The PlainSky, Nebraskans Show: The Complete Works No. 6

Carhenge Doorway: PlainSky, Nebraskans No. 6

Carhenge Doorway: PlainSky, Nebraskans No. 6 (24″ x 16″ on Red River Arctic Polar Luster)

I return to the one-day, one-image release of the complete “PlainSky, Nebraskans” show as it will debut at the West Nebraska Arts Center in Scottbluff, Nebraska, on March 1. The collection of 40 images, ranging from 10 1/2 inches by 15 1/2 inches at the smallest to 36 inches wide by 24 inches high at the largest, will be accompanied by the first signing of my book of the same name.

I’ve been asked by a number of people about how the images are made. The largest print is a custom-made print by Denver Digital Imaging on a Chromira LED photographic printer (yes, it’s a traditional photograph development method) on Fuji Crystal Archive Super Glossy paper. I’m going to start noting the paper types and printing methods each day as I post these, and more information about how it’s done can be found on my tech blog, Field & Studio in the coming weeks.

The other prints, all 24″ by 16″ or smaller, are made on my Epson Stylus Pro 3880 color inkjet (these prints are called giclées) using a variety of papers. Black and white images are printed on Red River Arctic Polar Luster paper; color prints are on a variety of papers, including Red River Arctic Polar Satin, Red River Polar Pearl Metallic 255 GSM, and Canson Infinity Arches Velin Museum Rag. It’s impressive how many pros have fallen for the giclée process, including Bill Frakes of Sports Illustrated, a bunch of the folks at Luminous Landscape, and Terry Cockerham in Dallas. Santa Fe Photographic Workshops is a staunch proponent of giclées as a central process in photographic creativity.

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