nathan_cohen

<<Thanks for the great answers. Please my follow up comments below.

The best reflection shots happen with well illuminated subjects against a clear blue sky. That means the sun should not be in front but in back of your position.

So in the morning get shots facing northwest (assuming you want the southeastern sun behind you) and towards late afternoon get shots facing northeast. >>

Yes.

<<Use a circular polarizer and remove it if you don't like it.

I was thinking that polarizers would just cut through and lessen the reflection. How does a polarizer enhance the reflection? >>

It enhances contrast by blocking out selected reflections and darkening the sky--in certain directions away from the sun. This allows the highly polarized colors, if sought, to dominate over the otherwise glaring parts, if present. A CP will be adjustable to taste for extremes or in betweens.

<<The angle of incidence equals the angle of reflection, so often--but not always--that means getting at a near grazing angle. Expect to hunker down a lot.

Okay: get close to the lake and as flat to the reflection as possible (and still get it in the frame.) >>

Usually; again, look around and see what looks best.

<<Often, but not always, the best shots are with still water. And the best candidates for still water are very shallow ponds, and especially puddles.

Good point. The place I'm going has very shallow alpine lakes. >>

These will be great if pond scum and pond grass and lilly pads don't dominate:-)

<<Its often more interesting to have something in the water itself be visible, either by sticking or growing out of it.

Okay. >>

Some folks like throwing a ND filter in to get the reflection the same brightness as the main shot. Then they have a (surface breaking)rock or pond grass in the foreground to add tension.

<<Use a tripod.

It's heavy, but I'm carrying one in. >>

Even a cheapo light one is good.

<<Smooth out the water a bit with long (1-4 second) exposures. Stop down. Use f/16 or smaller for great depth of field.

If you want the sharpest reflection wouldn't you want a short shutter speed to reduce blur from the motion of the water? >>

The best reflections happen with very still water, or very blurred water. Freezing water motion only tends to be distracting from the reflection.

<<Expose for the reflection and then drop down on shutter speed.

Not sure about this...can you elaborate?>>

If you expose for the reflection and don't compensate, the main shot will be overexposed. This way the main shot is less likely to overexpose and the reflection will be slightly underexposed. In extremes, the main shot will be just too bright and you'll have to use a 2 or 3 stop ND filter to equalize it; thus my comment below.

<<Use a ND filter if you have it, but don't use it as a crutch. Typically an occulting board works as well. I used an occulting board on my 'self similar' shot (in my portfolio) a few weeks back.

I have a couple good singh-ray filters that I use.>>

Ah! Good man.

Bob,

Here's another shot. I pose it as an extreme. It is a velvia shot from a foot off the bank of a lake in MA. Dawn. I knew the color would be great, but I wanted something more dramatic. I used two flashes for fill flash. One was two feet to my right and the other 5 feet from my right. One was focused down at the log in the water, the other was diffuse. I ended up with light from three sources reflecting on the water (through the bounce of course). I got a full-day effect on the logs and trees and a dawn reflection on the water (mostly). I pose this, again, as a very demanding reflection shot but wanted you to know that it is a very creative and fun option.

If you wish, I will put up one or two more easier but neat examples.<div></div>

Hi Howard,

When traveling domestically, none of my films returns with me. Exposed film get sent to Fuji in Phoenix, and unexposed (it happens) gets mailed back USPS.

On my last trip, I also tried, and had excellent luck with, FedEx'ing a shipment of film to my hotel--ahead of me. It was not x rayed (I checked beforehand with Fedex), and was waiting there for me. I found it impractical to carry on, thru the airport, 4 bricks, and found this a good solution: carry on a min of 20 rolls; Fedex the rest. In a worse case scenario, I would have B&H (or someone else) overnight film as needed.

David,

Thanks for your comments. However, we may have differences on what constitutes a difference.

Could you kindly lead me to a link which reports data on this issue, not judgements of those without apparent scientific training?(You refer to pseudo-science).

My training led me to run a conrtrolled experiment with the same processor; exposed and unexposed film; and repeated trials. Kindly tell me the weak point in the approach and it will be fascinating to try again--albeit it will take some time, given that I won't be traveling for a few weeks. Best wishes.

Dear Shun,

Facts are facts. I reported the facts. I also reported an apparent inconsistency with regard to your description, which you did not address.

