Posts Tagged ‘Sierra Nevada Mountains’

Retrospective book now available to pre-order!

Friday, March 10th, 2017
This is the cover for the standard version, 20% during pre-order, available in the Fall.Standard Release Cover, available Fall 2017, pre-0rder 20% off now for only £40 (~$49US)

Greetings from the Sierra Nevada,

I am happy to share with you the pre-order information about my upcoming book. The collection will feature images, many never published before, from my very early years with a camera in the 1970s through four decades including very recent work created in the past year. Photographs included are: from my Antarctica series; an in-depth look at my “landscapes of the spirit” work; a Black and White portfolio; a series of patterns in nature imagery; a portfolio of my impressionistic, camera motion work; and last but not least, an extensive collection of Yosemite photographs.

The book’s release is scheduled for the Fall of 2017. Triplekite, the publisher, is now offering excellent upgrades to the standard hardcover version that are only available through them and only until publication in the fall. Don’t miss out on these very special and limited offers!

William Neill’s much-anticipated retrospective book is now available to pre-order. All books ordered before the general release in the Autumn will come with a limited edition cloth cover with foil embossing – this version of the book will only be available as a pre-order and will not be available once the book is on general release. We are also offering a limited edition slipcase version, plus special edition with one or two signed A3 (12×16 inches) prints. 
All slipcased, limited and special edition books will only be available as pre-orders.

For more information and to purchase, visit Triplekite’s website.

special edition william neill-retrospectivePre-Release edition: Cover: cloth cover, foil blocked, set-in image:
approx 300 Plates: TBC Size: 280mm x 280mm (11×11 inches)
Pre-order book with slipcase £57.50 ($70.00 USD)

 

William Neill – Photographer, a Retrospective

£49.50£195.00 £40.00£195.00

Released: Autumn 2017

ISBN: 978-0-957 6345-8-9

Release edition: Cover: Hardback cover printed directly with no dust jacket, matt laminated Pages:  TBC Plates: TBC Size: 280mm x 280mm

Pre-Release edition: Cover: cloth cover, foil blocked, set-in image:  approx 300 Plates: TBC Size: 280mm x 280mm (11×11 inches)

 

Reasons to pre-order:

Name printed in the book

Collectors edition cover

Slipcases and special editions only available until pre order closure

20% Reduced pricing

Pre-order book only  £40 ($49.00 USD)
Retail Price when available in bookstores or online  £49.50 ($60.00 USD)

Pre-order book with slipcase £57.50 ($70.00 USD)

 

Special Edition with one print £160 ($195.00 USD)

In limited edition slipcase with signed A3 print (12×16 inches) by William Neill

Special Edition A – with ‘Rock, Tree and Waterfall’, Yosemite National Park, California

Special A Rock,-Tree-and-Waterfall,-Yosemite-National-Park,-California

Special Edition B – with ‘Morning Mist Rising’, Yosemite Valley, Yosemite National Park, California

Special B-Morning-Mist-Rising,-Yosemite-Valley,-Yosemite-National-Park,-California

Special Edition with both prints £195 (~$230.00 USD)

Special Edition C – with both  ’Rock, Tree and Waterfall’, Yosemite National Park, California  &  ’Morning Mist Rising’, Yosemite Valley, Yosemite National Park, California

To make your purchase, you will see the drop down menu where you can select the options as shown below.

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

 

Unique Offer from The Ansel Adams Gallery – Photographs by William Neill

Sunday, September 11th, 2016

 

It is my pleasure to announce that The Ansel Adams Gallery is once again sponsoring a special print sale of two of my photographs, offering a 25% discount off the normal price. The two images we selected for this offer are Autumn Elm and Sunbeams, Cook’s Meadow, Yosemite National Park, California, and Autumn Sunset on El Capitan and the Merced River, Yosemite National Park, California. These two photographs have never been exhibited at a gallery or sold before. My signed, open edition 13×20 prints usually sell for $325, but during this sale, you can get one for only $243.75. Or you can purchase a 16×24 print, normally $450, for only $337.50. Most of my prints have been issued as limited-edition and are more expensive than the open-edition photographs. This is a rare chance to purchase one of my photographs at a reduced price, but the sale lasts for just six days until Sunday, September 18th at 6:00 PM Pacific time. Please visit The Ansel Adams Gallery website to purchase a print or get more details.

Making photographs is not only about the technical “capturing” of the image but also about the sensory experience with the landscape itself. Strong images can reconnect us with the experience and the people with whom we shared that time. Here are the stories behind the making of these two images.

Autumn Elm and Sunbeams, Cook’s Meadow, Yosemite National Park, California, 2014 (image above)

One October morning in 2014, I was teaching a private student in Cook’s Meadow at sunrise. As a longtime Yosemite resident, I anticipated great photographic potential there. We started out photographing with a classic view of Half Dome, but as the sun first struck the damp meadow, we raced to where the sun was rising directly behind this extraordinary elm tree. An amazing confluence of peak autumn color and morning mist unfolded before us, with sunbeams bursting through the graceful branches. Knowing that the mist would burn off soon, we worked rapidly to find a strong composition, shading our lenses from the sun using the tree’s limbs. As the sun rose higher, the beams shifted with the rising mist until they disappeared after only ten minutes. To me, this image captures a sense of hope, of “a new day shining out of the darkness.” This elm, which I’ve been photographing for 40 years, was once again a magical and wondrous sight.

 

Autumn Sunset on El Capitan and the Merced River, Yosemite National Park, California 2013

I have been photographing Yosemite and living in the area for nearly forty years. The wonders of this cathedral in stone never ceases to amaze me, especially during the changing seasons. The day I made this photograph began with pouring rain at dawn. Then by mid-morning, it began to snow leaving a white dusting on red dogwood and golden oak leaves. By noon, the storm began to clear with clouds and mist ascending off of granite cliffs. After a thrilling day of chasing this extraordinary light and weather around the valley, I started for home. The clouds looked like they were closing in, how could any more epic conditions appear after so many blessings of the day? While driving past El Capitan, I noticed a small patch of light breaking through the clouds on its cliffs. I raced down to set up my camera along the Merced River, finding these wonderful reflections and sunset colors. The incredible light lasted only a few minutes. After a day full of catching my breath in awe of such beauty, I finally, slowly exhaled with a peaceful sense of bliss.

If you have any questions, contact me by email or post below in my blog. Please click here to purchase or for more information.

 

Focus Your Fall Portfolio

Sunday, September 4th, 2016
Autumn Elm and Sunbeams, Cook's Meadow, Yosemite National Park, California, 2014

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

Focus Your Fall Portfolio

Below is an essay  I wrote last year for my On Landscape column published in Outdoor Photographer Magazine. I would love to hear feedback on your favorite images, and share links to any “epic day” images you wish to share!

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.

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.

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!

 

Return to the Field of Possibilities

Thursday, June 26th, 2014
201406_6581-Edit

Corn Lilies, Summit Meadow, Yosemite National Park, California 2014

Last week, I spent four days filming an interview with the crew from The Luminous Landscape website.  For years, they have offered excellent videos such as the Luminous Landscape Video Journal which features interviews with photographers such as Jay Maisel, Art Wolfe, Charlie Cramer, Bill Atkinson, and Jack Dykinga: Luminous Landscape Store.  They are launching a new series called Seeing with the Masters, for which my interview is the first. Luminous Landscape also ran the Antarctica photographic adventure for which I was an instructor early this year.  To learn about this ultimate journey, see Antarctica 2014 – A Most Amazing Trip. I plan on returning to Antarctic in 2016 with Luminous Landscape! I am also a contributor to the site with a series of essays: Essays by William Neill.

One location I had to share was my favorite meadow along the Glacier Point Road.  Here I found this above group of corn lilies.  In order to find a high, downward view, I had to jump up on two fallen logs, balance my tripod to aim down to capture this pattern.  This high-angled view also allowed me to find another image, shown below.

201406_6612-Edit

Last year, I photographed in the same meadow, and wrote the following article for my Outdoor Photographer “On Landscape” column.  Enjoy and share!

______________________________________________________________________________________________________________

Field Of Possibilities

Using technology like focus stacking, William Neill creates an otherworldly photo of a roadside subject

Corn Lily Leaves, Yosemite National Park, California  2013

Corn Lily Leaves, Yosemite National Park, California 2013

Canon EOS-1Ds Mark III, EF 50mm ƒ/2.5 Compact Macro, five frames at ƒ/11, ISO 200, focus stacking by Zerene Stacker.

“To see a World in a
Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour…” —William Blake

One of the main dilemmas for nature photographers is how to frame an image. The choice of camera position and lens angle greatly affects the image design. Nature often provides us with chaotic lines, shapes and colors from which we must distill and extract the essence of our subject. What we include in the frame, as well as what we exclude, is a key factor in the success of our compositions.

I was in Yosemite National Park recently photographing one of my favorite subjects, corn lilies. Returning to a favorite patch, I was happy to see they were still fresh green in spite of recent hot weather. The leaves were covered with pollen and a light rainfall added some water drops. The wind was blowing, which meant the leaves rarely held still for my camera. On top of that, the best camera position was on the shoulder of the road, with tons of traffic moving the plants as it zoomed past a few feet away.

I tried dozens of framings, using a 24mm tilt-shift, 90mm tilt-shift and 50mm macro. The black-and-white photograph was made using my macro lens [left]. The depth of these leaves was too great to capture, so I tried a simple, but effective application called Zerene Stacker. I exposed five frames, focusing the nearest edge of the leaf, and incrementally turned my macro focus slightly until I had focused on the deepest area of corn lily. Then, I added those five files to the software, which created an image with good sharpness throughout the field of view. While processing the final image, I adjusted the contrast and density to make the spots of pollen and leaf lines stand out.

From my past experiences, I was a little late for most of the corn lilies since they had grown tall, making it difficult to aim downward where the leaf patterns are most strongly visible. Also, other plants in amongst them made for a difficult composition to simplify. I usually prefer to zoom in tightly for a very graphic portrayal. In the wider composition shown here [below], I chose to embrace the chaos by using my 24mm tilt-shift lens. The tilt-shift function helped me retain focus from front to back of the subject area, just like I often did with my 4×5 camera while still using a fast enough shutter speed. I shuffled my location around, trying to find a pleasing and well-balanced pattern in the lush vegetation.

201306_5760-Edit

Field of Corn Lily Leaves, Yosemite National Park, California 2013

While creating the black-and-white corn lily image, I clearly remembered one of Paul Caponigro’s finest and most famous photographs. It’s a photograph of an apple that reminds most who see it of a galaxy of stars. I happily acknowledge that inspiration. You can read John Paul Caponigro’s blog post (Paul Caponigro’s son) at www.johnpaulcaponigro.com/blog/7846/masterworks-in-my-collection-paul-caponigro-apple-new-york-city-1964/. I highly recommend that you visit the link or Google to see the image! As I photographed the corn lily, time vanished. Wind, rain showers and sunbeams came and went. I waited for still moments in the wind and for breaks in the traffic. I hid from the mosquitoes inside my parka hood and slapped away the ones that broke through my defenses. In spite of the challenges, I was “in the zone,” blissfully focused on the beauty I saw and felt, and on finding ways to convey it all photographically. Before I knew it, I had spent two-and-a-half hours photographing within a 10-foot section along the road and made over 200 images. That’s my job, and I felt blessed. As I drove home, I was greeted by the most amazing sunset, with golden light shining through pouring rain accented by red clouds. As the rain drenched me, I howled loudly simply for the joy of it all!
__________________________________

William Neill, an American photographer and resident of the Yosemite National Park area since 1977, is a renowned nature and landscape photographer. Neill’s award-winning photography has been widely published in books, magazines, calendars, posters, and his limited-edition prints have been collected and exhibited in museums and galleries nationally, including the Museum of Fine Art Boston, Santa Barbara Museum of Art, The Vernon Collection, and The Polaroid Collection. Neill has received the Sierra Club’s Ansel Adams Award for conservation photography.

He is the photographic author of many books including The Sense of Wonder, The Tree, By Nature’s Design, The Color of Nature  and Traces of Time. A portfolio of his Yosemite photographs has been published Yosemite: The Promise of Wildness and a retrospective monograph of his landscape photography entitled Landscapes Of The Spirit

To learn about William Neill‘s one-on-one Yosemite workshops, ebooks and iPad app, see his latest images and learn about his online courses with BetterPhoto.com, visit www.williamneill.com.

If you like this post, please sign up HERE to receive the latest updates to my Light on the Landscape Photoblog.