Two Pines, Tenaya Lake, YosemiTe NaTionaL Park, CaLifornia 2007

Two Pines,
Tenaya Lake,
Yosemite National Park,
California 2007
I m pr e s s io ns o f L ig h t
Photographs by William Neill
1
My goal is to remove context within a landscape, distilling down to it’s essence,
in order to convey the energy of a subject or scene in a fresh way,
much as snow simplifies the land.
For me, these images deflect the mind’s tendency

to dwell on the concrete issues of place and name when viewing a subject.
The spirit of a place or an object can be more strongly conveyed.
Dedication
I would like to dedicate this book to my family:
my beautiful daugther Tara,
my handsome son Ravi,
and to my kindred spirit and soulmate, Sadhna.
My art is an extension of my life, and my family feeds my life, my spirit.
Acknowledgements
First, I would like to thank Canon USA for all of their support and encouragement. I have been a member
of Canon’s elite Explorers Of Light since 1995, and more recently I have been selected as a Canon Print
Master. My use of Canon printers and cameras has been a pleasure, both in terms of their high quality, but
also in how their tools have facilatated my creative efforts.
I especially want to thank Steven Inglima for all of his dedication and assistance.
I also would like to thank the folks at Singh Ray filters for their support.
My use of their Vari-ND has been especially helpful in creating this body of work.
Copyright © 2008 by William Neill I also must thank my talented assistant John O.Connor.
His digital and design expertise has been instrumental in the production of this book.
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval sys- I am thrilled with his image layout and overall book design.
tems, without permission in writing from the author, except by a reviewer who may quote brief passages in a review.
Finally, I would like to thank my friends and family for all their love and support.
Limited Edition Prints Most especially, I am deeply thankful to my mother and father for the values they instilled and inspired in me,
Limited edition photographic prints, including many images in Impressions of Light, are available from William Neill or galleries representing his work. For more for their encouragement, and their unconditional love.
information, please contact William Neill Photography at (800) 575-4604 or via email at wneill@sti.net. For information about books, posters, and other products,
please visit Mr. Neill’s web page at WilliamNeill.com.
To view Mr. Neill’s latest images, please visit his blog at

http://web.me.com/wgneill/
Produced by William Neill Photography

Designed by John O’Connor
Contents
Two Pines,
Tenaya Lake,
California 2007
Statement 3
Essay by William Neill 8
Forest 12
Flora 32
Landscape 56
Water 72
Carp,
94
Bronx Zoo,
New York 2006 photographic information
6
Impressions of Light
I have been a photographer for 35 years. I started out with my first camera ing with light” techniques from other instructors, mainly Tony Sweet and just jiggle the camera. It’s a learning process, a sort of feedback loop. In terms of composing, I start out with an image design that would work for
in 1974, a 35mm Pentax Spotmatic camera. Over the years, I have most Brenda Tharp. I had a visceral response to their images. I tried it out Every frame is different. I tend to photograph in bursts of five to ten im- me as a sharp photograph. A great advantage to making these images is
often photographed natural patterns and other details in the landscape. myself in the summer of 2005, became very intrigued by the possibilities, ages at one shutter speed. I then watch the images come up on the LCD the freeform and spontaneous style of capturing them, but I am also very
In 1982, I acquired a 4x5 field camera, and for the next 20 years, I pho- and immersed myself in creating this new portfolio of work. to see what happened. Based on what I see, I adjust shutter speed, focal careful to apply the same standards of quality of any composition I make.
tographed mostly with 4x5 transparency film. I continued to concentrate length or my camera position to refine the effect. Since the camera is moving during the exposure, it is not possible to
on photographing landscape details as well as broad views and dramatic I have long been intrigued by the motion studies of the great color pho- control exactly where objects land within the frame. Most compositional
light. tographer Ernst Haas. Freeman Patterson has also used camera mo- This process continues until I think I’ve created something good. I end issues, such as distracting bright areas along the frame’s edge, can be
tion as a technique, as well as other methods for creating impressionistic up with dozens, and sometimes a few hundred images, after I try all the corrected by responding to feedback from the LCD. Any other problems
My intention in using a large format camera was to render nature with photographs. Since I was a boy, I have loved impressionistic painting. creative options I can think of. The additional size and brightness of the with composition can be solved in the editing process, as I make enough
great detail such that the amazing textures and eloquent light on my sub- My mother was a docent at the National Art Gallery when we lived near latest LCD screens, like on my Canon 1DS Mark III, is very helpful in pre- similar images that usually at least one works out.
jects became extra-ordinary. I have been using Canon’s high resolution Washington, D.C. as a teenager. I was inspired by the en plein air ap- viewing my results.
DSLRs, first the EOS 1Ds, then the Mark II, and currently the 1Ds Mark III, proach of Monet and by the pointillism of Van Gogh I viewed there. Art The most important note on my technique is that these images are all
to create most of my images. No matter the tool, however, my goal has was one of my favorite elective courses during high school. Editing the large number of images I create is greatly aided by the use of single exposures created with camera motion only. Having seen other
remained the same – to inspire passion for the natural world and convey Adobe Lightroom. The selection process involves rating of the images techniques used, such as multiple exposure methods, I find the single ex-
my emotional response to the subjects I photograph – that of awe and The motion studies seen in my Impressions of Light work are simply an- that appear to have the most potential, and once I have several similar posure approach works best for the mood I wish to create. The resulting
wonder. other way to depict the deeply moving beauty I see in Nature. The tech- frames, I use the Compare View. My ranking system is quite simple. The images have an organic and painterly look. Other approaches often look
nical aspect of sharpness or softness of focus doesn’t matter to me ulti- initial edit of images that have possibilities receive three stars. After us- heavily manipulated or Photoshoped, while my style is to work with the
My most recent work is entitled Impressions of Light. About two years ago, mately. ing the Compare View, the best of similar frames receive four stars. As I textures and light and color I see in my camera.
I discovered a new way for me to convey such an emotional response. I begin to work with the four star images in Lightroom’s Develop module or
give credit for this inspiration to students taking an online course I teach, I try all kinds of movement, up and down or sideways, starting and stop- in Photoshop, the very best of those receive five stars. Even when I use my camera set to its lowest ISO and the lens stopped way
offered by BetterPhoto.com. They had picked up some blurring, or “paint- ping, and changing direction in the middle of the exposure. Sometimes I down, often there’s still too much ambient light to permit a long enough
9
exposure time. In that case, I use a Singh-Ray Vari-ND filter, I scribbled down some notes as I watched this inspirational
with which I can adjust neutral density to reduce the light en- documentary. As I listened to him express his own philoso-
tering the camera by up to eight stops. This tool has greatly phy, I realized, in a more concrete way, what I am trying to do
increased both my options in bright lightings conditions, and with my Impressions of Light series:
in controlling the balance of aperture and shutter speed. For
example, with my flower close-ups, I can still use a slow shut- Remove the context; distill down to the essence, in order
ter speed even when using the widest apertures. to convey the energy of a subject or scene in a fresh
way, much as snow simplifies the landscape.
In most images, I make a few minor adjustments in Photo-
shop, including boosting contrast lost when a scene’s bright- For me, these images defect the mind’s tendency to
er areas blur into darker ones. I output images with Can- dwell on the concrete issues of place and name when
on’s 12-color, pigment-based image-PROGRAF iPF6100 viewing a subject. The spirit of a place or an
and iPF8000 printers, which have 24- and 44-inch carriage object is less objectified and can
widths, respectively. I usually print on Canon’s Hahnemuhle be more strongly conveyed.
Photo Rag, a watercolor-style paper. This paper is very ef-
fective at accentuating the painterly feel of these images. I’m trying to stretch, not just to be different but also to find new
ways to express what I’ve been trying to show all along - the
The other night I watched an amazing DVD entitled Andy beauty of nature. It may sound trite, but that’s still what mo-
Goldsworthy’s Rivers & Tides. If you are not familiar with his tivates my photographic explorations. In order to both grow
art, I highly recommend that you check out his books and this and survive creatively as an artist, I have found it important to
DVD. He is dedicated to connecting with Nature, especially push myself in new directions, in other words, to evolve.
around his home in Scotland, and this DVD shows him at
work, and talking about his art. Success towards this goal cannot be achieved passively, but
it must be sought out. I have tried to adhere to the concept two oaks in snow,
that as an artist, one should always question one’s own pre- Sierra Nevada Foothills,
California, 2008
conceived notions!
Waterfall,
2007
10 11
Fore st
Yellow Forest,
Watchtung Reservation,
New Jersey 2006
Cedars,
Mariposa Grove,
California 2005
Giant Sequoias,
California 2005
14 15
Giant Sequoias,
Mariposa Grove,
California 2007
16 17
Forest Fog, Bamboo,
Sierra Nevada Foothills, Bronx Zoo,
California 2006 New York 2006
18 19
Two Pines,
Tenaya Lake,
California 2007
Firs,
Mariposa Grove,
California 2007
20 21
Willow in snowstorm,
Sierra Nevada Foothills,
California 2006
22
Winter Forest,
California 2007
Two Pines,
Tenaya Lake,
California 2007
24
Yellow Forest #3,
New Jersey 2006
27
Yellow Forest #4,
New Jersey 2006
Yellow Forest #2,

