Archive for the ‘The Ansel Adams Gallery’ Category

Protecting Place

Sunday, July 14th, 2019


Eroded Navajo sandstone slot canyon, Antelope Canyon Tribal Park, Arizona 2002
Wista 4×5 Metal Field Camera

NOTE: The original version of this essay was written and published in Outdoor Photographer Magazine in 2002 after a recent visit.

I first visited Antelope Canyon in 1982, when only a very few photographers had discovered the remarkably-carved sandstone slot canyon. I happened to have seen some of the first published photos of slot canyons ever published, which intrigued me greatly. Some years later, and without planning to seek them out, I saw photographs in a nearby visitor center, I asked for directions and was drawn a simple map. I parked my car along the highway as directed. No signs or markers were to be found. Hoping that I was heading in the right direction, I shouldered my heavy pack and hiked up the wash. I had no clear idea of how far the slot was or how I would get into it when I got there. After a few miles, I could see the sides narrow down to a sandstone cliff with a slot in it. I entered this unknown space with a sense of mystery and discovery.

I spent hours within the sculpted walls, completely in awe, and completely alone. Well, except for a raven cawing eerily from somewhere above my head. The few images I had previously seen did not prepare me for what I saw and felt. Here was the Sistine Chapel of natural sculpture. The profound art of Creation.

At the end of that extraordinary day in Antelope, I heard a truck driving up the sandy wash. I was a bit worried. I didn’t know if I belonged there. The people from the truck seemed surprised to see me, with my 4×5 camera, recording the slot canyon. Worried and protective, they asked me what I planned to do with my images. I told them I would label my photographs vaguely if they were published, in hopes of protecting the canyon from becoming well known. In a fine bit of irony, these were the folks who had led me to the site with their published photographs!
NOTE: A new book “Searching for Tao Canyon” chronicles their explorations starting in the early 1970s.
Searching for Tao Canyon By: Pat MorrowJeremy SchmidtArt Twomey

I returned home with a few decent images, two of which are included here. Some were published, some I printed for display in galleries or were shown to workshop students, but I never labeled the location specifically, only “Slot Canyon, Arizona” or something. I was often pressed for more specific directions, and I gave as few hints as possible. I was torn between the desire to share such a treasure, and the same territorial feelings felt by those early photographic explorers of Antelope. At the same time, other photographers were discovering, and publishing images of the slot canyons. The secret was getting out.

We must all think carefully about the impact of our images.  Does publishing our work outweigh the possible impact the exposure might bring?  Can we depend on resource managers to protect delicate or overused landscapes?  Is nurturing the love of nature’s treasures through our photographs more critical, and worth the risk? These are important questions, for which I have no definitive answers.

Just the other day, I received my copy of a travel magazine that reaches several million readers.  On the cover was a beautiful image of a very sensitive area, which had already been a subject of vandalism, with its location clearly defined.  I cringed and could only pray more damage would not result from the added attention.  In spite of this quandary, I am hopeful that when images are published of delicate places, others that follow will tread lightly and become involved in its protection.

NOTE: Here are two nature photography organizations involved in protecting nature and encouraging safe and ethical standards for nature photographers.
Nature First https://www.naturefirstphotography.org/
North American Nature Photography Association http://www.nanpa.org/

 


Side Canyon, Arizona 1982
Wista 4×5 Metal Field Camera


Slot Canyon, Arizona 1982
Wista 4×5 Metal Field Camera

Springtime in Paradise

Sunday, May 12th, 2019

During the last few weeks, I’ve visited Yosemite Valley several times and I’d like to share my new images with you. Having lived in or nearby the Valley for forty years, it would be all too easy to become jaded or bored photographing the small area for so long. Over the course of a year, I really don’t visit that often. However, whenever I go I find something amazing and wonderous to see, and sometimes photograph. When sharing this beauty with my students, I reengage with and refresh my long love affair with this sanctuary, this paradise.

I hope you enjoy this collection, and that you’ve had a chance to engage with springtime in your areas. Please let me know your favs and add your comments below!

Kind regards, Bill

PS To learn more about my Yosemite Private Workshops, click HERE.


