LA ARQUITECTURA INTERPRETA SU TIEMPO

While amphibians and reptiles are very different animals, when taking photos, many of the technical and aesthetical considerations are interchangeable. First of all you need to locate the subjects.

AMPHIBIANS

Newts and salamanders are a challenge to photograph because they spend so much of their lives underwater. Only experienced naturalists should attempt to collect species for photography.

A small nylon net with a not-too-coarse grain can be used. You can buy a standard-sized aquarium or construct your own using high-optical glass for the front of the tank and thicker glass for the base and sides. You can also use glass to restrict your subjects to the front area of the tank. Collect appropriate pond vegetation to create natural-looking backdrops. Use collected rainwater or tap water that has been boiled the day before and left to cool.

Water will quickly become de-oxygenated, so retain subjects for only short periods.

Select an aperture of f/11 or f/16 to generate a generous depth of fi eld and illuminate the subject from above using a single fl ashgun. If you do intend photographing amphibians in captivity, do your research fi rst to ensure any stress to the subject is kept to a minimum.

Always return subjects to where they were found as quickly as possible.

Frogs and toads look as natural and photogenic on land as they do underwater. It is easiest to fi nd them when they return to water to spawn. During the breeding season small pools and garden ponds often provide the best sites. One technique

is to simply kneel by the water’s edge and wait for individuals, or mating pairs, to poke their heads above the water’s surface to breathe.

While natural light is preferable, artifi cial light is often the only way to achieve sharp and bright results. In rainforests, or among dense vegetation, for example, the ambient light is dim and foliage can create an unnaturally green colour cast. In this situation, fl ash may be required in order to record vivid and accurate colours. Flash will also add a catchlight to the subject’s eye. However, diffuse the fl ash burst to help avoid distracting hotspots forming on the amphibian’s shiny skin.

When composing images, an eye-level viewpoint often works best. To create stronger, more stimulating compositions, keep eyes off-centre, rather than in the middle of the frame.

FROG SPAWN

Photographing the various stages of an amphibian’s life cycle, such as the eggs or spawn of frogs, can look fascinating in close-up. In this instance, I photographed a clump of frogspawn backlit on a lightbox before quickly returning it to the pond from where it was collected. Doing so created a high-key and abstract-looking result.

Nikon D700, 150mm, ISO 200, 1/5sec at f/11, tripod

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REPTILES

Reptiles vary hugely in size and design. Snakes and lizards are particularly photogenic, but it is important to underline that some reptiles are venomous and only experienced naturalists should ever attempt to photograph dangerous animals. The majority of reptiles are harmless, but they are shy and often diffi cult to get within picture-taking range. Many images of reptiles are shot courtesy of temporarily housing them in a vivarium. However, this isn’t something I personally encourage. I prefer, when possible, to capture images in the fi eld, using good fi eldcraft and technique.

Of all reptiles, snakes are particularly photogenic. Their large, bright eyes, forked tongues and skin markings look striking in close-up. A telephoto lens will allow you to work from a distance and minimize disturbance.

Snakes and lizards are cold-blooded and will typically be at their least active early in the morning, as they bask in the sunshine. This is the best time of day to visit suitable habitats.

Research locations beforehand, visiting them regularly in order to identify spots where reptiles are accustomed to bask. A low viewpoint will often create the most intimate-looking results.

If using a long focal length, depth of fi eld will already be shallow and by shooting from ground level you will ensure foreground and background detail is quickly thrown out of focus, which places extra emphasis on the subject itself. An overhead viewpoint can also work well with reptiles, highlighting the animal’s length, shape and form, particularly if it is resting on an attractive or contrasting backdrop, such as sand or bark.

While you might be lucky enough to stumble upon subjects, many reptiles are timid, well camoufl aged and will quickly scurry away if disturbed. Many species are territorial, though, so will often return again and again to the same rocks, clearing, sandy area or log pile. Therefore, regularly return to places where you have seen them before; or even wait patiently nearby with your camera ready. Lastly, remember to wait for the right moment – an image of a snake with its tongue out, or of a lizard devouring its prey, will give your images far greater impact.

SLOW WORM

The long, narrow shape of snakes and slow worms means that they don’t often suit being photographed when fully outstretched, as too much empty space is created within the frame. Instead, they often photograph best being shot from ground level when coiled up. Don’t be afraid to explore different viewpoints, though. In this instance, contrary to the general rule, an overhead angle created the most striking composition of this slow worm basking on a rusty sheet.

Nikon D70, 105mm, ISO 400, 1/125sec at f/11, handheld

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