Holiday Print Sale 2015

Update: This year's sale is now over. Many thanks to all of you who supported and purchased prints this year. It is a true blessing to have fans like you.


Photographs are best experienced on a piece of paper. Something we tend to lose sight of in this digital age. It’s not the most convenient way to look at an image, nor the least expensive, just the best. When done right by the artist, the printed image is presented as the photographer intended. Photographic prints are artifacts, objects d’ art, that enrich a person’s life. That’s how I see them. I like to touch them, hold them, frame them and hang them on a wall. Live with them.


For this year’s holiday print sale I’ve searched my archives and paired photographs which I feel work well together as a diptych. Ideally, this means the viewers eye enjoys each print separately, while the viewers mind unlocks a deeper understanding of what the two images are saying together.


That’s the idea anyway.


Once again this year the prints are half price. I’m also offering a choice in size.


The small pigment prints are made on 8.5 x 11 inch archival matte paper with an image size of 6 x 9 inches.


The big pigment prints are made on 17 x 22 inch archival matte paper with an image size of 12 x 18 inches.


Each diptych consists of two separate photographic prints made on two separate pieces of paper.


All prints are made personally by me.


All prints are signed on the front and signed and dated on the back. Each diptych will come with a certificate of authenticity as well.


The sale ends on November 18, 2015. Prints will be shipped in the US (sorry, no international orders this year) via priority mail by December 2, 2015.




JAR15_1110_prints_02Diptych #1 - Hidden Eyes, Casablanca, Morocco 2005


While making selections for this year’s sale, I kept finding images from my work in Morocco where the subject’s eyes were hidden or obscured. I’m not quite sure what that means and I think that’s okay. Photographs should be a bit of a mystery, even to the person who made them. I feel these are two of the strongest images and they work well together. 





Diptych #2 - Noria Leap, Hama, Syria 2006 and Camel Man, Cairo, Egypt 2006


The people of both Egypt and Syria are dear to my heart. I’ve experienced nothing but kindness and generosity in both of these places. Like most of my work, this is simple street photography, which I define as walking around, perhaps getting lost, and trying to capture images which are pleasing to the eye, while also attempting to distill some order out of life’s chaos. Some much has changed since these images were made. The images now have a metaphoric meaning which transcends the everyday life they depict.





 Diptych #3 - Egyptian Artifacts, Egypt 2006


I’m fascinated with the pyramids (I suppose like everyone else). I never tire of making pictures of them. I’m also fascinated by the fact that they’re just kind of there, standing fast, more or less unchanged, as human life goes on around them. Many photographers try to photograph them as if they just stumbled across them, Indiana Jones style. I like the idea of showing them surrounded by modern day (future) artifacts. Like these things will come and go, maybe be unearthed themselves one day, while the pyramids just sit there, err Sphinx like, passing the time.





 Diptych #4 - American Icons, New Jersey 2001 and Nevada 1996


I thought I was being clever, shooting a picture of Lady Liberty from the New Jersey side. I swear I hadn’t seen the opening title sequence from The Sopranos when I made this. Oh well… great minds. The Golden Arches rising out of the Nevada High Country, I’m pretty sure I got to this one first. Both of these images were made on film and drum scanned, which is my way of saying the prints are amazing.

Many thanks and have a wonderful holiday.


- Kenneth Jarecke


Holiday Print Sale 2013 (Updated)

This year's print sale is now over.

All prints will be shipped on Dec. 10.

It’s time for my annual Holiday Print sale. The goal is to get prints under some Christmas trees which will eventually make their way onto the walls of some photography lovers. As always, this year’s selection is half priced, but this year the shipping is also free. The prints are made with pigment ink on archival paper. Signed on the front, signed and dated on the back, and come with a certificate of authenticity.

This time I’ve widen the selection a bit. There are a couple old favorites as well as some new pieces. Orders will be accepted until December 9th. All orders will be shipped no later than Dec. 10th. I won’t be accepting or shipping international orders this year. The costs and hassle is just too much (I’m sorry to say).


Thank you all for the great response to this year’s print offer. It gives me great joy to deliver these collectable prints at such a great price. To express my thanks, here’s a holiday surprise to wrap things up (you’ll have to supply the actual gift wrapping yourself).

Two of my most popular prints, together for less than half price. 

This offer ends promptly at noon (MST) on December 9, 2013.

I’m trying to create a win/win situation, so please don’t call me after the deadline because you hesitated and missed out. As of this writing you’ve got less than seven days so make your order today.


Kenneth Jarecke/Contact Press Images © 2013

“Bathers” was made in New York City during the summer of 1990.

Like “Under the Boardwalk” since originally appearing in Time Magazine, this image has been widely reproduced over the years since. It too is a favorite of collectors and also a personal favorite of mine (I have both prints hanging in my home). 



