Sometimes you just get lucky

Do you know a photographer who always seems to get that lucky break?  Some amazing shot that looks like he/she might actually know what they are doing?  Well, truth be told, getting lucky has a lot to do with being prepared and ready.

Sure luck happens. But the working photographer puts themselves in situations in order to increase the chances of luck and they are always prepared to capture moments when they suddenly appear.

One of my favorite things is finding vintage cars in the wild.  This particular shot of an old vintage truck in front of a dinner looks like might have been planned and set up for a magazine shoot but it was completely a lucky situation.

American Classics by Edward M. Fielding
American Classics by Edward M. Fielding

We had just dropped off our son at summer camp on Squam Lake (On Golden Pond) and were headed home when we decided to stop off in TIlton, New Hampshire for dinner at the Tilt ‘n Diner.  As we are finishing up our burgers and milkshakes, we start seeing vintage cars roll into the parking lot just as the sun is starting to get low on the horizon.

What timing!  We were dining at a spot an hour from house in the middle of the week and it just happened to be old car night!  So of course my wife took car of the bill and I headed out to get my camera and started shooting.

Unlike at a car show when the cars are all packed in tight and often festooned with awards or signs, this situation was perfect as the diner provided a great nostalgic background for the cars and as they drove, the first cars had plenty of space around them so they appeared more natural.

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More vintage car photography can be found in this portfolio – http://edward-fielding.pixels.com/art/car

The Story of Ronnie behind the scenes at a Sato puppy photo shoot

The Wilson family got more than they bargained for when their Hanover High School senior Daniel signed up for the “Surf and Sato” March Intensive program. Each spring the high school in Hanover, NH (home of Dartmouth College) offers a week of out of the ordinary educational experiences, everything from analyzing classic horror films to hut to hut cross-country ski treks to intensive Shakespeare, drama trips to NYC, college tours in Boston and a trip to Puerto Rico to help with the street dog problem and maybe try a bit of surfing.

Rumor has it that Daniel was under strict instructions to resist all attempts of adorableness and not to return with a puppy but then Ronnie’s cuteness prevailed and after a week of being surrounded by lovable puppies, one managed to come back to New Hampshire. Luckily I was able to persuade the family to bring Ronnie over for a modeling session.

What is a Sato?

Sato is the name for mutt i Puerto Rico.  Puerto Rico has a large population of stray street and beach dogs.  Some estimates put the population of stray dogs at 500,000.

Dead Dog Beach is located on the South-East coast of the island. A dumping ground, it is known for its stray dog population, and the abuse that has occurred on the isolated beach including gang rituals, target practice, and cars running over helpless dogs and puppies.

Dogs are dumped here everyday. The Sato Project, a rescue group founded by New Yorker Chrissy Beckles, is their only source of fresh water and food, and rescues them as their resources allow it. Dead Dog Beach is one of the many beaches of the island overran by stray dogs. (source: http://www.sophiegamand.com/deaddogbeach/)

From The Sato Project Org – Satos are usually small dogs under 30lbs.  The majority have terrier in them so they tend to be incredibly smart and quick to learn.  The street or beach is a very hard life for a dog and the majority do not make it past their second birthday.  Nature seems to have sensed this and females are giving birth to increasingly large litters of puppies.

You can see Puerto Rico dogs who need a second chance on PetFinder – https://www.petfinder.com/pet-search?shelter_id=PR04

About the Photo Shoot

Being a puppy, Ronnie was quite the handful as a modeling subject. I’ve grown accustomed to Tiki the Westie ability to sit for a very long time, knowing that a treat is coming at some point. At this point Tiki anticipates treats when ever I make a move towards my studio strobe lights. During the photo sessions for the book “The Quotable Westie” Tiki was so good I could set him up on a chair and then remember that I forgot the SD card or prop or something, leave the room for a few minutes and he would still be stilling there patiently.

