two pines, tenaya lake, yosemite national park, california 2007

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T wo Pines , T enaya L ake ,y osemiTe n aTionaL P ark ,C aLifornia 2007

I m p r e s s i o n s o f L i g h tP h o t o g r a p h s b y W i l l i a m N e i l l


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My goal is to remove context within a landscape, distilling down to its essence,in order to convey the energ y o a subject or scene in a resh way,

much as snow simpli es the land.

For me, these images defect the minds tendency to dwell on the concrete issues o place and name when viewing a subject.

Te spirit o a place or an object can be more strongly conveyed.


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Copyright 2008 by William Neill

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-tems, without permission in writing from the author, except by a reviewer who may quote brief passages in a review.

Limited Edition PrintsLimited edition photographic prints, including many images in Impressions of Light, are available from William Neill or galleries representing his work. For moreinformation, please contact William Neill Photography at (800) 575-4604 or via email at [email protected] . For information about books, posters, and other products,please visit Mr. Neills web page at WilliamNeill.com.

To view Mr. Neills latest images, please visit his blog at http://web.me.com/wgneill/

Produced by William Neill PhotographyDesigned by John OConnor

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.

AcknowledgementsFirst, I would like to thank Canon USA for all of their support and encouragement. I have been a memberof Canons 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 lters for their support. My use of their Vari-ND has been especially helpful in creating this body of work.

I also must thank my talented assistant John O.Connor. His digital and design expertise has been instrumental in the production of this book.

I am thrilled with his image layout and overall book design.

Finally, I would like to thank my friends and family for all their love and support. Most especially, I am deeply thankful to my mother and father for the values they instilled and inspired in me,

for their encouragement, and their unconditional love.


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T wo Pines , T enaya L ake ,

y osemiTe n aTionaL P ark ,C aLifornia 2007

6

Contents

Statement 3

Essay by William Neill 8

Forest 12

Flora 32

Landscape 56

Water 72

photographic information 94

Carp, B ronx Z oo ,

n ew y ork 2006


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9

I have been a photographer for 35 years. I started out with my rst camerain 1974, a 35mm Pentax Spotmatic camera. Over the years, I have mostoften photographed natural patterns and other details in the landscape.In 1982, I acquired a 4x5 eld camera, and for the next 20 years, I pho -tographed mostly with 4x5 transparency lm. I continued to concentrateon photographing landscape details as well as broad views and dramaticlight.

My intention in using a large format camera was to render nature withgreat detail such that the amazing textures and eloquent light on my sub -

jects became extra-ordinary. I have been using Canons high resolutionDSLRs, rst the EOS 1Ds, then the Mark II, and currently the 1Ds Mark III,to create most of my images. No matter the tool, however, my goal hasremained the same to inspire passion for the natural world and convey

my emotional response to the subjects I photograph that of awe andwonder.

My most recent work is entitled Impressions of Light. About two years ago,I discovered a new way for me to convey such an emotional response. Igive credit for this inspiration to students taking an online course I teach,offered by BetterPhoto.com. They had picked up some blurring, or paint -

ing with light techniques from other instructors, mainly Tony Sweet andBrenda Tharp. I had a visceral response to their images. I tried it outmyself in the summer of 2005, became very intrigued by the possibilities,and immersed myself in creating this new portfolio of work.

I have long been intrigued by the motion studies of the great color pho -tographer Ernst Haas. Freeman Patterson has also used camera mo -tion as a technique, as well as other methods for creating impressionisticphotographs. Since I was a boy, I have loved impressionistic painting.My mother was a docent at the National Art Gallery when we lived nearWashington, D.C. as a teenager. I was inspired by the en plein air ap -proach of Monet and by the pointillism of Van Gogh I viewed there. Artwas one of my favorite elective courses during high school.

The motion studies seen in my Impressions of Light work are simply an -other way to depict the deeply moving beauty I see in Nature. The tech -nical aspect of sharpness or softness of focus doesnt matter to me ulti -mately.

I try all kinds of movement, up and down or sideways, starting and stop -ping, and changing direction in the middle of the exposure. Sometimes I

just jiggle the camera. Its a learning process, a sort of feedback loop.Every frame is different. I tend to photograph in bursts of ve to ten im -ages at one shutter speed. I then watch the images come up on the LCDto see what happened. Based on what I see, I adjust shutter speed, focallength or my camera position to re ne the effect.