Kenneth Jarecke/Contact Press Images © 2013

“Trombone Santa” was made in Philadelphia in December of 2001.

This image was made for U.S. News & World Report a couple months after 9/11. I traveled around the country for the magazine and attempted to capture the mood of the country at the time. I included this image in last years sale and not a single print was ordered. I think it’s a powerful image which transcends the documentary nature and speaks on a number of levels. I’m not going to dissect it here, but if it speaks to you then it should be in your collection.



Kenneth Jarecke/Contact Press Images © 2013

“Tonapah Range with Cow” was made in Nye County, Nevada in April of 2008.

Yes, it’s a cow not a bull. I made that mistake, misidentifying the gender of a bovine, in the very first image I had published and I’m not about to make it again (long story). This is big country and a cow might just have use for her horns now and then. The print just sings. Graphically it’s very strong and the black & white tones are gorgeous.



Kenneth Jarecke/Contact Press Images © 2013

“Montana Sweat” was made near Wyola, Montana in December of 1991.

Towards the end of a Sports Illustrated assignment to document Native American basketball on the Crow Reservation in Montana I was honored to be invited to a family’s sweat. It was brutal. Thankfully, they advised me to get out after the first three rounds before things got really hot.



Kenneth Jarecke/Contact Press Images © 2013

“Under the Boardwalk” was made in New York City during the summer of 1990.

This image has been widely reproduced over the years since it was originally produced for Time Magazine in their “Rotting of the Big Apple” cover story. It is a fan favorite and also a personal favorite. I love the idea of making it available at this price. 



Kenneth Jarecke/Contact Press Images © 2013

“Beach Jump” was made in Maputo, Mozambique in October of 2004.

I was in Mozambique doing a piece on former child soldiers with legendary writer Joe Galloway (if you haven’t already, or you need an excuse to be thankful this holiday season, you gotta read his book). Moments don’t get too much more decisive then this. If a single element was out of place, the entire image would fall apart. The layering happening in this image is sweet too. To up the ante, the image was made on Tri_X with a genuine Leica M6.



Kenneth Jarecke/Contact Press Images © 2013 

“Stick Woman” was made in Ethiopia during the winter of 2002.

It’s a classic, and another healthy reminder to constantly count our blessings. This woman (along with others) carries a load of sticks like this eight miles everyday. If you look at the image and squint, you just might be able to see a (cartoonish) head of a lion formed by her silhouette. It took the eyes of a child to reveal that to me, so I can’t take credit for it. I chalk it up to the magic of photography.



Kenneth Jarecke/Contact Press Images © 2013

“Fromberg Lover’s Lane” was made in Fromberg, Montana in October of 2013.

I wanted to raise the level of difficulty a bit by trying to make five images that work together as a single piece. I call it the “Five Series”. The single images are strong, but together they’re stronger and work to create a fun narrative.



Kenneth Jarecke/Contact Press Images © 2013

“Wire Ball” was made in Carbon County, Montana in October of 2013.

The ball of wire was found “as is” in the high country of Carbon County, Montana (not to far from the Pryor Mountains). Whoever left it there wasn’t trying to create art. It’s cool and makes an interesting form study which works on a wall.



Kenneth Jarecke/Contact Press Images © 2013

“Boys and Hogs” was made at the Montana State Fair in August of 2009.

I love making pictures at the fair. There’s no better place to hunt for images of classic Americana. As they’re waiting to compete in the finals, you can see how these boys have bonded with their animals.



Kenneth Jarecke/Contact Press Images © 2013

“Grabbing Air” was made during the Beijing games in August of 2008.

This was not an easy image to make, but I think being strapped to a catwalk for a couple of hours in 105 degree heat was totally worth it. Moments like these are why I love to photograph sports. It’s eye-candy to be sure, but it’s also captures a peak moment of athletic ability.

If you don’t like using the buttons, I will also accept a personal check. Please email me at,


Many thanks, and please have a blessed holiday, a Merry Christmas and a Happy Chanukah!

Sleeping Dogs Lie

Kenneth Jarecke/Contact Press Images © 2013 from the book Just Another War


I’ve been a fan of magazines and newspapers before I could read. This love is what led me to a life in editorial photography, and it’s also what turned me into an occasional critic of the (increasingly poor) editorial decisions made by the editors and publishers who run them.


Just to reiterate...


Editorial content, which offers stuff that can’t be readily supplied by other sources, attracts viewers. Viewers are what advertisers want. Publishers sell their viewer’s eyeballs to advertisers. Money, much of it, changes hands. Publishers, not wanting to lose their viewers spend some of this money on hiring “content suppliers” who can deliver the best stuff.


