Photo graphing

FROGS
and Other Amphibians
By Robin Hoskyns
With contributions from:
Ariadne Angulo, Candace Hansen-Hendrikx, Clay Bolt,
Phil Bishop, Robin Moore and Brian Gratwicke

A guide to facilitating engagement in amphibian

conservation through compelling images
Contents
i. Introduction 3

ii. About this Ebook 3 7. Macro 23

iii. About the ASA & ASG 4 8. Flash Techniques 26
iv. About the Author 4 9. Meet Your Neighbours 30
v. Acknowledgements 4 10. Wide-angle Macro 35
1. Visual Storytelling 6 11. Images for Identification 37
2. Amphibian Natural History 9 12. Handling Amphibians 39
3. Which Camera? 10 13. Biosecurity 41
4. Basic Settings 12 14. Dealing with the Elements 43
5. Composition 16 15. Further Reading 44
6. Post Processing 20 16. Image Details 45
2
Introduction
A mphibians are the most threatened vertebrate taxa on the planet. The latest figures from the IUCN Red List of Threatened Species show that
there are nearly as many threatened species of amphibians as birds and mammals combined, and that the proportion of threatened species is
potentially greater than 40%. The data are clear, but many people are unaware of the problems faced by amphibians today. While many ‘charismatic
mega fauna’ are chosen to serve as ambassadors for the message of conservation, we believe it is appropriate and necessary to tell the story of all
species in need of protection – even the sessile, and the creepy, and the brown ones. This is important, not only because fluffiness does not equate
to conservation value, but because we acknowledge the adage that humans will not protect what they do not love and cannot love what they do not
know. If we only tell the story of the popular species, those which are less photogenic or hidden in the swamps and caves of the world are likely to be
forgotten. In the race to halt species extinctions, we must understand and appreciate all species.
Fortunately, amphibians can be as charismatic as any large mammal. They live in nearly every corner of the planet and are fascinatingly adapted to
their surroundings. We are compelled to share our passion and tell the stories of forgotten species by capturing the unique beauty and character of
amphibians.

About this Ebook

D esigned for researchers and conservationists working with amphibians, this ebook aims to provide an overview
of techniques that can be used to create engaging images and demonstrate how these images can be utilized to
tell the stories of amphibians and amphibian conservation.
The ebook does not delve too deep into the technicalities of each approach, but will hopefully stimulate further
learning for those that wish to take their photography and communication skills to the next level.
Although the title and text make greater reference to frogs, most techniques can be applied interchangeably between
frogs, toads, newts, salamanders and caecilians. Any bias towards frogs is purely due to the availability of frog images and
approachability of the word ‘frog’.
Finally, this ebook fulfils the following priorities of the Communications and Education Working Group of the 2015 Amphibian Conservation
Action Plan:
• Section 1.2 ii. Continued identification of opportunities to communicate need & transfer skills for public engagement;
• Section 1.2 vi. Continue to use diversity of media for sharing knowledge within our community (e.g. amphibians.org
website, social media (Facebook, Twitter, Instagram, etc.), video, photography, and publications).

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About the ASA & ASG
The Amphibian Specialist Group (ASG) is part of the Species Survival Commission (SSC) of the International Union
for Conservation of Nature (IUCN). It is a network of the world’s leading amphibian experts providing scientific
guidance to enable conservation actions to be prioritized and implemented by the Amphibian Survival Alliance
(ASA) and the wider conservation community. Under the umbrella of the ASG, the Amphibian Red List Authority is
the body responsible for overseeing the assessments of all amphibians on the IUCN Red List of Threatened Species.

The Amphibian Survival Alliance (ASA) is a global partnership of organizations and groups working to implement
research and conservation actions for amphibians. ASA promotes and coordinates the implementation of
conservation actions for amphibians through an active, growing, engaged, committed, and collaborative partnership
around the world.

ASG and ASA, together with Amphibian Ark, share a common vision of Amphibians thriving in nature.

About the Author

Robin Hoskyns is a science communicator and photographer from the UK, who has a passion for amphibians and
a love of tropical rainforests. He has a background in conservation and behavioural ecology and has worked on
research and conservation projects in South Africa, Central America and Madagascar.
See more of Robin's work at www.robinhoskyns.co.uk

Acknowledgements
Special thanks go to Jennifer Luedtke for starting the ball rolling on this project and providing direction throughout. Many thanks go to all who contributed text and
kindly offered comments: Ariadne Angulo, Candace M Hansen-Hendrikx, Phil Bishop, Helen Meredith and especially to Robin Moore and Clay Bolt who contributed
images as well. Thanks also go to Kira Mileham for putting me in touch with Tim Skelton and to Tim for being extremely helpful in allowing access to photograph
frogs at Bristol Zoo.

4
↘ Boophis luciae from Madagascar. Photographed
by placing the flash underneath the leaf in order to
emphasise the translucent skin of this species.

5
 1. Visual
Storytelling
(Robin Moore)

S ince we began drawing on the walls of

caves, visual storytelling has played an
important role in helping us to make sense
of the world, and in determining where to
direct our attention and energy. It is therefore
an incredibly powerful tool for connecting
people with your work.
Amphibians can make great stories as they can
be portrayed as rare exotic jewels whilst at the
same time are ubiquitous enough that many
people can engage with them at a local level,
helping them to connect. Whilst much of the focus
is on photographic techniques, the primary purpose
of this ebook is to provide the tools to illustrate these stories
and it is important not to lose sight of this goal.
The rapid rise of tools to capture and share images poses both a challenge
and an incredible opportunity for photographers to communicate through
images and stories. It is easier now than ever before to get our images in
front of thousands or tens of thousands of eyeballs, but there is also more
noise.
So how do you cut through the daily noise to be heard?
Although the technologies we use to capture and share photographs are evolving, the
methods for storytelling are ancient and consistent. Stories can be told through individual
images paired with carefully crafted captions, as well as through series of images.
When trying to tell a story through a single photograph, think about how the elements in
 audience can connect with. Tell their story and bring them
to life. Become a character in your own stories. To most
people, what you are doing is fascinating. Bring them
along with you on your adventures through your images.
Look for situations and experiences that move you, and
tap into your own emotions to connect with the audience.
Think beyond the bare facts – channel the wonder, awe or
surprise you felt when you saw a specific animal, or sheer
elation of overcoming challenges to get a particular shot,
as these can form the foundation of a good story.
Use series of related images to tell stories. Before going
into the field pre-visualize the shots you need to tell
the story you have in mind, and try drawing them out
as a storyboard. Don’t close your mind to unexpected
opportunities once in the field, however, as sometimes
the best stories end up not being the ones you set out to
tell.
Use a variety of techniques to tell the different elements
↑ Adding people to an image can be one way of creating a story. This image tells of a story: use wide-angle, medium and close-up shots to
the story of searching for nocturnal frogs and emphasises human connection show subjects in their environment, in action and to home
with nature. in on interesting details. A story will often start with a wide
shot that establishes a sense of place before homing in
the image interact. Look for juxtapositions – for example, a photograph of on different elements of the story, but don’t be bound by
a beautiful wild animal surrounded by a human-altered landscape can be rules; be creative, and use your instincts as a guide.
powerful because it challenges preconceived ideas, and invites us to reflect As good as your instincts may be, it is important to have
on the impact of our actions on an individual. objective feedback on your stories. Test them out on your
Pair your photographs with captions that bring context and meaning that may friends and colleagues and solicit candid feedback as to
not be apparent from the image by itself. Effectively pairing words with pictures what works and what doesn’t. Friends and family are
enhances attention, memory, recall, and believability. If the message does not inclined to shower praise on our photos and, while this
fit with the visual it can detract from the overall power of the photograph, so helps us to grow in confidence and is why we love them,
make sure the caption reinforces and builds upon the image. constructive critique is important. Don a thick skin and ask
Think about characters in your stories – both animal and human - that the for honest feedback.

7
Think about what you want people to do once they have been moved by your photos and while platforms like Maptia, Medium and Atavist
enable them to take action should they feel inclined. How a story is framed is important. work well for developing a longer form product
While dramatic scenes of environmental destruction or dead animals can grab attention, and for telling a more involved story.
try to accompany these with solutions or research towards solutions to make people feel Don’t be overwhelmed by all the options
enabled to be a part of the solution. available. While it’s good to be aware of the
Explore platforms for bringing your stories to a wider audience, such as the newly formed tools that are at your fingertips, and to think
Maptia; longer running platforms Medium and Atavist; and, of course, Instagram and about the ways in which you can integrate
Facebook. Medium and Maptia work well for photo stories accompanied by a text different media to tell a story, don’t let the
narrative, Atavist allows you to easily embed video clips and maps, and Instagram and choice of media dictate the story. The most
Facebook work well for singular images and short video clips. The new Instagram 'Stories' important thing is to have a clear vision of
allows you to combine images and video into a slideshow format. Because it is forgiving how you want to tell your story in an authentic
and fast paced, Instagram lends itself to sharing “behind the scenes” photos and video, way, and bring in the media that will help you
achieve your vision.
Lastly, in this interconnected world it is
important to partner with people and groups
that are doing work you support. Conservation
groups can provide a platform for your
photographs and stories to get them in front of
an interested audience. Connect with ongoing
initiatives or campaigns to leverage the reach
and impact of your photographs and stories, or
start your own campaign and invite others to
join through social media. Think about how your
photographs and stories can most contribute to
the bigger picture of amphibian conservation,
as this is what will truly give them lasting value.

