Whew, some time has passed since we started with the first part of “working with reflections”.
Okay, let’s go ahead now and start to look at our first reflecting material to work with: water.
Water is reflecting in many different ways and this depends on many basic reasons and conditions.
Over here I’d like to show you some examples and give you some ideas and motivation on what can be realized photographically.
First of all:
Always watch out for e.g. bubbles or dirt or little parts of plants and suchlike swimming on the surface of the water. Whenever you see them looking at the photo later on, at least then you’ll discover, that they can even destroy the whole composition. Depending on the amount of them it can at least turn out to become whole lot of work to erase them via image processing.
Well and whatever can be worked on at the time of shooting already, should be worked on at the time of shooting definitely.
Reflections on water are very differently, depending on the status of the surface.
Over here e.g.
the surface is totally quiet,
while over here
the surface is in a slow motion (by the wind and some movements on the water).
Two very different views – two different worlds of reflections on water.
And naturally there are lots and lots of different results and impressions in between, all of them depending on the amount and kind of movements on the water’s surface.
With a complete quiet surface and reflecting elements you can create many interesting compositions – the viewer is sort of positively irritated, especially when he/she can’t realize the water as such at once, just the reflected elements, which often somehow all seem to be wrong positioned. Elements look like as if you would look at the world standing on your head.
With just the water surface and the reflections filling the whole frame the composition even gets more interesting and irritating, drawing the attention of a viewer.
With a moving surface you can create compositions that remind of paintings. The more the surface is moving the more elements lose their contours and can’t be identified clearly. Depending on the amount of movement and on the reflected elements you can even create real abstract compositions.
Like this one e.g.: