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From the very first Reflected Sunset I photographed over ten years ago, I have been fascinated by that which is indirectly perceived: namely by reflections and shadows. These represent something that is there, yet in some sense not there: hidden layers of reality or even perhaps a different reality. Sometimes I use the reflections as a palette for creating more whimsical works of fancy.
These two images were both reflections in the hoods of cars parked at the Empire State plaza in Albany, with minimal Photoshop processing. Window reflections are interesting when they superimpose objects behind and in front of the window.
In Fresnel View, this effect is achieved by the fresnel mirror of a lighthouse on the Oregon coast. Of course, this can also be accomplished by reflections in shallow water, which can add texture to an image.
Conversely, the line of colorful Reflected Boardwalkers can add human interest to an otherwise abstract image:
The lettering in 5th 3rd Bank likewise adds perspective to this image. Of course, glass and water are not the only surfaces that reflect, as evident in Antique Car Reflection:
I am always struck by the capacity of the indirectly perceived to create pure abstracts, as in Empire Sprite, formed in the reflecting pool at the Empire State plaza in Albany, or Still Life in Black Light:
Nature abounds with reflections. In Geyser pool abstract, photographed in Yellowstone, the reflected horizon adds a sense of perspective to the image. In reality, of course, all objects are indirectly perceived through their effects, all images are formed by the reflection of light from objects; what we truly see is the light. But because we consciously recognize an image as a reflection or a shadow, we are encouraged to probe deeper, our minds engage with the image in an attempt to creatively interpret our vision, and in the process, a visual dialogue is set up between photographer and viewer. This, to me, is the essence of photographic art.
Finally, some fun with reflected self portraits!