Tips on locating and photographing the many different forms of water reflections, from dramatic landscapes to detailed macro compositions.
We’re all attracted to bodies of water, whether it’s the sea, lakes, rivers, streams or waterfalls. Moving water adds vitality to an otherwise static scene and can demonstrate the raw power of nature. Reflections occur at the other end of the scale and make equally good subjects. They require the surface of the water to be very still so it reproduces a copy of the scene above. They can occur in virtually any body of water, from vast lakes to small puddles.
Mirror-like reflections like the ones shown in this photo can only be photographed when the surface of the water is totally still; even small ripples will disrupt them.
There are plenty of reasons why reflections can make interesting photographs, the first being their comparative rarity – and the logistical challenges required to find them. Design-wise, well-composed images of reflections also satisfy two key parameters: repetition and symmetry.
When framed to dominate the shot’s composition, as shown here, reflections can satisfy two key design parameters: repetition and symmetry.
Reflections that are strong enough to stand alone will make people look more closely and become drawn into the composition. Colours, shapes and linear properties are important in these compositions and you may need to boost contrast and saturation a little when editing these shots.
Where to find them
Any body of water can create reflections – but locating them can be tricky. They come in many different forms and guises, from dramatic landscapes to detailed macro compositions.
The best locations are those where the water is totally still and protected from the wind – but these are very difficult to find. Even a breath of wind can ruffle an otherwise calm surface.
In slow-flowing streams, overhanging rock faces above wide bends can be good places to look for mirror-like reflections, which can create abstract compositions like this image.
In the case of streams or rivers, the best places to find slow-moving water is on the inside edges of large bends or below overhanging rock faces. For tidal rivers, the best time is during slack water at high tide, when there’s minimal movement.
On beaches, you can find reflections in rock pools and tidal pools, as well as in large expanses of wet sand. Minimalist compositions involving little more than a powerful sky and its reflection can work well on their own.
Timing and weather
Timing is critical if your aim is to record mirror-like reflections in tracts of water like lagoons and reservoirs. It’s often difficult to predict when the air will be completely still; a breeze can spring up in seconds and the perfect reflection can be lost.
There may be a breeze near sunset when this photo was taken, but the shallow water in this inland lake was not affected by it, allowing the reflections of the clouds to be captured.
Get up early. You’re most likely to find the best conditions early in the morning before the sun’s heat begins to generate turbulence on the water’s surface. Seek out places where the breeze can’t reach the water, such as behind large rocks or below cliff faces.
Still conditions may also occur in the evening as the sun is setting, giving you a chance to record the vibrant colours created by the low angle of the sun. Act quickly when the right conditions appear because they can vanish suddenly if anything changes.
Even if you can’t capture a perfect reflection, the shot may still be worth taking for other reasons. The light that’s reflected off the water can brighten your foreground, making the overall shot more evenly lit.
Interesting cloud formations or the colours of a sunrise/sunset can look great when reflected on the surface of water, even when the water isn’t completely still. A light mist can also soften ‘hard’ reflections on still water. Check the weather forecast; partial cloud cover can produce an interesting sky for your shots.
Even though the water’s surface isn’t perfectly flat, the patterns created by the ripples in the water provide a nice counterpoint to the colourful rock face in this shot.
Look for patterns and textures, remembering they can change quickly so it’s wise to take plenty of shots. Patterns created by ripples in the water often produce interesting compositions on their own so be alert to opportunities.
Alternatively, you can suppress the ripples by shooting with a slower shutter speed (say, half a second or longer) to blur the surface of the water. Mount the camera on a tripod for these shots, even if the camera and/or lens are stabilised.
Find the right angle
Visualise the picture you want – and be prepared to change shooting positions to get it. Decide whether you simply want to capture the reflection to its best advantage – or produce an enigmatic image where it’s difficult to decide where the subject ends and the reflection begins.
Enigmatic images where it’s difficult to tell where the subject ends and the reflection begins rely on shot composition and correct exposure settings.
Camera height and your choice of lens focal length play an important role in composing shots of reflections. Using a wide-angle lens close to and down near the water’s edge can make small bodies of water look like vast lakes, while the perspective compression of telephoto lenses can pull in distant backgrounds and their reflections or isolate parts of the scene for a more abstract approach.
Pay attention to the foreground. Including foreground interest in landscapes can become habitual, but it’s a habit you can break when shooting reflections. Objects like grass, reeds, rocks or branches can add depth – but they may interrupt the composition, reducing the image’s impact.
Try to be on location early, particularly when there’s mist as it can dissipate very quickly. Remember the angle of the light changes constantly throughout the day: you may need to wait for 30 minutes or more for the ‘right’ conditions – or even return later (or on the next morning) to obtain the shot you want.
Focusing
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This article by Margaret Brown is an excerpt from Landscape Photography 2nd Edn
Pocket guide Partners: Camera House and Sony
