{"id":170720,"date":"2022-07-27T15:14:54","date_gmt":"2022-07-27T14:14:54","guid":{"rendered":"https:\/\/other.kelsey.host\/amateurphotographer\/?p=170720"},"modified":"2022-07-27T10:29:28","modified_gmt":"2022-07-27T09:29:28","slug":"how-to-take-great-photographs-of-dogs","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/expert_advice\/how-to-take-great-photographs-of-dogs\/","title":{"rendered":"How to take great photographs of dogs"},"content":{"rendered":"

Successful dog photographer Rhian White shares some secrets for cracking shots of dogs with Geoff Harris<\/strong><\/p>\n

\n

Dogs. Many of us love them to bits and many more of us acquired these wonderful animal companions during the lockdowns. Not only is dog photography hugely rewarding in its own right, it can also form the basis of a photographic business or profitable sideline. But as with any photographic discipline, it\u2019s not just a case of pointing your camera at Buddy or Bella and blasting away.<\/p>\n

To succeed in this genre you need to acquire a range of skill-sets, including those from portraiture, action photography and even documentary work. You need to be able to work fast too, as lively dogs don\u2019t tend to stick around as you fiddle with camera settings. One of the most accomplished dog photographers we\u2019ve featured in AP is Devon-based Rhian White, so we thought it was a high time for a more in-depth interview with this master of canine-related creativity.<\/p>\n

Steep learning curve<\/h3>\n

It\u2019s a testament to Rhian\u2019s hard work and determination that she is entirely self-taught, and as she freely admits, started from a very low knowledge base. \u201cFourteen years ago I got my pug Boo and loved her so much \u2013\u00a0I wanted to take photographs of her happy, but didn\u2019t know what I was doing.<\/p>\n

I didn\u2019t understand the exposure triangle, camera settings, or anything \u2013 just how to turn the camera on! It was okay on Auto mode if Boo was still, but anything where she was moving just became a blurry blob.\u2019<\/p>\n\t\t

\n\t\t\t\"two<\/a>\t\t\t

Dexter and Fin. Nikon 17-35mm f\/2.8, 1\/1000sec at f\/6.3, ISO 140<\/p>\n\t\t<\/div>\n\t\t\n

An understanding of the basics of photography and camera settings is only one part of the equation. \u2018At the beginning, I didn\u2019t understand the motivations of dogs, and how to use light,\u2019 she explains. There was a learning curve when it came to gear too.<\/p>\n

\u2018I eventually bought a Nikon D300s and then a 18-200mm \u201csuperzoom\u201d lens, thinking it would cover me for everything I needed \u2013 but of course the quality of this lens was not very good.\u00a0I soon realised that anyone who is serious about dog photography will get a 70-200mm f\/2.8 lens.\u2019<\/p>\n

Back then there were hardly any dog photography videos online, workshops or mentoring available, but Rhian stuck at it. \u2018Buying magazines like AP helped, but what really helped was looking at a picture I liked and trying to work out the settings so I could see what might work in a similar scenario. I also started to ask people in parks and beaches if I could take photos of their dogs to practise. One good aspect of my character is that I never give up.\u2019<\/p>\n

Three years later Rhian moved down to Brighton from the north. While looking for a job as a graphic designer, she noticed there was a gap in the market for dog photography. \u2018Back in 2010 not many people were doing the kind of dog photography I liked \u2013 happy, colourful pics of dogs outside. Rather, there were a lot of studio shots. So, I thought there was a gap in the market and built my dog photography business over time.\u2019<\/p>\n\t\t

\n\t\t\t\"dog<\/a>\t\t\t

Morgan. Nikon 35mm f\/1.4, 1\/640sec at f\/2, ISO 320<\/p>\n\t\t<\/div>\n\t\t\n

Technical challenges when photographing dogs<\/h3>\n

Rhian has a very clear approach to dog photography and at the heart of this is an understanding of dog psychology. \u2018You have to find out what motivates them. Find a location where they feel safe, happy and relaxed. If you have a happy dog, you get happy pictures. Dogs can get distracted by other dogs, people going past on bikes etc, and you need to be aware of this.\u2019<\/p>\n

Next up is an appreciation of what motivates the dog. \u2018I find they are motivated by balls and toys, food, other dogs, their owner\/person, and doing their own thing \u2013 for example, sniffing and exploring.\u2019<\/p>\n

