After returning to Grand Rapids from the military around 1947, Bill Hill attended courses at the Art Center in St. Cecilia's, and briefly at Kendall College. Without yet completing the degree, he interviewed for a job at the Oliver Machinery Company, and was hired on the spot. He stayed for 41 years, retiring at the beginning of the 1990s. Bill married Betty Jane Konwinski Hill in 1947? and they had three children, Jodi, Scott and Craig. She died in March 2007.

Bill Hill's art interests include photography. He has participated in three camera clubs over the years, and while his work is of professional quality, he has not practiced photography as a profession.

As with many others, he became interested in the Vandenberg Center Sculpture Project, which awarded internationally known artist Alexander Calder the project to create a monumental stabile, for the plaza in front of the new City and County Buildings. As the May 1969 time approached for the actual construction of the sculpture, Bill Hill was one of those interested in documenting the experience visually, using his photography skills. Before or after his work schedule for Oliver Machinery, or during his work breaks, he took pictures of the progress of the construction of the sculpture. The physical layout and attachment of the metal pieces was done by Haven Busch, and Bill became acquainted with their foreman, Don Cronkite. As the pieces went together, Bill documented the work of the welders, and then the painters from Kooi, becoming acquainted with all of these crews during the process. He documented the placement of the building permit sign and the copyright sign temporarily on the sculpture. He learned that the bolts were all designed by Calder with his mark, and that they were all inserted in the same direction. He learned that Calder himself had mixed the paints, shipped over from France, for the initial painting of the sculpture.

Given access to spaces above the sculpture, in the new City Building just being constructed, and in the Union Bank building across the street, he took bird's eye views. He spent time at the Art Museum, looking at the exhibit of Calder's work there, and taking some photographs. He came to know some of the various officials involved in the project, such as Nancy Mulnix, who was instrumental in starting the project and keeping it going.

As the plane carrying Alexander Calder and his family came to Grand Rapids in June 1969, Bill Hill was standing near the La Grande Vitesse sculpture, capturing a picture of the plane in the sky overhead. During the visit to the site, following the formal motorcade, Bill Hill was one of several photographers who took pictures of Calder with the old City Hall in the background, as well as those with the new City Hall. He also captured an image of Calder with other officials, such as the Mayor, Christian Sonnevelt, giving the key to the City to Calder. Bill had the foresight to have one of the painters paint the top of a Calder bolt, which he then had Calder sign his “CA” initials on top. That bolt is now in the collections of the Public Museum of Grand Rapids.

During the Celebration events, Bill Hill again captured pictures of the officials on the stand, the surrounding views, and the many individuals involved in and attending the events.

Bill Hill's views of La Grande Vitesse are both informative and artistic. His night view of the sculpture with the brightly lit grid of the City Building behind, provide the red on white view, in contrast to the usual red on black of the daytime City Building. Views show the colorful sparks of the welders torch as these masked men did their precision work. They show the acrobatics of the painters on the scaffolding and ladders as they balance to work on the object with cans and brushes. Another view of the sculpture captures it, through multiple grids of windows, with grids of support wires, with grids of other building windows behind, as a vibrant abstract.

Bill Hill was not an official photographer of the Calder project, but due to the high quality and information in his images, his photographs have become an important part of the historical records of this internationally significant art event.

A photograph of the photographer, Bill Hill, shown with a maquette of the La Grande Vitesse, ca. 1969, is included in this collection.