Tag Archives: water

Reflections

The warm morning light of a midsummer day illuminates Hallett Peak's reflection off the mirrored surface of Bear Lake in Rocky Mountain National Park. (Bill Ferris)

The warm morning light of a midsummer day illuminates Hallett Peak’s reflection off the mirrored surface of Bear Lake in Rocky Mountain National Park. (Bill Ferris)

The reflected image is a common compositional element in photography. When effectively employed, it adds something special to an image. In macro photography, this technique is often used to reveal the surrounding world as reflected in a single dew drop. In portraiture, the image of your subject reflected against rain-streaked glass adds drama. A reflection in a landscape photograph can make an image more compelling to the eye.

What is is about a reflection that draws our attention? Well for one, a reflection presents the world in a new and different way. In the above photograph, Hallett Peak is seen reflecting off the glassy surface of Bear Lake in Rocky Mountain National Park. The reflection turns everything upside down, delivering an unusual perspective on a twelve thousand foot mountain. A reflection can imbue a scene with a strong element of symmetry. If you block the lower half of the above image, the upper half is irregular in form, hue and texture. In short it is not symmetrical and that is very common in nature. Rarely does nature produce a straight line, a perfectly round circle or a perfectly balanced scene. So, when we find such a thing, it tends to get our attention.

A reflection draws our attention to the seam where the reflected and direct views join. In this image, the seam coincides with the junction between the pine forest and the water’s edge. Typically, this would not be a leading line or a particularly strong element in the composition. The mountain would be the dominant element. However, as the brain seeks to understand this oddly symmetrical pattern, it naturally seeks and identifies that transitional area of the image. Finding the seam or fold allows the brain to determine that the unnaturally symmetrical form is not a singular artificial construct. It is simply a reflection of an otherwise normally irregular landscape scene.

The first light of day paints the Continental Divide as seen from the shore of Sprague Lake in Rocky Mountain National Park. (Bill Ferris)

The first light of day paints the Continental Divide as seen from the shore of Sprague Lake in Rocky Mountain National Park. (Bill Ferris)

Finally, a reflection plays on the inherently voyeuristic nature of visual perception. The act of looking at something establishes a clear distinction between you, the observer, and the subject, that which is observed. On the morning I made the above photo, I hiked about 3/4-mile along a trail to the east side of Sprague Lake. During that walk, I was in nature. I was within and part of the place. However, the act of setting up my camera and observing the scene as a subject to be photographed established a distinction or separation between me and the natural setting. That act transformed me into an outside observer.

A person can observe someone or something either directly or indirectly. The act of observing indirectly is inherently voyeuristic. Some element of the observation was unintended. This can result from observing in secret without the subject’s knowledge or permission. It can also result from an observation that reveals some unintended quality of the subject. The reflected image is not natural. It is not how the subject normally appears to others. It is a bit like jogging down the sidewalk on your morning run and having your neighbor walk out the front door in his bathrobe. It’s 6:00 AM and he figured the rest of world would be asleep as he went out to fetch the morning paper. Surprise, surprise.

So to summarize, a reflection skews our perspective, presenting the subject in a way we are not used to seeing. A reflection triggers the human brain’s natural tendency to recognize symmetry and patterns, and to analyze such appearances to determine if they are natural or artificial. A reflection can also trigger feelings of being a voyeur. Because we see the subject in an unusual or unexpected manner, there is a sense of being privy to something that is either uninvited or unintended.

Of course, it is quite natural to respond in unexpected ways to these visual, mental and emotional stimuli. You might be momentarily confused, even questioning the authenticity of the scene. There may even be an emotional response. Seeing something again for the first time can produce strong feelings. Whatever the response, it is the very fact that seeing something in reflection can be a catalyst for intense thoughts or feelings that makes it such a powerful element of composition. As artists, we photographers feel joy when others take pleasure in our work. We may feel pain when others are critical. But the greatest sadness comes when others simply dismiss our photographs as not worthy of notice.

Now, get out there and shoot.

Bill Ferris | September 2014

Water

Visitors stand in silhouette--and in awe--against the thick plexiglass wall of the Open Sea exhibit at the Monterey Bay Aquarium. The scene begs the question, who's watching who? The obvious answer would be that the collection of tourists are watching, enthralled, the scene playing out before them. But put yourself in the mind of a tuna, sea turtle or shark and ask yourself, would you be enjoying the human show on display beyond the glass walls of the tank? Would you wonder if those strange looking bipeds were brought in for your enjoyment? (Bill Ferris)

Visitors stand in silhouette–and in awe–against the thick plexiglass wall of the Open Sea exhibit at the Monterey Bay Aquarium. (Bill Ferris)

Water can be many things in a photograph. It can be a mirror. A ribbon. A frame. Water can be soft, inviting or a threat. It can be the subject of the photograph or a simple compositional element. Water is a wonderful blank canvas upon which you, the photographer, are allowed to paint your masterpiece.

