How to Create Stunning Portraits of Your Dog

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Photographing your dog can be a terrific way to not only get amazing photos of a beloved family member, it’s also good practice and will sharpen your over all photography skills.

Like any other portrait session, the first step is to mentally pre-visualize what you want the end result to be. Please don’t skip this step. Hit or miss, shooting tons of pictures, hoping one will “turn out good” just doesn’t cut it. It is SO much easier to get a good portrait if you have a clearly defined idea of what you want.

What type of dog is it? Is it a large “working dog” type? Or a frilly lap dog? These questions will help determine the best backdrop. An Irish Setter posed at sunset in a field of wild grasses would be stunning. Stick your Chihuahua in there and you may never find it again! Conversely, a Chihuahua sitting on the brim of a large Mexican hat would be adorable. The Irish Setter sitting there would be ludicrous. (And crush the hat!)

Will your dog stay on command? It can be frustrating to get your dog positioned just right, and then every time you back up to take the shot, the dog (lovingly) follows you. If you’re alone, you may have to take the dog back and reposition him several times before the idea sinks in. Don’t get mad, they don’t really understand what’s going on. Yelling at your dog won’t help; it will just make them feel bad and the hurt expression will ruin any shots you finally DO get.

By the way, don’t give the dog treats as a way to make them stay in place. They will be looking down at and chewing on the food, and you won’t be able to get a good shot. Then, as soon as the treat is gone, they’ll come over to you, hoping for more.

If you can, get someone to help pose the dog. That way, you’re in position and ready to snap the shutter the instant you see a good shot. Use a long lens so the field of view is very narrow. This will allow your helper to stay near the dog, and they can grab it every time it starts to move. Sooner or later, the dog will get the idea and just sit there posing for you.

Speaking of long lenses, not only do they allow your posing helper to stay near the dog, but they allow you to fill the frame with your subject!

This is Vital!

The number one thing that ruins pet portraits is making your pet too small in the frame. We see this beautiful scene, shoot it and when we look at the final print, our dog is nothing but a tiny blob, somewhere down in the corner. Fill the frame! If you end up totally eliminating the background, that’s better than not being able to see your subject. (Same with people.)

Shoot at the dog’s level. Unless you are VERY short and your dog is VERY tall, I can’t imagine a session where you aren’t down on one knee, or both, or prone on the ground.

Focus on the eyes. Sharp eyes are vital and can save many otherwise not so hot photos. Get back far enough so that the eyes can be sharp without blurring or distorting the nose. Be sure to get a catch light in the eyes. You may as well just toss any shots that don’t have catch lights, they aren’t worth keeping.

The dog has to look alert and attentive. This is accomplished by making sure the ears are UP. Here’s how. Without the dog knowing, have a squeaking dog toy. When the dog is positioned properly, squeak it. The dog will whip its head around to you; its ears will be at attention and it will have a fantastic, attentive expression.

Be Ready and Focused

The instant the dog looks, snap the shot! Auto focus is best so the shutter button is already halfway depressed. You have to be fast! Reading the last sentence takes longer than the photo should take. A lot longer!

Take bunches of shots of each pose. It’s amazing how fast a dog can lap its tongue over its nose.

Poses

You’ll want to get at least one shot of them lying down at a 45 degree angle to the camera (both from the right side and from the left) and one straight on to the camera. Sitting, the same sequence. Then zoom in and get a full frame head shot, then back off a little for a head and shoulders view or if lying down get head and front paws—like the Sphinx. Have your posing helper get the dog’s attention by gently talking to her while you get a few 3/4 and full profiles.

Focus on the eyes. Sharp eyes are vital and can save many otherwise not so hot photos. Get back far enough so that the eyes can be sharp without blurring or distorting the nose. Be sure to get a catch light in the eyes. You may as well just toss any shots that don’t have catch lights, they aren’t worth keeping.

The dog has to look alert and attentive. This is accomplished by making sure the ears are UP. Here’s how. Without the dog knowing, have a squeaking dog toy. When the dog is positioned properly, squeak it. The dog will whip its head around to you; its ears will be at attention and it will have a fantastic, attentive expression.

Be Ready and Focused

The instant the dog looks, snap the shot! Auto focus is best so the shutter button is already halfway depressed. You have to be fast! Reading the last sentence takes longer than the photo should take. A lot longer!

Take bunches of shots of each pose. It’s amazing how fast a dog can lap its tongue over its nose.