New Jersey 2006
28
Twilight Forest,
California 2008
31
Flora
Lupine,
California 2005
Salsify Seeds Detail, Iris,
Sierra Nevada Foothills, 2007
California 2006
34 35
Red Rose,
2005
37
Poppy,
Blowing Poppy, California 2006
California 2006
38 39
Iris Impression #1,
2006
Iris Impression #2,

2007
40 41
Reeds,
Bronx Zoo,
New York 2006
Sunflowers,
2007
42 43
Plum blossoms, Two Succulents,
2007 2007
44 45
Daisies, Daisy,
Carmel, Carmel,
California 2006 California 2006
46 47
Fern,
Carmel,
California 2006 Grasses,
Mono Lake,
California 2006
48 49
Dogwood Glowing,
California 2007
50
White Orchid,
2006
Two Pines,
Tenaya Lake,
California 2007
White Orchid #2,

2006
52 53
Iris Impression #4, Iris Impression #3,
2008 2008
54 54 55 55
L andscape
Table Mountain,
California 2006
Sunrise on Mud Hills, Sunrise over the Amargosa Range,
Death Valley National Park, Death Valley National Park,
58 59
Salt Flats, Badwater Sunrise,
Death Valley National Park, Death Valley National Park,
60 61
Sand Dunes,
Death Valley National Park,
California 2006
63
Artist’s Palette #1,
California 2006
Mud Hills,
California 2007
64 65
Half Dome,
California 2007
The Clark Range,

California 2007
66 67
Owens Valley and White Mountains,
California 2006
Foothills,
Table Mountain,
California 2007
68 69
Vernal Pool,
California 2006
70
Water
Waves,
Pfeiffer Beach,
Pfeiffer Big Sur State Park,
California 2007
Two Pines, Two Pines,
Tenaya Lake, Tenaya Lake,
Yosemite National Park, Yosemite National Park,
74 75
Light on the sea, Sunset,
Big Sur, Carmel Bay,
76 77
Two Pines,
Tenaya Lake,
California 2007
Silver Surf,
Carmel Bay,
California 2008
Surf,
Pfeiffer Beach,
Big Sur,
California 2007
78 79
Sunset, San Simeon Creek, Sunrise,
San Simeon State Park, Mono Lake,
80 81
Sunset,
La Jolla,
California 2006
Sunset Waves,
La Jolla,
California 2006
82
Arch and surf,
Pfeiffer Beach,
Pfeiffer Big Sur State Park,
California 2006
84
Sunset, Sunset Surf,
Pfeiffer Beach, La Jolla,
Big Sur, California 2006
California 2007
86 87
Dawn, Surf,
Mono Lake La Jolla,
88 89
Reflections, Forest Ripples,
Manzanita Lake, Manzanita Lake,
90 91
Ripples,
Manzanita Lake,
California 2007
Forest reflections,
Manzanita Lake,
California 2007
92 93 93
Photographic Information
Giant Sequoias, Mariposa Grove, Cedars, Mariposa Grove, Firs, Mariposa Grove, Yellow Forest #2,
Yosemite National Park, California 2007 Yosemite National Park, California 2005 Yosemite National Park, California 2007 Watchtung Reservation, New Jersey 2006
Canon EOS-1Ds Mark II Canon EOS-1Ds Mark II Canon EOS-1Ds Mark II Canon EOS-1Ds Mark II
EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L
1.3 sec at f / 13 2.0 sec at f / 13 2.0 sec at f / 32 0.6 sec at f / 9
ISO 100 ISO 100 ISO 100 ISO 100
Carp, Giant Sequoias, Willow in snowstorm, Twilight Forest,

Bronx Zoo, New York 2006 Yosemite National Park, California 2005 Sierra Nevada Foothills, California 2006 Yosemite National Park, California 2008
Canon EOS-1Ds Mark II Canon EOS-1Ds Mark II Canon EOS-1Ds Mark II Canon EOS-1Ds Mark III
EF 70.0-200.0 mm 2.8L, Extender EF 2x EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L
2.5 sec at f / 13 2.0 sec at f / 11 0.8 sec at f / 32 1/2 sec at f / 2.8
ISO 100 ISO 100 ISO 100 ISO 800
Waterfall, Forest Fog, Winter Forest, Lupine,

