The reflections in the foreground of your landscape always provide a satisfying viewing experience because of the depth and symmetry they create. Here are some steps that can help you get a more refined output.
One of the most appealing visual design techniques in landscape photography is the use of symmetry. In a natural setting where shapes and patterns appear and form randomly, it is always eye-catching to find views with near-perfect symmetry. Being able to find those perspectives that are often not obvious to a random passerby is a strong showcase of artistic vision and intent.
Of course, these symmetrical patterns are created by reflections found on the surfaces of bodies of water. In the natural environment, it is almost impossible to find reflections on other surfaces. No matter how small, whether it’s water on the ocean or a small puddle, they can be used to create symmetry under the right circumstances.
Light quality and intensity
The biggest determinant is the direction and quality of the light. There are a multitude of factors surrounding this, but generally you need the scenery or main scenery element to be brighter than the surface of the water for it to reflect properly. Light (which is pretty much the sun) can come from any direction. However, when it is usually behind the landscape, in the same way that the shot will give you a silhouette, the reflection will also give you the silhouette. The feasibility of this would, of course, depend on the photographer’s preference and artistic intent.
The reflective surface
The surface on which the light will reflect is almost equally crucial. In natural landscape scenarios, this surface is mostly water and much of what this article will discuss will apply to that. However, other reflective surfaces, such as glass and metal, may still be commonly used in urban settings. Either way, surface cleanliness plays a key role in the overall aesthetics of the shot. On metal and glass, stains and cracks can be a major clutter, and on water, floating objects and even ripples on the surface can distract from the reflection and the main subject itself. How objects are placed within the frame and relative to the landscape reflection will be important, especially in preparation for post-processing cleanup.
Circular or CPL polarizing filters can dramatically improve and improve reflection on water surfaces. CPL filters manipulate and redirect light in a way that manages reflection and glare. With this principle, CPL filters can also redirect glare from reflective particles in the atmosphere, which helps to intensify the blue tint of a clear sky and improve the contrast between the blue sky and illuminated clouds. However, when shooting foreground reflections, the filter can actually either decrease sharpness (or even remove) the reflection or improve contrast depending on the position of the polarizing filter.
It may seem counterproductive to use motion blur on highlights in an effort to achieve better clarity and contrast, but it’s actually the opposite. The water that creates the surface moves while the reflection is relatively still. By making exposures long enough to smooth and flatten the surface of the water, one can achieve a cleaner surface on which light will reflect. The duration of exposure will depend entirely on the speed at which the water is flowing, as well as the movement of the floating clutter, if any. More than that, the state of the water in terms of abundance of floating clutter takes precedence because if for the duration of the exposure the object (which may be either litter or even floating leaves, especially when it is very bright in color) can cover important parts of the reflection and spoil the composition.
To achieve this, ND filters play a key role, as most of the applicable shooting scenarios take place during the day when there is plenty of ambient light. However, it is also possible to shoot reflections at night, even with the night sky in the background, as long as the conditions are suitable for night photography. During the day, exposures can go on for a very long time to ensure the smoothest and cleanest possible pavement in the water. Some scenarios with perfectly still water can be shot with a fast shutter speed and then touched up later for any imperfections. On the other hand, for any scenario with flowing water and moving elements, the length of exposure needed will depend on how long it takes to achieve the smooth texture and make the clutter disappear, and therefore , this will determine what type of ND filter is needed.
Refining and retouching
If and when the shooting process has been done meticulously for the foreground reflection shots, retouching may not be entirely necessary. This is also the case in cases where the perceived clutter in the water consists of natural objects as well as leaves and flowers. Solid objects in the foreground, such as rocks and driftwood, are not necessarily automatically considered clutter. While they don’t entirely contribute to the symmetry created by the water in the foreground, if placed in a part of the frame that benefits the overall flow and visual design, they can actually add a sense of depth. to the overall image and turn in do not necessarily need to be removed to achieve a polished output.
The goal of a landscape photographer’s workflow in photographing places with interesting reflections is to be able to capture symmetry with as much perfection as possible. Achieving perfect symmetry is most of the time impossible, but a careful attempt definitely results in an eye-catching and visually satisfying result. This perfection is achieved through meticulous visual design achieved through the many exposure techniques commonly used in landscape photography.