Horsetail Fall, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/1600 second at f/18, ISO 400

 


Dogwood and Merced River, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/6 second at f/18, ISO 100

 


Waterfall, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/2 second at f/20, ISO 100

 


Horsetail Fall, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/1000 second at f/18, ISO 100

 


Horsetail Fall, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/800 second at f/18, ISO 100

 


Moon over Glacier Point, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/25 second at f/5.6, ISO 400

 


Dogwood along the Merced River, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/3 second at f/16, ISO 100

 


Spring sunrise over Yosemite Valley, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/40 second at f/11, ISO 100

 


Spring Elm, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 16-35mm F2.8 GM,
1/20 second at f/14, ISO 100

 


Upper Yosemite Fall, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/1600 second at f/5.6, ISO 200

 


Waterfall and Mist, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/1600 second at f/7.1, ISO 200

 


Dogwood over the Merced River, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/6 second at f/22, ISO 100

 


Rock and Waterfall, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/2 second at f/32, ISO 100

 


Spring dogwood, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/2 second at f/18, ISO 100

 


Spring dogwood and Merced River, Yosemite National Park, California 2019
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/2 second at f/25, ISO 100

 

Come join me for a private workshop session in Yosemite!

Wednesday, March 20th, 2019

Autumn Elm and Sunbeams, Cook’s Meadow, Yosemite National Park, California 2014

 

Rock and Water, Cascade Falls, Yosemite National Park, California 2011 / Canon EOS-1Ds Mark III__EF70-200mm f/2.8L USM__1/2 sec at f / 27__ISO 320

Rock and Water, Cascade Falls, Yosemite National Park, California 2011

I have been running my Yosemite Private Workshops for ten years now. Although I taught group workshops around the world starting in the early 1980s, I have greatly enjoyed the one-on-one sessions and personal connections I’ve had while showing my approach to landscape photography in my beloved Yosemite Valley.

The best times to come photograph YV are the last two weeks of April and the first two weeks of May, or the end of October or the first two weeks of November.

Here are a few endorsements from past students:

Bill Henderson:      My William Neill workshop experience was exceptional! The most significant outcome was the change in perspective. Bill finds images everywhere, his ability to see photographically is something you can’t learn from reading, it’s a gift from many years of hard work and study. This is what I found so interesting and helpful.

Now I didn’t walk away with his skill, but I learned something significant that has stayed with me. I still find that workshop useful today.”

Rick Hardt:      “I have always been drawn to Bill’s work, because I think he leads the pack in the arena of “Less is More”.  His images define the idea of “Clean and Simple”.  Through that perspective, he communicates powerful feeling that I don’t often see in other areas.

He is extremely present and open during the process.  What I felt from him was kindness and patience.  I never felt judged for my lack of experience or ability.   Seeing through his eyes for subject matter and lighting really opened my eyes to things that I’d completely missed before.

In the end, I walked away with a pocket full of images that I cherish to this day, AND a much better understanding of how to get more on my own.

Lastly and most importantly, the conversations that we had during those times, often come to mind when I’m in the field looking for new images. 

I continue to get benefit from a class that I took some time ago.  Amazing.

 

Bob Cole:    “I greatly appreciated the personal attention Bill provided in our two-student, two-day Private Workshop. The limit to one or two students is a significant advantage. There were many other photography workshops happening in Yosemite Valley at the same time, with van loads of students for one or two instructors. Bill’s Private Workshops are simply superior in the personal attention he provides.

                The Private Workshop provided a great opportunity to explore Yosemite beyond the obvious icons. Bill provides a wealth of information about the Yosemite environment and history. Understanding the place is important to helping one see the what is really there beyond the often photographed icons. This leads to more photographic possibilities. Bill helps the student “see” nature in new ways that translate into stronger, more creative photographs.

                I created better images during the two-day Private Workshop, and that improvement continued after it was over. When I consider the many ways photographers spend their resources on cameras, lenses, other gear, software, and travel, I can think of no more effective way to improve one’s photography than the William Neill Private Workshop.

 

