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A curated and exclusive selection of fine art photographs will periodically be offered for sale to the public.

All White Glove Prints™ are made, signed, and dated by me personally in the studio. They are named for the white gloves I wear to handle the prints.

Scroll down to see the current offerings.

About the Photographs
The New York Times described my photography “as artworks rather than as mundane documentation,” which present “an unorthodox look” with a “focus on striking details.”

The color photographs are rich, with many of them having dramatic contrasts of light and shadow that create a stark ethereal quality. The black-and-white photographs, however, are often gritty and candid.

Many photographs also evoke the mysterious and invite exploration. Objects and meanings are not revealed by one glance. Sometimes, tight compositions reveal iterative patterns to provoke new ways of seeing at the intersection of realism and abstraction.
Want to See More than the Monthly Curation?
If you would like to see the rest of my collections, click here to contact Linda Ruder, my Studio Manager.

We welcome inquiries
from collectors, art dealers, corporations, museums, and educational institutions.

Special orders
of multiple photographs, different print sizes, and other fine paper finishes are available.

From the Roslyn Heights Historic District Collection
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Pink Sea Thrift

Item #001 · 8.5 x 11 inches (21.59 x 27.95cm)
Signed · About the White Glove Print Process


This photograph was from an experimental series I created of flowers in Roslyn Heights. The dreamy effect was not the result of fancy filters or apps.

Rather, the idea was to quickly create dramatic images without using a tripod, auto-focus or Photoshop for post-processing. Even minor tasks like cropping or adjustments for contrast and exposure were avoided. Composition, angles, blurring and other techniques were key.

I entered a garden and, like a roulette wheel, I quickly spun myself around and randomly stopped to photograph the first thing within view of my camera. My motion is what accounts for the dreamy blur and my fisheye lens created the dark shadows (i.e., a "vignette") on the corners.


From the New England Trail Collection
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Quabbin Reservoir

Item #002 · 8.5 x 11 inches (21.59 x 27.95cm)
Signed · About the White Glove Print Process

The recent rains got me thinking about my photographs of the New England National Scenic Trail, which is more commonly known as simply the New England Trail. The collection was commissioned by the U.S. National Park Service, the Appalachian Mountain Club, and the Connecticut Forest and Park Association.

I always chuckle to myself when I recall the day I arrived to photograph the trail by the Quabbin Reservoir in Massachusetts. I was carrying my camera, tripod, and a large backpack with lots of other gear. It was April 2 and, true to the month's character, it was extremely overcast and storm clouds were threatening to launch an offense.

A reservoir employee spied my approach and, as I got closer, she ruefully commented, "Too bad the weather isn’t better for your photography.” Contrary to her concern, I was very glad for the bad conditions as it often creates some very dramatic moments that are ripe for my camera.

I was ready with a rain poncho, hood, and gloves with the fingertips cut off so that I can work my camera's controls. The preparation paid off. This photograph was created not long after I received my lamentful greeting. The curve of the clouds mirrors the curve of the tree's canopy. Together with the mists in the background, it makes for a very ethereal and sublime moment. This image has never been exhibited and has not been available as a print until now.

Indeed, I experienced the full range of nature's temperament that day. It not only rained, but it later hailed aggressively. My patience was rewarded that afternoon when the sun burst through the clouds and painted a double rainbow.

From the Street Photography Collection
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Big Ben's Rainbow

Item #003 · 8.5 x 11 inches (21.59 x 27.95cm)
Signed · About the White Glove Print Process

I was in London to meet with the cultural attaché of the U.S. Embassy to the United Kingdom. He expressed interest in presenting a solo exhibition of my photography at a new building that was to be constructed at Nine Elms.

While there, I also visited the National Poetry Library to explore the possibility of exhibiting my photographs of the Longfellow House. And I finally got to meet Sapna Dhandh-Sharma, the Editor of the UK-based Aspect Ratio magazine, who published my photographs of the slave cemetery at the William Floyd estate along with my 5,000-word essay.

When I was not busy investigating opportunities to extend the reach of my art, I walked around London to do a bit of street photography. For me, walking around aimlessly and avoiding the touristy spots is an interesting way to explore the city and to learn about its people. It did not take long to realize that being in London is certainly a very different experience than New York City, although the two do share some common attributes.

As much as I made a deliberate attempt to avoid the icons of London, it seemed like they have a magnetism that pulled me in their direction nonetheless. I had no idea where I was in the city, but it was one of the more crowded areas I had been to that day. The rain was clearing up and I was busy creating esoteric images - photographs of tightly cropped street elements and reflections off of bus windshields that resulted in abstractions.

I was using a large DSLR camera rather than the smaller and stealthy one that I typically use when I am photographing on the streets of New York City. This time, however, the presence of a big conspicuous camera and lens was an advantage. Lost in what I was doing, an Irishman saw me, got my attention, and urged me to turn around.

And there it was. Not just Big Ben. But Big Ben with a big rainbow. The prismatic arc was one of the largest, brightest, and longest-lasting I had ever seen. The sunlight and inclement sky seemed to create a mash-up resulting in this very unusually colored background while the clock tower shone as if it was cast in solid gold.