Poses

You’ll want to get at least one shot of them lying down at a 45 degree angle to the camera (both from the right side and from the left) and one straight on to the camera. Sitting, the same sequence. Then zoom in and get a full frame head shot, then back off a little for a head and shoulders view or if lying down get head and front paws—like the Sphinx. Have your posing helper get the dog’s attention by gently talking to her while you get a few 3/4 and full profiles.

Camera Stability Hacks When a Tripod Isn’t an Option

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In the world of photography, capturing the perfect shot often depends on the stability of your camera. While tripods are the go-to solution for most, there are occasions when they might not be at hand, or they may be impractical due to location or circumstance. Fortunately, a few techniques can help you ensure a steady shot, even without the trusty tripod. Here are some handy camera stabilization tricks for those tripod-less moments:

Body Brace:

  • Use your own body as a stabilizer. Lean against a wall or tree, ensuring as many points of your body (shoulders, hips, and feet) are making contact.
  • Hold your breath just before you press the shutter to reduce movement further.

Elbow Anchor:

  • Tuck your elbows into your body, using your chest as a makeshift tripod. This provides three points of contact (both elbows and your hands) for maximum stability.

The Ground Technique:

  • Lay down flat on the ground and use your arms to stabilize the camera. This provides more surface area for stability and can be especially useful for capturing low angle shots.

Use A Bean Bag:

  • A small bean bag can be a handy alternative to a tripod. Rest your camera on it, and it can mold to the shape of the camera, providing a stable base. It’s also lightweight and easily portable.

Camera Straps:

  • Extend your camera strap fully and pull it tight against the back of your neck while holding the camera. The tension can act as a stabilizer, reducing shake.

Steady Surfaces:

  • Use any available steady surface such as tables, ledges, or railings. If your camera has a timer, you can also set it on these surfaces, start the timer, and step back to avoid introducing shake.

The String Tripod:

  • Cut a piece of string about twice the height of yourself.
  • Tie each end of the string to the two sides of a flat washer.
  • Step on the washer with the string taut and bring the camera up to eye level, adjusting tension in the string to stabilize the camera.

Increase Shutter Speed:

  • If you’re shooting in manual mode, increase your shutter speed. Faster shutter speeds reduce the chance of motion blur. Just be mindful of the exposure triangle – you might need to adjust ISO or aperture accordingly.

Optical & Digital Stabilization:

  • Many modern cameras and lenses come with built-in stabilization systems. If yours has this feature, make sure it’s activated.

Continuous Shooting:

  • Use the burst or continuous shooting mode. Taking multiple shots in quick succession increases the chance that at least one of them will be sharp.

Lens Choice:

  • Wider lenses are generally easier to hold steady compared to telephoto lenses. If possible, choose a lens with a shorter focal length for hand-held shots.

Post-Processing:

  • While it’s always best to get the shot right in-camera, software like Adobe Lightroom or Photoshop offers shake reduction tools that can help sharpen slightly blurry images.

In the end, the essence of photography lies in the balance between equipment, skill, and creativity. While tripods are incredibly useful, there are numerous ways to ensure your camera is stable for that perfect shot. Embrace the challenges and think outside the box; sometimes, the limitations can lead to the most inventive solutions.

Juxtaposition: Exercises to Develop Your Photographic Sense of Irony

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Juxtaposition is a term that applies to many different mediums, including photography.

It is often alternately described as “contrast”. I tend to think of it more as contrast with a sprinkle of irony.

Here is a formal description: juxtaposition is when a photographer puts two objects close to each other, intending to attract a viewer’s attention toward their differences. When the (hopefully ironic) contrast between the two objects is the first thing that attracts a viewer’s eye, juxtaposition is achieved.

Challenge #1: Spend a day shooting juxtaposition images that rely on the big-versus-small comparison. Try to make some of your pictures blatant and obvious, while making others more thought-provoking.

The small box in the cat photo above didn’t stop my cat’s need to sit in it—that’s ironic. This example is known as situational irony, and the theme plays well with the photography medium.

Photographing the large cat and the tiny box together interacting together—that is a juxtaposition.

Key Point: Juxtaposition often contains some level of irony. It is the irony that creates a storytelling element for the photo.

When two elements within your juxtaposed photo are physical objects, they must each have enough visual strength so that a viewer can make the connection between the two and examine the contrast. The image above is a juxtaposition of color, shape and texture.

Suppose a juxtaposition is meant to create a concept, mood or statement. In that case, this is more difficult, as a viewer must identify the juxtaposition and also process where the contrast occurs.

