Archive for the ‘Fine Art Photographs’ Category

The Fine Art of Nature for the Holidays

Sunday, November 26th, 2017

Greeting from Yosemite! It is that time of year when we start shopping for holiday gifts. I’ve provided you with a list of options that feature my photography. I hope that the holiday season is a happy and healthy one for you.

Happy Holidays,  Bill

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On the Williams Sonoma online store, my photograph “California Nautilus Shell” is available. At the moment, the price of this large archival photograph is seriously discounted.

Exclusively From Williams Sonoma:
CLICK TO PURCHASE

  • 50.25″L x 1″W x 28.75″H, overall.
  • Giclée print signed by the photographer.
  • Set behind Plexiglas and double-thick beveled mats.
  • Wood frame has a painted, high-gloss finish.
  • Ready to hang with D-rings at the back.

_________________________________________________

On the Artful Home, my print “Agave” is available. For details, CLICK HERE. The photograph is handprinted by me here in my studio.

Image Dimensions:  16″H, 20″W
Overall Dimensions:  22″H, 24″W

 

________________________________________________________

 

Original photographs are the highest representation of my art. For pricing information, please contact one of the galleries listed on my Gallery Representation page. Each gallery’s link below features a variety of prints from large format color landscapes to my Impressions of Light series.

The Ansel Adams Gallery
800-568-7398
E-mail: evan@anseladams.com

Susan Spiritus Gallery
714-754-1286
E-mail: susan@susanspiritusgallery.com

The Weston Gallery
831-624-4453
E-mail: info@westongallery.com

The Focus Gallery
781-383-0663
E-mail: vallinophoto@comcast.net

Paragone Gallery
Francie Kelley
310-659-0607
Email: mail@paragonegallery.com

Featured Portfolio and Interview in LensWork

Thursday, November 16th, 2017

William Neill presents photographs that go far beyond mere “pretty pictures.” His work reminds us of our deep connection with the planet, inspires us to seek the beauty of nature for ourselves, and encourages us to see with greater intimacy the beauty that surrounds us wherever nature flourishes.    -Brooks Jensen, Lenswork Magazine

I am honored to be featured in LensWork’s November/December issue. The portfolio, entitled Sanctuary in Stone-Yosemite Winter, contains twenty photographs ranging from 4×5 exposures made in the early 1980s or digital captures made this year.

There are three versions of LensWork are available for purchase -the printed version, the tablet version and the computer version: http://shop.lenswork.com/LensWork-133-Tablet-Edition-33-mb_…

If you are not familiar with Brooks Jensen’s podcast, I highly recommend it: http://apple.co/2zz6i3V

BOOK UPDATE: For those of you that purchased my retrospective book, you may be wondering where it is! Well, the latest news is that, due to an unforeseen issue, the book should be shipping to you in early December. Thanks so much for your purchase, and for your patience. I am certain that the long wait will be worth it.

In parting, I’d like to share with you an endorsement for my book by my friend Dewitt Jones. I am honored and humbled by his kind words:

William Neill is one of the great landscape photographers of the last hundred years. His images – stunning, haunting, breathtaking, poetic – speak for themselves. There are no words necessary, just admiration. Through, in his own words, “observation and immersion” he has seen and recorded the beauty of the planet. But, more than that, he had captured its spirit. Again and again he shows us “the thread which holds all things together”. This book is an instant classic; truly one for the ages.   – Dewitt Jones

Below are a few sample photographs in the portfolio.  Enjoy!

My First Essay for Outdoor Photographer in 1997

Sunday, April 2nd, 2017

 

Dawn, Lake Louise, Banff National Park, Canada 1995

 

NOTE: This article is reposted from the original essay in 2012…

Today, I had a request from my long-time friend and master photographer Michael Frye to post the essay in which I tell the story of making my favorite image, Dawn, Lake Louise, Banff National Park, Canada 1995. Here it is as sent to Outdoor Photographer for first my On Landscape column in 1997.  For more of my essays, see the OP site here.  Michael is mentioning this story is his upcoming blog post:   In the Moment: A Landscape Photography Blog

 

Landscapes for my Spirit
© 1997 William Neill

 

Welcome to Outdoor Photographer’s new column on landscape photography!  I look forward to sharing my thoughts with you on all aspects of the landscape genre.  I have been an avid reader of OP since its beginning and I hope that I can contribute to all the exciting ideas and images that are regularly offered here.

