Digital Pigment Landscape Photography
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Medium: Digital Pigment
David Burdeny - Paradise, Maasai Mara Kenya, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Cava Bianco VII, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny-Lioness and Four Cubs Rivers Edge Maasai Mara, 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
21st Century and Contemporary Contemporary Digital Pigment Landscape Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Solace, Amboseli, Kenya, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Old Havana (Horse), Havana, Cuba, 2014, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
Beach Rock, giant stones, shoreline, France, black and white, landscape, photo
Located in Vienna, Vienna
Black and white fine art long exposure waterscape - landscape photography. Rocks on the shore of the beautiful sandy beach on the French Atlantic coast. Archival pigment ink print as...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Ink, Archival Paper, Black and White, Digital, Archival Pigment...
David Burdeny - Blue Ponds 02, Shark Bay, Western Australia, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
Wharf de la Salie, deserted beach, France, black and white landscape photography
Located in Vienna, Vienna
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...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Paper, Giclée, Archival Ink, Black and White, Digital, Archival...
Winter Red, Catherine Palace, Pushkin, Russia, Photography 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
Burdeny’s Russia imag...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
Palace Square, St Petersburg, Russia, Photography 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
Burdeny’s Russia imag...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Saltern Study 06, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Blue Quadrilateral , Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Photosynthetic 1, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Cava Bianco VI, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Red Wall, Peterhof, Russia, Photography 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
Burdeny’s Russia imag...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
David Burdeny - Gimnasio de Boxeo, Havana, Cuba, 2014, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Cava Bianco II, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Rialto Bridge, Venice, Italy, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 13" Edition of 15
21” x 21" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Early 2000s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Saltern Study 11, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Tangents 2, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Cava Bianco V, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Diamond Saw, Micelangelo Quary, Carrera IT, 2018, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Photosynthetic 2, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Cava Bianco III, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 04, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 07, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 02, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Chlorine Plant, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Red Canal, Great Salt Lake, UT, Photography 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Berm Break, Great Salt Lake, UT, Photography 2017, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The tension between u...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Pont Royal, Paris, France, Photography 2012, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 4
21” x 26" Edition of 4
32” x 40” Edition of 7
44" x 55" Edition of 10
While the spaces themse...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Saltern Study 08, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 05, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 01, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Halogens 1, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Digital, Pigment, Digital Pigment
David Burdeny - Spiral Jetty 1 Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - River Loire, Blois, France, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 15
21” x 26" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Early 2000s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Tokyo Tower, Tokyo, Japan, Photography 2010, Printed After
Located in Greenwich, CT
Pigment Print
Additional Sizes:
13" x 16" - Edition of 15
21" x 26" - Edition of 7
32" x 40" - Edition of 7
44" x 55" - Edition of 7
David Burdeny (b. 1968. Winnipeg, Canada) gradua...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Digital, Pigment, Digital Pigment
David Burdeny - Tokoname Harbour, Japan, Photography 2009, Printed After
Located in Greenwich, CT
Pigment Print
Additional Sizes:
13" x 16" - Edition of 15
21" x 26" - Edition of 7
32" x 40" - Edition of 7
44" x 55" - Edition of 7
David Burdeny (b. 1968. Winnipeg, Canada) gradua...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Digital, Pigment, Digital Pigment
David Burdeny - River Seine From Ponte De Sully, Paris, 2010, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 4
32” x 32” Edition of 10
44" x 44" Edition of 7
While the spaces themselves are ornate and tra...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Torii, Lake Biwa, Japan, Photography 2009, Printed After
Located in Greenwich, CT
Pigment Print
Additional Sizes:
13" x 16" - Edition of 15
21" x 26" - Edition of 7
32" x 40" - Edition of 7
44" x 55" - Edition of 7
David Burdeny (b. 1968. Winnipeg, Canada) gradua...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Photographic Paper, Digital, Pigment, Digital Pigment
David Burdeny - Saint-Malo, France, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 15
21” x 26" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Early 2000s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Red Leaves, Paris, France, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59" x 59" Edition of 5
While the spaces themse...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Polignano A Mare (mid-day) Bari, Italy, 2016, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While the spaces them...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Ponte Alla Carraia, Florence, Italy, 2016, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 4
21” x 26" Edition of 4
32” x 40” Edition of 7
44" x 55" Edition of 10
While the spaces themse...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
Antelope Canyon, rock formation, Arizona, USA, black white photography landscape
Located in Vienna, Vienna
Black and white fine art landscape photography. Stone formation from Antelope Canyon in the desert near Page, Arizona, USA. Archival pigment ink print as part of a limited edition of...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Giclée, Photographic Film, Digital Pigment, Archival Pigment, Digital, B...