Antoinette Addison:      “I have done a couple of private workshops with Bill in Yosemite. It was incredible. First, his knowledge of the Yosemite area allowed him to put us in the right place at the right time throughout the day.  We moved through the valley with the light, not just to the well-known photo spots, but all over the place. I thought I knew the area quite well, but I discovered many new, hidden spots. We would find ourselves at the perfect spot over and over throughout the day. It was incredible. 
         We took different kinds of photos in different areas, from classic landscape shots to black ice photos, close-ups, impressions. It was magical. Bill helped me make subtle technical and positioning adjustments that made a big difference and brought my photography to a new level.
        The portfolio review was also useful, educational, and inspirational. I could not recommend these workshops more strongly.
Brad Rank:     “My personal workshop with William was a surprise birthday gift from my Wife.  At the time I was just starting with a DSLR, only a short time from upgrading from simply using an iPhone for my photography.   I learned from the internet, and there is so much advice as to equipment, settings, composition, etc.  It was overwhelming and I was concerned about having the “right” thing and being such a novice working with such a professional as William.    We started our day shooting at Tunnel View and he says to me to change my camera settings for “bracketing”, and I pulled out my manual.  I think he knew then what he was in store for in the day as there was no hiding my lack of experience, and I was bracing for his response.   In that moment, he had the ability to negatively or positively impact my relationship to photography.  He could have said I had the wrong equipment or that I’m unprepared, or many many things, but he choose patience,  he choose kindness, he taught.  As I got to know him better through the day, I realized that this wasn’t a choice, it’s just who he is; a great photographer, but also a great teacher.  I learned so much about photography that day and my confidence rose dramatically to not worry about the rules and the prescribed “noise” of what should be done.  However, the most impressive thing I learned was about the man, his vision, relationship to the natural world around him, and his joy to pay it forward from his experiences as well.  Whether a beginner or a professional you will learn something.

 

See this link to see details, instructional content options discounts for small groups or multiple day sessions:

Private Yosemite Sessions

Instructional Content Options

William teaches simple ways to capture quality images in order to focus more on your expressive vision. These methods are what he uses for his own photography. Potential topics to be covered include:

Improve your Creative Vision

Learn to see deeply, to convey your emotional connection with the subject

Exposure Techniques
Using Histograms, HDR, Long Exposures

Composition
How to create clean, well-balanced designs without distractions

Planning Your Photographic Sessions
When to photograph and where, weather and seasonal considerations

Photo Critiques of New and Previous Images
Learn about your strengths and areas for improvement in your prints and downloaded digital files from field sessions.

Digital Camera Workflow
Basic and Advanced Techniques in Adobe Lightroom and Photoshop

Photograph with William in Yosemite
Guidance while you photograph with in-field suggestions
Explore alternate perceptions and locations

Watch and ask questions as he selects and photographs Yosemite subjects.

Techniques in Impressionistic Photography
Learn how to create “light paintings” with intentional camera movement. William will demonstrate how he creates his Impressions of Light” photographs, and guide you with your efforts in the field.

 

My Favorite Photographs of 2018

Monday, December 31st, 2018

NOTE: Five new images have been added at the bottom of this post after the initial upload. The Impressions of Light images were taken during the last light of 2018.

Greetings from the Sierra Nevada. It is that time of year again when we all look back at the events of last year and look forward to the year ahead. Many photographers have developed the good habit of editing a collection of their favorite images for the year. The process of self-assessment is a vital part of artistic growth. In the day-to-day rush of life, we don’t often stop to see trends in our own image-making. By turning back the clock, we can see if we’re stuck in a rut or are hopefully making great progress.

I have included capture details and presented the images in chronological order. I hope you will visit my blog and add your comments or favorites at the bottom of the page.

May 2019 brings you joy, peace, and exciting photographic opportunities.

Cheers to a happy and healthy New Year!   Bill

Best of 2014
Best of 2015

Best of 2016

Best of 2017

 


Stones, Ahwahnee, California 2018
Sony ILCE-7RM2, 90mm F2.8,
1/3 second at f/13, ISO 80

 


Mule’s Ears Leaves, Ahwahnee, California 2018
Sony ILCE-7RM2, 90mm F2.8,
1/2 second at f/16, ISO 100

 


Ice Patterns, Ahwahnee, California 2018
Sony ILCE-7RM2, 90mm F2.8,
1/6 second at f/13, ISO 100

 


Oak Branches, Ahwahnee, California 2018
Sony ILCE-7RM2, 16-35mm F2.8 G SSM II,
1/4 second at f/16, ISO 400

 


Pine Branches, Ahwahnee, California 2018
Sony ILCE-7RM2, 70-200mm F2.8 G SSM,
1.60 second at f/25, ISO 100

 


Pine Branches and Cones, Ahwahnee, California 2018
Sony ILCE-7RM2, 70-200mm F2.8 G SSM,
1.60 second at f/25, ISO 100

 


Pear tree in bloom, Fresno, California 2018
Sony ILCE-7RM2, 16-35mm F2.8 G SSM II,
1/100 second at f/13, ISO 640

 


Purple Plum Blossoms #2, 2018
Sony ILCE-7RM2, 90mm F2.8,
1/1 second at f/22, ISO 100

 


