When photographing leaves floating atop a reflection, it’s important to know that the focus point for the reflection is the focus point of the reflective subject, not the reflective surface. The recipe for the best reflection is still water, sunlit reflection subjects, and shaded reflective surface. This slow water creates many reflection opportunities that can double the color, and add a sense of tranquility. Reflections make fantastic complements to any fall color sceneīy autumn, rivers and streams that rushed over rocks in spring and summer now meander at a leisurely, reflective pace. But I’ve captured the underside of the leaves on the top-right of the branch-even though it’s an overcast day, can you see how these backlit leaves glow compared to the others? In the image below ( Autumn Reflection, Merced River, Yosemite), my camera has captured the sky-facing side of most of the leaves. But the other side of the same leaf, the side that’s opposite the source of its illumination, glows with color. Glare and reflection make the side of a leaf facing its light source, whether that leaf is in direct sunlight or simply faces an overcast sky, appears flat. The difference between the front-lit and backlit sides of fall foliage is the difference between dull and vivid color.

For photographers armed with an understanding of light and visual relationships, as well as the ability to control exposure, depth, and motion with their camera’s exposure variables, fall color possibilities are virtually unlimited. While most landscape scenes require showing up at the right time and hoping for the sun and clouds to cooperate, photographing fall color can be as simple as circling your subject until the light’s right. Vivid color and crisp reflections make autumn my favorite season for creative photography. To better understand the science and timing of fall color, read… Autumn Morning, North Lake, Eastern Sierra

Fall color background