Reflections in Glass | Architectural + Interior Photography
One of the biggest challenges we face in Architectural Photography is capturing different types of glass. As a tricky technique, here are my top six things to keep in mind:
Designed by Smith Gee Studio + Perkins and Will
Embrace the Camera Lens Hood and Shade:
The camera lens hood is a simple yet powerful tool to block unwanted reflections. It helps block stray light from entering the lens and causing flares or glares. When shooting a scene with glass involved, ensure that you have the appropriate lens hood for your camera and use it diligently to minimize reflections.
The lens hood provided by camera manufacturers isn’t always the best to use. There are a few different types that are commonly used; one of my favorites that people don’t often talk about is a rubber lens hood. I personally love my old Mamiya. While it may be 30 years old, it still has a lot of advantages that modern lens shades do not have. In my opinion, a rubber hood works best in providing full protection and shooting through glass into another space. Another one that I don’t see a lot of architectural photographers using is a compact lens shade. I always keep mine in my camera bag for preventing unwanted flares from the sun. It’s something that 90% of the time I don’t need, but that other 10% saves me from a lot of post-production work. For example, when we’re shooting a building through another building, I push the lens hood up against the glass to minimize the glare and reflections.
Utilize a Polarizing Filter:
A polarizing filter is a game-changer for glass photography. Ever had your polarized glasses full of spots? Same phenomena. This polarization difference is caused by the refraction variations you see when the light passing through the glass. It can also be caused by tempering the glass.
By rotating the filter, you can control the angle of polarized light entering the lens, reducing reflections and enhancing color saturation. This versatile tool is effective when shooting through glass or capturing reflections on glass surfaces.
I find polarizing filters to be very advantageous. The more money you spend on one, the less likely you are to have spotting show. I always recommend shooting with and without polarizing filters, so if you do happen to see spotting in post-production, you can photoshop it out with your alternate plates. Polarizing filters are also helpful when hiding confidential information that may be on a monitor or screen is crucial. This can give your client peace of mind during a shoot.
There are many times clients could complain that selects they got back are too shiny or bright. It’s usually because the photographer did not use a polarizing filter. However, it’s important to give your clients clear expectations if it can’t be fixed. I personally am a big fan of breakthrough photography filters.
Designed by Gensler
Play with Backlighting:
Backlighting is a good technique in creating a stunning visual effect while controlling reflections. By positioning the light source behind the glass structure, you can highlight the contours and shapes while reducing the intensity of reflections on its surface. This adds depth to your images, elevating the results to a whole new level. Using a light study provides us with the optimal level of light during specific times for a shoot.
A lot of times during a scout, I will figure out where the sun’s position will be when we take exterior shots. It’s crucial to have ample back lighting so the final photographs brightly portray both interior and exterior spaces within a shot. This is extremely helpful in stand-alone retail spaces or multiuse facilities.
Opt for a Farther Focal Length:
A farther focal length allows you to shoot from a distance, making it harder to capture its own reflection on a glass surface. This technique is especially useful when photographing large glass structures, skyscrapers, or intricate glass facades from across the street.
The number one mistake I see photographers make is not wanting to replace their tilt shift lens for a zoom lens. A lot of photographers develop a habit with keeping one lens on that is working for the rest of the shots on-site. Honestly, some of my favorite shots I’ve taken have been on a telephoto lens at 600 mm.
Essentially a zoom lens will give you compression and alternate angles that you won’t get with a wide-angle lens. This can be helpful when shooting city skyline reflections in glass or water. It also allows you to see further into the space you’re shooting. Keep in mind – you want to figure out what the furthest point is you can get of the subject, then work your way up from there.
Designed by Gensler
Experiment with Camera Angles:
Adjusting the camera angle can significantly impact the level of reflections in your shots. By shooting from different angles, you can find the sweet spot where reflections are minimized or creatively manipulated. Take the time to explore different perspectives to discover the most visually appealing result. There’s even been some shoots that I’ve hiked up and down adjacent buildings in order to get the “hero shot”.
Trust your gut instincts on where to take a shot. However, take a step back and look around where there may be other angles or collaborate with other team members. Everyone is looking at the shot from a different perspective, so don’t stay married to just one. There’s also nothing wrong with delivering more options to the client than they requested. We recently had a client who only wanted eight angles of a multifamily facility. However, at the time of year we shot, the lighting poured in differently, giving us an abundance of angles to work with that were even better than the original request. A win-win!
Fine-Tune During Post-Processing:
Most photographers are so caught up in trying to remove every single reflection during the shoot that sometimes they forget about the post-production holy grail – Photoshop! Although I don’t think photoshop should be used excessively, it can work to keep the shoot rolling. This could take me down a rabbit hole of working with Ai… which we will discuss in a separate blog post. With limited time on set, sometimes it’s best to get the shot and correct it in post-production. This judgement, with time, will get easier and easier until it becomes second nature.