Untitled/San Fernando Valley; from Los Angeles 07.27.05

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More About This Edition:

+ Limited-edition, exclusive to 20x200
+ Museum quality: archival inks, 100% cotton rag paper unless noted
+ Signed + numbered certificate of authenticity included
+ Directly supports the artist
+ Handcrafted custom-framing is available

Our quoted dimensions are for the size of paper containing the images, not the printed image itself. We do not alter the aspect ratio, nor do we crop or resize the artists’ originals. All of our prints have a minimum border of .5 inches to allow for framing.

Artist Statement


Untitled/San Fernando Valley and Golden State Freeway/San Fernando Pass are two sides of a single photographic coin, an investigation into certain currencies of structure and place, and meaning and light in America's largest megalopolis, Los Angeles. Each image opens separate but twinned bodies of work that were shot in close succession, now joined in an unusual "Z" binding in my latest book, LA Day/LA Night, published in April 2011 by Radius Books. Los Angeles is a desert city and is washed in the brittle and clear light common to dry climates, but that light is also profoundly influenced by coastal moisture from the Pacific Ocean, and by the effects of human inhabitation, like dust and smog. I made the Day work just after completing my archival project 100 SUNS (which meditated on the nature of atomic and hydrogen bombs), and I found that I was still looking straight into the light, perhaps attempting to capture a sense of both infinitude and apocalypse, eternality and contingency, at once. I was after a whiteness and illumination that might make light and the city itself seem corporeal and atmospheric, as well as unforgiving. The Night work was both a logical place to go after the Day, and a kind of gentle antidote to its harsh bleakness. Both bodies of work were photographed from a helicopter, and the night images were particularly challenging in a technical sense. At their best they show the terrifying and wondrous beauty of wholly human creation, a fleeting electric hubris that can even mirror night's eternal celestial vault above.


Michael Light | See All Editions


Michael Light is a San Francisco-based photographer and bookmaker focused on the environment and how contemporary American culture relates to it. He has exhibited extensively nationally and internationally, and his work has been collected by the San Francisco Museum of Modern Art, the Getty Research Library, the Los Angeles County Museum of Art, the New York Public Library and the Victoria & Albert Museum in London, among others. For the last 15 years, Light has aerially photographed over settled and unsettled areas of American space, pursuing themes of mapping, vertigo, human impact on the land, aspects of geologic time and the sublime. A private pilot, he is currently working on an extended aerial survey of the arid West and, in 2007, won a Guggenheim Fellowship to pursue the project. Radius Books published the first of a planned multi-volume series of this work, Bingham Mine/Garfield Stack, in 2009. The second, LA Day/LA Night, was released in April of 2011.  Light is also known for reworking familiar historical photographic and cultural icons with a landscape-driven perspective by sifting through public archives. His first such project, FULL MOON (1999), used lunar geological survey imagery made by the Apollo astronauts to show the moon both as a sublime desert and an embattled point of first human contact. His most recent archival project, 100 SUNS (2003), focused on the politics and landscape meanings of military photographs of U.S. atmospheric nuclear detonations from 1945 to 1962.