This process continues until I think Ive created something good. I endup with dozens, and sometimes a few hundred images, after I try all thecreative options I can think of. The additional size and brightness of thelatest LCD screens, like on my Canon 1DS Mark III, is very helpful in pre -viewing my results.

Editing the large number of images I create is greatly aided by the use ofAdobe Lightroom. The selection process involves rating of the images

that appear to have the most potential, and once I have several similarframes, I use the Compare View. My ranki ng system is quite simple. Theinitial edit of images that have possibilities receive three stars. After us -ing the Compare View, the best of similar frames receive four stars. As Ibegin to work with the four star images in Lightrooms Develop module orin Photoshop, the very best of those receive ve stars.

In terms of composing, I start out with an image design that would work forme as a sharp photograph. A great advantage to making these images isthe freeform and spontaneous style of capturing them, but I am also verycareful to apply the same standards of quality of any composition I make.Since the camera is moving during the exposure, it is not possible tocontrol exactly where objects land within the frame. Most compositionalissues, such as distracting bright areas along the frames edge, can becorrected by responding to feedback from the LCD. Any other problemswith composition can be solved in the editing process, as I make enoughsimilar images that usually at least one works out.

The most important note on my technique is that these images are allsingle exposures created with camera motion only. Having seen othertechniques used, such as multiple exposure methods, I nd the single ex -

posure approach works best for the mood I wish to create. The resultingimages have an organic and painterly look. Other approaches often lookheavily manipulated or Photoshoped, while my style is to work with thetextures and light and color I see in my camera.

Even when I use my camera set to its lowest ISO and the lens stopped waydown, often theres still too much ambient light to permit a long enough

Impressions of Light


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10 11

exposure time. In that case, I use a Singh-Ray Vari-ND lter,with which I can adjust neutral density to reduce the light en -tering the camera by up to eight stops. This tool has greatlyincreased both my options in bright lightings conditions, andin controlling the balance of aperture and shutter speed. Forexample, with my ower close-ups, I can still use a slow shut -ter speed even when using the widest apertures.

In most images, I make a few minor adjustments in Photo -shop, including boosting contrast lost when a scenes bright -er areas blur into darker ones. I output images with Can -ons 12-color, pigment-based image-PROGRAF iPF6100and iPF8000 printers, which have 24- and 44-inch carriagewidths, respectively. I usually print on Canons HahnemuhlePhoto Rag, a watercolor-style paper. This paper is very ef -fective at accentuating the painterly feel of these images.

The other night I watched an amazing DVD entitled AndyGoldsworthys Rivers & Tides. If you are not familiar with hisart, I highly recommend that you check out his books and thisDVD. He is dedicated to connecting with Nature, especiallyaround his home in Scotland, and this DVD shows him atwork, and talking about his art.

I scribbled down some notes as I watched this inspirationaldocumentary. As I listened to him express his own philoso -phy, I realized, in a more concrete way, what I am trying to dowith my Impressions of Light series:

Remove the context; distill down to the essence, in orderto convey the energy of a subject or scene in a fresh

way, much as snow simpli es the landscape.

For me, these images defect the minds tendency todwell on the concrete issues of place and name when

viewing a subject. The spirit of a place or anobject is less objecti ed and can

be more strongly conveyed.

Im trying to stretch, not just to be different but also to nd newways to express what Ive been trying to show all along - thebeauty of nature. It may sound trite, but thats still what mo -tivates my photographic explorations. In order to both growand survive creatively as an artist, I have found it important topush myself in new directions, in other words, to evolve.

Success towards this goal cannot be achieved passively, butit must be sought out. I have tried to adhere to the conceptthat as an artist, one should always question ones own pre -conceived notions!