The best way that I can think of to launch this column is to put forth the underlying motivation and inspiration for my photography. Any future discussions on light, or composition, or equipment, or technique will be based on this foundation.  I am not one for learning an approach to creating images unless that route allows for a direct connection with the subject and helps me to communicate my own response to it.  In other words, I keep my approach very simple and pragmatic.  We, photographers as a group, tend to let the technique of photography get in the way.  Ansel Adams often complained of the overabundance of sharp photos with fuzzy concepts!

The beauty of nature is the foundation of which I speak; it motivates and inspires my photography.  When I stand before landscapes of silent rock, reflecting water, and parting cloud, I feel most connected to myself and to life itself.  Seeing and feeling this beauty is more vital to me than any resulting imagery.  Still, I am compelled to try to put on film some visual representation of the sense of wonder I feel, and I suspect that you know that feeling!

In my new book, Landscapes of the Spirit, I describe my evolution as a photographer, especially emphasizing my belief in the great value and need for the wildness and beauty of nature.  This belief emerged from personal experience— a death in my family when I was eighteen.  That summer I happened to be working in Glacier National Park.  My immersion in that landscape during a time of great personal distress opened my eyes to the restorative powers of nature, and led me to a life in photography.  At some deep level, the beauty of my surroundings seeped into my subconscious—the lush colors of a meadow dense with wildflowers, the energy of a lightning storm, the clarity of a mountain lake, the splendid perspective from the edge of a desert canyon.  In an effort to capture and convey these life-affirming discoveries, I began to photograph as I backpacked throughout Glacier.  Within a few years, all I wanted to do was make photographs!

Ansel Adams, in paraphrasing his mentor Alfred Stieglitz, used to remind his students that a great photograph was the emotional equivalent of the photographer’s response to his subject.  Such a lofty goal is rarely achieved.  We are all lucky if but two or three or four times a year we make an image where technique and emotion converge to create a transcendent photograph.  I don’t mean simply a technically excellent and beautiful image.  I mean a photograph that rises above your best and reveals a deeply personal and creative perspective.  In this regard, I am not so sure that pros can claim to have a better “batting average” than the amateur given their relatively different expectations of their work.  In any case, it is good to have reasonable expectations for your own progress.

Over the years, I have continued to search for imagery that, in the words of the great black and white photographer Paul Caponigro, can”… make visible the overtones of that dimension [of Nature] I sought. Dreamlike, these isolated images maintain a landscape of their own, produced through the agency of a place apart from myself. Mysteriously, and most often when I was not conscious of control, that magical and subtle force crept somehow into the image, offering back what I had sensed as well as what I saw.” I think that the photograph here, Dawn, Lake Louise, Banff National Park, Canada, 1995, is one of those photographs Caponigro describes.  Rising very early on a summer morning, I hoped for a dramatic and brilliant sunrise on Lake Louise and the glaciers above.  Perhaps it was the two weeks of photographing in rainy conditions that biased my hopes!  I waited patiently for sunrise, but my preconceived vision failed to appear as persistent clouds shrouded the mountains. It was a silent and mysterious dawn.  I simply sat and soaked in the scene.  Finally, I made two exposures, but expected little. I completely forgot about this session during the rest of my trip.  When I saw the film after returning, I was amazed.  I had to think hard about when and where I had made this photograph.  Unconsciously, but facilitated by my experience and instinct, the power and magic of that landscape, at that moment, had come through on film.

The Lake Louise photograph was made with my 4×5 view camera and a 150mm lens.  Due to the use of slow film, small aperture and low light, the exposure was about two minutes long.  Of the two exposures I made, one was horizontal, the other vertical.  The horizontal image looks much like the vertical, minus the rocks in the foreground.  I often like to remove clues and context that show depth or scale in my images, and the horizontal exposure fit my standard approach.  However, the vertical image has a stronger feeling of depth and somehow this subtle sense of scale adds an essential dimension to the composition.  Since the foreground rocks are underwater, and the long exposure also blurred their appearance, they add a little balance and mystery.

 

I had an idea of what I wanted to photograph at Lake Louise that morning, but when it did not materialize, I didn’t feel as if I had to make an image.  The landscape itself presented another idea.  When a concept for an image is forced onto film, creativity can be lost.  By not needing to make an image, I found one.  This lesson is encapsulated by my favorite quote from photographer Minor White,

Be still with yourself until the object of your attention affirms your presence.

So wait, watch and relax!    It is these magical convergences of light and land and camera that keep us coming back again and again!

