Pet photography tips

The pros make it look easy, but anyone who has ever tried to photograph an unpredictable creature like a cat or a dog knows it is anything but. Here are some pet photography tips that the pros use to help you ‘get the perfect shot’. So here are some pet photography tips.

1. Relax

Animals are like little emotional sponges, and if you are stressed and anxious, they will sense it and become stressed and anxious too. A stressed animal will give you ‘ears flattened’, ‘concerned eyes’ looks, which don’t translate well ‘on film’. Take a deep breath and remember to have fun with it!

There is no quicker way to confuse a dog, or freak out a cat than to bark commands at them repeatedly. Cats will disengage or even leave the room, and dogs will become confused and concerned.

Try communicating with the pets the way they do each other- nonverbally. Use hand signals or point to invite them ‘over here’. Use the sit hand signal for dogs that understand it. If you do need to say ’sit’, say it quietly and calmly, only once or twice. Avoid saying the pet’s name, because the more times they hear it during a photo shoot, the more inclined they are to tune out.

2. Focus on eyes and expressions

The eyes are the most expressive part of an animal’s face, so if you want to create really engaging portraits, focus on the eyes and facial expressions. A well-timed puppy whine (from you) can reel in focus in a puppy or curious dog, and have them staring straight at the camera faster than you can say “woof”.

3. Clean up the area

Before you even pull your camera out of your bag, take a look around at your shooting location and get rid of clutter and distracting objects first. Do you really want to see that empty Starbucks cup on your coffee table in the photos of your cat? Is the garden hose snaking through the grass where you are photographing your dog, adding an aesthetically-pleasing element to your photos?

If an element in your background doesn’t serve to enhance your images in some way, either remove it first or move to a different location. An uncluttered environment produces more aesthetically pleasing images, and reduces post-processing work. Nobody needs to see photos of your puppy with an overflowing garbage can in the background.

Use the light from where they are

While a few shots looking down at your pet, while you are standing can be cute – to create the really engaging portraits the pros make, shoot down at their level, ‘in their world’. For a Great Dane their world may be the height of your hips; for a Chihuahua it may be all the way down at the level of your ankles. For a cat lounging on a cat tree, you may need to pull out a step stool to get on their level. Practice ‘shooting from the hip’ to place the camera in their world without having to crouch or kneel if they are on the ground.

Get on their level

If you have ever watched a professional pet photographer in action, you will notice that they bend and twist and turn and crouch and crawl – whatever it takes to get the shot. Be prepared to get those muscles working in order to get the perfect composition. Sometimes all it takes for a dog to break their sit-stay is for you to go from sitting to standing, and it’s better to reach and lean, than make a large movement that will cause the pet to move from their perfect pose.

Rewards

Every animal needs to have some sort of motivation to pay attention to you during the shoot; otherwise they will wander off and become disinterested. Determine what they are motivated by (i.e. their ‘payment’), and provide it to them throughout your shoot. For dogs it may be treats or toys, or simply getting love and affection. For cats it may be a feather toy, a paper bag, tuna fish, catnip or even their favourite blanket. For horses it may be their favourite food such as carrots or apples.

The biggest ‘trick’ in pet photography is to fool the animal into thinking that they are making the decisions, when it’s really you that is motivating them to do what you want, without telling them so outright . The ‘getting them to do what you want’ comes in the model payment. Get creative when it comes to ‘rewarding’ your models, and they will reward you with great shots and be more cooperative too. Plus the shoot will be more fun, and pet photography is supposed to be fun!

Move slowly

Unless you are adept at documentary, on-the-fly, photography where the animal is moving a lot and you capture the perfect moment of them walking, sniffing, jumping, hunting, etc., learn to move slowly around them while taking their pictures. This is especially important with cats, who are prone to either radically change the expression on their face (and ears) at your slight movements, or split the scene altogether. This is also true of dogs that are in a sit or lay-stay position.

When you shift position they sense you are off on a new adventure and want to follow you. If you need to move, and you don’t want your model to move, do so very slowly without making any eye contact. And remember to reach, bend, and lean. You’ll not only have a comical pet photography session, you’ll get a workout too!

 

 

charlottebell

EDUCATION 2010 Student Tony Corbell. 2011 PPA Photography School, Dallas TX 2010 Student Kirk Tuck, Austin, TX 2000- Marketing consultant for The Rug Hook Project of MX 2004- Organizer of Travis Heights Art Show 2004 Student Dan Burkholder, Platinum printing and digital photography 2004 Student Tom Knapp, printmaking 2004 Student of Lander Rodriguiz, photoshop 2003 Author of “Tears from the Crown of Thorns” 2003 Student of Jo Brenzo Master photographer 2002 Student of Jill Skupin Bromoil photography 2002 Student of Ray Carafano Holga Camera photography 2001 Student of Lisa Mackie, NY, NY Printmaking 2001 Student of Jim Johnston San Miguel de Allende, Mexico Printmaking 1998 Instituto Allende, San Miguel de Allende Photography 1997 Instituto Allende, SMA Photography 1995&96 Elizabeth Ney Sculpture School Sculpture 1996 Boulder Sculpture Academy Sculpture 1995 Daugherty Art Center Photography 1994 Instituto Allende. San Miguel de Allende Photography 1969 University of Minnesota BS Psychology, minor Art

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