Waterfall, 2007

two oaks in snow, s ierra n evada f ooThiLLs ,

C aLifornia , 2008


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Forest

Yellow Forest, w aTChTung r eservaTion ,n ew Jersey 2006


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Cedars, m ariPosa g rove ,

y osemiTe n aTionaL Park ,C aLifornia 2005

15

Giant Sequoias,



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Giant Sequoias, m ariPosa g rove ,


16 17


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18

Forest Fog, s ierra n evada f ooThiLLs ,

C aLifornia 2006

19

Bamboo, B ronx Zoo ,n ew y ork 2006


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20

Firs, m ariPosa g rove ,


21

Two Pines, T enaya L ake ,y osemiTe n aTionaL Park ,C aLifornia 2007


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Willow in snowstorm, s ierra n evada f ooThiLLs ,

C aLifornia 2006

22


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Winter Forest, y osemiTe n aTionaL P ark ,C aLifornia 2007

T wo Pines , T enaya L ake ,y osemiTe n aTionaL Park ,C aLifornia 2007

24


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Yellow Forest #3, w aTChTung r eservaTion ,

n ew Jersey 2006

27


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28

Yellow Forest #4, w aTChTung r eservaTion ,

n ew Jersey 2006

Yellow Forest #2, w aTChTung r eservaTion ,n ew Jersey 2006


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Twilight Forest, y osemiTe n aTionaL Park ,

C aLifornia 2008

31


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Flora

Lupine, s ierra n evada f ooThiLLs ,C aLifornia 2005


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34

Iris, 2007

35

Salsify Seeds Detail, s ierra n evada f ooThiLLs ,C aLifornia 2006


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Red Rose, 2005

37


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Poppy, s ierra n evada f ooThiLLs ,

C aLifornia 2006

39

Blowing Poppy, s ierra n evada f ooThiLLs ,C aLifornia 2006


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40

Iris Impression #1, 2006

41



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42 43

Reeds, B ronx Zoo ,n ew y ork 2006

Sunflowers, 2007


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44

Plum blossoms, 2007

45

Two Succulents, 2007


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Daisies, C armeL ,

C aLifornia 2006

Daisy, C armeL ,C aLifornia 2006

46 47


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Grasses, m ono L ake ,

C aLifornia 2006

4948

Fern, C armeL ,C aLifornia 2006


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Dogwood Glowing, y osemiTe n aTionaL Park ,C aLifornia 2007

White Orchid,


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White Orchid #2, 2006

53


2006

52


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5554 55


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Landscape

Table Mountain, C aLifornia 2006


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Sunrise on Mud Hills, d eaTh v aLLey n aTionaL P ark ,

C aLifornia 2007

Sunrise over the Amargosa Range, d eaTh v aLLey n aTionaL Park ,C aLifornia 2007

58 59


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Salt Flats, d eaTh v aLLey n aTionaL P ark ,C aLifornia 2006

Badwater Sunrise, d eaTh v aLLey n aTionaL Park ,

C aLifornia 2006

60 61


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Sand Dunes, d eaTh v aLLey n aTionaL Park ,

C aLifornia 2006

63

Artists Palette #1, d eaTh v aLLey n aTionaL Park


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Mud Hills, d eaTh v aLLey n aTionaL Park ,

C aLifornia 2007

d eaTh v aLLey n aTionaL Park ,C aLifornia 2006

64 65


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Half Dome, y osemiTe n aTionaL Park ,C aLifornia 2007

The Clark Range, y osemiTe n aTionaL Park ,

C aLifornia 2007

66 67


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Foothills, T aBLe m ounTain ,C aLifornia 2007

Owens Valley and White Mountains, C aLifornia 2006

68 69


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Vernal Pool, s ierra n evada f ooThiLLs ,C aLifornia 2006

70


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W ater

Waves, P feiffer B eaCh ,P feiffer B ig s ur s TaTe P ark ,C aLifornia 2007


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74



75



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Light on the sea, B ig s ur ,C aLifornia 2006

Sunset, C armeL B ay ,

C aLifornia 2006

76 77


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Surf, P feiffer B eaCh ,

B ig s ur ,C aLifornia 2007

Silver Surf, C armeL B ay ,

C aLifornia 2008

79


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Sunset, San Simeon Creek, s an s imeon s TaTe Park ,

C aLifornia 2006

Sunrise, m ono L ake ,

C aLifornia 2006

80 81


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Sunset Waves, L a JoLLa ,

C aLifornia 2006

Sunset, L a JoLLa ,C aLifornia 2006

82


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Arch and surf, P feiffer B eaCh ,

P feiffer B ig s ur s TaTe Park ,C aLifornia 2006

84


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Sunset, P feiffer B eaCh ,B ig s ur ,C aLifornia 2007

Sunset Surf, L a JoLLa ,

C aLifornia 2006

86 87


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Dawn, m ono L akeC aLifornia 2006