2007 Sierra Nevada Foothills, California 2006 Yosemite National Park, California 2007 Sierra Nevada Foothills, California 2005
EF 50mm 2.5 Macro EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L
1/2 sec at f / 14 3.2 sec at f / 9.0 1/2 sec at f / 6.3 1/80 sec at f / 7.1
ISO 100 ISO 100 ISO 100 ISO 100
Two Oaks in Snow, Bamboo, Yellow Forest #3, Salsify Seeds Detail
Sierra Nevada Foothills, California 2008 Bronx Zoo, New York 2006 Watchtung Reservation, New Jersey 2006 2006
Canon EOS-1Ds Mark III Canon EOS-1Ds Mark II Canon EOS-1Ds Mark II Canon EOS-1Ds Mark II
EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 50mm 2.5 Macro
1/3 sec at f / 27 1.3 sec at f / 3.5 1/5 sec at f / 4.5 1/15 sec at f / 2.8
ISO 100 ISO 100 ISO 100 ISO 100
Yellow Forest, Watchtung Reservation, Two Pines, Tenaya Lake, Yellow Forest #4, Iris,
New Jersey 2006 Yosemite National Park, California 2007 Watchtung Reservation, New Jersey 2006 2007
EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 50mm 2.5 Macro
2.0 sec at f / 10 1/2 sec at f / 18 1/2 sec at f / 8 1/15 sec at f / 2.5
ISO 100 ISO 100 ISO 100 ISO 100
94 95
Red Rose, Sunflowers, Daisy, White Orchid,
2005 2007 Carmel, California 2006 2006
EF 50mm 2.5 Macro EF 28-135mm 3.5-5.6 IS EF 70.0-200.0 mm 2.8L EF 50mm 2.5 Macro
5.0 sec at f / 4.0 1/3 sec at f / 11 1.6 sec at f / 32 1.3 sec at f / 32
ISO 100 ISO 100 ISO 100 ISO 100
Blowing Poppy, Reeds, Fern, Iris Impression #4,

California 2006 Bronx Zoo, New York 2006 Carmel, California 2006 2008
EF 50mm 2.5 Macro EF 70.0-200.0 mm 2.8L, Extender EF 2x EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L
1/2 sec at f / 8.0 1/2 sec at f / 5.6 1.6 sec at f / 25 0.7 sec at f / 16
ISO 100 ISO 100 ISO 100 ISO 100
Poppy, Plum blossoms, Grasses. Iris Impression #3,

California 2006 2007 Mono Lake, California 2006 2008
EF 50mm 2.5 Macro EF 50mm 2.5 Macro EF 70.0-200.0 mm 2.8L EF 50mm 2.5 Macro
1/2 sec at f / 8.0 1/5 sec at f / 5.6 2.5 sec at f / 29 1/8 sec at f / 11
ISO 100 ISO 100 ISO 100 ISO 100
Iris Impression #2, Two Succulents, Dogwood Glowing, Table Mountain,

2007 2007 Yosemite National Park, California 2007 California 2006
EF 50mm 2.5 Macro EF 28-135mm 3.5-5.6 IS EF 70.0-200.0 mm 2.8L, Extender EF 2x EF 70.0-200.0 mm 2.8L
1/4 sec at f / 3.5 0.6 sec at f / 5.6 1/5 sec at f / 5.6 1.6 sec at f / 22
ISO 100 ISO 100 ISO 100 ISO 100
Iris Impression #1, Daisies, White Orchid #2, Sunrise on Mud Hills,
2006 Carmel, California 2006 2006 Death Valley NP, California 2007
EF 50mm 2.5 Macro EF 28-135mm 3.5-5.6 IS EF 50mm 2.5 Macro EF 70.0-200.0 mm 2.8L
1.3 sec at f / 8.0 1.6 sec at f / 22 0.8 sec at f / 16 0.8 sec at f / 32
ISO 100 ISO 100 ISO 100 ISO 100
96 97
Sunrise over the Amargosa Range, Artist’s Palette #1, Vernal Pool, Silver Surf,
Death Valley NP, California 2007 Death Valley NP, California 2006 Sierra Nevada Foothills, California 2006 Carmel Bay, California 2008
EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L
1.0 sec at f / 25 1/13 sec at f / 32 2.0 sec at f / 20 1/2 sec at f / 22
ISO 200 ISO 100 ISO 100 ISO 100
Badwater Sunrise, Half Dome, Waves, Pfeiffer Beach, Sunset, San Simeon Creek,
Death Valley NP, California 2006 Yosemite National Park, California 2007 Pfeiffer Big Sur State Park, California 2007 San Simeon State Park, California 2006
EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 300mm f/4L EF 28-135mm 3.5-5.6 IS
1/6 sec at f / 14 2.0 sec at f / 25 1/250 sec at f / 8.0 4.0 sec at f / 6.3
ISO 100 ISO 100 ISO 100 ISO 100
Salt Flats, The Clark Range, Light on the sea, Sunrise,