The digital negative of this image has been lying dormant on my hard drive for years. So, this is the first time it is being seen and made available as a print.

From the Weir Farm Landscape Collection
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Weir Farm - Yellow Squash

Item #004 · 8.5 x 11 inches (21.59 x 27.95cm)
Signed · About the White Glove Print Process


Movies have scenes that end up, as they say, on the cutting room floor and don't get included in the final film. Likewise, there are photographs that I intended to include in my book Weir Farm National Historic Site (Arcadia Publishing), but had to be cut due to space constraints. And the image above is one of them. It has never been publicly exhibited or available for acquisition as a print.

Weir Farm is known for much more than the art that has been created there for well over a century. It is also noted for its historic gardens and orchards, which make for inspiring artistic subject matter. The property's Terraced Gardens and Secret Garden are very popular with visitors as is its Sunken Garden. The latter was so well designed that, in the late 1950s, a prominent photography team was dispatched by Treasury of American Gardens to feature the Sunken Garden in its magazine.

The gardens at Weir Farm were developed for more than just decorative reasons. They were sources of food as well. During World War II, citizens were encouraged by the government to grow Victory Gardens as a way to offset rationing at home and to provide produce for the troops overseas.

Nothing went to waste. When the gardens yielded a quantity of vegetables that was beyond what could be eaten, the excess was canned and stored. The pantry at the Weir House has replica mason jars on display holding faux string beans, corn, peas, carrots, and tomatoes.

I was motived to create the photograph because I was intrigued by the Lilliputian viewpoint and the crown-like composition of buds and stems. The tender shoots in the center are almost like a crowd gathered to admire the emerging yellow squash.


From the Street Photography Collection
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Cathedral of St. John the Divine

Item #005 · 8.5 x 11 inches (21.59 x 27.95cm)
Signed · About the White Glove Print Process


For some, Christmas or Easter is not complete without attending a church service. For the Episcopal church in Morningside Heights, commonly known as St. John's, that sense of incompleteness has lingered for well over a century.

Construction of the church began in 1892 and the first service was held in 1899. And, yet, the structure remains unfinished. The delay in building the remaining one-third of the church has been caused by a combination of design changes, lack of funding, and other logistical challenges.

One example can be seen in the photograph above. The southern tower - designed to house a bell - is cut off from its intended height. Construction of the tower began in 1982 and was halted in the early 1990s due to a scarcity of both funding and skilled labor. Indeed, an English stonemason actually had to be brought to teach the ancient art of stone carving to young unskilled workers drawn from the community.

On the left is a sculpture of Michael the Archangel, which is part of the Peace Fountain that was constructed in 1985. And in the church's grand tradition of incompletion, to date, there is still no water in the fountain. The sculpture is a mélange of giraffes, Satan's decapitated head, a giant crab claw, a gazelle, the double helix of DNA, and smaller statues made by children. As if that is not odd enough, the grounds by the fountain are known to have live peacocks, including an all-white one, roaming around.

I processed this image not long after I created the initial photograph in 2019. But it is only now that it is being publicly seen and made available as a print.


From the William Floyd Collection
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Old Mastic House

Item #006 · 8.5 x 11 inches (21.59 x 27.95cm)
Signed · About the White Glove Print Process


Thomas Jefferson (1743-1826) was a Founding Father, one of the signers of the Declaration of Independence, and the owner of Monticello, a southern plantation worked by slaves. There are, of course, many other aspects of his life that have made him a complex historical figure.

Up north, there was William Floyd (1734-1821). Like Jefferson, Floyd was also a Founding Father and a Declaration signer. His plantation in Mastic, New York, was also worked by slaves. But, unlike Jefferson, much of Floyd's life remains shrouded in mystery.

During the Revolutionary War, the British commandeered the plantation while Floyd and his family sought refuge in Connecticut. As a result, his personal effects were destroyed leaving only the barest traces of Floyd's history.

What is known, however, is that Jefferson visited Floyd at his plantation's Old Mastic House. One can visit the house today, go on a tour, and step through the same rooms that both of these influential leaders walked in. Floyd was a general in the Revolutionary War and served under George Washington. Jefferson would go on to become the third president of the United States. James Madison succeeded Jefferson as the fourth president and he, too, visited Floyd at Old Mastic House.

By 1810, Floyd had five slaves remaining. Within six years of his death, slavery was outlawed in the state of New York. By the time of Jefferson's death in 1826, his estate still had well over one hundred slaves. His home state of Virginia would not come to abolish slavery until 1865.

This image has been widely exhibited. A few of the venues it has appeared in include the Fraunces Tavern Museum in New York City, the Long Island Museum in Stony Brook, and the U.S. Customs House in Philadelphia.


From the Big Cypress National Preserve Collection
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Kissimmee Billy Strand

Item #007 · 8.5 x 11 inches (21.59 x 27.95cm)
Signed · About the White Glove Print Process


I was invited by the U.S. National Park Service to spend a month at Florida's Big Cypress National Preserve as its Artist-in-Residence. While there, I created a series of photographs to artistically document the invasive species issue that is plaguing the environment there. This included both plant and animal invasives that brought me into close contact with noxious plants like the Brazilian Pepper and deadly snakes like the Burmese Python.