Oaks and Fog, Ahwahnee, California
SonyILCE-7RM2, 70-200mm F2.8 G SSM,
1/2 second at f/32, ISO 100

 


Pine and Sunbeams, Ahwahnee, Calfornia 2018
Sony ILCE-7RM2, 70-200mm F2.8 G SSM,
1/1600 second at f/22, ISO 100

 


Plum Blossoms #5
Sony ILCE-7RM2, 70-200mm F2.8 G SSM,
1/40 second at f/20, ISO 400

 


Orchid
Sony ILCE-7RM2, 90mm F2.8,
1.60 second at f/22, ISO 100

 


Day Lily
Sony ILCE-7RM2, 90mm F2.8,
1.30 second at f/25, ISO 100

 


Spring Oak, Ahwahnee, California 2018
Sony ILCE-7RM2, EF16-35mm f/2.8L II USM,
1/200 second at f/16, ISO 800

 


Sunrise over Yosemite Valley, Yosemite National Park, California 2018
Sony ILCE-7RM2, EF70-200/2.8L USM,
1/125 second at f/16, ISO 100

 


Ponderosa Pine and Incense Cedar trees, Yosemite National Park, California 2018
Sony ILCE-7RM2, EF70-200/2.8L USM,
1 second at f/16, ISO 100

 


Sunrise over Yosemite Valley, Yosemite National Park, California 2018
Sony ILCE-7RM2, EF16-35mm f/2.8L II USM,
1/160 second at f/16, ISO 100

 


Upper Yosemite Fall, Yosemite National Park, California 2018
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/1000 second at f/5.6, ISO 800

 


Cascade Falls, Yosemite National Park, California 2018
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/8 second at f/40, ISO 100

 


Salsify, Ahwahnee, California 2018
Sony ILCE-7RM2, #10 50/2.4,
1/750 second at f/2.4, ISO 1000

 


Peacock Feather, Ahwahnee, California 2018
Sony ILCE-7RM2, #127 90/2.8,
1/2 second at f/29, ISO 100

 


Mushrooms, Ahwahnee, California 2018
Sony ILCE-7RM2, #127 90/2.8,
1/2 second at f/20, ISO 100

 


Mushroom, Ahwahnee, California 2018
Sony ILCE-7RM2, #10 50/2.4,
1/1 second at f/16, ISO 100

 


Stone, 2018
Sony ILCE-7RM2, #10 50/2.4,
1/8 second at f/32, ISO 100

 


Ammonite Fossil, 2018
Sony ILCE-7RM2, #127 90/2.8,
1/5 second at f/22, ISO 100

 


Salt Crystals 2018
Sony ILCE-7RM2, #127 90/2.8,
1/3 second at f/18, ISO 100

 


Succulent, Ahwahnee, California 2018
Sony ILCE-7RM2, #127 90/2.8,
13 second at f/25, ISO 100

 


Merced River Reflections, autumn, Yosemite National Park, California 2018
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
3.20 second at f/29, ISO 100

 


Ripples, Merced River, Yosemite National Park, California 2018
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/80 second at f/16, ISO 800

 


Backlit Elm Branches, autumn, Yosemite National Park, California 2018
Sony ILCE-7RM2, EF24-105/4L IS USM,
1/10 second at f/22, ISO 400

 


Blackberry Leaves, Ahwahnee, California 2018
Sony ILCE-7RM2, #127 90/2.8,
1/2 second at f/13, ISO 100

 


Grasses and Ice, Merced River, Yosemite National Park, California 2018
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/6 second at f/32, ISO 100

 


Dogwood and Forest, autumn, Yosemite National Park, California 2018
SonyILCE-7RM2, EF24-105/4L IS USM,
1/6 second at f/16, ISO 400

 


California Quail feathers, Ahwahnee, California 2018
Sony ILCE-7RM2, #10 50/2.4,
1/1 second at f/16, ISO 100

 


Bougainvillea petals, La Quinta, California 2018
Sony ILCE-7RM2, #127 90/2.8,
1/125 second at f/16, ISO 800

 

Thank you for viewing my photographs. I hope you will leave your comments below.

Happy New Year!

 

Here are a few images I’d like to add to the list. The first BW was simply missed during the upload. The impressionistic images were taken after I uploaded, taken during the last light of 2018!


