The accidental emoticon off the reflecting surface of a porcelain vase, actually the distorted reflection of a linear light fixture, is one type of liberated image in the sense of being free from the optical standards of reflected image off a plane mirror.
The following two images illustrate reflections off spherical mirrors, intending to inform the viewer about incoming traffic hidden in dog-leg or switchback spatial situations, particularly in areas of heavy pedestrian circulation where relatively violent encounters can otherwise occur.
In both cases the visual distortion isolates the image from its context while allowing a large area of that context to be reflected in the mirror, as if miniaturized by it while contributing information about an invisible space.
The next two images involve a reflection of parts of myself, firstly off a tarnished stainless steel serving plate placed to dry behind the kitchen sink faucets then, secondly off a typical vertical mirror located at the entrance of my new digs.
In both cases, due to the nature of photographing off a plane mirror, the hands holding the camera are included in the general image, in the course of taking the photograph.
In the first case they are the subject of the photograph, in the second they add a different stance and effect from static conventional portraiture, recalling some of the self-portraits of Boubat
Whereas Boubat’s self-portraits include generous parts of his home reflecting his identity, this one includes my hats as if in a last reflection before leaving.
Credit Maurice Amiel for all images