Surf, L a JoLLa ,

C aLifornia 2006

88 89


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Reflections, m anZaniTa L ake ,C aLifornia 2008

Forest Ripples, m anZaniTa L ake ,C aLifornia 2008

90 91


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Ripples, m anZaniTa L ake ,C aLifornia 2007

Forest reflections, m anZaniTa L ake ,C aLifornia 2007

9392 93

Giant Sequoias, Mariposa Grove,Yosemite National Park, California 2007

P h o t o g r a p h i c I n f o r m a t i o nCedars, Mariposa Grove,Yosemite National Park, California 2005

Firs, Mariposa Grove,Yosemite National Park, California 2007

Yellow Forest #2,Watchtung Reservation, New Jersey 2006


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ose te at o a a , Ca o a 00Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1.3 sec at f / 13ISO 100

Carp,Bronx Zoo, New York 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L, Extender EF 2x2.5 sec at f / 13ISO 100

94 95

Yellow Forest, Watchtung Reservation,New Jersey 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L2.0 sec at f / 10ISO 100


Giant Sequoias,Yosemite National Park, California 2005Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L2.0 sec at f / 11ISO 100

Forest Fog,

Sierra Nevada Foothills, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L3.2 sec at f / 9.0ISO 100

Bamboo,Bronx Zoo, New York 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1.3 sec at f / 3.5ISO 100

Two Pines, Tenaya Lake,Yosemite National Park, California 2007Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/2 sec at f / 18ISO 100


Willow in snowstorm,Sierra Nevada Foothills, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L0.8 sec at f / 32ISO 100

Winter Forest,Yosemite National Park, California 2007Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/2 sec at f / 6.3ISO 100

Yellow Forest #3,Watchtung Reservation, New Jersey 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/5 sec at f / 4.5ISO 100

Yellow Forest #4,Watchtung Reservation, New Jersey 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/2 sec at f / 8ISO 100

Watc tu g ese vat o , ew Je sey 006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L0.6 sec at f / 9ISO 100

Twilight Forest,Yosemite National Park, California 2008Canon EOS-1Ds Mark IIIEF 70.0-200.0 mm 2.8L1/2 sec at f / 2.8ISO 800

Lupine,Sierra Nevada Foothills, California 2005Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/80 sec at f / 7.1ISO 100

Salsify Seeds Detail2006Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro1/15 sec at f / 2.8ISO 100

Iris,2007Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro1/15 sec at f / 2.5ISO 100

Waterfall,

2007Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro1/2 sec at f / 14ISO 100

Two Oaks in Snow,Sierra Nevada Foothills, California 2008Canon EOS-1Ds Mark IIIEF 70.0-200.0 mm 2.8L1/3 sec at f / 27ISO 100

Sunflowers,2007

Daisy,Carmel, California 2006

White Orchid,2006

Red Rose,2005


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96 97

Canon EOS-1Ds Mark IIEF 28-135mm 3.5-5.6 IS1/3 sec at f / 11ISO 100

Reeds,Bronx Zoo, New York 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L, Extender EF 2x1/2 sec at f / 5.6ISO 100

Plum blossoms,2007Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro1/5 sec at f / 5.6ISO 100

Two Succulents,2007Canon EOS-1Ds Mark IIEF 28-135mm 3.5-5.6 IS0.6 sec at f / 5.6ISO 100

Daisies,Carmel, California 2006Canon EOS-1Ds Mark IIEF 28-135mm 3.5-5.6 IS1.6 sec at f / 22ISO 100

Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1.6 sec at f / 32ISO 100

Grasses.Mono Lake, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L2.5 sec at f / 29ISO 100

Dogwood Glowing,Yosemite National Park, California 2007Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L, Extender EF 2x1/5 sec at f / 5.6ISO 100

Fern,Carmel, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1.6 sec at f / 25ISO 100

White Orchid #2,2006Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro0.8 sec at f / 16ISO 100

Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro1.3 sec at f / 32ISO 100

Iris Impression #4,2008Canon EOS-1Ds Mark IIIEF 70.0-200.0 mm 2.8L0.7 sec at f / 16ISO 100

Iris Impression #3,2008Canon EOS-1Ds Mark IIIEF 50mm 2.5 Macro1/8 sec at f / 11ISO 100

Table Mountain,California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1.6 sec at f / 22ISO 100

Sunrise on Mud Hills,Death Valley NP, California 2007Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L0.8 sec at f / 32ISO 100

Poppy,California 2006Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro1/2 sec at f / 8.0ISO 100

Iris Impression #2,2007Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro1/4 sec at f / 3.5ISO 100

Iris Impression #1,2006Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro1.3 sec at f / 8.0ISO 100

Blowing Poppy,California 2006Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro1/2 sec at f / 8.0ISO 100

Canon EOS-1Ds Mark IIEF 50mm 2.5 Macro5.0 sec at f / 4.0ISO 100

Artists Palette #1,Death Valley NP, California 2006C EOS 1D M k II

Vernal Pool,Sierra Nevada Foothills, California 2006C EOS 1D M k II

Silver Surf,Carmel Bay, California 2008C EOS 1D M k II

Sunrise over the Amargosa Range,Death Valley NP, California 2007C EOS 1D M k II


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98 99

Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/13 sec at f / 32ISO 100

Half Dome,Yosemite National Park, California 2007Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L2.0 sec at f / 25ISO 100

The Clark Range,Yosemite National Park, California 2007Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/6 sec at f / 6.3ISO 100

Foothills,Table Mountain, California 2007Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/3 sec at f / 22ISO 100

Owens Valley and White Mountains,California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/4 sec at f / 13ISO 100


Waves, Pfeiffer Beach,Pfeiffer Big Sur State Park, California 2007Canon EOS-1Ds Mark IIEF 300mm f/4L1/250 sec at f / 8.0ISO 100

Light on the sea,Big Sur, California 2006Canon EOS-1Ds Mark IIEF 28-135mm 3.5-5.6 IS1/3 sec at f / 25ISO 100

sunset,Carmel Bay, California 2006Canon EOS-1Ds Mark IIEF 28-135mm 3.5-5.6 IS0.6 sec at f / 22ISO 100

Surf,Pfeiffer Beach, Big Sur, California 2007Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L, Extender EF 2x1/4 sec at f / 32ISO 100

Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/2 sec at f / 22ISO 100

Sunset, San Simeon Creek,San Simeon State Park, California 2006Canon EOS-1Ds Mark IIEF 28-135mm 3.5-5.6 IS4.0 sec at f / 6.3ISO 100

Sunrise,Mono Lake, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L, Extender EF 2x1/5 sec at f / 5.6ISO 100

Sunset,La Jolla, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/15 sec at f / 4.5ISO 100

Sunset Waves,La Jolla, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/3 sec at f / 2.8ISO 100

Badwater Sunrise,Death Valley NP, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/6 sec at f / 14ISO 100

Sand Dunes,Death Valley NP, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/6 sec at f / 32ISO 100

Mud Hills,Death Valley NP, California 2007Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/8 sec at f / 7.1ISO 100

Salt Flats,Death Valley NP, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/10 sec at f / 32ISO 100



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100

Reflections,

Manzanita Lake, California 2008Canon EOS-1Ds Mark IIITS-E 90mm 2.8L1/3 sec at f / 11ISO 250

Forest Ripples,Manzanita Lake, California 2008Canon EOS-1Ds Mark IIITS-E 90mm 2.8L1/10 sec at f / 6.7ISO 250

Ripples,Manzanita Lake, California 2007Canon EOS-1Ds Mark IITS-E 90mm 2.8L1/2 sec at f / 29ISO 400

Forest reflections,Manzanita Lake, California 2007Canon EOS-1Ds Mark IITS-E 90mm 2.8L1/2 sec at f / 29ISO 400

Sunset Surf,La Jolla, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L1/5 sec at f / 16ISO 100

Dawn,Mono Lake, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L20.0 sec at f / 16ISO 100

Surf,La Jolla, California 2006Canon EOS-1Ds Mark IIEF 70.0-200.0 mm 2.8L,1/10 sec at f / 18ISO 100

Sunset,Pfeiffer Beach, Big Sur, California 2007Canon EOS-1Ds Mark IIEF 300mm f/4L1/40 sec at f / 32ISO 100

Arch and surf, Pfeiffer Beach,

Pfeiffer Big Sur State Park, California 2006Canon EOS-1Ds Mark IIEF 28-135mm 3.5-5.6 IS5.0 sec at f / 18ISO 200

two pines, tenaya lake, yosemite national park, california 2007

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