← The translucency of the frog in this image, as

a result of movement during a long exposure,
helps to emphasise the story of species decline
by using the visual metaphor of 'vanishing'
frogs.
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2. Amphibian
Caudata comprises of roughly 500 species. These are much less widespread than
the anurans as they are absent from Sub-Saharan Africa, Madagascar, the Indian
subcontinent south of the Himalayas, insular Southeast Asia, and Australasia, with
only a few species occurring in South America and mainland Southeast Asia. The

Natural History hotspot for Caudata species occurs in the eastern United States.
Gymnophiona are the oldest of the three Orders, and are the least speciose, with only
172 described species. They are the least widespread, occurring mainly in tropical

A mphibians have a truly diverse array of life

history strategies which makes them particularly
enthralling. Capturing this diversity photographically,
South America and parts of Asia and Africa. They are also the least well-studied due
to their frequently fossorial nature, although some species are aquatic.
As their name indicates, many amphibians are amphibious – living both on land and
and creating images that tell stories about these
water at different stages of their life cycles. These life cycles and life histories are
fascinating strategies, is what this ebook is all about.
extremely varied, including species that complete their entire life cycles in terrestrial
Frogs and toads are the most recognisable of habitats, species that are wholly aquatic, and many species that undergo direct
amphibians; however, the Class Amphibia also development or bear live young rather than lay eggs.
includes salamanders, newts, and the rarely seen
Knowing the specific life history and ecology of the species you wish to photograph
caecilians.
is particularly important for locating your subject in the first place, for informing the
There are currently over 7,500 recognized kinds of photographic equipment that you will need, and for informing the basis of
amphibian species alive today (and counting!), with the story you wish to tell through your images.
representatives present in virtually all terrestrial
and freshwater habitats, except for the coldest
and driest regions and the most remote of oceanic
islands.
The Class Amphibia is divided into three Orders:
Anura, the frogs and toads; Caudata, the newts and
salamanders; and Gymnophiona, the caecillians.
Anurans are the most widespread and species-rich
of the three Orders, with well over 5,000 species.
The highest species density of anurans occurs in
tropical forests, but they also inhabit deserts and
drier habitats, and can be found on every continent,
except Antarctica.

9
3. Which
Photography certainly is not
all about gear, but good gear
helps. Many owners of expensive

Camera?
cameras take less than average
pictures. However, with skills and
knowledge, a better camera gives
much more flexibility for improving
results. Having said that, the best

DSLR Short for 'digital single-lens reflex' Professional level DSLRs are extremely camera is the one you have with
cameras. These are the choice of most rugged and often weather sealed, you at the time so choosing the
professionals for a reason. The top DSLRs have the best when used alongside weather sealed right camera is important. This
image quality, most technology, and the best choice of lenses they are able to stand up to a lot guide is not intended to advocate
lenses. They also can be highly customisable for different of abuse. for specific makes or models, but
styles of shooting. The main downsides of DSLRs are that is more an overview of the types
DSLRs range from entry-level to full professional models they can be big, heavy and expensive, of camera available today.
and although they vary in the amount of extras and especially if going for the higher end
technical specifications, the basic settings should be models. If you want the best quality for
easily accessible and all will still have a wide selection of multiple types of subject then you will also end up taking several lenses with you.
automatic settings. Selecting a brand is down to personal preference, but it may be worth checking with
friends, colleagues and expedition partners as being able to swap or share lenses in
the field may offer up some extra opportunities.

Mirrorless Mirrorless cameras have rapidly improved over the last

few years. These are any cameras with interchangeable
lenses that lack the prism and mirror system that make DSLRs bulky. Because of this
mirrorless cameras are much smaller and lighter and can be cheaper too.
Mirrorless image quality is on par with all but the best DSLRs and the choice of
lenses is growing, along with adapters that allow you to use almost any DSLR lens
available.

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Many mirrorless cameras are aimed at a non- the right circumstances good images can be
professional market. However, models in the obtained.
top end of the range are increasingly being GoPros come with a fully waterproof
used by professionals. housing and are therefore very useful in
Many have a similar control set-up to a DSLR, wet environments. However, a fish-eye lens
but sometimes menus on mirrorless cameras and limited close focus ability means they
can be confusing, with basic settings less struggle with smaller subjects.
readily accessed, and a greater reliance on GoPros are probably more useful for
auto modes. videos telling the wider story of amphibian
mirrorless camera or a DSLR. What compact
Extras such as flip-out screens etc. can make cameras lack in quality, they make up for in conservation work rather than for
these cameras a little more vulnerable in the portability. photographing amphibians themselves.
field so they may not stand up to as much
abuse as a mid-range DSLR. With compacts, the lenses are built-in and
are not interchangeable; limiting you to what
There is a lot of variation between these the camera comes with. Many do not give
models, so it is definitely worth testing out full manual control of the settings, limiting
and doing some research before making a you to automatic modes. That said, recent
purchase. advances in higher-end pocket cameras
do offer manual control as well as more
advanced optical properties.
Being pocket-sized, compacts can be very
useful for record/ID shots and can give good
results if used creatively.
Many compacts can also be waterproof, so
can be used in environments that are just
too risky for a DSLR or mirrorless camera.
Whichever camera you choose it

Compacts Although the

image quality
GoPros GoPros and other
action cameras are
almost always more useful for video than still
has to be right for you so make
sure you identify your needs, and
of compact cameras is rapidly improving, images. They usuallly give almost no control what feels most comfortable for
generally it will be below that of either a over camera settings for photos, although in you.

11
4. Basic Settings Photography literally
means ‘light-imaging’. It's

W hichever camera you have and whatever you are photographing the principles
governing exposure are the same. Only three things affect exposure: Shutter
speed, ISO and aperture. The interplay between these three settings and the
all about capturing light.
Exposure is the measure of
how much light is recorded,
available light determines how bright or dark the image is. This relationship is often and as such it is crucial to
referred to as the exposure triangle. understand the basics.
Shutter
Speed
Shutter Speed
Probably the easiest of the three settings to f/2.8) lets in more light, whilst a smaller
understand, this determines the length of aperture (bigger number e.g. f/11) lets
time the shutter is open. A longer time lets in less light. The f-numbers are part of
in more light and a shorter time lets in less a ratio with the focal length of the lens
Motion hence why larger apertures are smaller
Blur light. Darker situations will require a longer
shutter speed, but the longer the shutter f-numbers.
is open, the greater the risk of motion blur. Changing the aperture also affects how
The Longer exposures can be used creatively to much of the image is in focus (called
Exposure add intentional motion blur e.g. blurry water. 'depth of field'). Small apertures will
Triangle allow a greater range of focus within the
Depth
of Field Noise
ISO This refers to the sensitivity of the
sensor; the lower the light level,
the higher the required ISO. It is important to
scene, whereas wider (larger) apertures
will give a soft blurred background and
help to isolate the
bear in mind that higher ISOs reduce image subject.
Aperture ISO quality by introducing excess noise resulting
in grainy looking images. As a general rule,
ISO should be kept as low as possible to
maintain a sharp image. Better high ISO performance can often be a key distinguishing factor
between camera models. Higher ISOs are used for low light situations however when flash is
used as the main light source the ISO can be dropped back to daylight levels.

Aperture This is the size of the hole in the lens through which light passes.
Changing the aperture has slightly more complex effects than either shutter
speed or ISO due to the creative impact on the final image. A wider aperture (smaller number e.g.
Controlling the Exposure The technical skill in exposing correctly Photographic Stops
DSLRs (and most mirrorless cameras) comes from balancing the effects of each Exposure is measured in ‘stops’. A single
usually allow full control over the settings element in the exposure triangle. With ‘stop’ is a doubling or halving of the
by using 'manual' mode. In manual enough practice it will become second amount of light recorded when taking a
mode each parameter will have to be set nature. photo. Decreasing the size of the aperture
individually. is usually referred to as ‘stopping down’.
In some situations the total control offered Stops are a way of standardising the
by full-manual mode is useful, but it can cameras settings so that by increasing
be slow to adapt to changing light for the one exposure parameter by a full stop you
less experienced photographer and the can then decrease another by the same
learning curve can be steeper when dealing amount and have no overall effect on
with all three parameters at once. Manual exposure. Most cameras allow parameters
mode is usually also preferred when using to be set at 1/3 stop increments for finer
flash as the main light source. control.
Large Small
Most cameras offer 'semi-auto' modes Aperture Aperture Metering
where one of the three parameters is E.g. f/2.8 E.g. f/11 When using full auto or semi-auto modes
adjusted automatically. When using semi- it is important to understand a little about
auto modes it is best to determine the ↑ The diagram above shows the difference
between a 'wide open' (large) and a 'stopped how the camera measures light. The
most important creative parameter and cameras 'meter' calculates settings to
choose the setting that gives manual down' (small) aperture.
balance the exposure to an average value
control (priority) over that one. ↓ The table below shows commonly used full across the frame. When things are evenly
Aperture priority tends to be used most stop increments. Individually changing any of lit it usually results in a good representation
often as the effect on the final image is the three parameters by one stop will have an of the scene.
more useful in most situations. When identical effect on exposure.
When there are large differences between
using aperture priority the aperture is Effect on Shutter light and dark areas or the scene is skewed
ISO Aperture
defined by the user and the shutter speed Exposure Speed towards either bright or dark then the
is automatically changed to maintain the Darker 1/250 ISO-100 f/11 meter tends to over-compensate. For
correct exposure. If the shutter speed falls - 1/125 ISO-200 f/8 example when shooting in snow a good
too low and images are subject to motion - 1/60 ISO-400 f/5.6 proportion of the image is brighter than
blur then the ISO can be increased by the - 1/30 ISO-800 f/4 average so the camera over-compensates
photographer. Lighter 1/15 ISO-1600 f/2.8 often making snow appear grey.