The juxtaposition does not have to be complicated. The technique lends itself well to minimalism. The opposition captured in a juxtaposition can be as simple as land and water.

Critical Thought: The photograph of water and land (above) creates a juxtaposition of nature. There is no irony in this photo, and that’s fine. Irony adds another level to juxtaposition. Without irony, it can be a bit more difficult for a broad audience of viewers to connect the dots in your juxtaposed photographic composition. However, that’s not bad, as it forces viewers to think about what they’re viewing.

Challenge #2: Spend a day out in nature. Concentrate on the juxtaposed objects that nature creates. (Believe me, there many more than you probably realize!) Specifically, look for color contrast, shape and texture to make your images. Try using minimalism to even further challenge yourself.

The juxtaposition above occurred at my local gym. I noticed the subject relaxing and looking at her smartphone. There was gym equipment lying unused all around her. That situation created an ironic contrast in my mind.

Remember! Irony and humor are often used with juxtaposition in photography. The difficulty is that not all individuals will see irony and humor in the same way, just as we all don’t find the same things funny. Develop your satirical style and run with it.

Another fantastic theme to explore when learning about taking juxtaposed photos is “old vs. new”.

Above are four examples of old versus new using architecture as the juxtaposed subject matter.

Challenge #3: Start exploring the old-versus-new juxtaposition using architecture as your subject. Look for interesting angles and lighting that help show the contrast and also help tell a story.

This juxtaposed street shot relies on clothing and props to create the contrast: a man of God and a man of war positioned together, within the same frame, creates a strong juxtaposition.

Juxtaposition is a vital tool for street photography and photojournalism. It can be used to make strong social and political statements. When trying to photograph in this genre, look for two sides of a story within a single composition.

Challenge #4: Not everyone is comfortable with street photography. If you are willing to give it a try, look for ironic contrast among people. The differences can be literally anything that catches your eye. The wider the distinction, the more extensive your audience will become, as more people will comprehend your story. If street photos aren’t your thing—give it a try with children playing or at a family gathering.

Equipment: Here is the ultimate beauty of juxtaposition. You need no special equipment. You can pursue this technique with nothing more than a smartphone. All that is required is a keen eye and a nice dose of irony.

Juxtaposition Examples

Let me close by giving you some hints for juxtaposed photos, and then follow that up with a final challenge and a few case studies. Here are some examples of juxtaposition:

  • Male vs. Female
  • Many vs. Few
  • Wealthy vs. Poor
  • Healthy vs. Unhealthy
  • Light vs. Dark
  • Old vs. Young
  • Active vs. Inactive
  • Valuable vs. Trash
  • Power vs. Weakness
  • Stereotype vs. Broken Stereotype (a personal favorite)
  • Signage vs. Opposing Background
  • Modern Attire vs. Older Styles
  • Near vs. Far
  • Selfie with Opposing Background (I also like this as an exercise as it is introspective)
  • Happy vs. Sad
  • Shapes: Circles vs. Triangles or Squares vs. Lines (or any other variation)

Your Ultimate Challenge: Create as many of these suggested juxtapositions as you can. For at least some of them, compose the shot using a mirror for a more challenging assignment!

Case Studies

Technically, one could classify the above image as a juxtaposition. However, it falls short of an essential element for juxtaposed photos—it lacks a story element.

When thinking about your juxtaposed photos, make sure to look past the obvious for more cerebral contrasts. Look for stories!

The portrait of the model with the mirror does represent a contrast, as the image captured two sightlines. But the difference is weak, as it bears no significant story element or insight about the subject.

This photo is a perfect example of a juxtaposition between a human-made object and nature.

Composition is the key to successful photography. Juxtaposition is a composition tool that doubles as a storytelling tool.

The image above uses juxtaposition. It also uses symmetry and color contrast to hammer home viewer interest.

There are several exciting juxtapositions within this shot. How many can you count?

Here are the juxtapositions:

  • Near versus far (that’s an obvious one)
  • Dangerous activity (sliding) versus safe activity (watching)
  • Masked versus unmasked (current health concerns)
  • Coming versus going
  • Up versus down

I think this is a very successful juxtaposition. The technique adds a sense of mystery and a story element to the rather mundane activity of herding sheep.

This last example is juxtaposition at its finest, and it used a mirror just for fun!

How did you do with the challenges?

  1. Did you give all the challenges a try?
  2. Were you able to successfully incorporate a mirror?
  3. Did you share your photos with others, and were they able to discern your juxtaposed meaning?
  4. Now that you’ve practiced, how can you improve your next attempt?

