If you’ve never wandered The Plaza in Santa Fe on a winter’s night, you’re missing quite the experience. Continue reading
Textures, light and variation: visual drugs for photographers.
This is my second image from Carhenge, and by far my favorite.
Fall is a wonderful time in Nebraska: No, I’m not waxing poetically about Husker football, but about the fall colors. Autumn is dry here, chilly and clear, while the colors are vivid and the harvest dust luminescent; roadsides offer their own version of micro-scenery, as if the plants themselves are trying valiantly to contribute something to the already vibrant hues of the season.
Ansel Adams was a staunch promoter of the axiom, “Expose for the shadows, print for the highlights.”
I’ve been asked on many occasions how remote Nebraska must be: no towns; no people; and no light. Continue reading
Ah, the running joke of life in Nebraska: You’ve been to the Stonehenge of North America, right? Continue reading
In Whitman, Nebraska, a lonely cemetery sits atop a hill overlooking town and the vast, rolling expanse of the treeless Sand Hills.
My next solo exhibition, “PlainSky, Nebraskans,” opens at the Minden Opera House Gallery on April 16, 2013, and will feature three 40-inch-wide panoramic images indicative of both the project as a whole, and the essence of western Nebraska. The above image, “High Plains Train, Grant County,” is one of them (I think). Continue reading
Ranching is a lifestyle of few vacations. Cattle don’t understand that you can’t feed them for a few days, or that their need for water will just have to wait; for the rancher, that means a life tied to the lives of his stock. On Ray Semroska’s ranch, that has been a family inheritance for more than 100 years, and one that plays out in this image of a cold January spaying of 400 heifers, evidenced most clearly by the cloud of steam from the pictured cow’s mouth.