I’ve previously written and posted about the inoperative fountain system in Hopeland Gardens as well as being an opportunistic wildlife photographer. All of the compositions in this post come from the upper fountain area and feature the same subject – a leopard frog that apparently wanted me to create works of it. I was amazed that the frog let me get so close to it because normally they are very cautious and jump before you even get to see them. I did move as slow as I could and continued to work my way up to these poses, but it almost felt like the frog simply wasn’t scared of me (for some unknown reason) and had no intention of fleeing no matter where I placed my tripod. I did have a similar encounter with a young alligator once down at Magnolia Springs State Park near Millen, GA, but it has been my experience that sessions like that are extremely rare.
I was able to maneuver the tripod into a position where I was directly above the leopard frog for my Primed piece. If it knew how nervous I was that it would jump, it very well may have. I felt that this was a unique opportunity (if for no other reason than you just can’t ordinarily get this pose with a live subject without having used some type of unethical technique). I was also thinking that its leg muscles must be locked and loaded and ready to fire in the blink of an eye. I loved the green, elliptical patches mixed in with the rest of its body camouflage, and the duckweed roots draped across its body. Due to the vertical orientation, I made the aesthetic choice of placing it very near the center of the frame horizontally. The high level of detail allows textures to be seen.
By the time I had composed Lounging Leopard I was feeling pretty confident that this frog was going to let me create anything I wanted. I had been deliberate and was careful when lifting and setting the legs of my tripod down both on the cement walls of the fountain and especially in the water near the frog. One thing I did that may have helped was to pull the tripod up and away from the area when major leg adjustments were needed. I had to use my experience and estimate the angles, height, and required leg positions for the next composition. Having a ball head makes that a little bit easier because if you don’t quite get the legs into a good configuration you have some additional movement available by changing the orientation of your camera. Aesthetically, I got as close to the water as I could so that I was nearly at eye-level to the frog. Putting the perspective at your subject’s level helps bring them into a more intimate setting. Keeping in mind that it is also important to give your subject some space to look into within the boundaries of the frame, I placed the eye so that it was nearly bisected by the leftmost one third line, using the rule of thirds. And vertically, the eye is just below the upper, leftmost crossing line. As with any wildlife subject, the focal point was put on the eye, which has a reflection off from its surface consisting of a little bit of sky and some trees that surround the fountain. Once again, the high level of detail allows textures to be seen.
I got in as close as I could for my Leopard Head piece. Having a longer lens certainly helps in a situation like this because you can create a full frame image without cropping or chasing your subject off due to the proximity of the lens. At this distance, tiny details in the eye and on the skin are revealed. For example, I love how the pigment in the skin has a type of sparkle in some areas. Texture can be seen here as well (e.g., bumps on the outside of the eye socket and raised areas just behind the eyes) thanks to the high level of captured detail.