Wooden Pier in the Sea, black and white, long exposure photography, landscape
Located in Vienna, Vienna
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...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Ink, Archival Paper, Black and White, Digital, Archival Pigment...
Wooden Pier in the Sea, Panorama, stormy Weather, black and white landscape
Located in Vienna, Vienna
Black and white fine art panorama long exposure waterscape - landscape photography print. Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist. Cert...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Paper, Giclée, Archival Ink, Black and White, Digital, Archival...
Aquaculture Structures, del delta del Po, black and white landscape photography
Located in Vienna, Vienna
Black and white fine art long exposure waterscape - landscape photography print. Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist. Certificate o...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Paper, Archival Ink, Black and White, Digital, Archival Pigment...
Point de vue Panorama, giant rock, France, black and white landscape photography
Located in Vienna, Vienna
Black and white fine art long exposure waterscape - landscape photography. Giant rocks on the sandy beach of the Atlantic coast in France. Archival pigment ink print as part of a lim...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Ink, Photographic Film, Archival Paper, Black and White, Archiv...
Morning light in the Mountains, black and white photography, landscape, fine art
Located in Vienna, Vienna
Black and white fine art panorama landscape photography print. Madeira's mountain peaks in the wonderful light at sunrise, Portugal. Archival pigment ink print, edition of 5. Signed,...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Ink, Archival Paper, Black and White, Digital, Archival Pigment...
Wine Press House, Cornfield, Tree, black and white landscape art photography
Located in Vienna, Vienna
Black and white fine art landscape photography print. Wine press house in wheat field, nice clouds, storm, Austria. Archival pigment ink print, edition of 7. Signed, titled, dated an...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Ink, Archival Paper, Black and White, Digital, Archival Pigment...
Fishing Hut on Stilts Panorama, black and white landscape fine art photography
Located in Vienna, Vienna
Black and white fine art panorama long exposure waterscape - landscape photography print. Fisherman's huts in the surf on the beach in France. Archival pigment ink print, edition of ...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Paper, Giclée, Archival Ink, Black and White, Digital, Digital ...
Cherry Tree Avenue, Winter, snowy Field, black and white landscape photography
Located in Vienna, Vienna
Black and white fine art landscape photography print. Cherry tree avenue on the edge of the snowy field in Austria. Archival pigment ink print, edition of 8. Signed, titled, dated an...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Paper, Archival Ink, Black and White, Digital, Archival Pigment...
Madeira Peaks, morning Light, Fanal, Portugal, black white landscape photography
Located in Vienna, Vienna
Black and white fine art landscape photography print. Madeira's mountain peaks in morning light, Fanal, Portugal. Archival pigment ink print, edition of 8. Signed, titled, dated and ...
Category
2010s Minimalist Digital Pigment Landscape Photography
Materials
Archival Paper, Giclée, Archival Ink, Black and White, Digital, Archival...
Ancient Laurel Cloud Forest, Fanal, Madeira, black white landscape photography
Located in Vienna, Vienna
Black and white fine art landscape photography print. Ancient laurel cloud forest in mystical fog in Fanal on the island of Madeira, Portugal. Archival pigment ink print, edition of ...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Paper, Archival Ink, Black and White, Digital, Digital Pigment,...
Duck Race Schloss Schoenbrunn Vienna black and white art landscape photography
Located in Vienna, Vienna
Black and White Fine Art cityscape – landscape photography. Najadenbrunnen towards the Columbary in the park of Schoenbrunn Palace, Vienna, Austria. Archival pigment ink print, editi...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Digital Pigment, Photographic Film, Archival Ink, Archival Paper, Black ...
Crab Claws Rock, Panorama, Granite Coast, black and white landscape photography
Located in Vienna, Vienna
Black and white fine art panorama landscape photography. Unique rock formation on the pink granite coast in France. Archival pigment ink print, edition of 9. Signed, titled, dated an...
Category
2010s Contemporary Digital Pigment Landscape Photography
Materials
Archival Paper, Giclée, Archival Ink, Black and White, Digital, Digital ...
Digital Pigment landscape photography for sale on 1stDibs.
Find a wide variety of authentic Digital Pigment landscape photography available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add landscape photography created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, purple, green, orange and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Gerald Berghammer, Jimmy Nelson, David Burdeny, and Brian Finke. Frequently made by artists working in the Contemporary, Abstract, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Digital Pigment landscape photography, so small editions measuring 0.4 inches across are also available
Read More
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This Photo of Big Sur Reveals the Awesomeness and Intimacy of Nature
When a beachcomber accidentally stepped in front of Jeffrey Conley’s camera, a perfect moment was captured.
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Savor Ansel Adams’s Landscapes and Those of His Ambitious Successors
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These Artists Are Changing the Nature of Landscape Photography
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