The quotable Westie book
The quotable Westie book https://www.createspace.com/4070210

I’ve dealt with puppies before but its been a while. When I photographed Max, Pete, and Jeanie, my main camera was a micro-four thirds camera, a Panasonic Lumix G3 which had a handy feature for photographing moving objects – an LCD screen in which you could touch a spot on the screen and it would focus and fire the shutter.

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With my Canon 6D and its minimal focal points (only nine) I found myself having trouble getting little Ronnie in focus. I also made the mistake of starting out on the tripod. Not good for a guy in constant motion. But I did manage to get some good shots.

The other challenge I had was too narrow depth of field.  The Canon 6D is a full frame camera which has a narrower depth of field than a micro four thirds camera like the Panasonic G series.

In order to nail the focus on the eyes with a constantly moving subject like this little puppy Ronnie, I had to shot a lot of shots.   I first tried pre-focusing on a certain spot on this antique high chair I was using as a prop.  But the entire first set of photos were ruined by the focus being off ever so slightly.

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I end up re-shooting the entire scene later with with the studio lights cranked up to maximum and the aperture increase to f16 in order to make sure I got his cute little face in sharp focus.

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I also started to abandoned my carefully composed set ups and took the camera off the tripod so I could move the camera main focal point to the dogs eye, fire and worry about composition later with cropping.

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Some Tips

A few things I learned that worked in this latest dog photo session.

  • With puppies, be prepared for puppies.  They don’t know how to stay put, they need potty breaks, they are likely to climb out of what ever you put them in, and they are going to tire out and fall asleep on you at some point.
  • Safety – work with an assistant and try to create an environment like a basket with soft towels in the bottom to help contain the puppy.
  • Use chew toys, bones or a bit of peanut butter on a the edge of a basket to keep them interested and occupied.
  • Use squeaker toys or a weird noises to get their attention.  Don’t be afraid to sound like a wild animal or a complete wacko to get some great expressions.
  • Have plenty of paper towels handy.
  • Limit the number of assistants in the studio so the dog doesn’t get too distracted.
  • Shoot with a fast shutter speed and be prepared for motion.  I don’t recommend a tripod unless the dog can sit still.
  • Get on their level.  I used a small coffee table to raise the puppy up but watch that they don’t try to jump off.

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What to know when shooting in snow

Tired of dull, gray snow scenes? Having trouble taking bright, white snow photographs? Here is what to know when shooting snow!

Early cameras did not have built in light meters. You either had to guess at the exposure based on previous tests or later using a handheld light meter. It was easier when using a flash bulb such as on a press camera you see used in the movies because the exposure with a flash bulb is based on distance – basically the time it takes for the light to bounce off the subject and come back to the camera.

Eventually light meters were included in the camera design. But the most important thing to remember about light meters is that are measuring the object they are pointed at and are trying to calculate the exposure to represent the subject at what is known as 18% gray.

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As the majority of snapshot with cameras are people and assumed Caucasian or Asian skin tones, the camera manufactures assumed that most of the time photographers would want to expose for this 18% gray tone.

This means that every time you take a picture of something that is not 18% gray or in that range, the exposure is most likely to be over or under exposed.

Take a picture of a 18% gray wall and it will correctly expose as 18% gray. Take a picture of a white painted wall, white wedding dress or snow and it will come out underexposed or gray.

Take a photo of a black wall or a black frying pan and it will come out overexposed or gray instead of black.

This is why its important to understand how to use your exposure compensation controls on your camera to purposely under expose or over expose your scene to get the right exposure.

Over expose to get white snow, under expose to get true black scenes. You have to “fool” or “trick” your build in exposure meter to get the right settings.

Another method would be to shot a 18% gray card and then enter those setting into the camera in manual mode. Or use a light meter to take the ambient light measurements. Rather than metering reflected light, this setting on a hand held light meter measures the light falling on the scene.

Why 18% Gray?  Is it really 18% or more like 12%?  Does it really matter?

The story goes that Ansel Adams came up with the “18% gray” figure. Back in the hay day of film photography he was developing the zone system and needed to define a “middle gray”. It was a judgment call. Eventually, the idea caught on, but film and camera companies picked their own middle gray. It is a fun fact that your digital camera probably uses something more like 12% gray as middle gray.

Whatever the number, the idea behind middle gray is not that is “reflects 50% of the light”. Or even that “it is half way between absorbing all light (pure black) and reflecting all light (pure white)”. It has to do with your perception.

Your eyes are logarithmic detectors. That is, if a source gets brighter by a factor of 4, it will only seem brighter by a factor of 2 to you. If it increases by a factor of 32, it will only seem brighter by a factor of 5. If it increases in brightness by a factor of 128, it will only seem 7 times brighter to you.

The above are not the actual numbers. As you can imagine, measuring how bright things seem to people is very tricky, and varies from person to person. The important thing is that it is this weird logarithmic nature of your eyes that keeps middle gray from being 50%.

 

  1. How to use a gray card to determine exposure

Set your camera to manual shooting mode. Select the ISO and aperture you wish to use for your shot.

Set your camera’s metering mode to Spot Metering. This will allow the camera to read a very small area only, helpful if you only have a small gray card. You only want it to read the light off the reflector only, not the entire scene.

Set your focus point to single and choose the center one. Your camera will meter the same place it focuses.

Aim your camera at the gray card and press the shutter button part way down to take a reading. Looking in your viewfinder (eye piece) adjust the shutter speed until it gives you a reading of “0” (zero).

Take a test shot of the model (or subject) and the gray card similar to the one above. (You’ll be able to use this in part four below also.)

Review the histogram – you should have a perfect exposure with the gray card and all tones falling in the correct zones.

Contemporary Trends in Photography

Eileen Rafferty examines major trends happening in the medium today and discuss the key innovators working with these techniques as well as past photographers and artists who used these techniques in the past.

Mixed Media

Mixed media photography - combining 2D elements.
Mixed media photography – combining 2D elements. Arnaud Jarsaillon and Remy Poncet of Brest Brest
Mixed media photography by Sophie Dear
Mixed media photography by Sophie Dear

Constructed Realities

INSTALLATION OF REVENGE OF THE GOLDFISH AT CASTELLI GRAPHICS NEW YORK -JANUARY 1981
INSTALLATION OF REVENGE OF THE GOLDFISH AT CASTELLI GRAPHICS
NEW YORK -JANUARY 1981

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Moving Image

Video. Timelapse. Stop Motion. Cinemagraphs.

Snapshot Aesthetic 

Snapshot Aesthetics from Zeljko Drazovic on Vimeo.

Best of: Better Photography

Tips, how to, advice, product reviews and more – its the best of “better photography”:  http://www.dogfordstudios.com/category/better-photography/

http://www.dogfordstudios.com/take-better-photos-new-camera/

http://www.dogfordstudios.com/sharper-images-photography/

http://www.dogfordstudios.com/fall-foliage-season-under-pressure/

http://www.dogfordstudios.com/perfection-not-attainable/

http://www.dogfordstudios.com/photography-skill-work-scene/

 

http://www.dogfordstudios.com/right-place-right-time/

 

 

http://www.dogfordstudios.com/photography-luck-favors-prepared/

 

 

 

 

Take Better Photos With The New Camera

Learn to use that new camera

Did you get a new camera for Christmas?  Are you hoping that this new shiny piece of technological wonder will bring you better pictures in the future?

Chances are a new camera can be a step in the right direction for taking better pictures but only if you develop your craft.  Here are some tips for getting better photographs from that new camera.

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Read the manual

Yeah, I know.  You’re not the type who needs to read manuals.  You figured out the lawnmower no problem.  But the modern digital single lens reflect camera (DSLR) is one complicated piece of technology.  Within that thick, poorly translated tome of information is a whole lot of usesless features you will want to ignore and a whole lot of important settings information that you will want to read, reread and practice with and then refer back to every once in a while.

Pay particular attention to the section that describe quality settings – RAW vs. JPEG and size/quality of files.  Also how to set White Balence, ISO, Exposure compensation and how to find Aperture Priority mode.

Unfortunately today’s cameras are crammed with all sorts of gee whiz features that look great on the box or coming out of a sales persons mouth — things like special in camera filters and special setting for things like “beach, snow, vacation, pets” etc but if you know the basics of photography you don’t need all of that crap, you can just use Exposure compensation.

I look at my old film camera – the Olympus OM-G and it had everything a photographer needed and nothing else.  Aperture exposure mode, manual mode, bulb mode and that’s it.  Plus a ASA/ISO dial and an exposure compensation adjustment.  White balance was cooked into the film.

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Know your equipment

So get out the manual.  Learn what every dial, button and menu on your camera does and how to use it.  Get your settings the way you want them and shoot a lot of photos, evaluate the results, come back to the manual, make adjustments and keep on learning your equipment until you don’t have to even think about your equipment and you can concentrate totally on the subject you are trying to capture.

I’ve had my Canon 6D and I’m still discovering new things on this camera but when I come across a scene I want to capture, I know the camera well enough and have my settings set up in custom menus that nine times out of ten I manage to capture what I’m trying to capture.

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Know Everything About Exposure

Learn the three sides of the exposure triangle – ISO, Shutterspeed and Aperature and know how to change them on your new camera.

Sharper Images in Photography

Is “sharpness” the Holy Grail of photography?

Ahhh sharpness. If you read a lot of product reviews and fan blogs, a beginning photographer can be lead to believe that sharpness is the holy grail of photography.

Not subject matter, not capturing beautiful light, beautiful composition or storytelling – no sharpness is perfection. Of course this is all nonsense as the subject is always going to be more important than sharpness.

Subject matter trumps sharpness every time.
Subject matter trumps sharpness every time. Robert Capa

“Sharpness is a bourgeois concept”
– Henri Cartier Bresson

In the early days of fine are photography, soft images were all the rage. The “pictorial” style purposely used soft lenses to a acheive a more painterly like result.  In these early days photographers wanted to achieve the look of painting.  Photography hadn’t existed long enough to support itself as a new medium among the art buying public so photographers tried to mimic painting.

Today all modern lenses are capable of  achieving a focal point at the point of focus.  No matter what the aperture opening or depth of field, there will be a point at which the lens is sharply focused.

But as fine art photographer Vincent Versace  points out, its not the ability of the lens to focus that is important, it is how the lens handles the out of focus areas that make the difference, because after all, 99% of your image is typically out of focus.

“For me, the prettiest aspect of an image is not so much in the areas of focus, but in where the lens ramps from in-focus to blur,” remarks Versace. “The ineffable quality of a lens is bokeh. Neutral bokeh is something that’s frequently achieved, but to go the step beyond to a beautiful bokeh—that is rare and precious. ”

Vincent talks about this in his talk entitled “The Lens is the Brush, The Camera is the Canvas, the File is the Sheet Music and the Print is the Symphony” –

So if sharpness isn’t the most important thing in photography why are there zillions of magazine pages and countless blog posts dedicated to reviewing, testing and rating cameras and camera lens for sharpness?

Because its easier to talk about photography in terms of test results, numbers, features, buttons and products than it is to talk about the art of photography – content, concept, composition, mood, feelings etc.

Art is subjective and can’t be tested or compared in a product shoot out.  Sharpness can be measured by nerds in a lab, art is a lot more difficult to measure.

People don’t like to talk about things they can’t measure. Opinions come into play when you don’t have concrete facts and measurements.  And when you offer an opinion, you need to justify it and be ready to defend it.  Its a braver stance to take when you put your opinion out there then when you present lab tests.

That’s why you don’t see a lot of subjective option but a lot of lab results.  But of course ultimately its not the quality of a lens or the equipment but what the photographer does with the equipment.

Zebra in the barn
Zebra in the barn http://www.edwardfielding.com

http://edward-fielding.pixels.com/featured/zebra-edward-fielding.html

 

In photography luck favors the prepared

“Of course it’s all luck.”
– Henri Cartier-Bresson

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Photography Luck – When the famous photographer Henri Cartier-Bresson, famous for shooting in The Decisive Moment says “of course it’s all luck” he is saying it tongue in cheek of course.  Capturing amazing photographs of amazing light, amazing events, incredible moments – requires not only luck but having a camera with you and having the knowledge of your equipment to compose and expose the photograph at the right moment.

Luck will do you no good if you left your camera buried in a closet back at home or don’t have the practice of bringing a camera up to your eye when these amazing moments present themselves.  Luck won’t help you if you are fumbling with controls as the moment comes and goes.

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Henri Cartier-Bresson (1908–2004) is one of the most original, accomplished, influential, and beloved figures in the history of photography. His inventive work of the early 1930s helped define the creative potential of modern photography, and his uncanny ability to capture life on the run made his work synonymous with “the decisive moment”—the title of his first major book. – MOMA

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“You just have to live and life will give you pictures.”– Henri Cartier Bresson

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Photography is an active pursuit.  Not only do you have to understand and practice with your equipment so that you’ll be ready for when life throws you some great moments, you also have to increase your chances of being in the right place at the right time to create more of these moments.

You can increase your chances of luck by being prepared, having your camera with you all the time, traveling to “target rich” places, timing the light and learning to see images.

Even if you don’t have your camera with you, you can practice visualizing images, scouting out locations to return to when the light or season is more favorable.  Timing can be a matter of putting yourself in a location at the right season and the right time of day.  Not when you just happen to be somewhere but when you plan to be some where because you know in advance when the light will be the best.

Timing can also be anticipating a moment and dedicating enough time to capture the image you want to capture, not just shoot and leave to make a dinner date.  You might just have to wait for that moment when the clouds part just right and send an amazing defused light over your subject.

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Timing can be dragging yourself out of bed before coffee and showering.  Or it can be staying out later long after the mosquito have driven everyone else off the beach or lake.

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Traveling to new places can reawaken your senses and fine tune your seeing skills.   Although the travel need not be to exotic places, a trip to the town next door or an area of town you’ve never been too might be enough of new area to find new compositions and ideas, all the while constantly training your photographer’s eye to see.

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“Some days you just get lucky… Other days you wait patiently for luck to happen”
― Destin Sparks

Fall Foliage Season Under Pressure

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I don’t know about you, but I feel a lot of pressure every year around the fall foliage season.  Call it performance anxiety or just simple pressure or something.  Every year Mother Nature puts on this amazing show that lasts only a few weeks and usually around the same time it deals out some rather nasty weather from hurriacanes, to tropical storms to snowstorms.  Plus this time of year always seems like the crush time when you have kids in school.

Carefree summer is over, time to get back on schedule plus do all those chores you meant to do all summer but it was too hot.  Cut, chop and stack firewood, get your flu shot, get some new tires, pull up the garden, batten down the hatches — and sneak out around the region to capture amazing fall foliage shots between rain, wind, drizzle, and whatever comes along.

Then you fire up the old social media and see all kinds of great images being captured by photographers around the region.  Where is the peak? Is it past prime? Where did I want to return?  Where did I say I wanted to come back when the foliage season begins?  What do you mean we have dinner plans during golden hour?  Which moon is it and how many more years before its this great again?

And so on and so on. It can get nerve racking especially since there are so many places in New England to see great fall foliage.  So many places I’ve already been and so many places yet to explore.  In some ways the winter season can be such a relief after the busy summer and fall months.

So far I did manage to get out and take some great fall foliage shots in Vermont and New Hampshire.  Even made it down to Cape Cod, although it was a few weeks early.

In a lifetime of photography, you really only need a couple of killer images in a season.  I got really lucky this week with a shot of two Adirondack chairs in a park in Norwich, Vermont just over the bridge from Hanover and Dartmouth college.  The composition was all mine but the amazing lighting came from someone above smiling down on me.  It was a rather blustery day with warm tropical breezes (at least for late November in the Upper Valley) and suddenly the stormy sky opened up a bit and gave me some amazing studio like lighting  around my subject.

