Semi-transparent, half-visible, partly knowable

The window light both reflects from the plastic book wrap and illuminates the book’s title underneath.

Even in the dull light of the cloudy morning, the surface of this plastic covering of the paperback book presents an eye-catching sight. From one position only the pattern is visible. But from directly overhead, looking down, only the book art and title can be seen (the clear plastic is almost invisible). In-between the first standpoint and the second one, this photo shows the semi-transparent effect of reflecting part of the light, while also allowing some of the light to pass through the plastic and shine on the book’s title and colorful background art. Something similar happens with other surfaces that can both reflect and transmit light through them: the water surface, window glass, or clear plastic packaging, for example. Any disturbance to the surface tension or texture can block vision inside and beyond the surface: rough water, hand-blown or pebbled or sandblasted glass, or grubby fingerprints on the plastic packaging, for example.

Insights to draw from this image fit into two categories. One lesson is that surface disturbance draws attention to the surface and thereby obscures what lies on the other side of the surface (below the surface). Outside of the world of optics and speaking more metaphorically, frivolous lawsuits, procedural objections intended to muddy the waters or delay the process, and the authoritarian government disinformation habit of flooding public discussion with extraneous, contradictory, or loud distractions or “what-aboutism” are examples of surface disruption.

Another lesson to draw from this image is that one’s standpoint is essential when turning transparent (e.g. looking at the book cover from directly above) to semi-transparent like the photo to fully opaque (e.g. seeing the book cover from an angle even more oblique than the lens position in this photo). Taking this observation more generally, the same is probably true of the above examples of surface distraction and “noise.” By changing one’s standpoint, some or all of the reflective confusion can be overcome so that the underlying subject is visible.

Looking at the relationship of surface to what lies under the surface, the matter can also be looked at in reverse; not with regard to reducing glare and pattern of the outer layer but going the other way: finding uses and value in amplifying the surface to achieve semi-transparency or perhaps something nearly fully reflective and thus almost opaque. One purpose in adjusting the angle of reflection of light source, surface, and lens/viewer is to draw attention to the patterns on the surface (e.g. frost tracery). Another reason could be to make visible the depth that lies between the viewer and the underlying subject (to stop taking for granted the intermediary parts). Or perhaps there is meaning that comes from obscuring some degree of the subject so that is will not be readily seen, but instead the viewer will be forced to struggle a bit to identify and understand what lies there; leaving something to one’s imagination.

No matter the scenario, it is good to recognize how the semi-transparent subject can shift from fully transparent to fully opaque, according to standpoint and/or movement of light source. In this way, when next faced with glare or its absence, a person can pause and consider moving in order to gain a new angle on the matter.

Delight in light both dim and bright

The HDR (high dynamic range) camera setting records brightest and darkest parts of the window-lit hallway holiday scene.

While most articles in this blog use a visual subject as a springboard to possible insights about thinking and imaginative powers more generally, this time it is light all by itself that is the main subject. When a potential composition catches the photographer’s eye, it may be primarily the prominent geometry (below), the interplay of colors and surfaces, the decisive moment in which an instant of intersecting forms produces some visual tension or release, or simply the kind and amount and pattern of light itself, like the above example.

Zig-zag bridge at the Japanese Garden pond in Grand Rapids, Michigan at Meijer Gardens and Sculpture Park (4 Dec. 2022).

The basic principle of illumination is a marvel, a source of wonder, an overlooked miracle: what the photons touch and one’s eyeballs receive is presence and defined focus and visible meaning. But what is partly or wholly absent of light correspondingly does not define anything identifiable or make visible anything knowable.

The top picture differs from many others by merging three exposures into a single finished photo so that dark areas are well exposed, but so are the brightest parts. While a single picture would do disservice to the lowest light or highest light areas, this HDR setting allows a wider range of light values to be recorded well. As an aside, maybe a similar merging of multiple interpretations in one’s thinking also results in a wider range of values to understand, compared to a single view. The following picture is also set to HDR exposure.

Early December light of late afternoon shines on this pile of books while the foreground is draped in shadow. (1 Dec. 2022).

In summary, the subject of light is something worthy of awe all by itself, never mind the things that the photons fall upon. The light waves in all their particles are both functional ways to get about one’s daily life, but also they present scenes of visual delight for no other purpose than to witness and marvel at. Perhaps there is similar worth in pausing to acknowledge the wonder of plain and simple consciousness. Just as light is a thing of amazement, so too is thought a thing hard to explain or create. Both in its presence and in its absence it makes itself known. Turning to the word roots for Photography (Writing + Light), it is easy to see than whatever else a photograph may express, it does so only with the aid of light – either as essential element or as a subject to ponder all by itself, regardless of what else may appear in the frame.