Contrast is King in Photography

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Contrast is king

If Contrast was, in fact, the king of visual communication, then possibly he is only trumped by the beautiful Queen of Symmetry. We will take a look at symmetry at a later date.

If symmetry is the one element above all else that the human eye finds most attractive, then contrast would be the single element that the human eye finds the most interesting.

Contrast (Google definition)

noun

noun: contrast; plural noun: contrasts

ˈkɒntrɑːst/

1. The state of being strikingly different from something else in juxtaposition or close association.

Even the dictionary definition hints at the interesting quality of Contrast.

When we think about contrast within photography, we generally think about tonal contrast. Tonal contrast is what we photographers are referring to when we’re talking about adding or reducing the contrast within an image.

However, contrast by no means stops there. In fact, tonal contrast only just scratches the surface of the types of contrasts we can use to make our photography much more interesting.

This is not something I have pulled from thin air; the power of difference, variance or “contrast” has been around for as long as art itself.

How often have you seen a photo of the odd one out?

Google “Odd one out.” click on the image tab, and you will see the types of photos I am referring to. The interest that these images create is contrast at play.

Let’s break these forms of contrast into subgroups:

Compositional or in camera – types of contrast we can capture in camera.

Post-processing – types of contrast we can apply within post-processing.

Conceptual – Conflicting stories we can imply within our photography.

Compositional Contrast (contrasting elements)

Rough vs smooth

Sharp vs blurry

Still vs movement

Big vs small

Shiny vs dull

Old vs new

Square vs circle

Straight vs curve

Symmetry vs Asymmetry

Processing Contrast (contrasting effects)

Tonal contrast – high contrast vs low contrast

Light contrast – Dark vs light

Saturation contrast – High saturation vs low saturation

Colour contrast – Complementary, cold vs warm, others

Detail contrast – sharper vs softer

Conceptual Contrast (contrasting stories)

Happy vs sad

Many vs none

Have vs have not

There would be many, many more. I’m sure you have thought of a couple already; however, the point is, whatever we call it – contrast, variation, difference – is the foundation for interesting photography. In fact, there could be a case made that contrast is the foundation for almost everything interesting, full stop!

Compositional Contrast

Looking for contrast within your compositions can be an excellent way to improve the interest level within your photos.

Above is a great example of compositional contrast. The first and probably the most obvious is the rough texture of the rocks vs the smooth texture of the sand and water.

– Very strong light contrast on the main triangular rock: light side v dark side.

– There is symmetry contrast with the strong symmetry of the triangular rock against the asymmetric position of that rock within the frame.

– Line contrast with the flat, straight horizon being broken by the rough outline of the rocks.

– Shape contrast: the strong triangle v the lack of any other shape.

– Shape contrast: the contrast of the triangle v the rectangular frame of the photo.

– The dark rock against the bright surroundings.

– The white soft line of the long-exposure water v the dark sharp line
of the horizon.

I would be lying if I told you that I consciously saw all of these elements when composing this photo. I can clearly remember that this position was the composition that jumped off the rear LCD much more than any other shot that I composed that day. This definitely has to do with the shape and symmetry of the pinnacle rock from this exact spot. The choice of shutter speed is also interesting because I will usually do several different speeds; however, more often, it’s the longer speeds with the smooth water that look the most interesting – the contrast of smooth vs rough.

Processing Contrast

When processing my images, the 3 main types of contrast I find particularly useful in leading the viewers are light, tonal contrast, and saturation.

Light (More or less light): As a type of contrast, light contrast would be the difference between a light area and an area of dark within an image. By adding light, we can attract attention to an area, or conversely by removing light or darkening an area, we will tend to divert attention from that area.

Tonal contrast (more or less contrast): Tonal contrast is the more commonly referred to contrast within photography. When photographers talk about contrast, we are talking about tonal contrast. Generally speaking, to add more tonal contrast is to create a larger distance between the light pixels and the dark pixels within a photo. Lighten the lights and darken the darks. To lower tonal contrast within a photo would be to create less distance between the lights and the darks. Darkening the lights and lightening the darks would reduce the overall tonal contrast of a photo.

Saturation (more or less colour saturation): Saturation as a contrast element would be the difference between highly saturated areas and the low saturated areas of a photo.

Attracting the attention of your viewer’s eye using these three forms of contrast is actually quite simple. By adding more of any of them to a specific area of our photograph (more light, more tonal contrast or more saturation) will have the effect of drawing attention to that specific area. Reducing the light, tonal contrast or saturation will have the opposite effect of allowing these areas to fade into the background, as these areas will appear less interesting to your viewers.