13
The range of light a camera can record is less Underexposed Properly Exposed Overexposed
than the eye can see. This makes high contrast (Blue showing clipped blacks) (No Clipping) (Red showing clipped whites)
scenes especially difficult.
Areas with strongly contrasting light, such
as forests with sun shining through, are
problematic and can result in images with
no detail in the shadows and overexposed
highlights.
In these situations you need to override
the cameras meter with a technique called
‘exposure compensation’. This will allow you
to bias the cameras meter, making the image
brighter, or darker, depending on the scene.
Whether you choose to make the image
brighter or darker depends on if you think the
key subject is in the highlights or the shadows.
Again practice and experience are the key to
getting this technique right!
↓ A screenshot from the back of the camera
showing the histogram function circled in red.
Using the Histogram
Getting the exposure you want, in camera, at the time of shooting will consistently
make your images better than relying on the use of software to fix exposure later. A
reliable method for checking exposure when viewing images on the camera screen is
the histogram function, which provides a graphic representation of how many pixels are
associated each brightness value. A balanced histogram with a bell shaped curve will
generally signal a nice even exposure. If a good proportion of the image is dark it will be
skewed to the left and a bright image will be skewed to the right. There is no such thing
as ‘perfect exposure’ as this can depend on exactly how you want the final image to look
and your creative intention, for example 'high key' images where the frame is mostly light
with a dark subject and 'low key' images which are mostly dark with a light subject.

14
Clipping Image Quality: RAW or JPEG
The histogram shows the range of data captured by the camera from pure One of the most important settings on the camera is the
white to pure black. If the exposure is badly under or over exposed then you image quality setting. To get the best quality you should
will experience ‘clipping’. set your camera to use RAW. RAW is a file format that
Clipping occurs when the possible data in the scene exceeds the range that stores much more data than JPEG (RAW is up to 16bit and
the camera is able to capture, resulting in the highlights and shadows being JPEG is only 8bit). As these files cannot be used without
rendered as solid black or white, therefore not containing any visual detail. processing first, the best way to think about them is as
‘digital negatives’.
Some scenes will contain more contrast than the camera is able to capture and
therefore some clipping is inevitable. In these situations it is best to decide Low and mid-range compact cameras will only be capable
if the most important detail of the image is contained in the shadows or the of shooting in JPEG, but higher-end compacts, all DSLRs
highlights and then expose accordingly using exposure compensation. and most other cameras now have the option to shoot in
RAW.
RAW gives you much more information in both the
highlights and shadows and greater control over the white
balance. This gives much more leeway than a JPEG when
it comes to editing.
Using RAW can have drawbacks: this format cannot be
directly read by most computers without additional
software and files must be edited and converted using this
software before using them. RAW files can be annoying if
quick access is needed or you need to send images with
slow internet speeds.
As RAW files contain so much more information their file
sizes are many times larger and therefore require larger
(or a greater number of) memory cards and more storage
space for backing up.
If storage space is not an issue, most cameras can be set
to shoot both RAW and JPEG simultaneously. This gives
↑ A longer shutter speed can give motion effects such as this 'blurry water' in the best of both worlds, with quick access to images in the
this rainforest stream image although a tripod is required to keep non-moving field and the RAW file to process when you return home.
aspects of the image sharp.
15
5. Composition
W hilst the technical aspects of photography can bog many
people down, being technically masterful does not
necessarily result in engaging images.
The real key to good image making is composition. People who are
naturally creative intuitively master this, while others spend years
developing the ‘photographer’s eye’. There are, however, some
simple techniques and ‘rules’ in composition that can be easily
learned and will hold true in the majority of cases, drastically
improving the story-telling ability of your images.
What is included in the frame and more importantly, what is
not is the most crucial element of photography. Thinking about
what you want the image to say and what impact you want it to
have should guide the process.
There is no true right or wrong with composition because
photography – like beauty – is subjective. The key really is having a
conscious thought process, considering how the image draws the
eye and how it can emphasise the subject.
When looking at images that grab your attention, practice analysing
what makes them interesting. This will help you create stronger
compositions in your own photography. Over time this analytical
processing will help you to build a mental library of compositional
techniques, ready to be applied when the right situation presents
itself. You may even find yourself framing images in your mind,
even when you do not have a camera. That is when you know you
have a ‘Photographer’s Eye’.
 Developing the “photographers eye”
The Rule of Thirds An effective image starts with good composition. Good composition holds
the eye of the viewer for longer regardless of the subject. Consciously

T he 'Rule of Thirds' is the most widely used compositional

technique in photography. It can be visualised by dividing
the frame up into three, both horizontally and vertically, with
taking notice of how your eye travels around an image can improve how
you critically view images and will allow you to analyse compositional
technique in images taken by others. Ideally the eye will be drawn to the
the lines forming a grid. Placing the subject on one of the main subject but also be allowed to travel and take in the rest of the image
lines will generally result in a powerful composition. Whilst before falling back on the subject.
termed a ‘rule’ it should be seen more as a compositional • Images with a central subject tend to feel much
technique to be used as-and-when the subject matter suits. less ‘dynamic’ to look at. Moving the subject to
one side creates more visual 'tension'.
• The strongest position for a focal point to be
placed is where any of the thirds lines bisect;
with animals the focal point is usually between
the eyes.
• On most camera screens a thirds grid can be
set as an overlay to help improve composition
when setting up the shot.
• Images containing strong vertical or horizontal
lines work very well when these are placed
along a thirds line.
• The Rule of Thirds works in most situations
and is many photographers’ go-to composition
unless another stronger composition
↖ The thirds lines are immediately presents itself.
overlayed on this image • Despite the strength of the Rule of Thirds,
as a grid. The point a central composition can occasionally be
between the subject's
effective, especially when used to convey
eyes is placed where
two lines intersect. symmetry and balance, or with extreme close
ups.

17
Clear Subject tree frogs. Eye level shots give a feeling of
engagement with the animal rather than
Lines and Graphic Elements
Unless your intention is to create an abstract Lines are powerful graphic devices to include
shot, the intended subject of your image peering down from above. It can also serve in an image. Lines can serve to direct the eye
should be immediately obvious. Using a to increase the distance between subject and to the subject, offering a connection between
shallow depth of field and an uncluttered background, and gives more opportunity to the foreground and background. ‘Implied’
background can help highlight the subject, as include foreground objects. lines such as a subject’s eye line, direction of
well as using graphic elements, such as lines movement, or lines between key elements
or shapes, to draw the eye to the subject.
Foreground/Background in more complex compositions, can have a
Images that include just the subject against
great impact.
Eye Level a smooth background can be effective;
however, including a foreground can help Building interesting shapes, textures and
Another way to increase the impact of
wildlife images is to photograph at the add a lot of depth to an image. Placing your forms into images is one way to create more
subject's eye level. This can involve getting subject in the middle ground is usually the advanced compositions, as is including
most effective. multiple elements. When doing this, consider
down and dirty with ground-dwelling frogs how all elements interact; for example, three
and salamanders, but can be easier with elements can be more dynamic than two.

↘ In this image, the bright water lilly in the

foreground helps to push the viewer's eye towards
the Common Frog behind.

18
Negative Space Negative space is any area in the image that does not contain the subject or any fine detail.
Utilising this space can be as important to the composition as the subject itself. Keeping your
subject 'small-in-the-frame' can be just as powerful as filling the entire frame with your subject, if not more so. Negative space has a visual
'weight' helping to push the viewer’s eye to the subject, conveying the mood of the surroundings, and implying that the subject could
conceivably move about within the frame.
• Wider images can add variety to a portfolio and can be used to convey the relative size of a small subject is in its environment.
• Large areas of negative space
work especially well with either
a shallow depth of field or an
uncluttered, smooth background.
• As with the Rule of Thirds, it
is usually better to have your
C E
subject looking into the space,
S PA
E
as the eye-line of the subject can
lead the viewer’s eye into the
T I V
rest of the frame.

E G A
N
One major bonus of composing
images with large areas of
negative space is that they are
extremely flexible when used
editorially, as text can be added
over the image without covering
the subject. If possible, it is worth
taking many similar images,
varying the placement of the
subject in the frame to give as
many options as possible if you
ever need to lay out a page.

19
6. Post Processing
G etting it right in the field will save you a Some photographers recommend leaving
lot of time when selecting and editing images for a while before sorting through
images back home. them. This can help reduce emotional
an invaluable skill.
The real key with image selection is to only
show your best work. Showing hundreds of
Editing should not be seen as a backup for attachment to those ‘almost’ images. Other similar images is likely to cause the viewer
poor technique. However, it does have the people require the excitement of a fresh to become disinterested and any images that
power to lift an image and add a bit more batch of images to get through the initial are not up to scratch have the potential to
punch. Although editing can be time- stage of editing. Do whatever works for drag surrounding images down.
consuming and tedious, the power of subtle you, but when considering social media
adjustments should not be overlooked. engagement it may be best to keep them Software
current to promote particular events. Being One of the huge benefits of shooting RAW is
The level of editing regarded as acceptable able to quickly choose a small number of
has been a hotly debated topic since the images from several hundred or thousand is that editing does not overwrite the original
beginning of digital photography. The truth
is that even before digital, film images were
edited in darkrooms and all digital images
are invariably processed to some extent
within the camera itself. Taking control of
this process by shooting RAW and applying
minor adjustments on the computer has the
potential to drastically improve your images.