Cathedral Spire and Mists, Yosemite National Park, California 2018
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/6000 second at f/5.6, ISO 500

 


Grasslands at sunset, Madera County, California 2018
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
1/1 second at f/11, ISO 100

 


Grasslands and sunset, Madera County, California 2018
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
3.20 second at f/5.6, ISO 100


Grasslands at twilight, Madera County, California 2018
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
2.50 second at f/16, ISO 100


Grasslands and hills at twilight, Madera County, California 2018
Sony ILCE-7RM2, FE 100-400mm F4.5-5.6 GM OSS,
2 second at f/5.6, ISO 100

Focus Your Fall Portfolio

Tuesday, October 2nd, 2018
Working with a theme can help you create a unique collection of images

 

 

Autumn Elm and Sunbeams, Cook’s Meadow, Yosemite National Park, California, 2014.

With autumn photography season here, I want to share some ideas that may help you develop an excellent portfolio for this fall season. I have found it useful, for myself and for teaching my students, to think about creating a story line, or clear thematic focus, for your work. Consider what specific locations or aspects of autumn inspire you the most. The location could be your backyard, a nearby park or reserve, or a travel location where you can spend at least a few days to explore the area fully. A favorite aspect might include colorful reflections, or the patterns of fallen leaves, or a series focused on branch-filled tapestries of color. This approach of specialization will help distinguish your autumn images from other photographers’ work.

Two key elements needed for your selection of an autumn theme are passion for the subject and easy access during the season. Passion is a must-have ingredient for creative, insightful imagery. Repeated access to your location will build your knowledge of the light, weather and seasonal changes, helping you find the best conditions for making great photographs. One idea would be to photograph the transition of autumn in your area, from the first hints of color in green trees to the last clinging leaves. This transition offers us great opportunities to communicate that visceral sense that we all feel of time moving forward.With autumn photography approaching soon, I want to share some ideas that may help you develop an excellent portfolio for this fall season. I have found it useful, for myself and for teaching my students, to think about creating a story line, or clear thematic focus, for your work. Consider what specific locations or aspects of autumn inspire you the most. The location could be your backyard, a nearby park or reserve, or a travel location where you can spend at least a few days to explore the area fully. A favorite aspect might include colorful reflections, or the patterns of fallen leaves, or a series focused on branch-filled tapestries of color. This approach of specialization will help distinguish your autumn images from other photographers’ work.

Instead of trophy hunting for singular, spectacular scenic images, I like to explore around for quiet images, ones that don’t shout too loud. In Yosemite, for example, I often find exciting details on the forest floor, in river reflections or cliff details. I have included some examples here from last fall in Yosemite Valley. Over a two-week period in late October and early November, I worked with private students in Yosemite Valley. I enjoy the one-to-one process of helping photographers find their own vision, and share mine with them. Even though I usually focus on intimate details, that doesn’t mean I will avoid those epic, rare events where weather and/or light explode with drama and energy.

On one such dramatic morning, an amazing confluence of peak autumn color and morning mist, rising off a frosted meadow, unfolded before me and my student. We started out photographing from one excellent vantage point, then raced to where the sun was directly behind this extraordinary tree where we witnessed sunbeams bursting through the graceful branches. Knowing that the mist would burn off soon, we worked rapidly to find the best camera position for him to block the rising sun with the tree’s limbs. Even though the lens was shaded from direct sun, the high contrast and rapidly changing situation called for bracketing exposures to ensure a full range of data was captured. The end result, for both of us, were top portfolio “keepers!” The images portray the symbolism of “a new day” and “light shining through the darkness.”

Just as exciting to me were several quiet Yosemite images I photographed last fall. Quiet intensity in an image can endure and engage the viewer for longer in my opinion. With subtle imagery comes a depth that can be enjoyed more over time.


Yellow Maples, Cedar and Pine, Yosemite Valley.

When I pull together a group of photographs such as from last autumn, I edit by looking for the highest and most consistent quality, as well as looking for a balance of scale, light, weather and subject matter. I might use a wide-angle view or two to set the context of the portfolio in Yosemite Valley. However, my intimate landscapes would be my main focus, such as the river and trees reflections, or leaves floating through autumn-colored river reflections. When you see the selected images as a group such as in an exhibit or online gallery, they should create a visual story, a personal exploration, a creative viewpoint.

This fall, think about what thematic project you could develop. Selecting a title, even if you change it later, can give you additional focus for both your shooting sessions and editing. Think about what you want to say with your images. Your unique viewpoint will be better revealed, and the concept behind the photographs will heighten the portfolio’s impact.

Best wishes for great light, wondrous color and creative autumn photographs!

Autumn Portfolio

 

 

Autumn Snowstorm, Yosemite National Park, California 2015