I must highlight the fact that removing contrast interest from the surroundings is at least as equally important as adding contrast interest to your main subject. In fact, in the case of saturation contrast, I will very rarely add extra saturation; however, I will almost always remove at least a little saturation from the areas surrounding my interest point (main subject).

Let’s take a look at another example where the above techniques are clearly visible.

Hopefully, once again your eye is drawn to the boatshed in this particular photo.

Again note:

The centre of the image here contains the brightest areas, the highest colour saturation and also the highest area of tonal contrast (the point at which light and dark are at the closest proximity to each other).

Whereas the edges of the image contain;

– Very little, if any bright areas

– Next to no colour saturation

– Very little tonal contrast (Apart from the walkway leading into the photo)

Using these 3 forms of contrast, we can create very powerful photos that grab the viewer’s eye and lead it directly into the central subject matter.

Conceptual contrast

Conceptual contrast deals with conflicting stories or themes within a single photo.

To name just a few:

  • Happy vs sad
  • Despair vs hope
  • Love vs broken heart

This is a relatively new concept to me and as I develop my conceptual contrast skills, I will revisit with more in-depth thoughts. In the meantime, let’s look at an image of mine where I have attempted to use conceptual contrast.

In this photo, the main conceptual contrast that I wanted to portray was quite a heavy, depressing scene with the ray of light representing hope.

There is also another possible storyline containing conceptual contrast, that being one of isolation v companionship. The three rocks themselves are quite isolated within the image, but within that, we also have the smaller rock of the three, separated from the embrace of the other two. Once again, I didn’t consciously see this at the time of making the photo. It all may seem a bit far-fetched, but at the end of the day, the more stories that we consciously place within our photos, the greater chance that our viewers will make their own interpretation and connect with our work.

When to Apply Sharpening in the Photo Editing Process

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Photography, in its essence, is an art of capturing light. Once that light is captured, the journey isn’t quite over – the art of post-processing begins. Photo editing allows us to accentuate the best parts of our images, fix imperfections, and achieve a final look that’s both appealing and striking. One such technique, often left for the end, is sharpening. Let’s dive into why it’s best to apply sharpening at the end of the photo editing process.

1. Understanding Sharpening

Sharpening is a post-production technique that increases the contrast along the edges within an image. This accentuates details, making the image look clearer and more refined. However, like any tool, if used excessively or inappropriately, it can lead to undesirable artifacts like halos or increased noise.

2. Maintaining Image Quality

During the editing process, numerous adjustments – be it exposure, contrast, color correction, or retouching – are made to the image. Every adjustment, especially when done in raster format (like JPEG), can potentially degrade the image quality slightly. If you sharpen early and make subsequent edits, you risk exacerbating the unwanted artifacts introduced by sharpening. By sharpening at the end, you ensure that you’re applying this effect to the final version of the image, preserving maximum detail.

3. Tailored to Output

The required amount of sharpening can vary depending on where the image will be displayed. For instance, a photo meant for Instagram might need different sharpening than one intended for a large print. By leaving sharpening to the end, you can adjust according to the specific output in mind, ensuring optimal clarity.

4. Flexibility with Layers

For those using advanced photo editing software like Adobe Photoshop, sharpening at the end allows for the use of layers. This means you can adjust the sharpening intensity on a separate layer without affecting the underlying edits. This non-destructive approach offers great flexibility, as you can easily tweak or revert the sharpening without redoing the entire editing process.

5. Avoiding Cumulative Noise

Noise is the grainy or speckled appearance often seen in photos, especially those taken in low light. Editing can amplify noise, and sharpening can make it even more pronounced. If sharpening is applied early in the process, subsequent edits can amplify this noise even further. By sharpening at the end, you can better control and minimize the enhancement of noise.

6. Better Visual Judgment

After all the edits and enhancements, the image’s overall look and feel will be different from the starting point. What might have seemed like an appropriate amount of sharpening at the beginning could be overkill by the end. By waiting, you allow yourself to judge the appropriate sharpness based on the final product.

In Conclusion

While sharpening is undeniably a powerful tool in the photographer’s post-production arsenal, its timing in the editing process is crucial. By saving sharpening for the end, photographers can ensure they’re delivering the highest quality image, tailored to its intended output, with minimized artifacts and noise. Remember, photo editing is as much about the sequence of steps as it is about the steps themselves. Happy editing!