In the above image, water plays a role that is very different from the norm. Often, water’s textured surface is the featured quality in a photograph. Roaring rapids, the silky smooth surface of a quiet lake or the feathery curves of a waterfall are what we’re used to seeing in a photo. In this image, water is a medium through which we’re viewing the alien universe of ocean life.

The scene begs the question, who’s watching who? The obvious answer would be that enthralled tourists are watching the scene playing out before them. But put yourself in the mind of a tuna, sea turtle or shark and ask yourself, would you be enjoying the human show on display beyond the glass walls of the tank? Would you wonder if those strange looking bipeds were brought in for your enjoyment?

(Bill Ferris)

The tranquil Merced River in Yosemite National Park catches the reflection of sunrise light painting El Capitan with a golden glow. (Bill Ferris)

Here, we see water as both mirror and medium. This image was captured on a chill December morning. Setting up along the bank of the Merced River, I repeatedly checked the viewfinder of my Nikon D90 only to see that I would not be able to encompass both El Capitan and the river in a single frame. I was shooting with my widest lens, a Tokina 12-24mm, which delivers the equivalent of an 18mm ultra-wide angle view at its shortest focal length.

I wanted to capture both the river and the massive rock formation, but how? It was at this point that I noticed the reflected image of El Capitan on the still Merced waters. After some experimentation, I settled on the above framing. It frames both the river and iconic El Cap. The grasses, ice and rock along the river’s edge offer a wonderful contrast to the massive form of the stone temple on the other side. And in using the glassy surface to present an inverted image of El Cap, we see this ancient stone monument in a very different context. He is both imposing and delicate, awesome and fragile, immediate and dreamlike.

Water can be many things in a photograph. What role will she play in your next image? Get out and shoot!

Bill Ferris | October 2013

Unexpected

An August sun sets over the Lower Lake Mary wetland. (Bill Ferris)

An August sun sets over the Lower Lake Mary wetland. (Bill Ferris)

I left the house with the intention of finding and photographing elk. Lower Lake Mary, with its sweet grass, is a favorite grazing location for elk in northern Arizona. I’ve driven by when literally hundreds of bulls, cows and calves were spread across the broad expanse of the dry lake bottom. It is an awesome sight and I had a hunch there would be at least a few elk to be seen on this particular evening.

My hunch was wrong. There were no elk; at least, none within view. But the late afternoon monsoon clouds were starting to catch that golden light of sunset and water fowl were playing in a marshy area near the road. So, I pulled over, grabbed my gear and started to work the field. I circled the marsh in a counter-clockwise direction looking for an interesting subject to photograph. It wasn’t until I had almost completed the circle that I found the shot I was looking for; the image atop this post.

I worked this location a bit before moving on. There was a small rise to the east of me and it looked as though the top might offer a vantage point from which to compose a nice landscape. But en route to that destination, I found myself walking through a small sea of long grass. The tassels were similar to wheat in texture and their green, silvery hue captured the warm light in wonderful ways. It was completely unexpected.

Tall, tasseled grass waves in a light breeze at sunset on a summer day at Lower Lake Mary near Flagstaff, Arizona. (Bill Ferris)

Tall, tasseled grass waves in a light breeze at sunset on a summer day at Lower Lake Mary near Flagstaff, Arizona. (Bill Ferris)

Unexpected, however, is where a photographer often finds hidden treasure. These are the moments when you need to trust that internal voice whispering, “Ooh, that’s cool.” When a scene captures your eye and you stop, resist the temptation to give the scene a passing look before moving on. Pause a while. Study the scene. Give it consideration and ask yourself if this photograph could be a keeper.

After all, you’re a photographer – a visual artist – and your eye, your sense of composition, is your strongest asset. If you think it looks cool, trust that others will do the same. Or better yet, don’t care what anybody else will think. Take the photo because it pleases you to do so.

I left Lower Lake Mary with zero photographs of elk on that late summer evening. I captured several nice landscapes. The setting sun painting dramatic clouds with yellows and golds over lush green grass and water always makes for a lovely image. But the image I’m most pleased with from that shoot is the image of the long grass. It’s a wonderful combination of textures, tones and hues. The subtle abstract quality lends itself to a diverse set of interpretations. Everyone sees something different in this image and that is something that pleases me.

So, don’t let the absence of a specific plan or subject stop you from doing photography. Trust that, when you’re out and about with your kit, you’ll find an image worth taking. You’ll recognize opportunity when it knocks.

Now, get out and shoot.

Bill Ferris | September 2013