Image Selection
The first stage of editing, and probably the
most important, is choosing which of your
images are good enough. What makes the
best image is purely subjective, but holding
in mind a theme or intention for a particular
set of images can allow you to assess them
more quickly.
↑ A screenshot of Adobe Lightroom editing software.
20
file, as happens with a JPEG. Rather, the ←The basic editing pannel in Adobe Lightroom,
changes are saved as a separate file and only showing the 'sliders' used for adjusting different
applied when exporting the finished image. parameters.
This means that you never risk saving over
the original file and subsequent edits will not to turn down your monitor brightness slightly as
compound and reduce image quality. a monitor that is too bright will result in very dark
Plenty of free RAW processing software is images when sending to the printers.
available. Generally, camera manufacturers
provide proprietary software along with the Basic Editing
camera and relatively cheap or free editing This workflow is based around Adobe Lightroom
programs can be found online. however most processing software will have similar
parameters to adjust.
For more advanced users, Adobe Lightroom
is the industry standard. It combines The key to achieving natural looking images is not to
an incredibly powerful RAW editor with push any particular parameter too far. Many small
cataloguing and image management adjustments can make a big difference overall. If you
functions. It can have a steep learning curve have spent the time to get well-exposed and well-
but it has many tools and presets to facilitate focused images in-camera, you should only have to
make minor tweaks.
a smooth workflow. Monitor Calibration
Adobe Photoshop has much more powerful For professional levels of colour 1. Exposure
image manipulation tools, however it cannot consistency, especially when printing The most effective parameters to give a boost to an
recognise RAW formats. Some photographers images, it is recommended to use a image during editing are brightness and contrast.
use Photoshop for final corrections and high quality monitor and to regularly If your image is either under or over-exposed,
advanced editing, but most photographers calibrate it using a plug-in external the brightness slider can be used to correct the
do not need the majority of functions that calibration tool. For many non- exposure. Drastically increasing the exposure on an
Photoshop provides and prefer to stay within professional photographers, it may under-exposed image will result in a lot of additional
their chosen RAW processing software. not be worth the time and expense noise, resulting in a grainy image. If the highlights
If budget is an important consideration, of buying a calibrator, so it is worth are ‘blown’ or ‘clipped’, reducing the exposure will
a good, free and open-source alternative checking images on as many different not bring back any detail in these areas.
image editor is GIMP, which offers many of computer screens as possible to
the same functions as Photoshop. check if your screen has a consistent 2. Blacks/Whites/Shadows/Highlights
colour bias. It is generally a good idea After correcting exposure the next step is to set the

21
blacks and the whites using the sliders. This 4. Local Adjustments
allows you to make sure anything that should All but the most basic editing software
be white, is white and anything that should should enable you to apply adjustments to
be black, is black. specific areas of the image. This is especially
An ‘ideal’ exposure should have both a tiny useful for lightening and darkening certain
amount of pure black and a tiny amount of areas, known in darkroom terminology as
pure white with all other values somewhere ‘dodging and burning’. Subtle dodging and
inbetween. This does not necessarily apply burning can very effectively draw focus to
to all images so some judgement is required. the subject by darkening distracting objects
Some software will give a very useful overlay in the background or foreground.
that will highlight areas of pure white and Local adjustments of contrast and clarity can
pure black. give an increased appearance of focus on
Adjusting the blacks and whites should the subject.
achieve a good level of contrast; however, be ↑ Using the white balance 'eyedropper' tool When one side of an image is much brighter
careful not to push it too far. If areas are still to find a neutral area (equal RGB values).
than another, for example when both the sky
too dark or too bright but not black or white and land are included, a gradient filter can be
then the shadows and highlights sliders can ↓ Using the brush tool to add local
used to give a smooth transition from bright
be used to bring out detail in these areas. adjustments.
to dark.
3. White Balance 5. Sharpening
If you are shooting in RAW format then you Sharpening is usually applied to the entire
should have very good control over the image upon export of the final image; this
white balance settings. As with all edits, should vary depending on the use of the
these can be judged by eye using the sliders. output. Sharpening results in increased
White balance can also be selected with the noise, especially in areas with little fine
eyedropper tool. The eyedropper will only be detail, therefore any additional sharpening is
of use if there is an area of the image that is best applied locally to an area of detail.
neutral in colour (look for an area in which the
red, green and blue channels are all equal). By
selecting this area an accurate white balance
should be achieved. This can always be fine-
tuned if things do not look quite right.

22
7. Macro
true macro lenses are by far the easiest with longer focal lengths. Close up filters
option for amphibian photography, there are can seem like one of the cheapest options
alternatives. for beginning to experiment with macro
Compact cameras can achieve a reasonable photography however they vary massively in
A mphibians can be quite small relative to
other vertebrates, which can make them
tricky to photograph. Most lenses for DSLRs
magnification due to their much reduced quality, with cheap filters severely reducing
sensor size and large depth of field. Many image quality and even good ones producing
are not designed to cope with small subjects, have dedicated macro modes, but these some edge distortion. It pays to research the
so for the smallest, it is impossible to achieve rarely have the ability to shoot at full 1:1 specific filter you want to buy and check any
adequate magnification with a standard lens. magnification, and the usefulness of these issues before purchasing.
modes is highly variable between camera
What is a “Macro” Lens? manufacturers and different models. Depth of Field
The single biggest hurdle to overcome with
A ‘true’ macro lens is defined as one that can ‘Extension tubes’ can be purchased which fit macro photography is the miniscule depth of
achieve a 1:1 magnification. This is when the between the lens and the camera, allowing field. As the focus point moves closer to the
subject in front of the lens is projected at non-macro lenses to focus closer than usual. lens the depth of field decreases. With macro
exactly the same size onto the cameras sensor, Some extension tubes do not have electrical lenses at 1:1 magnification the
giving a ratio of 1:1. With a full-frame (35mm contacts between the lens and camera body depth of field can easily
sensor) camera this means that a 35mm frog and can be very challenging to be less than
would fill the frame. use. Extension tubes can also 1mm, making
Entry-level DSLRs generally have smaller be combined with a true accurate
sensors, providing a 1.6x crop factor, which gives macro lens to give even
the impression of increased magnification. greater magnification.
The extra magnification of macro lenses is ‘Diopters’ or ‘close-up filters’
possible because they are designed to focus at are also available. These screw
much closer distances than non-macro lenses. or snap on to the end of a
Dealing with this proximity presents a unique standard lens although you need
set of problems, such as reduced depth of field, to make sure you buy the correct
minute focusing tolerances and approaching size to fit. These can provide
your subject. differing levels of magnification
depending on the strength
Alternatives of the filter and the focal
Macro lenses for DSLRs and mirrorless length of the lens used as
cameras can be quite expensive and although magnification increases

23
focusing very challenging. Even if Larger subjects and good light make hand-holding due to hand shake. For more consistent
focusing is accurate, a good proportion a macro lens easier, although even then a steady results, it is best to use manual focus, set the
of the subject may still be out of focus hand is required. At greater magnifications even desired magnification, and then move the
unless it is very small. the tiniest shake can result in motion blur. camera until the plane of focus falls in the
Smaller apertures (e.g f/11) increase correct position.
depth of field. The downside is they Focusing When shooting without a tripod the best
also reduce the amount of light to the Auto-focus is not always very useful with macro technique is to set the magnification and then
cameras sensor, meaning that a tripod photography, even with the best camera and lens focus by rocking backwards and forwards
or flash has to be used unless the light combination. Often by the time the camera has and firing the shutter when the desired focus
is very bright. locked on, the plane of focus has shifted slightly is achieved. This can take a lot of practice and
patience. Often it is better to try to get several
images in one 'pass' going from the plane of
focus in front of the subject to behind in as
small intervals as possible, before checking
to see if any have good focus. Several little
techniques can assist with this method. Try
resting against something steady, or using a
stick or beanbag for support and setting the
camera to continuous or “rapid-fire” mode,
this can help reduce shake that results from
pushing the shutter button.
With a tripod, focusing is made much easier
with a set of focusing rails, some of which can
move in multiple planes making composition
less fiddly as well. The problem with tripods,
though, is that they can be slow and clumsy
making it a challenge to photograph moving
creatures.

← Focusing with macro can be a challenge,

especially when only using one hand to
steady the camera.

24
This difficulty in achieving focus means larger working distances (e.g. 100-200mm), Using a lens with longer focal lengths can
shooting with a macro lens or mode can whereas shorter, wider lenses (50-60mm) help with the jumpier species and are
result in a low 'hit-rate' of suitably focused give much less. With some lenses the work- also very helpful for flighty insects such as
images. Practice is the key to successful ing distance can be just a couple of centime- dragonflies. Good field skills and natural
macro photography, so keep taking images tres, meaning you will have to be very close history knowledge are key to getting really
until you get your shot. Checking for focus to your subject. close. For example, some species may be
on the camera’s LCD screen while shooting more approachable at certain times of day
can help to avoid disappointment! Field Skills or during certain behaviours. Generally,
Macro is all about getting close. With wild moving very slowly and smoothly helps with
Working Distance animals this can be tricky. Some frogs can approaching wary subjects. Often handling
This is the distance between the subject be very willing subjects and will sit nicely; subjects before photographing can result in
and the camera necessary to achieve 1:1 however, others, such as poison dart frogs, them being more agitated, or displaying a
focus. Lenses with longer focal lengths give can be incredibly jumpy and frustrating! much less natural pose.

25
8. Flash A ny dedicated amphibian photographer will eventually run into problems with the lack of
natural light. The solution is to use artificial light, such as flash.
The majority of amphibian species are nocturnal and the places with the highest diversity of

Techniques species tend to be dark environments, such as tropical rainforests.

Flash can be tricky to master. The main problem is that the light produced can be very harsh,
Built-in Flash with strong shadows and bright highlights. This problem is exacerbated with often shiny frog
Most cameras come with a flash built in. skin and wet leaves, which can give bright and often distracting highlights. There are several
These flashes can be useful but aren’t very options for producing well-lit images with flash, each with its own pros and cons.
powerful and usually don’t offer much
subjects and other creative options is they produce unnatural ring shaped reflections,
control of the output. Another issue is that
limited. Secondly, ring flashes are generally called 'catchlights', especially in eyes which can
when shooting at close range, with built in
less powerful than a standard flash. Thirdly, look unnatural and distracting.
flashes, there is a very high chance that the
lens will block the light of the flash causing
‘lens shadow’.
Macro ‘Twin Flash’
Similar to the ring flash in
that it mounts on the front
Ring Flash of the camera, the twin flash
One of the simplest methods for achieving
has two flash heads which
even lighting is the ring flash. As its name
can be positioned and power
suggests this is a flash where the bulb forms
controlled independently. By
a ring with the lens protruding through the
using one head as the main
centre. The intention is that the subject
light and one to fill in shadows
will be lit from all directions, reducing
it can give much more natural
harsh shadows. Although ring flashes are
looking light and can be much
simple to use as they only need attaching
more flexible. Twin flashes are
to the front of the lens, they do have some
still very much macro focussed
drawbacks. Firstly they are designed for
and limited for other uses.
macro and therefore work best with subjects
They are also very expensive.
close to the lens. At longer distances the
quality of the light becomes less and less ↑ The ring shaped 'catchlights' produced by a Ring Flash
distinguishable from a standard flash. This reflected in the eyes of a Red-eyed Tree Frog (Agalychnis
can mean that flexibility for shooting larger callidryas).

26
 ← Light produced from a camera mounted flashgun with no
diffusion.

Standard Flashgun
This is the next step up from the flash built into the camera, these
are external flash units that slot onto the ‘hotshoe’ on top of the
camera. Not specifically designed for macro they can be used for
any type of photography. Combined with a wireless transmitter
they are the most flexible option as multiple units can be used.
When properly diffused they are capable of producing very good
light. They can also be cheaper than some of the more specialised
flash options.

Diffusion
The harshness of lighting is related to the size of the light source.
As a small light source, flashes produce very harsh light. Increasing
the area of the light source relative to the subject ‘softens’ the
light. A demonstration of this effect occurs on cloudy days. Direct
sunlight produces harsh shadows because the sun only fills a very
small area of the sky however on a cloudy day the clouds diffuse the
sun so the entire sky becomes the light source. Larger light sources
work because light is hitting the subject from multiple directions,
resulting in either muted shadows or no shadows at all. Diffusion is
the key to achieving even light with flash.
The easiest way to diffuse a flash is to buy a ‘softbox’ these are pop-
up boxes that fit on the front of the flash. The front panel is made
of a semi-opaque material that works to spread out the light. Many
macro photographers build their own softboxes depending upon
their needs. These vary from a semi-opaque film canister for a pop
up flash to complex multi layered concave diffusers for the macro
twin flash.
← Light produced from a camera mounted flashgun, diffused with
a softbox. Note the softer shadows and reduced highlights.
27
 ← Light produced from a diffused flashgun
off camera to the right.

Multiple Flashes
Two or more flashes can be used simultaneously
with some models of wireless trigger. A main
light can be used to illuminate the subject
whilst secondary lights can be used with
reduced output to fill in shadows or even
illuminate a dark background. Multiple flash
set ups can obviously be quite complicated
so best to get fully confident with single flash
techniques first.

TTL Metering
Flashes can be used on ‘auto’ mode. This
works by firing a standardised pre-flash a split-
second before the full flash. The light returned
from the pre-flash is measured through the
lens (hence the name TTL, which stands for
Through The Lens) and adjusts the output of
the flash burst used for the exposure.
Off-camera flash
A diffused flash, mounted on the camera will give even lighting and reduce lens shadow Objects closer to the camera will return more
for all but the smallest subjects. Frontal lighting can, however, seem a little flat. The next light than objects further away. This can disrupt
step to add more drama and depth to an image is to get the flash off the camera. This can the metering of the flash output. Flash output
be done either with a cable or with wireless triggers. can be adjusted by trial and error using flash
compensation to force the flash to over or
Getting the flash off-camera allows much more creativity with the direction of the light. under expose. There is often a certain amount
Lighting your subject from left, right, above or even behind can give dramatically different of trial and error with flash photography
looks to the same composition. It can also help to avoid foreground objects taking the full however time and experience will quicken the
force of the flash by ‘spotlighting’ the subject. process.

28
↓ A black background is used effectively here
to emphasise the graphic shape formed by the it illuminates a surface
head of this Eyelash Frog (Ceratobatrachus area four times greater
guentheri). than the one before,
hence light ‘fall-off’
quickly increases with
distance. In order to
achieve correct exposure
on a subject close to the
camera the flash power
will be reduced, meaning
that often the light won’t
be strong enough to
reach the background,
leaving it black.
At night, or when there is
little or no natural light,
black backgrounds can
↑ In this image the ambient light provided a dappled
be overcome by reducing
background and a diffused flash was used to 'fill in' for the
the distance between the
subject which was in the shade.
Black Backgrounds subject and its background,
With nocturnal species a black background either by choosing a subject
can be biologically appropriate although it or particular angle where the background is closer, or by manipulating the subject and/or
doesn’t always produce the most interesting the background itself.
images. Trying to add a bit of detail to
convey a subject’s habitat can be much more Balancing Light Sources
appealing. There are several methods for If shooting in the day, a combination of flash and natural light can be used. Balancing the
reducing the black background effect. flash and natural light exposures can take a bit of trial and error but it can be really effective.
Set the camera settings (ISO/aperture/shutter speed) to expose for the background and
One of the key concepts to understand is
use flash compensation to expose for the subject. This technique may need a tripod
the relationship between flash power and
when the natural light is low. By increasing the flash exposure relative to the background
distance. This relationship is governed by
exposure, you can control how much the subject “pops” from the background giving a lot
the ‘inverse square law’ - if you double the
of control over how you want the image to appear.
distance between subject and light source,

29
9. Meet Your Neighbours
(Clay Bolt)

T he Meet Your Neighbours (MYN) field-studio technique for nature photography was pioneered by wildlife photographers Niall
Benvie and Clay Bolt with the aim of illustrating 'backyard biodiversity'. The project is a worldwide photographic initiative dedicated
to reconnecting people with the wildlife on their own doorsteps and enriching their lives in the process, through a better appreciation
of biodiversity.

M YN images have an instantly recognizable look. thereby effectively levelling the playing plants we thought we knew reveal
A brilliantly-lit white background removes all field for all those who choose to join the another side of themselves, encouraging
distracting background or context. By removing the MYN movement. a second glance, and perhaps even a
subject completely from its environment the focus For some amphibian-focused MYN renewed interest. Likewise, species
is aimed completely at the form of the subject inspiration see “The Amphibians” ebook that are generally overlooked by the
being photographed, encouraging appreciation produced in partnership with the ASA and public, because they are small, cryptic,
of the isolated subject as a living individual MYN. nocturnal, or inconspicuous are revealed
captured in a moment of its life, as stunningly beautiful and intriguing
rather than as a species. The technique is designed to produce when photographed using the MYN
maximum subject detail with a minimum method.
This of shadows where the subject is set against
technique a brilliant white background. When the The MYN initiative encourages
involves flashes are set correctly, each background photographers from around the world
setting channel has no detail (R 255, G 255, B to produce images from their local
up a mini- 255). From a designer’s perspective, this community or field of interest, and share
studio in the is very useful; pictures can be dropped them online, through exhibitions, and via
field, lit with multiple straight on to a white page and text laid other forms of outreach. Partnerships
flashes and a sheet of out around them without having to make with local museums, nature centres,
white plastic to create any additional selection. Moreover, the and conservation NGOs outreach efforts
the pure white background. task of creating composite images of ensure that images are widely seen,
Adhering to the MYN protocol several species or individuals is made usually on a non-profit basis.
helps to reduce the much easier when the elements are
photographer’s individual already, effectively, cut out. The Protocol
style from the image, All the MYN photographers shoot to the
When viewed this way, animals and same protocol as we want a uniform

30
“look” to the pictures: the subjects are the stars in this project, macro lens and manual exposure capability.
rather than any particular photographer, so we level the technical • Two or three flash units with diffusers. Synchronization cables,
playing field for everyone. radio controllers or flash detectors to synchronize flashes.
The protocol requires that: • A table or light-box containing a horizontal sheet of at least 20 x
• All the images are shot in the field, on location and no subject is 20 cm translucent white plastic or acrylic, such as Lexan® (by Sabic),
collected to photograph indoors – unless it’s there in the first place! Acrylite®,or Makrolon® (by Bayer), the materials most often used in
• The background of each image MUST BE uniformly 255 (without the USA.
detail) in each channel and backlit. This gives the characteristic • Tripods with strong adjustable clamps can be used to hold and
brilliance and translucence seen in MYN photos and facilitates position the flashes. Alternatively, an assistant can hold flashes and
design and compositing. Photoshop cut outs can’t match this look, release and position specimens.
especially in respect of how out of focus edges
are rendered.
• Front lighting must be diffused and near
shadowless to render maximum detail.
• Any subjects that require handling must
follow strict hygiene protocols (especially with
amphibians) with regard to transmission of
infectious diseases and be returned as soon
as possible to the spot from which they were
collected. Photographers are expected to
observe the normal ethical standards of their
discipline.

Field Studio for Amphibians

Basic Equipment:
• Standard collecting equipment including
sealable bags, transparent plastic containers,
and suitable disinfectant for any surfaces where
amphibians may come into contact.
• Digital camera with close-focusing zoom or
↑ Checking background exposure with a MYN field studio setup.
31
Step by Step Protocol liable to overheat. Place subject at the centre of the plastic sheet,
1. Set up: Place your table on a flat spot, close to where you will covered by an upside-down transparent plastic container such as a
collect your subjects. Set your camera and strobe exposure modes food storage box or dish.
to manual. Position one flash directly under the table so that it When the subject is calm, gently remove or lift the container. Frame
evenly lights the entire underside of the plastic or acrylic sheet. up, whilst trying to maximize depth of field. An assistant can help
Next, position the “fill” flash(es). Remember that the closer the to keep the subject positioned correctly. Shoot several images, and
diffused fill light is to the subject, the softer and lighter the then re-cover while you inspect the results. If necessary, adjust flash
shadows will be. Fill flashes are best mounted on sturdy power and reshoot. When ideal images have been obtained, release
tripods, but can also be mounted on the camera, or the unharmed specimen where it was found (unless it is being
held by an assistant. collected for additional scientific work).
2. Test and calibrate the equipment: First find a test If you want to emphasize the translucence of the subject, for
subject, such as a short twig, leaf, or stone and place example the translucence of a glass frog, slightly increase
it at the centre of the plastic. Next, run the backlighting, and diminish the front fill.
some trial shots to achieve the correct The optimal way to illustrate the translucence
exposure of the background. If you have of the subject is by moving the background
the blinking highlights option for your closer to or further away from the subject.
camera system, turn it on, as this will help It may be necessary to use an
you to see when the background has additional layer of transparent
lost all detail. Next add in fill-flash at material such as glass or
a lesser power setting than the flash Plexiglas® positioned above
behind the subject. Make sure the the white acrylic sheet in order
subject is well lit, without over- or to accomplish this.
under-exposure, or dark shadows. Once
basic settings have been adjusted, including For a more complete technical
flash distance and angle, ISO value, shutter speed, aperture, explanation of exposure, flash use,
and flash power, only minor adjustments to flash power should and RGB values the reader should refer to the
be made during the shoot as adjusting any of the basic camera Meet Your Neighbours website or the Field Studio ebook produced
settings (shutter speed/aperture/ISO) will throw off the background by Niall Benvie.
exposure.
3. Start shooting! Collect each animal in a separate clear plastic ↑ (Centre) A composite image showing colour variation in
container. Keep containers shaded and cool, as amphibians are Batrachoseps attenuatus.

32
 ← MYN field studios can be
Post-processing the Images used creatively to produce
The resulting images can be processed with image
underwater images.
processing software such as Adobe Lightroom, Photoshop, or
Adobe Camera RAW. As with other types of photography magnification ratios (so that subjects
the optimal image quality setting should be RAW. MYN remain in true proportion to one another) and
images should need minimal processing, however it lighting (so that the different specimens look as
is important to check that the background is indeed if they were all shot under similar light conditions). In
pure white (255 for each RGB channel) and if not adjust exposure c o n t r a s t , if the various elements of the composite image
accordingly. are converted to scalable objects in the graphics design software,
they can be scaled non-destructively as they are rasterized. From a
Producing Composite Images designer’s perspective, this is very useful, as pictures can be dropped
The MYN method allows easy construction of composite figures. straight onto a white page and text laid out around them without
Because each image is surrounded by a pure white background, having to make any additional selection.
different subjects can be pasted into the same white document
without any concerns over different backgrounds or tonal Using MYN Images
discontinuity, and more importantly, without having to cut out MYN images draw attention to details normally unseen and
complex subjects. This not only saves time, but allows a natural unimagined by a general public, and therefore represent fantastic
gradient in the out of focus areas which can be troublesome with educational and outreach tools. They are used successfully in public
even the most advanced cut out filters. displays and school programs to teach biology, raise awareness of
When composing, you have the option of maintaining consistent biodiversity, and promote conservation. Likewise, composite-image
sheets can convey a sense of biodiversity in a given area by illustrating
the diversity of the region.
↘ A composite image showing variation
For scientists, MYN images can greatly enhance public presentations,
between the sexes in Pseudacris regilla
scientific reports, grant applications, and teaching materials.
(female, left,
male,
right).
Displaying Variation
For scientists, where the MYN technique really shines is
in documenting and illustrating the variation that exists
both within and between species. Population and seasonal
variation, sex-related differences, differences in shape, colour
etc. can be clearly demonstrated.

33
 ↙ An undescribed
species of Diasporus promotes awareness of one’s natural surroundings and the need
discovered at for environmental preservation.
Cocobolo Nature Photography exhibits in schools, libraries, museums, or other public
Reserve in Panama. places are a great way to enhance public education in ecological
This image shows the matters, especially for children.
usefulness of MYN for Technical scientific publications, although detailed and informative,
documenting species details. often remain beyond the understanding of the general public. But
simple, bright and colourful images can have a greater impact and
Illustrating Development and Life History stimulate the viewer to learn more about the biology of the animal
The Meet Your Neighbours approach can be used to illustrate the or plant pictured. Simply put, images carry an emotional force that
different development stages of a species. This is particularly useful is often unrivalled by written text, and so much more if they are
for demonstrating amphibian metamorphosis. done in a minimalist style.
Composites showing all developmental stages from egg to adults can Learn more about the Meet Your Neighbours project by visiting
easily be produced from different shoots throughout the cycle. www.meetyourneighbours.net or by connecting via Facebook.
Showing the various life stages of an amphibian on the same panel,
without interference from foliage or other background details, → An American
promotes awareness and conservation and is a great educational Toad (Bufo
tool. americanus)
photographed
Documenting Species Range and Phenology using the
The on-going accumulation of MYN images and associated data on MYN method.
the internet will help scientists to better understand the phenology
and ranges of different species, and is especially important for
documenting range-change and phenological disruption caused by
climate change or habitat degradation.

Promoting Conservation
A key goal of macro photography is to bring forward some of the
unsuspected beauty of life around us. Magnified images of tiny
creatures create a sense of wonder in a non-specialist public. MYN
macro-images open a door to an unknown world. This in turn

34
10. Wide-angle Macro
T he aim of wide-angle macro is to capture your subject and its surrounding
environment. This is a particularly good technique for storytelling because
it includes lots of information about a subject’s natural history.

35
The big problem with wide-angle macro is that it requires you to get REALLY close to your subject. Traditional macro lenses often have
slightly longer focal lengths to provide a greater working distance (distance between the lens and subject). Longer (telephoto) lenses
compress the background so are less useful for including a subject’s surroundings.
There is only one dedicated wide-
angle macro lens on the market,
the Venus Laowa 15mm, which is
fully manual, making it challenging
to use. Standard wide angle lenses
tend to have reasonably good
close focus abilities, combining
these with an 'extension tube' will
enable you to focus even closer.
Only the thinnest extension tubes
should be used (<8mm if possible)
as longer tubes will actually place
the focal point behind the front
element of the lens! Extension
tubes with electrical contacts are
infinitely easier to use as they
allow full control of the aperture.
It goes almost without saying
that wide-angle macro works
best with subjects that are easily
approachable. As the field of view
is so wide, a lot of attention needs
to be paid to the background
when composing a shot, as well as
any unnatural intruding elements
such as flashes, tripods, feet and
hands as these can easily be
↑ A wide-angle macro shot of a Long-nosed Horned Frog (Megophrys nasuta) from Borneo included!
clearly showing its forest floor habitat
36
11. Images for Identification
(Ariadne Angulo & Phil Bishop) in lateral and ventral views, but also close- homogeneous (typically white, black or grey)

S o far this ebook has discussed photographic ups of the head, hands and feet, thighs, to allow for contrast with the subject, which
and compositional techniques mainly in and any other area that may be relevant for is often already preserved for many of these
the context of telling a story. Photography species identification. Some of these images images, and therefore natural colouration
is, however, also used for identification (ID) are accompanied by scale bars, allowing for may have changed. Still, it is common to
purposes: of species, of individuals and of gauging of the size of the body part/character also see photos of the species in its natural
symptoms of specific threat drivers. While relative to the body. Because the focus here habitat, or where there is morphological
many of the techniques covered earlier also is on facilitating species identification, for variation, of several live individuals depicting
apply to the process of taking ID shots, there the most part the subject will be centred this variability.
are a few considerations worth taking into in the frame. The background will often be
account for these specific purposes.
↘ An image
Species Identification taken using a
Nowadays new species descriptions and 'frog stage' to
species revalidations almost always have allow capture
photographic records of the type material, of simultaneous
something which has been made possible side, front, and
thanks to the transition to digital formats, dorsal views in a
price reduction of consumer photographic single image.
equipment, and the availability of post-
processing software.
Some key considerations when using
photographs to describe new species or
species revalidations is to document not only
the overall morphology of the species, but
also specific characters important for species
diagnosis. Thus, it is common to see species
descriptions that show the species not only

37
Individual Identification Symptoms of Specific Threat disease symptoms it may be necessary to
expand the photographic toolbox to more
Amphibians are notoriously difficult to
individually mark as they frequently shed Drivers detailed and specialized photos, such
their skins and their mucous glands make Some amphibian threat drivers may express as microscope photography. Given their
it very difficult to stick anything to them, themselves through general body condition specialized nature and cost, it may be worth
such as numbers or tags. While there has and impact on individual well-being. In exploring the availability of microscope
been some success with toe-clipping, Visible particular, diseases such as chytridiomycosis, facilities and services at local university
Implant Elastomers, Alphanumeric Tags and ranavirus and bacterial infections may laboratories, institutes, hospitals, etc. It is
PIT tags, there is a growing demand for non- express themselves through very specific important to note that while photographs
invasive techniques of individual recognition. symptoms and lesions. Ecotoxins may may help narrow down potential threat
If your amphibian has unique patterns then also express themselves through specific drivers, ideally affected individuals or their
it is possible to use natural markings for lesions or malformations. In these cases, samples may be specifically tested for these
photographic ID. In New Zealand, scientists photographic identification of the symptoms threat drivers in laboratory conditions.
have developed the ‘frog stage’, a small and lesions may help field workers narrow
platform surrounded by mirrors and a scale down potential drivers impacting a particular
bar, so that by taking one photograph, you amphibian. However, to better document
can see the sides, front, and dorsal view.
While this should be an easy method for
identification, the computer software has
yet to be developed to identify individual
photographs, so it becomes a very time-
consuming exercise. Recently developed
software by Lex Hiby shows a lot of promise
and may be the way forward to screen
thousands of images to get a positive match.
The exact dimensions of the equipment for
making a “frog stage” can be found on the
amphibians.org website. We acknowledge
the hard work of Avi Holzapfel at the New
Zealand Department of Conservation in
developing this tool. ↑ Chytrid-infected female Atelopus limosus.

38
12. Handling Amphibians
It goes without saying that any contact with
amphibians should be minimised, especially
in high risk areas for chytrid fungus and other
or disturbance increases the chance of The main dangers when handling amphibians
getting debris stuck to the skin, which can be are: skin damage that could result in
distracting in an image. secondary skin infections and bone and
infectious diseases. For the purposes of Amphibians are different from a lot of other muscle injuries caused by struggling when
photography it is often possible to manipulate wildlife subjects in that many can be easily being held.
amphibians into a photogenic position approached, and although the very active If handling, it is important to bear in mind the
without physical contact. When handling is species present more of a challenge, many sensitivity of amphibian skin. Any chemicals,
necessary, using non-latex powder-free (e.g. will sit perfectly to have their picture taken. such as mosquito spray, sunscreen, etc.
nitrile) gloves or a disinfected plastic bag is
General guidelines for approaching wildlife could be fatal to amphibians if it comes in
recommended. still apply, however, in that a slow and calm contact with their skin. Another issue is the
When working as a scientist, or working with approach with minimal disturbance will be heat from a person’s hand (and salt from
scientists, collecting amphibians is often less likely to cause the frog to jump or lower perspiration) can dry out amphibian skin or
a necessary part of data collection. The its posture. even cause the animal to overheat if handled
opportunity can then be taken for too long.
when the frog is released to get Many amphibians are quite
some images. small and as such are relatively
Often it is the case that more fragile, and should be handled
natural images can be achieved gently. Some amphibians can be
by not handling amphibians extremely slippery, especially
before trying to photograph when wet. This can make them
them, especially when trying to difficult to hang on to, but it is
capture behaviour such as calling. important not to apply too much
Many frogs also tend to lower force. With frogs and toads,
their heads in a defensive pose using two hands, you can allow
when threatened and it can be the individual to slide from one
difficult to manipulate them back hand to another whilst restricting
into a natural posture afterwards. its leg movement just enough to
Another issue is that handling stop it jumping.

↑ Centrolene antioquensis captured using a plasic bag, Colombia.

39
When handling frogs for too long, they can ensure a separate glove is used to handle
exhibit stress responses such as becoming these individuals. Different gloves should
limp. If this occurs, the frog should be ideally be used for each new individual
returned immediately to the place where it encountered.
was found. • Each individual should be housed in a
The ethics of setting up a wildlife image or separate plastic bag.
manipulating elements of the scene are • Ensure all handling and measuring
hotly debated, with purists insisting that it equipment that comes into direct contact is
is dishonest to manipulate a wild subject disinfected prior to use, between individuals
under any circumstances and that the and between sites ( a good disinfectant to
scene should be recorded as found. Others use in conjunction with amphibians is Virkon
are happy to relocate subjects to a more S, and harsher chemicals such as bleach
photogenic location and then release back should be avoided unless any residue can
where they were found. Where the balance be very thoroughly washed away. Please see
falls on this question is up to the individual below for a full list of disinfectants, dilutions
photographer, so long as the welfare of the and times for the effective cleaning of field
animal is prioritised and any manipulation is equipment).
not aiming to deceive.
• Ensure the frogs are kept cool at all times;
Frog Handling Hygiene avoid keeping frogs in the cupped hand if
• A new plastic bag or new powder-free nitrile possible.
gloves must be used for each amphibian • Minimise handling times to reduce stress
when they are caught or handled. and to avoid the side effects of stress.
• Within a local area the same gloves may • Sick or dead frogs should be collected and
be used for searching for amphibians, but held separately from all other frogs until
they need to be changed if they come into delivered to the appropriate recipient. ↑ Collecting frogs using individual plastic bags
contact with an individual. It is important in Haiti.
• All equipment should be cleaned and
to ensure that new gloves are used when
disinfected after use.
moving between areas.
• If an individual displays signs of ill health
or looks compromised in some way please

40
13. Biosecurity
E merging infectious diseases such
Batrachochytrium dendrobatidis (Bd or chytrid
fungus), Batrachochytrium salamandrivorans (Bsal)
as 5. Are you bringing a dog along with you
as well? Then be sure to disinfect your
dog’s paws. Ask your veterinarian about
7. Photography gear can and should be
sterilized with ≥70% ethanol or surgical
antiseptic wipes. Allow the equipment to
and Ranaviruses have been implicated in amphibian the best way to do this. thoroughly air dry before reusing.
declines worldwide. Not only can these potentially 6. When you are not using any pieces Once you have brushed and washed all
deadly pathogens readily spread through contact of your gear, be sure to store them in a the dirt/mud off your gear, what are you
with infected soil and bodies of water, they can also clean, dry area away from where you are supposed to use to disinfect? The items in
be spread by people via our vehicles, boots, field working to avoid re-contaminating it. the table below can be readily purchased
gear and even camera gear.
As a photographer, there are several things that you
can do in order to minimize the transmission risk of
these diseases as you move from one site to another.
Here is a simple checklist of key things you MUST do
to help keep amphibians safe from disease:
1. Before you enter an area, remove ALL dirt from
your field gear. This includes your shoes and any
other protective clothing that may have come
into contact with the ground, water and other
amphibians.
2. After that, you must disinfect ALL of your field
gear. Note that ALL dirt must be removed from your
gear BEFORE you can properly disinfect these items.
3. After you have washed and disinfected all of
your items, allow sufficient time for them to air dry
COMPLETELY.
4. Also, remove ALL dirt from any field equipment
and photography gear that you will be carrying into
the field. ↑ Rana muscosa being swabbed for Chytrid in Sierra Nevada, Califonia, USA.
41
from your local veterinary clinic and can be following guidelines in mind:
used in the following concentrations for your 1. ALWAYS wear fresh powder-free nitrile
gear: gloves or place fresh plastic bag over your
Purpose Disinfectant Concen- Time Rinse hands each time a different amphibian is
tration handled.
Disinfecting Sodium 1% 1 min Yes
footwear/ hypochlorite 2. In order to allow amphibians to properly
gaiters (bleach)
regulate their body temperatures, DO
Hot Wash 4% 15 min Yes
NOT cup them in your hands whenever
possible.
Disinfecting Trigene/ 1% 1 min Yes
collection SteriGene F10 Because biosecurity protocols can change
equipment,
1% 1 min Yes
regularly as new research becomes
instru-
ments and available, especially as new diseases are
containers
Virkon (NB: 1% 10 min Yes
found, you are advised to always check
corrosive) with amphibian conservation groups and
Sodium 1% 1 min Yes organizations for the most relevant and
hypochlorite
(bleach) up-to-date guidelines.
Virkon (NB: 4% 15 min Yes You can help. Check out this webpage for
corrosive)
Trigene 1% 1 min Yes
how to report a possible case of amphibian
F10
1% 1 min Yes
or reptile disease in Canada or the USA:
Ethanol 70% 1 min Air Dry
http://parcplace.org/resources/parc-
disease-task-team/
Complete 3+ No
drying hours
Heat 37°C 4 hours No
Heat 60°C or 15 min No
greater
Sterilising UV 1 min No
light

In addition to practicing strict hygiene, it is

also important to minimize the handling
of amphibians whenever possible. But if →Dead frogs as a result of chytrid
you absolutely must handle one, keep the infection, Sierra Nevada, Califonia, USA.

42
14. Dealing with the Elements
A mphibians and wet humid environments
go hand in hand. Unfortunately, there
is nothing worse for cameras than too
types can also be reused; however, this will
require a reasonably well-controlled oven
to do properly. For emergency drying of
equipment. If unavoidable, keep your
camera in a sealed bag and allow it to warm
up before using.
much moisture. While completely soaking a wet equipment, rice can also be used as a 6. GENTLY warm gear to remove
camera will almost certainly stop it working desiccant. When using rice, ensure you use condensation. Using a hair-dryer or leaving
for good, long-term exposure to humidity can a cloth bag for the camera gear to avoid dust in the sun or even under an incandescent
also wreak havoc by corroding electronics getting into your camera. bulb can help, but be careful not to melt
and allowing mould to grow inside the 3. Take lots of sealable bags. There is no your gear!
lens. Condensation inside the lens can be point in using silica gel if it is just absorbing 7. Carry an umbrella. Umbrellas can help you
difficult to remove, meaning missed photo moisture from the air. Strong plastic sealable to keep shooting in the rain. Rainy weather is
opportunities. bags are incredibly useful for smaller pieces the best time to find frogs. Using an umbrella
Whilst you should endeavour to keep your of equipment. Water-tight roll top dry bags or other rain cover can allow you to keep
camera safe and dry, there is little point are stronger and work well with larger lenses shooting even in a downpour, although it is
owning one if you never use it for fear of it or as an extra layer if you are not using much easier if you have an assistant to hold
getting damaged. The key is knowing what a properly padded camera bag. Keeping the umbrella for you.
steps to take to ensure it is as safe as it can everything in its own individual bag will
be whilst still being used. reduce the exposure when accessing other
1. Use weather sealed gear. More expensive gear.
cameras generally have better weather 4. Use water-tight hard cases. These are the
sealing. It is not just the image quality you best for keeping gear dry and are extremely
pay more money for, if you can afford it then tough. These are almost essential for
fully weather sealed equipment is definitely expeditions where water is unavoidable but
worth getting. can also give peace of mind when travelling
2. Take LOTS of silica gel. Silica gel will absorbgenerally. Using these to store gear with
moisture from your camera equipment, plenty of silica gel can stop the encroachment
helping to stop condensation, mould and of moisture when left for extended periods
corrosion. Silica gel will need to be replaced of time in humid areas.
regularly, self-indicating gel will change 5. Avoid Air-con. Air-conditioning is an
colour when it needs to be changed. Some insidious cause of condensation in camera ↑ A hard case such as this will keep cameras
safe even in the most extreme conditions.
43
15. Further Reading
• The joint ASG and ASA website - (www.amphibians.org).
• The IUCN Red List of Threatened Species website - (www.iucnredlist.org).
• In Search of Lost Frogs by Robin Moore (insearchoflostfrogs.com).
• The Amphibians Ebook by ASA/MYN (Free Download).
• Threatened Amphibians of the World by Simon Stuart et al. (Free download).
• The Photographer's Eye: Composition and Design for Better Digital Photos by Michael Freeman. (www.
michaelfreemanphoto.com).
• Native frog hygiene and handling protocols - NZ Government, Department of Conservation.
• Field Photography Stage - NZ Government, Department of Conservation (http://www.doc.govt.nz/nature/
native-animals/reptiles-and-frogs/frogs-pepeketua/photo-stage/).
• Herpetofauna: photo-identification - NZ Government, Department of Conservation (http://www.
doc.govt.nz/Documents/science-and-technical/inventory-monitoring/im-toolbox-herpetofauna-photo-
identification-of-herpetofauna.pdf).
• The Field Studio Ebook by Niall Benvie (niallbenvie.com).
• Wide-Angle Macro: The Essential Guide by Clay Bolt and Paul Harcourt Davies (learnmacro.com)