Rinse and repeat.


That’s how the editorial world works. It will always worked this way regardless of the medium that’s used to deliver the stuff.


For the past few years, this time-tested chain has been broken. Google, with the wave of an algorithmic magic wand, hijacked the advertisers money before it made it to the publishers. This little switcharoo removed the publishers’ incentive to spend money on stuff.


No advertising revenue, leads to low quality stuff, which causes viewers to point their eyeballs elsewhere.


The editorial world is the original crowd-funder. For less than a cup of (fancy) coffee, the viewer gets access to stuff that cost hundreds of thousands of dollars to make. In the case of magazines produced with the highest quality of production standards, this stuff is delivered in it’s optimum incarnation.


(Don’t believe me, pick up one of the coffee-table books produced from the archives of TIME or VANITY FAIR. Don’t buy either of these dogs, just pick them up and take a look. They might be hard cover, and printed on (slightly) better paper, but the presentation and delivery of the content was done much better in the original magazines.)


Great photography has always been an expensive luxury that’s was unaffordable to the average person. LIFE Magazine spread this cost over millions of viewers (via the advertisers money). Mathew Brady made his fortune by charging a small fee to tens of thousands of visitors to his gallery, not by cashing in on the occasional high dollar print sale.


Photography, the kind people want to look at for more than .03 seconds, is expensive to produce. Instagram and iPhones have not, nor will they change this fact. Can social media sites become the digital version of Mathew Brady’s gallery? Not at this time. Facebook, and Instagram don’t have any incentive to change, and why should they when today’s Bradys are giving their stuff away for free?


(The new deal between Pinterest and Getty is Pinteresting. Let’s keep our collective fingers crossed.)


That’s the end of my reiteration, now on to the new problem.


Dear Magazines and Newspapers,

We hate you.


Half of the People in the United States


Everyone who seeks an audience on the webs works very hard to get people to like them. That, and always pretending to be “sincerely, honestly or truly humbled” when someone drops a flattering on them are the first rules of survival in this online jungle.


(I am totally awesome and don’t care who knows it. I’m also not a jive-turkey, there’s no false-praise fix to be had here. This not only makes me an exception to these online rules of survival, but places me at constant risk. That’s cool. It’s a burden I’m willing to shoulder.)


Yet somehow, publishers think they can afford to deliver sub-par stuff, and constantly spit in the face and dismiss the concerns of 50% of their potential customers is stunning. Like me, they think they’re awesome, but unlike me they aren’t.


How do these publishers disrespect the American people?


It was known as early as three years ago that Obama Care would cause millions of people to lose their healthcare. It was known that people would not be able to keep their healthcare plans or their doctors. It was known that the average family would not save up to $2,500 a year on healthcare. It was known, by anyone who cared to pay attention that Obama Care would be a disaster.


Yet not one journalist bothered to question President Obama while he was on the campaign trail when he was misrepresenting Obama Care with each and every stump speech.


The failure of the press, both magazines and newspapers, to question the president is a disaster of epic proportions, but they don’t realize this because they live in an echo chamber where none of their beliefs are ever questions.


The watchdogs, the people tasked with scrutinizing the actions of our leaders, have become willing lapdogs. The only time they make any noise is when they’re acting as cheerleaders.


When President Clinton was impeached for lying, the Left excused it because it was a personal matter that didn’t affect the country. Now that President Obama has repeatedly lied (at this point I think it’s safe to call it that), about something that affects all of us, where are the calls for his impeachment?


The magazines and newspapers have fed us subpar stuff for years, but now they’ve hitched their wagon to a failing presidency and has aided them in abusing our trust. Do they really need to wonder why they’ve got financial problems?


The fact that Rick Stengel, Time Magazine’s former managing editor (and the guy who in my opinion is responsible for turning Time into a sad mockery of it’s former self) has followed Jay Carney, Time’s former Washington Bureau Chief, into serving this administration proves my point. You can only serve one master and it appears that striving to report the truth wasn’t it.


Our supposed watchdogs have failed us. They’re the enablers that offered no push-back on a Leftist agenda that has undermined the Democratic Party and allowed it to become something that your grandparents would not recognize or support.


In choosing ideology over honesty, the press have failed us and no longer deserve our fancy coffee’s worth of money.


Speaking of worthy stuff, my enhanced book on the first Gulf War is now available on iTunes. I’d say it cost about $150K in 1991 dollars to produce this content (if you include the Toyota Land Cruiser I put on my Amex), so it has at least a coffee’s worth of value to it today.


Also, I’d appreciate (or should I say, would be “greatly humbled by”) a kind review.


“Just Another War” by Exene Cervenka and Kenneth Jarecke