Death Valley NP, California 2006 Yosemite National Park, California 2007 Big Sur, California 2006 Mono Lake, California 2006
EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 28-135mm 3.5-5.6 IS EF 70.0-200.0 mm 2.8L, Extender EF 2x
1/10 sec at f / 32 1/6 sec at f / 6.3 1/3 sec at f / 25 1/5 sec at f / 5.6
ISO 100 ISO 100 ISO 100 ISO 100
Sand Dunes, Foothills, sunset, Sunset,

Death Valley NP, California 2006 Table Mountain, California 2007 Carmel Bay, California 2006 La Jolla, California 2006
EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 28-135mm 3.5-5.6 IS EF 70.0-200.0 mm 2.8L
1/6 sec at f / 32 1/3 sec at f / 22 0.6 sec at f / 22 1/15 sec at f / 4.5
ISO 100 ISO 100 ISO 100 ISO 100
Mud Hills, Owens Valley and White Mountains, Surf, Sunset Waves,
Death Valley NP, California 2007 California 2006 Pfeiffer Beach, Big Sur, California 2007 La Jolla, California 2006
EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L EF 70.0-200.0 mm 2.8L, Extender EF 2x EF 70.0-200.0 mm 2.8L
1/8 sec at f / 7.1 1/4 sec at f / 13 1/4 sec at f / 32 1/3 sec at f / 2.8
ISO 100 ISO 100 ISO 100 ISO 100
98 99
Arch and surf, Pfeiffer Beach, Reflections,
Pfeiffer Big Sur State Park, California 2006 Manzanita Lake, California 2008
Canon EOS-1Ds Mark II Canon EOS-1Ds Mark III
EF 28-135mm 3.5-5.6 IS TS-E 90mm 2.8L
5.0 sec at f / 18 1/3 sec at f / 11
ISO 200 ISO 250
Sunset, Forest Ripples,

Pfeiffer Beach, Big Sur, California 2007 Manzanita Lake, California 2008
Canon EOS-1Ds Mark II Canon EOS-1Ds Mark III
EF 300mm f/4L TS-E 90mm 2.8L
1/40 sec at f / 32 1/10 sec at f / 6.7
ISO 100 ISO 250
Sunset Surf, Ripples,

La Jolla, California 2006 Manzanita Lake, California 2007
Canon EOS-1Ds Mark II Canon EOS-1Ds Mark II
EF 70.0-200.0 mm 2.8L TS-E 90mm 2.8L
1/5 sec at f / 16 1/2 sec at f / 29
ISO 100 ISO 400
Dawn, Forest reflections,

Mono Lake, California 2006 Manzanita Lake, California 2007
Canon EOS-1Ds Mark II Canon EOS-1Ds Mark II
EF 70.0-200.0 mm 2.8L TS-E 90mm 2.8L
20.0 sec at f / 16 1/2 sec at f / 29
ISO 100 ISO 400
Surf,
La Jolla, California 2006
Canon EOS-1Ds Mark II
EF 70.0-200.0 mm 2.8L,
1/10 sec at f / 18
ISO 100
100

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Two Pines,

For me, these images deflect the mind’s tendency

To view Mr. Neill’s latest images, please visit his blog at

Produced by William Neill Photography

Essay by William Neill 8

Yellow Forest #2,

Iris Impression #2,

White Orchid #2,

The Clark Range,

Carp, Giant Sequoias, Willow in snowstorm, Twilight Forest,

Waterfall, Forest Fog, Winter Forest, Lupine,

Blowing Poppy, Reeds, Fern, Iris Impression #4,

Poppy, Plum blossoms, Grasses. Iris Impression #3,

Iris Impression #2, Two Succulents, Dogwood Glowing, Table Mountain,

Salt Flats, The Clark Range, Light on the sea, Sunrise,

Sand Dunes, Foothills, sunset, Sunset,

Sunset, Forest Ripples,

Sunset Surf, Ripples,

Dawn, Forest reflections,

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