Featured Artist William Gillis

William Gillis presents an elegant collection of fine art nature photography. Enjoy his portfolio and visit his website for more.

 

 

My photographic journey began 20 years ago when using a point and shoot camera to take a picture of a dragonfly on a leaf. I found I could not accomplish what I intended to do with the image.

 

 

I visited a camera store to purchase a tripod. Of course, that opened a big can of worms, so to speak. I ended up purchasing a Sony DSLR kit, plus a tripod and it was off to the races.

 

 

As a self-taught photographer, I studied Jim Brandenburg’s work. (He was a well-known National Geographic photographer who lived in Northern Minnesota, who is unfortunately recently deceased). Seminars with Mr. Brandenberg, National Geographic and celebrated macro/close-up photographer Mike Moats of Tiny Landscapes fame three-day Macro Bootcamp and multiple online courses intensified my interest in landscape and macro photography.

 

 

Today experimenting with a light painting technique learned from Belgium photographer Dirk Erken has opened a whole new world. Calla II and Sunflower are two images resulting from that exploration.

 

 

Using software programs Helicon Focus, Photomatix and Lightroom Classic assisted the development of a version of High Dynamic range photography I use today. A Sony DSLR, plus an a6600 for backup, a Sony 18-250 lens, Tamron SP 60mm F/2 Macro and Tamron 150-500 F/5-6.3, plus phone fill out my kit today. Ninety percent of my shooting is HDR. I use multiple exposures of the same scene on a tripod with remote.

 

 

Encouraged by my muse (my wife) I tried the art show circuit. We did eight or nine summer shows for five or six years, with great success. Over time my photographic vision has changed from seeking landscapes to more floral intimate scenes. I use macro photography to feature color/black and white detail unseen by the casual observer.

 

 

My goal is to create artistically different photographic work from other photographers. Take sunrises for example. We are early risers, resulting in being in the field an hour prior to first light to photograph developing light and clouds prior to the sun breaking the horizon. I have found the pre-dawn light lasts only seconds to a few minutes produces a dramatic effect in the scene (providing there are clouds).

 

 

When the sun breaks the horizon, we are done. Time to move on to the studio or local and regional parks to find very interesting subjects. My favorite area to shoot is Minnesota’s North Shore from Duluth to the Canadian border.

 

 

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