Handbag' taken at the glamorous retro event Goodwood Revival, perfectly captures feminine sophistication with a vintage vibe. This artwork featured in...

High Desert (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Signature label and Certificate. Artist inventory Numbe...

Tincture of Myrrh, part of Richard Heeps' 'Forward to the Past' series, he was commissioned to photograph Preston Hall Museum before it went through regeneration. The works captured ...

'NOMAD III (Film Rebate)', New York. Richard Heeps has photographed the iconic Empire State building in the mist. The NOMAD sequence of photographs capture the art deco architecture ...

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 foreground of the powerful exp...

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...

'Three Palms' from Richard Heeps Great British staycation series, On-Sea. Taken in Clacton-on-Sea, Richard was channeling Hitchcock in his mind, printed in his darkroom full frame wi...

Brand new artwork by Richard Heeps featuring the iconic Empire State building in the mist. Photographed in New York City in 2017, he just executed this in his darkroom, printing it i...

Foyer V, 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 p...

Tincture of Myrrh, part of Richard Heeps' 'Forward to the Past' series, he was commissioned to photograph Preston Hall Museum before it went through regeneration. The works captured ...

'Angie' (Heavenly Falls) - 2016 20x20cm, Edition of 10, Archival C-Print based on the Polaroid from the making of the documentary "instant dreams". Certificate and signature labe...

Foyer VIII, 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 becom...

'Utopian Foyer IV', photographed in February 2020 for his ongoing series 'A Short History of Milan'. There is a reoccurring linear, structural theme throughout the series, capturing...

Three and a Half Feet, Ballantines Movie Colony, Palm Springs, California, photograph from Richard Heeps Dream in Colour series. A palm tree casts a shadow on a Palm Springs swimming...

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...

Ch-ch-ch-ch-changes (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist...

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...

Photograph of a vintage fairground Chairoplane, lit up in a golden hue against the motion and beauty of the dark blue sky captures the magic of the 2022 Haddenham Steam Rally. Artwor...

Side Effects (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Invent...

Palm Springs Palm Trees (Californication) - 2023 40x40cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist I...

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...

Karma, street photography from Richard Heeps series, A Short History of Milan. 'A Short History of Milan' began in November 2018 for a special project featured at the Affordable Art...

Joshua Tree National Park an extremely interesting rural landscape, made famous through its popularity in pop culture. Here, the Joshua Tree captured in the Mojave Desert at dusk whi...

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...

A classic American open road photograph, but this, the authentic modest but historic Inyokern Airport Drag Strip. As a drag racing fan Richard is pleas...

'One Tree Hill', from Richard Heeps series, Thurrock, A Different Light. Landscape photography, captured in Langdon Hills Country Park for a series Richa...

'Monte Amiata I', photographed in February 2020 for his ongoing series 'A Short History of Milan'. There is a reoccurring linear, structural theme throughout the series, capturing t...

This stylish artwork, 'Pink Floral Dress' taken at the glamorous retro event Goodwood Revival, perfectly captures feminine sophistication with a vintage vibe. This artwork featured i...

Untitled (Beachshoot) - 2005 50x50cm, Edition of 10, digital C-Print, based on a Polaroid Certificate and Signature label, artist Inventory # 898, not mounted “I never rememb...

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...

The iconic Coney Island structure, Parachute Jump, photography by Richard Heeps, printed from negative full frame with the Fuji Film border. This artwork is a limited edition of 25...

Craig y Don Pool, looking across the bay of Llandudno, Wales in the United Kingdom. Blue symmetry guides your eyes out to sea in this photograph by Richard Heeps. This artwork is a limited edition of 25 gloss photographic print from negative, dry-mounted to aluminium presented in a museum board white window mount and a choice of black or white box framed fitted with anti-reflective UV70% glass. It is signed and numbered on reverse accompanied by a certificate of authenticity. Handmade to order. This artwork is available in other sizes and it pairs well with Richard Heeps artworks in our 1stdibs store. "Richard Heeps' seductive, highly saturated colours and sophisticated pictorial structures demonstrate a true love and empathy for his subject matter - be it cool descriptive interiors, still life or landscape. His distinctive style pushes the limits of photography." He is a film-based photographer, using a range of vintage analogue cameras. He considers himself to have three studios, the external studio of whichever location he may be shooting, his darkroom where I make my master prints and his home studio where he does the postproduction where the artworks are mounted framed and finished. He aims to make accessible artwork without compromising on quality and making everything in house he is in control of each step to achieve that. Although he was brought up in East Anglia (England), he was heavily influenced by America. he visited American bases, kept magazine cuttings and followed drag racing. The speed, lifestyle and technicolour is reflected in his imagery. 'American' colour is a major aspect in his work, it drives his equipment and material choices. At age ten he began participating in art shows and became comfortable with showing his work and the praise and criticism which is part of an artists development. In his early paintings Manhattan was reoccurring theme, fascinated with New York. Throughout his professional career he has been lucky enough to exhibit in Museums and Public Galleries since the 1980's. Since 2008 his gallery Bleach Box...

'NOMAD III (Film Rebate)', New York. Richard Heeps has photographed the iconic Empire State building in the mist. The NOMAD sequence of photographs capture the art deco architecture ...

'Telephone V' part of Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography combines a softened monochrome palette and a mid-century modern nostalgic v...

Plane (Vegas) - 2000 Edition 4/10, 44x59cm. Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventory #54...

M (Immaculate Springs) - 1998 - 20x20cm, Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature Label and Certificate. Artist inventory...

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...

Delilah Right Red Hand I, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 200...

Signs, 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 cities with dis...

"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...

Little Darlings (Till Death do us Part) - 2005 38x37cm, Edition of 10, plus 2 artist proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label, artist Inve...

Sea Shell Motel, photographed at dusk as part of Richard Heeps 2013 'Wildwood Days' series. This captures one of the iconic Motel signs in the historic Doo-Wop town of Wildwood. Thi...

Las Vegas Pool Supplies, perfect pop-art kitsch from Richard Heeps in this American roadside 'Sign Porn' photography. This artwork is a limited edition of 25 gloss photographic prin...

'Liberace's Piano' from Richard Heeps 'Dream in Colour' Series. Richard captured one of Liberace's piano's in a private home, it has a an archetypal fun, kitsch, Las Vegas feel. Th...

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...

Richard Heeps' eye caught this unique moment at the Welney Wetlands Trust when photographing his series 'A View of the Fens from the Car with Wings', 'wings' being a theme of the pro...

NOMAD New York by Richard Heeps featuring the iconic Empire State building in the mist. Photographed in New York City in 2017. From the series The Streets of New York, this artwork i...

Steps into the pool at the La Concha Motel Las Vegas. Part of Richard Heeps Dream in Colour series. This motel is a part of Las Vegas history, designed by Paul Williams...

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, ...

'Hula Doll', from Richard Heeps 'Man's Ruin' Series, captured at Viva Las Vegas, this fun artwork has a cool kitsch vibe. The photograph itself has a lo-fi effect. This artwork is a...

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...

Swim-in-Pool Supply Co. This fun original artwork really shows Richard's unique eye as a photographer. Captured in Las Vegas in 2003 it is part of a series he took over a few years. ...

Classic vintage Vegas Casino at the Flamingo Las Vegas. This art deco interior has the South Beach Miami vibe, opened in 1946 it is the oldest in ...

'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...

'Hula Doll', part of Richard Heeps 'Man's Ruin' Series, captured at Viva Las Vegas. This fun artwork has a cool kitsch vibe, the photograph itself has a lo-fi effect. This artwork i...