By MICHAEL PERKINS
ANYONE WHO REGULARLY PHOTOGRAPHS GLASS SURFACES realizes that the process is a kind of shot-to-shot negotiation, depending on how you want the material to react and shape your subject. There is really no absolute “look” for glass, as it has the ability to both aid and block the view of anything it’s around, in front of, or near. Viewed in different conditions and angles, it can speed the impact of an image, or foil it outright.
I love shooting in urban environments, where the use of glass has shifted dramatically in recent decades. Buildings that were 90% brick or masonry just fifty years ago might be predominantly wrapped in glass today, demonstrably tilting the ratios of available light and also changing what I call the “see-through” factor…the amount of atmosphere outside a building can be observed from inside it. This presents opportunities galore of not only what can be shown but also how abstracted glass’ treatment of reflection can serve a composition.
Against the advice of many an online pundit, I keep circular polarizing filters permanently attached to the front of all my lenses so that I can modify reflections and enhance color richness at my whim. These same pundits claim that leaving the filter attached when it’s not “needed” will cost you up to two stops of light and degrade the overall image quality. I reject both these arguments based on my own experience. The filters only produce a true polarizing effect if they are either at the right viewing angle vis-a-vis the overhead sun, or if they are rotated to maximize the filtering effect. If they don’t meet either of these conditions, the filters produce no change whatever.
Even assuming that the filter might be costing you some light, if you’ve been shooting completely on manual for any amount of time, you can quickly compute any adjustments you’ll need without seriously cramping your style. Get yourself a nice fast lens capable of opening to f/1.8 or wider and you can even avoid jacking up your ISO and taking on more image noise. Buy prime lenses (only one focal length), like a 35mm, and you’ll also get better sharpness than a variable focal length lens like an 18-55mm, which are optically more complex and thus generally less crisp.
In the above image, which is a view through a glass vestibule in lower Manhattan, I wanted to incorporate the reflections of buildings behind me, see from side-to-side in the lobby to highlight selected internal features, and see details of the structures across the street from the front of the box, with all color values registering at just about the same degree of strength. A polarizer does this like nothing else. You just rotate the filter until the blend of tones works.
Some pictures are “about” the subject matter, while others are “about” what light does to that subject, according to the photographer’s vision. Polarizers are cheap and effective ways to tell your camera how much light to allow on a particular surface, giving you final say over what version of “reality” you prefer. And that’s where the fun begins.