Evan is a Canadian commercial and fine art photographer originally from a small farming community in rural Alberta. After studying photography and building up his skills and business in North America, Evan travelled for a year before relocating to Asia. He operated his studio in Tokyo for six years where he has worked with large global brands including Airbus, BMW, LVMH Group, Nintendo, and Suntory.
While he enjoys client work, Evan has always been fascinated by traditional artistic mediums as well as the art of photography and enjoys creating photographic art prints in a variety of genres. Using both traditional chemical processes and digital workflows, Evan likes to experiment with different exposure, development, and printing techniques to achieve his vision.
He has been the recipient of several distinguished awards and accolades including a “Photographer of the Year” award from the International Landscape Photographer of the Year awards in 2020 and “Photographic Artist of the Year” from the Professional Photographers of Canada in 2021 and 2022. His work has been published in several international magazines and he has had gallery shows in Japan as well as in his native Canada. Evan enjoys spending time outside exploring the beauty of nature. He is an avid mountaineer, hiker, biker, diver, climber, and explorer. He enjoys spending time with his family and friends and is passionate about protecting and promoting responsible stewardship of our natural world.
You can see more of his work on his website evanwill.ca

Dune was photographed in Death Valley National Park, California during a winter trip in February. I hiked to this dune three consecutive days at sunset trying to get a shot with hard light and low angle sun to create the long sweeping shadows over the sand dunes and accentuate the aeolian ripples in the foreground. I wanted to use the leading lines of the ripples to guide the viewers eye into the base of the dune and then flow along the winding wind-swept ridges towards the prominence where the earth meets the sky. The intent was to capture the timeless impermanence of shifting sands creating temporary beauty in this stark vista. The image is a focus stack shot on a tripod with a 15mm prime lens to help increase the depth of field in the image.

Cerulean was photographed from the Juan de Fuca Trail on Vancouver Island during a calm winter evening. Using a 12-minute exposure, I aimed to smooth the Pacific into a glassy plane of pastel tones, reducing the ocean to its purest visual essence.

The lone sea stack anchors the frame—silent, unmoving—set against a veil of distant mountains softened by mist and fading light. I wanted this image to express the meditative quiet that the coast can offer, where time stretches and the line between sea and sky begins to blur.

Shot on a tripod with a solid ND filter, the long exposure rendered the water and clouds into abstraction, letting shape, color, and stillness take the lead.

Waves of Time was captured with a telephoto lens overlooking the Mesquite Flat Sand Dunes in Death Valley National Park. Photographed at sunrise, the warm light swept across the ridges and valleys, revealing an intricate tapestry of shadow and highlight.

Using compression to flatten the perspective, I wanted to reduce the scene to pure texture—undulating forms flowing like brushstrokes across the desert floor. With no sky or scale reference, the dunes take on an abstract, almost surreal quality, inviting the viewer to get lost in their rhythm.

This image is about stillness, repetition, and the slow choreography of wind and sand. A desert in motion, paused.