To better illustrate the delicate landscape needing protection from these invasives, I also photographed some of the visually unusual areas around Big Cypress. The preserve is a huge swamp that feeds into the Everglades. So, despite their different names and locations, Big Cypress and the Everglades are one giant ecosystem. What affects one will impact the other and vice versa.

One of the most intriguingly beautiful sights is the Kissimmee Billy Strand in Big Cypress. A strand is essentially a swamp forest of hardwood trees. It is one of the most unique plant communities in the preserve.

My photograph's compressed view of the strand flattens the landscape into both an abstraction and a study in line, color, and shape. Like some of the other photographs I am offering this month as a White Glove print, the digital negative of this image remained untouched and unseen in my archive until now.


From the Weir Farm Restoration Collection
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Weir Farm - Library Bookcase

Item #008 · 8.5 x 11 inches (21.59 x 27.95cm)
Signed · About the White Glove Print Process


As I explain on page 89 of my own book, Weir Farm National Historic Site (Arcadia Publishing), Dorothy Weir was an artist, writer, and an avid reader. She and her husband teamed up with her sister and brother-in-law to remodel the original entrance of the Weir House into a library. Bookcases were built into the walls complete with glass-covered doors. The project was completed in 1932, which they commemorated by having their initials hand-painted over one of the doorways.

Dorothy would also come to use the library as her study. For many years, she worked from this room as she diligently prepared a manuscript telling the life story of her famous father, Julian Alden Weir (1852-1919). From the library, she contacted art dealers around the country to create a catalogue of her father's art work. She died before the manuscript could be completed. But her efforts were not in vain. In 1960, The Life and Letters of J. Alden Weir was published posthumously by Yale University.

This photograph was not included in my book due to space constraints. It has never been publicly seen or printed before and was created as part of a commission from the U.S. National Park Service.


From the Street Photography Collection
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Planting Fields Arboretum

Item #009 · 8.5 x 11 inches (21.59 x 27.95cm)
Signed · About the White Glove Print Process


Well, this certainly does not look like a street though I suppose the shadows do suggest the paths of several intersecting roads. But I am using "street photography" broadly here.

Much of my work is created for commissions by the U.S. National Park Service (NPS). That work is methodically planned out and involves an assortment of equipment as well as historical research. During the course of many months, the resulting images are pored over, selections are made, post-processing is applied, and a sequencing of the images is determined. A formal collection is, thus, presented to the NPS with an overarching visual and intellectual theme.

It's a lot of fun, but it's also a lot of work. Sometimes, I just want to have fun without having to think too much. And for me, the art of street photography affords that liberty. It's about limiting my equipment to just one small camera and photographing spontaneously on the streets of New York City. No thinking. Just instinctively responding during a fleeting moment of time to whatever is happening around me.

That approach, however, is not limited to the streets. It can be transferred to other environments like Planting Fields Arboretum in Oyster Bay, Long Island. I was there in April 2019 just wandering around. Suddenly, I noticed the long shadow of the tree behind me reaching out menacingly across the lawn as if trying to seize his or her fellow trees on the other side.


From the Antique Radio Collection
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1950 Philco AM Radio (Model 51-631)

Item #010 · 8.5 x 11 inches (21.59 x 27.95cm)
Signed · About the White Glove Print Process


For a time, my father had a small radio and television repair shop. We were living in Brooklyn, but I think his place of business was in Manhattan. In his day, working with radios and television sets was on the cutting edge of consumer technology. It's akin to today's programmers working on the latest apps and software.

Later on, that interest blossomed into an appreciation for these precursors to the modern-day smartphone. He started buying radios at flea markets, which was supplemented by the advent of eBay. It didn't matter if the radios were broken. He had schematics, testing equipment, spare parts, and knew how to bring them back to life.

Eventually, he was buying more radios than he had time to repair. It didn't matter. He liked the way they looked - their design, colors, and the materials of which they were constructed - and how they reflected the aesthetic of their eras. He also liked how his collection was a physical timeline of radios morphing from clunky wooden behemoths with tubes to handheld plastic boxes with transistors.

An ongoing project of mine is to identify, catalogue, and photograph this collection my father left behind. Of course, I am looking to create a traveling exhibition or, at a minimum, a book showcasing these rare pieces of our technological history.

The first piece I decided to photograph is this Philco AM radio (model 51-631) from 1950. It can operate on either AC current or DC current. It also has the option of being powered by two D batteries, which makes this item a portable one.

The radio measures almost 10 inches wide, a little over 6 inches tall, and over 3 inches deep. It weighs four pounds without the batteries. So, yes, portability is relative to the heavier home consoles of the time. And at 15 watts of output, it packs plenty of power to crank up the volume for your next shindig.


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All content on all pages of this website is © Xiomaro All Rights Reserved.
Any image or any portion thereof may not be reproduced or used in any manner whatsoever without my express written permission. Violators will, and have been, prosecuted to the fullest extent of the law. Xiomaro logo by Azul Burger. Photos of Xiomaro and Linda Ruder by Barbara Cittadino.