Favorite Photographs of 2014

Tuesday, December 27th, 2016

NOTE: I am reposting my Favorite Photographs of 2014 due to a past crash of my blog site…

 

Happy New Year!  I finally put together my favorite photographs from 2014.  It is always helpful to take the occasional assessment of our own creative progress. You might be interested in reading an essay I wrote on the subject five years ago in my On Landscape column for Outdoor Photographer on this subject.  Since I started teaching private workshop sessions in Yosemite, I’ve been visiting Yosemite Valley much more often so you will see a batch of new Yosemite images taken this past year.

If you have been following my work this past year, you know that my big trip of the year was to Antarctica last January. Click here to read my Outdoor Photographer magazine On Landscape column, and recent Antarctic Dreams portfolio in OP and see below!

I have numbered each image, which will make it easier for you to let me know which ones are your favorites.  It will be fun and helpful for me to have your feedback.  I will value a list of favs, or general thoughts on what work you respond to the most.  After I assess your feedback, I will then make a final edit of 10-15 that are my top selects of the year.  My criteria for that final selection will be based on which images I feel best represents my personal vision and style rather than the most popular ones.  If you have your own post of top images for 2014, please add your link in your comments below.

I look forward to your comments and favorites for my 2014 portfolio.  Enjoy and please share with your friends!

I wish you a year full of the gifts of nature, peace and love,  Bill

PS  The photographs below are in chronological order.

Yosemite Private Workshops

 


Clouds and Shadows, Bransfield Strait, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM +2x III,
1/8000 second at f/9.5, ISO 800


Morning light, Gerlache Strait, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM +2x III,
1/1000 second at f/11, ISO 1600


Early morning light, Antarctic Peninsula, Antarctica
January 29, 2014 06:18:31
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM +2x III,
1/750 second at f/11, ISO 1600


Ancient crystal Iceberg, Cierva Cove, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF24-105mm f/4L IS USM,
1/750 second at f/16, ISO 1600


Blue Icebergs, Cierva Cove, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF24-105mm f/4L IS USM,
1/750 second at f/22, ISO 1600


Glowing Glacier, Cierva Cove, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF24-105mm f/4L IS USM,
1/8000 second at f/11, ISO 1600


Two Humpback Whales and Iceberg, Cierva Cove, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM,
1/1500 second at f/11, ISO 800


Two Icebergs, Cierva Cove, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM,
1/3000 second at f/11, ISO 800


Icebergs and Sunset, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM +2x III,
1/3000 second at f/5.6, ISO 800

Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM,
1/180 second at f/13, ISO 800


Iceberg at Dawn, Pleneau Bay, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM,
1/2000 second at f/2.8, ISO 400


Iceberg Towers at Dawn, Pleneau Bay, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM,
1/4000 second at f/2.8, ISO 400


Iceberg Arch, Pleneau Bay, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF24-105mm f/4L IS USM,
1/500 second at f/9.5, ISO 400


Crabeater seal resting on an iceberg, Pléneau Bay, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM,
1/350 second at f/9.5, ISO 400


Iceberg Sculpture, Pleneau Bay, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM,
1/125 second at f/19, ISO 800


Sunset, Pleneau Bay, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM,
1/1500 second at f/6.7, ISO 800


Rolling iceberg, Scontorp Cove in Paradise Bay, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF24-105mm f/4L IS USM,
1/250 second at f/19, ISO 400


Glaciers, Scontorp Cove in Paradise Bay, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM +1.4x III,
1/1500 second at f/19, ISO 800


Mountains and Glaciers at Scontorp Cove, Paradise Bay, Antarctic Peninsula, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM +1.4x III,
1/1500 second at f/16, ISO 800


Chinstrap Penguins entering surf, Baily Head on Deception Island, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM +2x III,
1/3000 second at f/8, ISO 800


Chinstrap Penguins, Baily Head on Deception Island, Antarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM,
1/1500 second at f/13, ISO 1250


Young Antarctic fur seal, Baily Head on Deception Island, Anarctica 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM,
1/250 second at f/9.5, ISO 1250


Roses II
Canon EOS-1Ds Mark III, EF50mm f/2.5 Compact Macro,
6 second at f/22, ISO 100


Waterfall on Lee Vining Creek, Inyo National Forest, California 2014
Canon EOS 5D Mark III, EF24-105mm f/4L IS USM,
1/3 second at f/19, ISO 100


Seastacks at Sunset, Rialto Beach, Olympic National Park. Washington 2014
Canon EOS 5D Mark III, EF24-105mm f/4L IS USM,
3 second at f/22, ISO 100


Ferns, Hoh Rain Forest, Olympic National Park, Washington 2014
Canon EOS 5D Mark III, EF16-35mm f/2.8L II USM,
15 second at f/19, ISO 100


Avalanche Lily, Olympic National Park, Washington 2014
iPhone 5, iPhone 5 back camera 4.12mm f/2.4,
1/200 second at f/2.4, ISO 50


Backlit Aspen, June Lake Loop, Inyo National Forest, California 2014
Canon EOS 5D Mark III, EF16-35mm f/2.8L II USM,
1/250 second at f/16, ISO 640


Autumn Reflections, Lundy Canyon, Inyo National Forest, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/15 second at f/32, ISO 400


Last Light, Conway Summit, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/15 second at f/19, ISO 200


Aspen Forest Impressions #3 , Lee Vining Canyon, Inyo National Forest, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
3 second at f/9.5, ISO 100


Aspen Leaves, Lee Vining Canyon, Inyo National Forest, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
3 second at f/32, ISO 200


Autumn Elm and Sunbeams, Cook’s Meadow, Yosemite National Park, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/180 second at f/22, ISO 200


Yellow Maples, Cedar and Pine, Yosemite Valley, Yosemite National Park, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1.50 second at f/16, ISO 640


Cottonwoods reflected, Merced River, Yosemite National Park, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/6 second at f/22, ISO 100


Maples Leaves and Merced River Reflections, Yosemite National Park, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM +2x,
1/1 second at f/45, ISO 400


Grasses and El Capitan reflected in the Merced River, Yosemite National Park, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/6 second at f/32, ISO 200


Grasses reflected, Merced River, Yosemite National Park, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/1000 second at f/2.8, ISO 800


Grasses and reflections in the Merced River, Yosemite National Park, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/350 second at f/2.8, ISO 200


Maple leaf and autumn reflections, Merced River, Yosemite National Park, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/60 second at f/4.5, ISO 320


Thimbleberry Leaves, autumn, Yosemite National Park, California 2014
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
2 second at f/32, ISO 400


River otters, American River, Sacramento, California 2014
Canon EOS 5D Mark III, EF100-400mm f/4.5-5.6L IS USM,
1/350 second at f/5.6, ISO 1250

Best Photographs of 2015

Friday, December 16th, 2016

It is that time of year again for Best of the Year photographs. Except that last year I did not post a Best of 2015. So here it is. Better late than never they say. I’ve included 40 photographs shown in chronological order, enough to give you a sense of the range of styles and subjects I explored.  No exotic adventurous travel in 2015 like my Antarctica trip in 2014.

In August, I made a switch in to the Sony A7R2 camera. I wrote an essay about the switch in my Outdoor Photographer Magazine column. Nothing revolutionary or new in my thoughts, just some excitement about the improved technology of the latest sensors.

I’d love to get your feedback in the Comments below.

NOTE:   I still am using my Canon lenses using the Metabones Canon EF Lens to Sony E-Mount Camera Lens Mount Mark IV Adapter. When I exported these images from Adobe Lightroom to my WordPress, the software reads the file data to show the wrong lenses, Sony instead of Canon.

 


Crystalline ice formation Yosemite Valley, Yosemite National Park, California 2015
Canon EOS 5D Mark III, TS-E90mm f/2.8,
3 second at f/16, ISO 100

 


Ice Crystals, Yosemite Valley, Yosemite National Park, California 2015
Canon EOS 5D Mark III, TS-E90mm f/2.8,
1/2 second at f/6.7, ISO 100

 


Crystal Ice and oak leaf, Yosemite Valley, Yosemite National Park, California 2015
Canon EOS 5D Mark III, TS-E90mm f/2.8,
1/1 second at f/16, ISO 100

 


Ice and Grasses, Yosemite Valley, Yosemite National Park, California 2015
Canon EOS 5D Mark III, TS-E90mm f/2.8,
1 second at f/19, ISO 100

 


Ice and Grass, Yosemite Valley, Yosemite National Park, California 2015
Canon EOS 5D Mark III, TS-E90mm f/2.8,
1.50 second at f/19, ISO 100

 


Cottonwood Impressions, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/6 second at f/32, ISO 100

 


Winter Forest, Pocono Mountains, Deleware State Forest, Pennsylvania 2015
Canon EOS 5D Mark III, EF24-105mm f/4L IS USM,
1/6 second at f/22, ISO 100

 


