Umbrellas on drops of water instead of the other way around.
Water drops on a mirror with manual flash behind the overhead umbrella. I tried this first by illuminating with lamps from underneath the umbrella, but it looked MUCH better when I used a flashgun from behind the umbrella.
Shots with different panels and with lamps lighting under the umbrella here: http://www.pbase.com/jhphoto/macros_7d_umbrellaswaterdrops

My other KM C40 entries here: http://www.pbase.com/jhphoto/c40_repetition

I also entered this one in DPR Macro Challenge #6: http://www.pbase.com/jhphoto/gallery/dpr_macro6

I want to acknowledge Sonny, who provided me with the inspiration for this shot. Check out his creativity with water drops here: http://www.pbase.com/sonnyasehan/miscellaneous
If you like this kind of thing, here's another one from Vikas that you may also like: http://www.pbase.com/vikasmal/image/45275735

In response to Marisa's and Jeremy's comments, it's really quite simple, although the subject, setup and lighting all make a difference to the outcome.

I put drops of water on a mirror (lying flat) with a straw with my finger over the end and set up an umbrella at an angle over the mirror. You can see the umbrella frame in the water drops to show it's the underside. I set up my camera adjacent to the mirror and looking down at the mirror so that I could see the water drops with their tiny umbrellas and the reflection of the umbrella in the background, with the blue panel in this case filling most of the frame (cropped the rest). I tried the other colours in the umbrella panels as well, but liked blue the best, as did my wife, which proves that it's the right choice ;^).

The focus distance was about 40cm, so fairly close. The water drops act like small, convex mirrors (or is that lenses?) to concentrate whatever they see into a small viewing area and invert it both vertically and horizontally without any trickery involved, just the coolness of what curved, reflective surfaces do with light.

The 0.8 sec exposure was just to give me plenty of time to manually fire the handheld flashgun from behind (and above) the umbrella where I was standing with my shutter release remote control. I chose the ISO, aperture and flashgun output that would create the right combination of DOF and exposure, then leaned on the curves during processing for the vibrant result you see here. I shoot RAW and process at 16 bits/channel precision (actually 12 bits/channel as that's the limit of RAW information). The flexibility and tolerance for aggressive processing are unsurpassed. JPEG at 8 bits/channel often just doesn't cut it if you want to really lean hard on the curves for more dramatic results.

If you like this one, you may also enjoy my 'Cure For A Rainy Day':
full size: http://www.pbase.com/image/47889321