44
16. Image Details
Front Cover - Main Image Page 3
© Robin Hoskyns / www.robinhoskyns.co.uk © Robin Moore / www.robindmoore.com
Boophis tasymena - Ranomafana, Madagascar. Osteopilus pulchrilineatus - Massif de la Hotte, Haiti.
Canon EOS 5D mkIII, 150mm macro lens, Manual, 1/200, Canon EOS 5D mkII, 100mm macro lens, Manual, 1/125,
f/11, ISO-200, Diffused off camera flash. f/25, ISO-125, MYN field studio.

Front Cover - Bottom Left Page 4

© Robin Moore / www.robindmoore.com © Rachael Gerrie
Salamandra infraimmaculata - Tel Dan Reserve, Israel. Robin Hoskyns at Ranomafana National Park, Madagascar.
Canon EOS 5D mkII, 100mm macro lens, Manual, 1/60, NIKON D3100, 18-55mm lens, Aperture Priority, 1/60, f/4,
f/18, ISO-640, Diffused flash. ISO-1600.

Front Cover - Centre Page 6

© Robin Hoskyns / www.robinhoskyns.co.uk © Robin Moore / www.robindmoore.com
Boophis luciae - Ranomafana, Madagascar. Duellmanohyla soralia - Guatemala.
Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/200, Canon EOS 5D mkII, 100mm macro lens, Manual, 1/160,
f/10, ISO-200, Off camera flash placed under leaf. f/11, ISO-500, Diffused flash.

Front Cover - Bottom Right Page 7

© Robin Moore / www.robindmoore.com © Robin Moore / www.robindmoore.com
Clay Bolt photographing using a MYN field studio. Searching for frogs at night.
Canon EOS 5D mkIII, Aperture Priority, 17-40mm, 1/50, f/5, Canon EOS 5D mkII, 24mm, Manual, 1/20, f/8, ISO-3200.
ISO-1250.

Page 2 Page 8
© Robin Hoskyns / www.robinhoskyns.co.uk © Robin Moore / www.robindmoore.com
Boophis luciae - Ranomafana, Madagascar. Hypsiboas boans - Cocobolo Nature Reserrve, Panama.
Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/200, Canon EOS 5D mkIII, 15mm lens, Manual, 30sec, f/2.8, ISO-
f/11, ISO-200, Diffused flash with subject on softbox surface. 1250, Flash.

45
Page 9 - Right Page 18
© Robin Moore / www.robindmoore.com © Robin Hoskyns / www.robinhoskyns.co.uk
Espadarana prosoblepon in amplexus - Chocó, Colombia. Rana temporaria - UK
Canon EOS 5D mkII, 100mm macro lens, Manual, 1/160, Canon EOS 7D, 150mm macro lens, Aperture Priority, 1/320,
f/32, ISO-800, Diffused flash. f/4, ISO-400.

Page 10 Page 19
©www.pexels.com / Creative Commons Zero (CC0) © Robin Hoskyns / www.robinhoskyns.co.uk
Black and white DSLR landscape. Mantella Baroni - Ranomafana, Madagascar.
Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/200,
f/5.6, ISO-400, Off camera diffused flash.

Page 12 Page 23
© Robin Hoskyns / www.robinhoskyns.co.uk © Robin Moore / www.robindmoore.com
Boophis tasymena - Ranomafana, Madagascar. Duellmanohyla soralia - Guatemala.
Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/200, Canon EOS 5D mkII, 100mm macro lens, Manual, 1/160,
f/9, ISO-200, Off camera diffused flash. f/11, ISO-500, Flash.

Page 12 Page 24
© Robin Hoskyns / www.robinhoskyns.co.uk © Sally Wren
Rainforest stream in Ranomafana National Park, Madagascar.
Canon EOS 5D Mark III, 24-105mm lens, Aperture Priority,
1/2 sec, f/8, ISO-200, Tripod.

Page 16 Page 25
© Robin Hoskyns / www.robinhoskyns.co.uk © Robin Hoskyns / www.robinhoskyns.co.uk
Gephyromantis tschenki - Ranomafana, Madagascar. Boophis reticulatus - Ranomafana, Madagascar.
Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/200, Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/200,
f/9, ISO-200, Off camera diffused flash. f/8, ISO-200, Off camera diffused flash.

Page 17 Page 26
© Robin Hoskyns / www.robinhoskyns.co.uk © Robin Hoskyns / www.robinhoskyns.co.uk
Boophis luciae - Ranomafana, Madagascar. Agalychnis callidryas - In captivity.
Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/200, Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/250,
f/11, ISO-200, Off camera diffused flash. f/11, ISO-320, Ring flash.

46
Page 27 Page 33
© Robin Hoskyns / www.robinhoskyns.co.uk © Clay Bolt / www.claybolt.com / Meet Your Neighbours
Cruziohyla calcarifer - In captivity at Bristol Zoo. Pseudacris regilla (female, left, male, right) - San Francisco,
Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/200, California, USA.
f/11, ISO-320, On camera flash. MYN field studio.

Page 27 Page 33
© Robin Hoskyns / www.robinhoskyns.co.uk © Clay Bolt / www.claybolt.com / Meet Your Neighbours
Cruziohyla calcarifer - In captivity at Bristol Zoo. Rana clamitens - South Carolina, USA.
Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/200, NIKON D300, 55mm Lens, Manual, 1/20, f/16, ISO-250,
f/11, ISO-320, On camera diffused flash. MYN field studio.

Page 28 Page 34
© Robin Hoskyns / www.robinhoskyns.co.uk © Clay Bolt / www.claybolt.com / Meet Your Neighbours
Cruziohyla calcarifer - In captivity at Bristol Zoo. Undescribed Diasporus species - Cocobolo Nature Reserve,
Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/200, Panama.
f/11, ISO-320, Off camera diffused flash. MYN field studio.

Page 29 Page 34
© Robin Moore / www.robindmoore.com © Clay Bolt / www.claybolt.com / Meet Your Neighbours
Ceratobatrachus guentheri - Solomon Islands Bufo americanus - South Carolina, USA.
Canon EOS 5D mkII, 100mm macro lens, Manual, 1/200, MYN field studio.
f/32, ISO-160, Flash.

Page 29 Page 35
© Robin Hoskyns / www.robinhoskyns.co.uk © Robin Moore / www.robindmoore.com
Boophis madagascariensis - Ranomafana, Madagascar. Ansonia latidisca - Sarawak, Borneo.
Canon EOS 5D Mark III, 150mm macro lens, Manual, 1/60, Canon EOS 5D mkIII, wide angle lens, Manual, 0.8sec, ISO-
f/5.6, ISO-1600, Off camera diffused flash. 1600, Diffused flash.

Page 32 Page 36
© Clay Bolt / www.claybolt.com / Meet Your Neighbours © Robin Moore / www.robindmoore.com
Batrachoseps attenuatus (composite image) - Golden Gate Megophrys nasuta - Sarawak, Borneo.
National Recreation Area, Califonia, USA. Canon EOS 5D mkIII, wide angle lens, Manual, 3.2 sec, ISO-
MYN field studio. 640, Diffused flash.

47
Page 37 Page 42
© DOC New Zealand © Robin Moore / www.robindmoore.com
Frog imaging stage. Dead frogs - Sierra Nevada, Califonia, USA.
Canon EOS 40D, 12mm lens, Aperture Priority, 1/80, f/10,
ISO-250.

Page 38 Page 43
© Brian Gratwicke © Robin Hoskyns / www.robinhoskyns.co.uk
Chytrid-infected female Atelopus limosus.

Page 39 Page 44
© Robin Moore / www.robindmoore.com © Clay Bolt / www.claybolt.com / Meet Your Neighbours
Centrolene antioquensis in a plastic bag - Colombia. Ambystoma maculatum - Highlands Biological Station,
Canon EOS 5D mkII, 17-40mm lens, Manual, 1/40, f/22 ISO- North Carolina, USA
1000, Diffused flash. MYN field studio.

Page 40 Final Page

© Robin Moore / www.robindmoore.com © Robin Moore / www.robindmoore.com
Blair Hedges frog collecting at Massif de la Hotte, Haiti. Smilisca phaeota - Chocó, Colombia.
Canon EOS 5D mkII, 100mm lens, Manual, 1/60, f/4.5 ISO- Canon EOS 5D mkII, 100mm macro lens, Manual, 1/250,
1000, Flash. f/14, ISO-1000, Diffused flash.

Page 41
© Robin Moore / www.robindmoore.com
Rana muscosa being swabbed for Chytrid - Sierra Nevada,
Califonia, USA.
Canon EOS 5D mkII, 17-40mm lens, Aperture Priority,
1/160, f/7.1, ISO-200.

Copyright 2018

48
49