Dogwood Blossoms and Sky, Merced River, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/750 second at f/9.5, ISO 800

 


Dogwood Blossom, early spring, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/90 second at f/5.6, ISO 400

 


Dogwood blooming, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1.50 second at f/32, ISO 200

 


Dogwood Blossoms, Merced River, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1 second at f/27, ISO 200

 


Dogwood Blossom Tapestry, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/1 second at f/22, ISO 400

 


Dogwood Blossom Sunset, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1.50 second at f/32, ISO 800

 


Bridalveil Fall, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/2000 second at f/8, ISO 200

 


Lupine Impressions, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/1 second at f/8, ISO 200

 


El Capitan reflected in Merced River, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM +2x,
1/4 second at f/19, ISO 100

 


Bridalveil Fall and clouds, Yosemite National Park, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/1000 second at f/3.5, ISO 100

 


Half Dome and Clearing Spring Storm, Yosemite National Park, California 2013
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/350 second at f/19, ISO 200

 


Morro Bay Impressions, Morro Bay, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/1 second at f/13, ISO 100

 


Sunset , Morro Bay, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/1 second at f/27, ISO 100

 


Sunset and surf, Morro Bay, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/2 second at f/22, ISO 100

 


Gull, surf and fog, Morro Bay, California 2015
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM,
1/1 second at f/27, ISO 100

 


Ripples and reflection #2, La Mirada, California 2015
ILCE-7RM2, 90mm F2.8,
1/1000 second at f/2.8, ISO 100

 


Ripples and reflection, La Mirada, California 2015
ILCE-7RM2, 90mm F2.8,
1/1000 second at f/2.8, ISO 100

 


Ripples and reflection #3, La Mirada, California 2015
ILCE-7RM2, 90mm F2.8,
1/640 second at f/2.8, ISO 100

 


Japanese Sea Nettle (Chrysaora pacifica), Aquarium of the Pacific, Long Beach, California
ILCE-7RM2, 16-35mm F2.8 G SSM II,
1/250 second at f/8, ISO 3200

 


Japanese Sea Nettle (Chrysaora pacifica), Aquarium of the Pacific, Long Beach, California
ILCE-7RM2, 16-35mm F2.8 G SSM II,
1/200 second at f/8, ISO 3200

 


Pebbles 2015
ILCE-7RM2, 90mm F2.8,
1 second at f/16, ISO 100

 


Rocks and Surf, Big Sur, California
ILCE-7RM2, 70-200mm F2.8 G SSM,
30 second at f/14, ISO 400

 


Sunrise, Rocks and Surf, Monterey Bay, Pacific Grove, California
ILCE-7RM2, 70-200mm F2.8 G SSM,
8 second at f/22, ISO 100

 


Rocks and Surf, Pacific Grove, California
ILCE-7RM2, 70-200mm F2.8 G SSM,
30 second at f/29, ISO 100

 


Calla Lily Flowers 2015
PureShot for Apple iPhone 5, iPhone 5 back camera 4.12mm f/2.4,
1/20 second at f/2.4, ISO 50

 


Big-Leaf Maple fallen on windshield, Yosemite Valley, Yosemite National Park,
PureShot for iOS, iPhone 6s Plus back camera 4.15mm f/2.2,
1/30 second at f/2.2, ISO 160

 


Autumn Snowstorm, Yosemite National Park, California 2015
ILCE-7RM2, 70-200mm F2.8 G SSM,
1/8 second at f/16, ISO 400

 


Autumn Snowstorm, Yosemite National Park, California 2015
ILCE-7RM2, 70-200mm F2.8 G SSM,
1/10 second at f/13, ISO 400

 


Autumn Oaks and Snowstorm, Yosemite National Park, California 2015
ILCE-7RM2, 70-200mm F2.8 G SSM,
1/5 second at f/16, ISO 400

 


Fog and Pecan Grove, Clovis, California 2015
ILCE-7RM2, 70-200mm F2.8 G SSM,
1/2 second at f/25, ISO 200

 


Pecan Grove, Clovis, California 2015
ILCE-7RM2, 70-200mm F2.8 G SSM,
1/2 second at f/22, ISO 100

 


Pecan Grove and fog, Clovis, California 2015
ILCE-7RM2, 70-200mm F2.8 G SSM,
1.30 second at f/29, ISO 100

 


Forest, Padden Creek, Bellingham, Washington
ILCE-7RM2, 16-35mm F2.8 G SSM II,
3 second at f/16, ISO 125