I kind of like the overcast days we get so often in New England.  Its like a giant softbox.  As long as you don’t include the sky in the shot, this nice even light can be great.  But this particular light was something altogether different because the light was on the foreground but darker in the background.  It created a more 3D effect then I would have gotten normally.

Autumn Splendor
Autumn Splendor Watercolor by Edward M. Fielding

The Challenge of Fall Foliage Photography

I see the challenge of photographing fall foliage is in finding a great subject, composing it to show off the colors of the fall AND timing everything with the peaking foliage and the light of the day.

We see the beautiful trees exploding with color filling our entire visual range.  The hardest thing is selecting what to include in the photograph in a compelling composition.  Often the trees themselves are kind of boring as the main focus, often they are better as supporting actors.

The quick snapshot impulse is to aim at a colorful tree, center it in the frame, snap – and post on social media.  Of course as we know these shots typically don’t produce a lasting memory.  For something that elevates the image to art, we need a compelling subject to pull us into the image.  A fence, a road leading down a path of colorful trees, an old tractor, people, a dog, covered bridge, — something interesting with the colorful foliage engulfing the view.

See more in the Fall Collection by Edward M. Fielding

New England fall foliage Art Prints

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New England fall foliage Photography Prints

Mad About Westies

West Highland White Terriers AKA Westies

The crazy cute Westie is one of the most popular small terriers among pet owners. Standing 10 to 11 inches at the shoulder, with dark piercing eyes, compact body, and an adorable carrot-shaped tail wagging with delight, the Westie’s looks are irresistible. Beneath the plush-toy exterior, though, beats the heart of true working terrier. Bred to hunt rats and other furry critters, Westies are surprisingly strong, brave and tough.  Look out chipmunks and squirrels!

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The West Highland White Terrier, commonly known as the Westie or Westy, is a Scottish breed of dog with a distinctive white coat. The modern breed is descended from a number of breeding programs of white terriers in Scotland prior to the 20th century.

West Highland White Terrier Dogs 101 Segment

The Westie is grouped with and probably closely related to the other terriers of Scotland, including the Cairn, the Dandie Dinmont, the Scottish and the Skye. It was bred to be a working terrier, going to ground to combat rats, rabbit, badger and fox. Legend has it that Colonel Malcolm was hunting with his small brown terriers and accidentally shot his favorite, mistaking it for a fox. Malcolm apparently set about developing a small white dog that could perform all the functions of a working terrier but would never be accidentally mistaken for prey. He selected the lightest puppies from litters of Cairn Terriers and bred them without crossing with any traditionally tan dogs. Eventually, he created pure white terriers that bred true to type, temperament, function and color.
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The white coat of the Westie or West Highland White Terrier should be hard to the touch, never soft and fluffy.  The westie breed has a two layer coats.  A soft under layer for warmth and a wirely outer coat for shedding dirt.

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The breed was listed officially as the West Highland White Terrier in 1907 at the Crufts dog show in England. The name was chosen for the rugged character of the dogs and the area of their development. The West Highland White Terrier Club of America was founded in 1909. It is a member club of the American Kennel Club. The Club’s annual meetings and specialty shows are held in conjunction with the Montgomery County Kennel Club Show at Ambler, Pennsylvania in October. In addition, the club holds a national Roving Specialty Show each year with one of the regional clubs acting as host.

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Most Westies will get dirty between baths no matter how often they are bathed. It is a Westie duty to see just how dirty it is possible to get before Mom or Dad catches them. If you are lucky, it is just plain mud or dirt and not something smelly!!

