Image: Loch Carrie, Upper Glen Cannich, Highland (2018)
(3V3A0788-H1 Slim)
These images comprise a set that all have one thing in common: Reflections. When you want to produce images with reflections it’s almost certain that you will look in vain. On the other hand, if you are not too concerned it seems that every other image includes a reflection.
Normally reflection is regarded as a casting back of light or heat, in this topic, I am limiting the criteria to light reflection. The reflection of light adds another dimension to a composition and sometimes leads to a deep study of what the image is showing. If a reflection is cleverly composed the content viewed in the reflection may have more detail than the subject photographed direct (the opposite may also be true).
I find that reflections are fascinating, for several reasons, not least because reflected light is always darker than the incident light.
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Context:
When photos are shot beside, or on water, reflections will soon be noticed, which present an opportunity to produce images with an enhanced image composition and content. Reflections are often observed on rivers, lakes and the sea but they can also be seen in puddles or even wet pavements. Another form of reflection can also be seen in the external glass of a building or a shop window. In an extreme case, a tower block clad in mirror-like glass can result in a huge reflection. All of these are examples where the reflection can be either horizontal or vertical, leading to variety that presents the ability to exploit the phenomenon in many diverse ways. The result will always challenge understanding and interpretation
Often reflection is considered as casting back of light or heat but equally, could also be present when a wind is reflected by an obstacle such as a building, or large vehicle. In these three examples the reflection of light is easy to see, the reflection of heat is more difficult and the reflection of a wind can only be seen in the after effects, such as erratic directions of the ongoing air movement. For the purposes of this blog I am using reflections in water as the subject.
The effect of reflections on a photo produce a puzzling effect for the viewer and the echo of the reflection causes a lengthy and comprehensive observation of the image. This is true of every viewing of the image and personally I find the appreciation of reflections produces extra depth as well as dimension to photos where it is included. When a reflection is cleverly configured in a photo the quality of the composition is almost always improved.
“Like water which can clearly mirror the sky and the trees only so long as its surface is not disturbed, the mind can only reflect the true image of the Self when it is tranquil and wholly relaxed.”
—Indra Devi—
Due to the large potential of reflections there are some considerations that need to be borne in mind, such as shooting the correct angle, which must exclude the sun or other light source from the image. (Except shots taken after dark). If the sun is in the shot it will also be reflected and ruin the shot, by obliterating the reflection that is the intended subject. Early morning or evening are good times to take photos with the possibility of red skies or mist and the reflected image of a mundane or cloudless sky can rescue the image as a whole.
A polarising filter can be used to reduce glare and graduated neutral density filters can be added to increase the exposure time, with small apertures. This will optimise the depth of field and allow the complete image to be in focus. Alternatively, a short exposure time with no filters and a shallow depth of field can produce interesting abstract effects.
Another option is to shoot the same image with both smooth and rippled water which will produce differing characters to the reflections. The clarity of a reflection from still water will bring a stillness and calming effect to the image. For pin sharp images it is essential to shoot in calm conditions. Similarly, wide angle or telephoto lenses offer the chance to experiment with the appearance of the image. Reflection of light can add another dimension to a composition and sometimes leads to a deep study of what the image is showing. If a reflection is cleverly composed the content viewed in the reflection may have more detail than the subject photographed direct (the opposite may also be true).
The normal Composition Rules are not applicable to reflection photography. For example the water surface is usually placed dead centre so that the incident and emitted light areas are equal in size. In other genres the subject is usually forbidden to be centralised, horizontally or vertically.
(Image Loch Faskally Bridges, Pitlochry).
When it comes to refection photography, a new approach is needed that caters for the precision and geometry of the image.
Camera settings for reflection photography are typically as follows:
Aperture: Use a small aperture, remembering that the sweet spot of the lens may not be the smallest that you could use. Start at f10 and check the depth of field. If this is not satisfactory use a smaller aperture and try again, it should not be necessary to go smaller than f16 to get the whole shot in focus.
Shutter Speed: Landscape photography is normally based on long exposure and this includes reflection images. Use of a tripod is essential and enables extending the exposure time to correspond to the selected aperture, thus keeping the surface of the water smooth. With lengthy exposure times it is necessary to check that other parts of the image are not compromised with regard to any moving items in the shot.
Filters: To use a lengthy exposure time it may be necessary to use neutral density filters, or, if the exposure requires balancing, a graduated neutral density filter should be used. This, of course requires a tripod to be used and finally, a remote shutter release will eliminate vibrations, as will locking the mirror for the shot.
Reflections bemuse and fascinate the viewer and are very rewarding when all the parameters fall into place. If the shot has worked and the image is presented upside down, it is often impossible to decide which way is up. I find that reflections are fascinating, not least because the reflected light is always darker than the incident light.
(Image: Loch Faskally, Pitlochry).
The analogy of reflection photography and a mirror image can be made. If a photo of a reflection is taken, does this produce an image which is a mirror within a mirror? Similar to an image of a frame within a frame?
Rick Spurgeon, 08-Jan-2021
“Reflections” Contact Sheet for Reference:
