Book Review: 'Light on the Landscape' by William Neill

William Neill, Light on the Landscape
Rocky Nook, 288 pages, 9.75 x 10 x 0.75 inches
Published August 25, 2020

Book review by Geoff Wittig

Landscape photography can be a fascinating pursuit. It can range from casual cellphone grab-shots to HDR panoramic images painstakingly constructed from dozens of image files. The subject matter is all around us and runs from the sublime to the ridiculous. Practitioners can choose to explore the landscape emphasizing the technical side of imaging-making, or instead the more subjective and interpretive side. The subject provides endless room for exploration and interpretation.

Informational books on landscape photography reflect this variety; some are nuts 'n' bolts guides to exposure and equipment, while others are more meditative and oriented toward the creative process. William Neill’s new book Light on the Landscape is solidly in the second camp.

William Neill has been photographing the landscape for more than 40 years, and writing thoughtfully about the process for nearly as long. He started as a photographer for the Ansel Adams Gallery in Yosemite National Park in 1980, providing a direct link to the classic source of inspiration for many of us. Using a 4x5" view camera for more than 20 years, he subsequently transitioned to digital capture in 2005. Neill has published a number of books of landscape photographs including the classic Landscapes of the Spirit (1997) and the equally beautiful William Neill, Photographer: A Retrospective (2018). [Out of print and getting expensive —Ed.]

His latest book is Light on the Landscape: Photographs and Lessons from a Life in Photography. This is a collection of essays and photographs culled from Bill’s long-running "On Landscape" column in Outdoor Photographer magazine, which began in 1997. The essays are all illustrated with his unfailingly serene and beautiful images. Each is a thoughtful, self-contained exploration. The subjects range from the technical to the creative or spiritual side of image-making. "Separation of Tones," for example, discusses the thought process, image capture decisions, and the Photoshop moves behind a dramatically lit image of autumn aspens near Tioga Pass. Neill discusses Ansel Adams's emphasis on creating good tonal separation in key areas of the image in the classic darkroom, and the application of digital tools to the same end. "Immersion Course" discusses the importance and the rewards of repeatedly visiting a location over time, experiencing different lighting and weather conditions, deepening one’s understanding of the subject and greatly increasing the odds of crafting an image that is something special and beyond the obvious.

There are equally thoughtful essays examining the rewards of working in a series, exploring particular subjects or themes, creating a consistent body of work, and becoming attuned to the austere beauty of winter. One of my favorites suggests systematically reviewing your best images once a year to see if there are trends developing that are worth exploring further. More of Neill’s essays are devoted to the interpretive and creative side of imaging-making than the technical, and the book is all the stronger for it. The format of the book is perfect for dipping in at random and coming up with another avenue to pursue in your own photography. But it will also reward the effort to read it straight through. All of the discussions remain entirely relevant due to Neill’s emphasis on the creative process rather than hardware or software that quickly gets out of date.

Following the essays, Mr. Neill provides a technical note describing the evolution of his process from 4x5" film capture and Cibachrome printing, to scanning and LightJet prints on Fuji Crystal Archive paper, to digital capture and inkjet printing. The photographs used to illustrate the essays are all reproduced as thumbnails with full technical information for each image. Bravo.

Up to nine original prints are available with the deluxe edition

The book is printed on a very nice semi-gloss stock, with image reproductions on par with current standards, meaning very good indeed. The text is set in Adobe Garamond, a pleasantly readable classic revival digital typeface. Those interested in upgrading from the trade paperback can buy a slightly pricier hardbound edition ["The hardbound copies are starting to run out and they won’t be reprinted," according to William Neill —Ed.], or a collector’s edition including anywhere from one to nine inkjet prints created by Bill Neill himself on his Canon Image ProGraf printer. As I own one of these printers myself, I can personally attest to the print quality it can achieve.

Other buying options: You can use the code LIGHT20 for $20 off the signed, limited edition hardcover direct from the publisher, or order the softcover from Amazon or The Book Depository if you prefer.

If you liked Guy Tal’s More than a Rock, you'll love Light on the Landscape. And its photographic reproductions are on another level.

Geoff-

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

(To see all the comments, click on the "Comments" link below.)
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Comments

[Rob Campbe]

Very nicely written piece, Geoff.

I like monographs etc. but haven't got enough shelf space for more. The apartment's far from tiny, but with a large open-plan sitting room area that extends into the first of two parallel hallway/passages, it is kinda short on walls... that's the main reason I don't have more representative books on some of the fashion people I admire. In fact the only place with actual shelves is the office; the overflow lives in a cabinet beneath the tv and video machine. Neither do I intend removing my framed snaps from walls in order to make room for shelves.

Also, I decided some time ago not to buy any more books that are not available as hardbacks. Of course, I don't suggest for a second that I think of myself as any collector, in that special sense, just as someone who likes looking at nice photographs every now and then when I run out of online alternatives to boredom.

[Jeff]

The Luminous Landscape site’s video archive (by subscription, unfortunately) includes a ‘Master’ series with Neill: 5 part interview with Kevin Raber (first segment free to non-subscribers), and 3 part on-location shooting at Yosemite (1hr 50 min total). Neill is a down to earth, modest and thoughtful communicator/teacher, as well as an experienced photographer.

[Malcolm Leader]

Mr. Neill is really good. I have several of his works as landscape is my muse.

[David Dyer-Bennet]

I'm not sure I like you any more! I just barely made my saving throw against the two-print collector package (but fell victim to the one-print version).

People should check out his ebook store—we probably all have decently-calibrated monitors (probably more of us have that than have properly-lit print viewing facilities), so while ebooks lack the tactile experience, we can see the photos pretty darned well, and his prices there are exceptionally good. I haven't seen people selling photo ebooks much; I'm trying it for my Words Over Windows project, but that format is not moving at all (paper book, and prints I'm surprised to say, have been doing decently though).

[Rod S.]

Geoff, thank you for your thoughtfully written review.

[William Neill]

Thank you for this review!

[Herb Cunningham]

good insulation works well. My darkroom was built with under floor and 6 inch walls heavily insulated as well as 30 inches in the ceiling.
I heat it with a small heater, and have to be very careful not to overheat. One time it was
95F when the outside was 40.

[Not THAT Ross Cameron]

Sold! I picked up the limited edition version. And thanks to Mr Hogan’s Black Friday special’s listing, I was able to pick up a couple more books from Rocky Nook also on discount.
Merry Xmas to me, Merry Xmas to me....
Now I just need to make the time to read them. And, if only the cost of shipping to Australia didn’t exceed the cost of the purchase :~)