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BATHING PRODUCTS AND PROCEDURES:

  • DON’T use human shampoos unless “prescribed” by your vet. (Occasionally the vet may tell you to use a medicated human product for treatment of a medical condition. Of course, in this case, do as your vet tells you to do. ) Human products have a PH level set for human needs. A dog’s PH level requirement is quite different. Always use a product made specifically for dogs unless your vet specifically tells you to do otherwise.
  • Read the instructions on the shampoo. Many shampoos require that you leave them on the dog for 5-10 minutes before rinsing. This gives them time to work. If you do not follow the instructions, the product will not do its job.
  • Use a rinse that will re-moisturize the skin. Your vet can give advice on this subject but a very commonly used rinse is called HUMILAC. This product is a non-greasy skin conditioner that gets right through the hair and down to the skin without leaving any residue on the hair. It is like putting body lotion on your legs after you have bathed. It helps keep the skin from drying out even after more frequent baths. It can be sprayed on the dog and rubbed in. Possibly a more effective way to use it is to mix it with water and pour it over the dog in the final rinse. Instructions are on the bottle.
  • If your dog has dry, flaky skin (doggie dandruff) and you do not bath him frequently, use the HUMILAC as a spray between baths. If the dog is bathed more often, use it as a rinse (mixed with water) and follow up by using it as a spray between baths. NOTE: If the flaky skin continues, ask your vet to run a full Thyroid test. Low or low-normal thyroid can be a cause of skin problems and is easily corrected with medication.
  • Put a rubber mat on the floor of the tub or sink. This will give your dog a more secure footing.
  • Most important of all, when you shampoo your dog, you must do a thorough rinsing. Rinse your dog, rinse your dog again and rinse a third time. When you are SURE you have every bit of shampoo removed, rinse once more!! The residue left from the shampoo is often the CAUSE of itching.

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Photo Ideas

Time it well. If you’re looking for action shots, have your photo shoot before the daily three-mile run. If you want a serene portrait, make it after.

Let your dog get used to the camera. The click and flash of a camera can rattle dogs at first, says Rogers. Let your dog give the camera a good sniff, then start casually shooting the surroundings (if you’ve got a film camera, you can do this before you load the film). Once your dog’s gotten used to the camera and starts doing his own thing, begin taking pictures.

The idea is to keep things natural and relaxed. What not to do: Grab a ton of treats, abruptly shove the camera in your dog’s face, and repeat, “Mommy’s gonna take your picture!” at high pitch.

Take lots of pictures. This is the first rule of photography, no matter what the subject. The more you take, the better your chances of getting a few amazing shots. “Always bring an extra battery,” warns Rogers.

Turn off the flash. Most amateur photographers do best with warm, natural sunlight. To avoid washed-out pictures, shoot in the mornings or evenings, on slightly overcast days, or in the shade on a bright day.

For indoor shots, you’ll probably need a flash. You’ll get a more natural-looking shot if you use an off-camera flash and swivel it upward so the light’s bouncing off the ceiling.

Get down on your dog’s level. “If you stand over your dog and look down, every shot you take is going to look like everyone else’s,” says Rogers.

Pay attention to background. Simple backgrounds, like a white sandy beach or green trees, make your dog stand out. If you’ve got a point-and-shoot camera, have your dog at least a dozen feet in front of the background so he’ll be more in focus than whatever’s behind him, and of course, watch for the tree branches growing out of his head. Pay attention to color, too: No black backgrounds for black dogs, brown backgrounds for brown dogs, and so on.

Enlist help. A friend with a squeaky toy will come in handy if you want a head-on shot or a regal profile. However, keep your dog’s personality in mind with this tip. “Some dogs get amped up really fast when their toys are around, so it can have the opposite effect of what you intended,” says Rogers.

Get creative and playful. Lots of full-body shots taken from ten feet away can get mighty dull. Get up close so your dog fills the entire frame. Get even closer so you get the full effect of that long, wet nose. Photograph your dog head on, in profile, at 45-degree angles. And don’t get hung up on perfection; sometimes that shot with your dog’s tail out of the frame is the one you’ll have hanging on your wall for years. “With pet photography, serendipity is the name of the game,” says Rogers. “The best shots are often the spontaneous ones.”

Tips for Better Dog Photographs Featuring Tiki the Westie