Rhian also finds out as much as possible about the dog before the shoot, which enables her to come up with ideas. \u2018You also need to reflect the dog\u2019s energy. Some are excited and want to play, while some can be nervous, and you need to change your behaviour. I will reflect what the dogs want to do in order to make them feel comfortable, as this means better shots.\u2019<\/p>\n

As part of this approach, Rhian rarely goes right in close to the dog with a portrait lens at the beginning of their relationship \u2013 \u2018the dog doesn\u2019t know who I am and thinks why should I play with you.\u2019 Instead she prefers to use her trusty 70-200mm f\/2.8 lens in a more passive, documentary capacity.<\/p>\n\t\t

\n\t\t\t\"three<\/a>\t\t\t

Crumble, Scrumpy and Toffee. Nikon 70-200mm f\/2.8 at 170mm, 1\/1250sec at f\/6.3, ISO 200<\/p>\n\t\t<\/div>\n\t\t\n

\u2018Later on, if the dog allows it, I work in a more interactive way and get up closer using my 35mm or wideangle lens.\u2019<\/p>\n

It\u2019s also important to plan what kind of shots you\u2019re going to start off with. \u2018I usually start with action shots. The dog leaps out of the car, maybe they are a bit restless after the journey, and they want to run and sniff and play. They don\u2019t usually want to sit still for a portrait. Spaniels, for example, won\u2019t seem to run out of energy even if tired, so understand the breed.\u2019<\/p>\n

Seize the moment<\/h3>\n

Rhian has a range of tricks for getting a lively dog to stay still for a portrait, one of her favourites being a pretend throw of a ball or toy \u2013 the dog stops in expectation and in that moment you can get a portrait. \u2018Another rule of thumb is to tire the dogs first, before trying to do any portraits. Always work around them.<\/p>\n

Then you need to think about where you want them to stay still. If you think they would look good on a log, for example, work out lens choice, composition, settings etc beforehand. When I am ready, I work fast, rather than keeping the dog waiting while I try to figure it all out.<\/p>\n\t\t

\n\t\t\t\"two<\/a>\t\t\t

Betsy and Lilo. 14-24mm f\/2.8 at 14mm, 1\/640sec at f\/4.5, ISO 200<\/p>\n\t\t<\/div>\n\t\t\n

Taking too long to get set up is one of the most basic mistakes in dog photography<\/strong>, as the dog gets bored. People put the pictures first and the dog second. It must be the other way round.\u2019<\/p>\n

If a dog is not good at staying still, Rhian will also use \u2018high-value treats\u2019, such as a snack. \u2018We never make a dog do anything they don\u2019t want to do, but they soon work out the game if you give them what they want \u2013 always within the realm of what is safe for the dog to do and what they want.\u2019<\/p>\n

The importance of light<\/h3>\n

Another core component of Rhian\u2019s approach is an understanding of light and how to use it. \u2018You have to make sure the light is good, otherwise it doesn\u2019t matter about your gear or settings. I generally go out a couple of hours before sunset and try to avoid the brightest part of the day, which can be tricky exposure-wise.\u2019<\/p>\n

Depending on the conditions, for action shots, Rhian\u2019s starting point is 1\/1000th sec or thereabouts, with a wider aperture and lower ISO setting. \u2018I prefer blurred-out backgrounds but sometimes the background is interesting and you want to keep detail. I make a decision based on the location.<\/p>\n

Generally, I like wider apertures and I work out shutter speed based on this and the speed of the dog \u2013 a whippet will move much faster than a pug, for example. When photographing multiple dogs I have to bring the aperture down.<\/p>\n\t\t

\n\t\t\t\"dogs<\/a>\t\t\t

Missy Moo. Nikon 70-200mm f\/2.8 at 200mm, 1\/1000sec at f\/2.8, ISO 200<\/p>\n\t\t<\/div>\n\t\t\n

\u2018Unless they are exactly the same distance from you, running together, it\u2019s easy to get one in focus and one out. So I bring the aperture down and try to get dogs together as much as I can. In terms of more static portraits, my starting point is aperture and the amount of background blur, then my composition and so on.\u2019<\/p>\n

While Rhian mainly uses natural light, she does sometimes use a flashgun with a diffuser, mainly with her 14-24mm wideangle lens. \u2018Sometimes I have used off-camera flash but it can end up being quite a complicated set-up with dogs. By the time you are ready, everyone\u2019s probably tired and the light is going.<\/p>\n

A wideangle lens with a hotshoe flash makes it easier to get the dog where you want, or follow them around. I use a basic old flash, so you don\u2019t need to spend a lot. You can also use light boxes, although, while continuous light with a light box could be easier, it might distract or worry the dog. I like to keep everything small, simple and intimate.\u2019<\/p>\n

When it comes to focusing, Rhian favours continuous AF using back-button focusing so she can track movement, although she will change to manual focus if appropriate. \u2018I always focus on the head and eyes \u2013 you can get away with a lot if eyes are in focus, unless the dog is side on. If using my 70-200mm lens I generally use the middle focus point as I find this easier for staying sharp.\u2019<\/p>\n\t\t

\n\t\t\t\"dog<\/a>\t\t\t

Molly. 70-200 f\/2.8 at 90mm, 1\/800sec at f\/5, ISO 250<\/p>\n\t\t<\/div>\n\t\t\n

The biggest challenge capturing dogs<\/h3>\n

Rhian reckons the hardest job is capturing multiple dogs who are interested in different things. \u2018It can be a challenge when the client has several dogs and wants them all together in a shot. Several dogs running together is particularly hard, and I find four or five nigh impossible unless running side-on.<\/p>\n

I have been known to Photoshop dog portraits together. You can\u2019t force the dogs to do something they don\u2019t want to do, and if the dogs are happy and the client happy, I don\u2019t see a problem with this. Ideally you get the image right in camera but my job is to get the clients an image they like and never to upset the dog. I rarely put dogs on leads to get the shot unless in an emergency. I try to get them tired and try to work with their motivations in suitable location.\u2019<\/p>\n

\n

Rhian’s Top Tips for photographing dogs<\/h2>\n

1. Get your priorities right<\/h3>\n\t\t
\n\t\t\t\"one<\/a>\t\t\t

Nigel and Margaret<\/p>\n\t\t<\/div>\n\t\t\n

Always put the dog first, no matter what. People take far too long setting up for shooting or taking the shots. If the dog is sitting there for five minutes while you take the photo, it will get bored. You need to keep them motivated and engaged.<\/p>\n

2. Think like a dog<\/h3>\n\"two<\/a>\n

Is this fun, is it interesting, is it too hot? Put yourself in the mind-set of the dog. The dog always comes first and I never get them to do anything they don\u2019t want to do. Only after that, think about the light and the camera settings and so on.<\/p>\n

3. Manual labour<\/h3>\n\t\t
\n\t\t\t\"dog<\/a>\t\t\t

Pabu<\/p>\n\t\t<\/div>\n\t\t\n

When it comes to settings, it\u2019s always better to shoot in manual mode. I\u2019d only recommend using aperture or shutter priority if you are totally stuck. Doing my course will help you go from auto to manual settings, and this will make a big difference to your hit rate.<\/p>\n

4. Back-button focus<\/h3>\n\t\t
\n\t\t\t\"wet<\/a>\t\t\t

Lenny<\/p>\n\t\t<\/div>\n\t\t\n

For focusing I use back button focusing with continuous AF, as this means you can track moving dogs quickly and effectively. I will sometimes use manual focus for trickier situations, so it\u2019s worth turning on any manual focusing aids on your camera.<\/p>\n

5. Think about the light<\/h3>\n\t\t
\n\t\t\t\"dog<\/a>\t\t\t

Lilac<\/p>\n\t\t<\/div>\n\t\t\n

Shoot when the light is best, not when it is the most convenient time for you. Shoot in the middle of the day in the summer, and you can get very hard shadows or run the risk of overexposure \u2013 the dog will soon get hot too, and your shots will suffer.<\/p>\n

6. Take along treats<\/h3>\n\"dogs<\/a>\n

Take something that motivates the dog, such as high-value treats or their favourite ball or toy \u2013 that way you can use what they want to get them to play, run or stand still, depending on what the dog wants to do. William, above, was chasing Rhian to get his ball back!<\/p>\n\n

\n

Rhian’s Dog photography kit list<\/h2>\n

Nikon D5<\/a> DSLR<\/h3>\n

Fourteen years ago I went into Jessops and they recommended the Nikon D70s. I am still happy with the Nikon system, so I see no reason to change \u2013 the AF and low-light performance are fine for my needs. I also prefer DSLR optical viewfinders, but might consider changing to mirrorless at some point in the future.<\/p>\n

Nikkor 14-24mm f\/2.8<\/a> lens<\/h3>\n

This wideangle lens is my fourth and I love the fact that it\u2019s nice and fast at f\/2.8. The wider end is very useful for getting the dog in context and I sometimes use it with flash. The only problem is, the lens is quite bulbous, so I can\u2019t protect it with a filter. When working on beaches with dogs running around kicking up sand and stones, I am very careful!<\/p>\n

Nikkor 35mm f\/1.4 lens<\/h3>\n

This 35mm is ideal for dog portraits. I can hold my hand out with a treat to attract the dog while bringing the camera back far enough to get a nice portrait. With a 50mm this would be much more awkward, so the 35mm is more flexible and I find the fast maximum aperture perfect for the kind of images I like to take.<\/p>\n

Nikkor 70-200mm f\/2.8<\/h3>\n

This fast, quality lens is my mainstay for action photography. The focal length is perfect for dogs \u2013 you can zoom out if they are nervous or zoom right in to 200mm for a portrait with nice background blur. A 300mm lens would mean I am shooting too far away \u2013 I have to be able to communicate with everyone, including the dogs!<\/p>\n

Adobe Photoshop and Lightroom<\/h3>\n

Lightroom<\/a> is very handy for batch processing raw files. The latest upgrade enables you to select both sky and subject and is a real game-changer. I do a universal edit then I do more precise work on selected images, bringing up shadows or boosting colours. I only use Photoshop when I have to remove subjects or add them to an image.<\/p>\n

\n

How to start your own Dog Photography business<\/h2>\n

What tips does Rhian have for people wanting to take the extra step and set up a dog photography business? \u2018Work on your SEO so customers can easily find you on Google<\/strong>, but before that, realise that your biggest marketing tool is your photographs<\/strong>. If they are not up to scratch, it doesn\u2019t matter about your SEO or social media skills. You never stop learning and I try to make any new shoot my best ever.\u2019<\/p>\n

Rhian is sceptical about investing in social media marketing. \u2018I have found it expensive and you can waste money and time. It\u2019s now much harder to reach out to customers on social media compared to a few years ago, so look at free ways to raise your profile \u2013 but never work for free, as people won\u2019t respect you.<\/p>\n

It\u2019s important to be realistic, too. Although I was able to use the lockdowns to work on my online course and attract new students, as well as working on video lessons, you need to have a plan B in case you are forced not to work again. I work as a joiner too, making cabinets and photo frames for clients \u2013 fortunately I really enjoy this as well!\u2019<\/p>\n

\n

Learning from Rhian – take a dog photography course<\/h2>\n

Rhian has written an extensive 20-lesson course on mastering the art of photographing dogs<\/strong> in the outdoors. \u2018It\u2019s absolutely everything I know, from choosing a suitable location, motivating dogs, lighting, portraits, action shots plus post-production in Lightroom and Photoshop. It\u2019s very detailed and includes a lot of 1-1 help from myself, so it\u2019s really for people who are serious about taking better images of dogs, but it\u2019s accessible and written so that everyone, including complete beginners, can get involved.\u2019<\/p>\n

Rhian has also recently released an extra lesson on photographing black dogs. \u2018Many of my customers and students have black dogs and really struggle to get good images. This extra lesson specifically addresses the problems that they have.\u2019 For more info about Rhian\u2019s course, see rhianwhitephotography.co.uk\/20-lesson-online-course<\/a><\/p>\n

\n

Rhian White<\/h3>\n\"\"<\/a>\n

Rhian is a long-established \u2018real life\u2019 dog photographer and also runs a successful online course. See more about her at www.rhianwhitephotography.co.uk<\/a> and Instagram:@rhianwhitephotography<\/p>\n

\n

We hope this article has inspired you, so do send us your best dog images (ap.ed@kelsey.co.uk) or get in touch with us via Facebook or Twitter.<\/p>\n

Need more guidance on photographing pets? Check out our pet photography guide here<\/a>.<\/strong><\/p>\n

Elke Vogelsang also shares how she got into dog photography here.<\/a><\/p>\n

\n

Follow AP on\u00a0Facebook<\/a>,\u00a0Twitter<\/a>,\u00a0Instagram<\/a>, and\u00a0YouTube<\/a>.<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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