B-29 Superfortress by Larry McManus

These four foot wide "High Definition" prints were created to be reproduced at this width. This is the reason for the excellent detail, sharpness and color saturation that you'll see in every print. These are the most detailed aviation prints at this size you can find!

About the print:

Boeing submitted the prototype for the B-29 long-range heavy bomber to the Army in 1939, before the United States entered World War II. The B-29 had many new features, including guns that could be fired by remote control. The crew areas were pressurized and connected by a long tube over the bomb bays. The tail gunner had a separate pressurized area that could only be left during un-pressurized flight. The B-29 was also the heaviest production plane because of increases in range, bomb load and defensive requirements. The B-29 used the high-speed Boeing 117 airfoil, and its larger Fowler flaps added to the wing area as they increased lift. Modifications led to the B-29D, upgraded to the B-50, and the RB-29 photo reconnaissance aircraft. The Soviet-built copy of the B-29 was called the Tupolev Tu-4. The earliest B-29's were built before testing was finished, so the Army established modification centers where last-minute changes could be made without slowing expanding assembly lines. Boeing built a total of 2,766 B-29s at plants in Wichita, Kan., (previously the Stearman Aircraft Co., bought by Boeing in 1929) and in Renton, Wash. The Bell Aircraft Co. built 668 of the giant bombers in Georgia, and the Glenn L. Martin Co. built 536 in Nebraska. Production ended in 1946. B-29s were primarily used in the Pacific theater during World War II. As many as 1,000 Superfortresses at a time bombed Tokyo, destroying large parts of the city. Finally, on Aug. 6, 1945, the B-29 Enola Gay dropped the world's first atomic bomb on Hiroshima, Japan. Three days later a second B-29, Bockscar, dropped another atomic bomb on Nagasaki. Shortly thereafter, Japan surrendered.

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HOW THEY'RE CREATED - IN THE ARTIST'S WORDS:

A great deal of planning and passion goes into each large format image...

The Concept...

First I sketch out what I want the nal image to look like and then create a shot list for the various parts of the image. Locations need to be identi ed for the background and aircraft shots and models need to be hired. Only then am I ready to shoot the various parts of the image.

The Plane...

By shooting the plane by itself on the ground in a controlled situation, I can get much better detail and dynamic range in the image than shooting in the air. The plane is set up at the right angle with the shadow in the right direction. The pilot is positioned and looking in the right direction and the plane is trimmed out with the control surfaces in the correct positions. Multiple shots are taken at various exposures and different angles can be easily achieved during the photo session.

The Background...

This is where you have to wait for nature to behave. The air to ground or cloud formation shots have to be taken at the right time of day with the shadows in the correct position. When you are just shooting the background from the air and not worrying about exposing a plane correctly, you are able to create more dynamic views and color saturation that meld together and make the aircraft pop out of the image.

The Creation...

There are no short cuts in creating the nal large format photo illustration. You start by editing fty or so shots down to the ten that will be used in the nal master image. This is where my background as a designer/artist comes in. The nal 2 GB master image can take forty hours or more of painstakingly detailed work to combine all the photos, re-illustrate parts of the scene and to color balance the nal image to achieve the original vision.

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HOW THEY'RE PRINTED:
(HINT: LARRY'S FOUR FOOT WIDE (HD) MURAL PRINTS ARE NOT PRINTED USING ANY INKS!)

To reproduce the fantastic detail and saturated color, these aviation images are printed using actual red, green and blue lasers that can produce 68 billion colors. The lasers project the image on actual photographic material and then is processed through chemical baths. This gives you a TRUE HIGH DEFFINITON (HD) CONTINUOUS TONE IMAGE with no dots like you see in offset lithography printing. This printing method is far superior in detail and color depth than any other reproduction method.

WE OFFERS THESE PRINTS ON TWO TYPES OF (HD) ARCHIVAL MATERIAL... OR CANVAS:

1) A very high gloss for the best detail and color saturation
2) A semi-gloss for a very sharp and more muted feeling
3) On canvas

The canvas prints are printed with archival quality inks onto a unique impregnated glossy canvas media. This allows for the highest color saturation and detail you can achieve in a canvas print. The Giclée printing process provides better color accuracy than other means of reproduction on canvas. The quality of the Giclée print rivals traditional silver-halide and gelatin printing processes and is commonly found in museums, art galleries, and photographic galleries.