Reflective surfaces are everywhere. Sometimes, they can ruin a photograph by producing distracting hot spots. But special-effects photographers love reflective surfaces and use them to make intriguing pictures.
Look sharp: I shot this self-portrait keeping my aperture small enough so that I’m in focus–and so are the mirror and tulips.
Mirror, mirror
Let’s start with the most basic reflective surface, a simple mirror. Take a self-portrait in the bedroom mirror. Use a wide-angle lens and lower the camera to about chin level, or hold it slightly to the side so it won’t hide your face. The pictures may not be very special-effective, but they’re a good starting place.Now, take it to the next step, and photograph someone else looking into a mirror. Wedding photographers love mirror shots of a bride fixing her hair or applying lipstick. But what should you focus on–the person, the reflection, or both? That’s a creative decision. Try it both ways and see which you prefer. If you’re showing the framed mirror in its environment, you’ll add a sense of place by including relevant props–hairbrush, perfume bottle, etc. Stand at an angle to the mirror so you don’t include your own reflection.
Quick tip: Derail depth dilemma
Remember: The image in the mirror (or any reflecting surface) is as far behind the surface of the mirror as the subject is in front of it. So, if your subject is three feet from the mirror, and you want to keep her and her reflection both in focus, you’ll need an aperture that will give you a depth of field of six feet.
If you have a decoratively framed mirror, photograph it with a person’s reflection. You’ll have an instant framed portrait. Again, allow for the needed depth of field. You might want to try creating tension by showing a steamy bathroom mirror with an out-of-focus image of someone reflected in it. Take a tip from movie makers who know that when the camera turns to the bathroom mirror, the audience senses something terrible is about to happen.
Mosaic effect: While visiting Disneyland, I was captivated by the effect produced by hundreds of mirror-like pieces of glass on the side of this building.
Multiple mirrors
A room with a mirrored wall offers interesting possibilities. Of course, you can use it to give the illusion that the room is twice its size. Better yet, if the room has two mirrored walls opposite each other, you can create images that reflect, and reflect, and reflect to infinity. You can have fun with a full-length mirror, showing a person and his reflection. Have him touch hands with himself, stand back-to-back with himself, or stretch his arms out to create a circle when his fingers touch the mirror.
Mirrors on the ceiling: In large public rooms and shopping malls, look at the ceiling. If it’s mirrored, you’re in luck, and you can create a pseudo high-angle shot. Shooting the reflection of the scene in a mirrored ceiling makes for quite an unusual view.
Found mirrors: Outdoors, look for mirrors on street corners and cars, so you can catch the subject surrounded by a different environment. Or take a mirror with you and place it so its edges are concealed by grass or flowers. Some cars have a second, small mirror attached to the side-view mirror, which you can use to make an image within an image. And many headlights have several reflective surfaces, which can make even wilder images.
You can find reflections in the darndest places: When my daughter decided she didn’t want her picture taken, I shot her reflection in her husband’s sunglasses.
Look for other reflective surfaces- glass-faced buildings, wet streets (especially at night), shiny dark objects. Windows turn into mirrors when the area behind them is dark, and you can capture reflections of neon lights or brightly lit subjects in them.
Dangerous curves: Abstract, curved sculpture plus reflective surface produce interesting special effects.
The most interesting use of reflections in glass makes what appears to be a double exposure, but you do it with just one click of the shutter. Search for subjects in front of and behind a window that have an interesting relationship to each other, whether complementary, contradictory, or humorous. Strong reflections depend on one thing: the difference in brightness between the subject in front of the glass and the area behind it. If you are shooting a well-lit store window, position yourself so a reflected subject falls against a dark area. If you want to avoid shooting your own reflection, stand at an angle to the reflection, or squat and shoot up.
Curved Reflections
You can make wonderfully distorted images in the curves of a shiny toaster, silver pitcher, foil balloon, metal sculpture…the list is endless. The photograph here of the metal sculpture takes on an abstract appearance as it reflects itself and the sky. And you can go wild photographing the many shiny surfaces on a motorcycle or antique automobile. When photographing curved surfaces, use a small aperture to keep the entire reflection in focus.
The mirror, crack’d
If you’re not superstitious, you can make your own mosaic- reflecting surface by shattering a small mirror. Cover the back of the mirror with strong tape, wrap it in a towel, and give it a few taps with a hammer. The tape will hold the pieces together so you can handle it easily, even twisting and bending it.
Water reflects, too
Scenes reflected in water take on a painterly look if the water is ripply. Throw a rock into the water to create concentric circles of ripples. Or come close and photograph just a small section of the water. On a windy day, the turbulence can turn the reflections into abstract patterns. If there’s no revealing foreground, you can even display the picture upside down.
No water? Fake a lake!
What if a scene lends itself to a lake reflection, but there’s no body of water? Create your own. All you need is a lens with a focal length between 35 and 50mm and a small, frameless mirror, about 3×3 inches and preferably front silvered. Hold the mirror so one edge is near the lower part of the lens and as close as possible to it. Slowly tilt the mirror until you see a reflection you like, and take the picture. Use a small aperture for the necessary depth of field.
Cokin makes a Mirage Filter, which produces the same effect, seen here.
© 2006 Adorama
