By the 19th century, painting had been relegated to replicating nature. Since photography could do “reality” better than painting there were many who declared the “end of painting.” In truth photography freed painters to develop their art as a subjective rather than objective response to nature. The resulting Impressionist movement was characterized by bright, bold colors, and short, thick strokes of paint that captured the artist’s “impressions” of a subject rather than the details. Computer software like Photoshop and Corel Painter have brought photography around full circle, freeing photographers from making literal recordings of the real world to explore the limitless possibilities of interpretation open previously only to painters. After more than 40 years as a photographer I am exploring new ways of expressing my perceptions of nature. These images acknowledge the blending of the old and the new by combining an unmanipulated photograph with a simulation of the subject as an impressionist painter may have seen it.