If Simon wishes to run his film thru that's quite alright with me. If you wish to, that's fine too.

My results are carefully executed and repeatable. Thus I have learned not to run any film thru security x rays if given the choice. Kindly dissuade me with facts if you wish to present a counterargument. Best wishes.

Too many (good) questions. I will help with a couple.

The best reflection shots happen with well illuminated subjects against a clear blue sky. That means the sun should not be in front but in back of your position.

Use a circular polarizer and remove it if you don't like it.

The angle of incidence equals the angle of reflection, so often--but not always--that means getting at a near grazing angle. Expect to hunker down a lot.

Often, but not always, the best shots are with still water. And the best candidates for still water are very shallow ponds, and especially puddles.

Its often more interesting to have something in the water itself be visible, either by sticking or growing out of it.

Use a tripod.

Smooth out the water a bit with long (1-4 second) exposures. Stop down. Use f/16 or smaller for great depth of field.

Expose for the reflection and then drop down on shutter speed.

Use a ND filter if you have it, but don't use it as a crutch. Typically an occulting board works as well. I used an occulting board on my 'self similar' shot (in my portfolio) a few weeks back.

Teach yourself to see the reflection rather than the water, It takes a bit of effort IMO. Learn from others experience and mistakes. Here's an attached example:-) My friend had the wrong angle from this vantage point. I rib him about it with this shot.<div></div>

Hi Shun,

I wish I had your experience on this issue. Mine is not positive. I do not allow my film to be x rayed because of that. Best wishes.

Shun,

I am happy you got a good result. However, if each security x ray was the same, and you used ISO 400 film for 16 security x ray exposures, then the cumulative exposure is of order 2 to the 4th power, or approximately 4 stops over one exposure. In this case ISO 6400 wouldn't fog on a single exposure to security x rays, and I very much doubt that.

Did you check to look at the 'tails' of the unexposed, developed film? It would be interesting to see if they remain black, or are discolored from security x ray exposure. If so, then the contrast on shadows will, at least, be compromised. Did you see that perhaps:-)?

My experience is to take it with you and ask for a hand inspection. Take the film out of the boxes and cannisters and put them into 2 plastic see-thru bags. They will not run them through x-rays if you ask.

Luggage x rays destroy film and --security x-rays-- fog it. Even slow film fogs, albeit not as noticeably as fast film. If velvia (ISO 50) fogs (it DOES fog. I know; I've done the experiments 4 times) then ISO 100 will fog. Its up to you to say what is aceptable. The answer for me is 'none'.

On velvia, the unexposed film develops as deep brown transparencies. On exposed film it renders a slight yellow hue which I have been able to fix with color balance. Basically it looks like a mediocre developer was used.

My control has been unexposed and un x-rayed velvia and exposed rolls. All fresh. All sent to Fuji at Phoenix.

Now you know why digicameras have been selling so well since 9/11...I still like film though.

What a revealing Question!

Back when I was single, I had no problem using my studio apartment as a studio. But long-since married, mostly Monet and Renior graces the walls at home. There are several of my landscapes at work. And frankly, I get a big kick when visiting friend's homes--most of them covet one of my landscapes and its fun to see where they put them.

I do have a great shot of Yosemite Falls over the guest powder room. I thought nothing of it, until one party goer yielded the suggestion that shots of running water made some folks, well, more fluid in their business.

Here's a 'portal' shot showing creative use of vignetting.

Morain Lake. 17MM wide angle, with polarier and warming filter.<div></div>

Vignetting literatlly means 'shadowing' It is occultation and/or a diffraction fringe and/or out of focus edging caused by blocking off the aperture. Color changes are not vignetting.

If you take a wide angle lens and screw a couple of filters on it you'll know what vignetting is...:-) In the etreme, it produces a 'portal' effect which I happen to like.

The blurring cuased by clicky shutters is most prominent for shutter speeds of 1/15 to 1/2 second. This occurs because the time scale for the shutter is roughly 1/15 of a second, and it takes a while for the 'ringing' to stop.

I do notice a difference in that time frame. Many of my pix are long exposures (1-5 seconds) and there is no effect that I can see on these scales.

I use Pentax cameras. Mostly manuals and 35mm. My Olympus digi E-10 has not shown a ML blurring at all.