Landscape photographer Gareth Goldthorpe shares his portfolio of reflection landscape photography shot excluisvely in his local area. A testament to what landscape photography opportunities are just on our doorstep. This article featured originally in Issue 45 of Light & Landscape Magazine.
Epic Landscape Photography
For many people, myself included, landscape photography is borne from a love of the natural world and is usually combined with a drive to explore the world as far and as wide as possible. As a result, social media platforms are replete with attempts at unique interpretations of increasingly familiar subjects ranging from Icelandic waterfalls and Japanese lakes to North American canyons and Scottish mountains. Don’t get me wrong; these images are, more often than not, a pleasure to see and I would never turn up the opportunity of having a go myself; take below as an example of my complicity.
But, with this bombardment of epic images, it is easy to forget that a more localised outlook on photography, where the context of “place” is removed, can also offer up opportunities. This truth was brought home to me recently when I found myself living in a small, dull town near Paris, France. With no access to a car and no disposable income to speak of, I resigned myself to a photographic-free year.
Local Opportunities
Luckily, the demands of dog-walking still had me out and about and I soon discovered a small nature reserve very close to my home. The reserve features a series of ponds (probably man-made) fed by a river that runs along its western boundary. Initial explorations, dog in tow, were a little disappointing as the woodland around the ponds is fairly young and quite scrappy, whilst the ponds are difficult to access due to thick vegetation on most of their banks.
Finding specific subjects to photograph proved difficult and my initial excitement at finding the site began to diminish. Then it occurred to me that maybe such a low-impact site might be better suited to a more thematic approach to photography; one not dependent on subjects per se but that, instead, seeks to capture the essence of the area. Thinking about what the reserve had to offer, the choice seemed obvious and, so, I began regularly walking the reserve in search of examples of the interplay between land and water; more commonly referred to as reflections or reflection landscape photography.
One of the distinct advantages of photographing locally is the ability to regularly revisit a location, at varying times of day or night to discover and uncover its hidden subjects. Similarly, taking a thematic approach to photography encourages experimentation with how we use the camera to best represent the theme. This, in turn, leads to growth in both your technical abilities and, perhaps more importantly, your creative initiative. So, here’s what I have learned, over the past six months, about reflection landscape photography.
Equipment
Firstly, a quick word on the equipment I use for reflection landscape photography. A circular polariser is vital as it offers some degree of control over how the camera “sees” the water. As well as removing any glare on the waters’ surfaces, it can enhance a reflection by adding contrast and depth. In situations where a wide-angle view is being photographed, it may be necessary to use a graduated filter to help balance the exposure between sky and water (the sky is typically brighter than its’ reflected counterpart), keeping the viewer’s attention with the reflection. Neutral-density filters (and, therefore, a tripod) can also be useful and I will speak more about this a little further down the page.
Composition
Composition is obviously important and, traditionally, the transition line (effectively, a horizon-line) between the reflection and the subject is placed dead centre in the frame, to emphasise that “mirror” effect. However, I have often found that by pushing the line-up, so that more of the water is visible, a sense of depth can be added to the image.

A higher “horizon-line” gives a more defined sense of depth as if the viewer is moving through the water to the opposite bank, whilst a 2-stop medium-edge filter darkens the sky and lightens the shadows
Mirror Effect
It is this mirror effect that most reflection images seek to record but this requires near-perfect conditions as the slightest wind will disturb the waters’ surface, resulting in an uneven and “broken” reflection. This can be countered by slowing down the shutter speed, with the use of a neutral-density filter, “smoothing” out the water and making the reflection more stable (with a long-enough exposure, it will also remove distractions, such as floating leaves, from the water). However, be aware that it will also give you blurred foliage as any trees in the picture are moved by the wind. It all depends how much emphasis you want on the reflection itself.


For a “mirror image” reflection, there must be no wind to disturb the surface of the water. When wind can’t be avoided, slowing down the shutter speed will “fix” the reflections but, of course, the leaves of the trees will blur.
When looking for specific subjects, there are a few things that can help an image. Stretches along the water’s edge with distinct points of interest, such as a spot of colourful foliage, can add interest and depth. Here, the bright orange cluster of leaves to the left is balanced by the yellow-leaved silver birch on the right; together, these spots of colour add interest to the image.

Of course, the exact opposite approach can have equally stunning results; adding to the monochromatic effect presented by a line of trees in full late summer foliage, a well-placed reflection can create an impenetrable wall of green.

Perhaps the most compelling abstract images use patterns in nature to create something unusual and, therefore, striking. This is where reflections can really come into their own. Where, for example, a tree has fallen and lies half-submerged in the water, some incredible geometric patterns can be formed.

As with woodland photography generally, mist can really help cut out some of the inherent chaos that typically dominates a woodland scene. By simplifying the image, a thick mist can emphasise the subject whilst adding drama.

Similarly, the soft light of a low sun, either at the start or the end of the day, helps to reduce contrast in the image which otherwise may distract from the subject; the relationship between the world and its reflection.

Gareth Goldthorpe’s passion for photography stems from a love for the natural world and has shaped his professional life as a conservation biologist. His ultimate goal is to use photography for conservation, leveraging his images to showcase the beauty and influence of the natural world and its inhabitants.