Calico Rock - City Rock Bluff

Little Hawksbill Crag

Calico Rock 09-17-2021Calico Rock 09-17-2021 City Rock Bluff (aka, Little Hawksbill Crag) is a dramatic view overlooking the White River in the Arkansas Ozark Mountains.

Alternating streaks of color in blue, black, gray, red, and orange - like calico cloth – are the markings on bluffs looming over the White River in an area of north-central Arkansas known as Calico Rock.

The overlook is easily accessible via a very short walk from the parking area making it accessible to everyone.

A word of caution is warranted.  There are no fences or guardrails anywhere and the bluff are hundreds of feet above the underlying river.  It would be very easy to fall off to your death, so please be careful and don't get too close to the edge.  

In addition to the amazing sunrises and sunsets, I have seen eagles, herrings, and a variety of large birds flying over the area.  Be sure to bring your binoculars to enjoy the birds as well.

The lookout is situated on the eastern edge of the Ozark National Forest covering over a million acres of the rugged Ozark Mountains. A predominance of hardwoods creates some of the best fall colors you'll find anywhere.

The skies and light are always changing making each experience unique.  I have been visiting and photographing this area for many years and I always come away with different and unique images.  Also, if you are up for a hike, you can hike eastward down the bluff line for completely different types of views and compositions. 

Located directly on the White River in Izard County, Calico Rock developed as a steamboat landing in the early 1800s and became a boomtown in 1902 when the railroad tracks were laid. It was the largest town in Izard County through the 1960s. However, neighboring towns grew faster, leaving this once important river port with a population of about 1,500 today.

Finding it can be a little tricky.  When passing through the small town of Calico Rock, continue over the bridge for 2 miles and look for your first gravel road on the right (Culp road).  Turn right and follow 2.3 miles to the parking area.


Doing our part to help protect nature and the environment, my son and I make handmade silver gelatin ultra large format B&W fine art prints one at a time in our darkroom. We believe people protect what they love and our hope is that we can get everyday people to fall in love with nature in our digital society.


When you purchase one of our handmade B&W Fine Art Ultra Large Format prints, you bring beauty to your home or office, and you’ll be helping protect nature and the environment too. 

With every piece of artwork sold, we make a donation to the Nature Conservancy and any remaining profits are used to pay for equipment, supplies, and related expenses.

The Nature Conservancy helps conserve the lands and waters on which all life depends.  They take on the dual threats of climate change and biodiversity loss across 70+ countries and territories. Every acre we protect, every river mile restored, every species brought back from the brink, begins with you. Your support will help take action on the ground in all 50 states and more than 70 countries.



Tim Sr. and Tim Jr. at Hodgson Mill For Darkroom Underground Episode 1 08/28/2021Tim Sr. and Tim Jr. at Hodgson Mill For Darkroom Underground Episode 1 08/28/2021 Purchasing artwork is a personal experience and I take a lot of pride in creating high-quality artwork that you can enjoy for the rest of your life.

The longevity of analog handmade silver-gelatin-based prints depends on the photographic medium itself, the chemical processing, and the subsequent storing and display conditions.  Tim carefully creates your new wild horse artwork following time-proven museum archival standards to ensure your new artwork will last a lifetime. 

Black-and-white analog materials have a number of advantages over modern digital/ink-jet media.

Learn how Tim Layton's fine art silver gelatin prints are made in the darkroom one at a time by hand.

Based on history, we know that properly processed and stored black-and-white photographic prints have a life expectancy of at least 150 years and under optimum conditions, experts believe the artwork could exceed several hundreds of years before showing any significant signs of deterioration.

Tim Layton With Silver Gelatin Large Format PrintTim Layton With Silver Gelatin Large Format Print All of my limited edition fine art analog silver gelatin prints are created with world-class materials and I follow time-proven very strict archival standards to ensure your artwork will last a lifetime.

I take the permanence of your new artwork very seriously and that is why I personally execute every step of the process myself and do not outsource any aspect of my workflow. 

Silver gelatin prints have been around since the 19th century and they are the only type of fine art print that has this proven record of archival permanence. All other claims are of permanence are simply claims with no way of proving them. 

When it comes to museum quality and conservation, fiber-based silver gelatin prints are the only type of prints recognized as archival by professional curators and museums.  The fiber paper and mounting materials that I use for my limited edition prints are guaranteed to be acid and lignin-free and without optical brightening agents.

Tim Layton With Silver Gelatin Large Format PrintTim Layton With Silver Gelatin Large Format PrintSubscribe to my Free Darkroom Newsletter and never miss another article or update.

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Achieving museum-quality standards is much more than just using the right photographic paper. 

I follow the same time-proven processing and archival methods as Ansel Adams and Edward Weston to ensure each limited edition print meets this very strict criterion.

Your new print is mounted on a 100% cotton, acid, and lignin-free mounting board with a window mat that is hinge-taped using archival linen tape.  I title, date, and sign the window mat to complete your artwork.  It is ready to display when you receive it.    

To help resist environmental hazards associated with displaying your new artwork, a UV protective glass or plexiglass glazing should be used, often referred to as museum glass.  If you are unsure, consult your local professional frame shop or contact me and I am happy to help. 

If you choose to store your prints versus displaying them, maintaining relative humidity between 30% and 50% is advisable and room temperature should not exceed 85F/29C. 

I certify all of my limited edition fine art prints are masterfully handmade by me in my darkroom and no part of the process is outsourced to any other party.

Print Care, Display, & Handling Tips

  • Never hang your print in direct sunlight. 
  • Never hang your print under or over an air vent. 
  • Hang your framed print at a very slight upward angle to allow air to circulate around the print. Small clear rubber pads/feet mounted on the bottom frame are a good option for employing this method. 
  • Only use a dry lint-free cloth to wipe the UV protective/museum glass. 
  • Maintain the relative humidity in the 30% to 50% range. 
  • Extreme heat and wildly changing temperatures can expedite print deterioration issues.  Avoid exposing your print to temperatures above 85F/29C. 
  • If your print is ever exposed to smoke, moisture, or water, do not attempt to fix it yourself.  Contact me or a print conservator immediately. 
  • If lighting your artwork, avoid using any light source of more than 120 footcandles.  LED lighting is the preferred source.  I like a light temperature in the 3200K to 3500K range.  Only light your print when viewing.  Excessive light exposure can accelerate deterioration.