12 Pet Photography Tips
Taking photographs of pets can really be fun and exciting, although this type of photography does at times produce a challenge. Yet, it can be financially rewarding for the photographer who takes the time to understand what is needed in order to actually capture the true personality of a client’s pet and obviously make them extremely happy. The first thing that the photographer must realize is that each one has a different personality. Not all of them will play well with the photographer when trying to direct a shooting session.
Always plan the content of a shoot including use of photographic backgrounds. Consult with a client, or pet owner, so understanding is arrived at what types of shots are desired. Using seamless paper indoors will cut down on soiling, for example, an expensive muslin backdrop. There are number of different types of “poses” such as cute little kittens and puppies sleeping comfortably or possibly bouncing about making good subject matter for some types of playful photographs. Consult with the client about the different types of shots.
Keeping all this in mind, here are some other thoughts to consider when conducting pet photography:
- Never Use A Flash
- Get down to the pet’s level for an “eye-level” perspective
- Always check to make sure camera settings are correct. This is especially necessary when photographing pets that are moving about
- Do not force any pet to try to do anything that they may not be comparable accomplishing. Let each pet display an individual personality that can be captured by the camera
- Try to set up in a position that does not attract the pets attention in order to capture some natural poses
- Patience is one of the key skills necessary for successful at photography
- Even when shooting indoors, try to place pets in an area near a well-lit window to gain soft natural light
- Use simple non-competing photographic backgrounds keeping the pet as the focal point
- Ask the owner if the pet’s collar should be off or on
- Use some type of attention grabbing the noise or object to get the pet’s ears up for a great shot
- Always make sure the eyes are clear before beginning the photo session
- Consult with the pet owner about what types of animal treats to have handy for rewarding a good kitty or pup
Follow these helpful tips for some great pet photos.
How to create soft light
While there is some need for hard light photography, such as landscapes or high contrast portraits, most of the time soft lighting is preferred. A soft light is likely just as bright as a more direct hard light, but some of that light either bounces of some type of surface before it shines on the subject, or part of the light might reflect off the subject and shine in the opposite direction.
To bounce light, you will want to shine it toward a highly reflective surface. Using a large piece of white seamless background paper makes a great surface. White walls and ceilings are also effective reflectors, or in a pinch a white towel or car reflector can also work as long as it won’t add a color cast to your shot.
Many professionals will bring something to use as a reflector when they go to do a shoot on location. One thing that works rather well is a white collapsible backdrop. There are also portable reflectors where one side is silver and the other side is white. These options easily fold up and are easy to carry with you and have handy when they are needed.
One simple example of how soft light can work is pointing a desk lamp at a wall. When that light reflects off the wall and bounces back it covers a larger area as it hits the subject and will cast a much softer shadow. This technique is also commonly used with reflective photography umbrellas which are often used to create soft lighting against studio backdrops.
The Difference Between Hard and Soft Light
When many people hear the terms hard light and soft light, they immediately think of how bright or dim a light is against a seamless backdrop, however, this is not exactly what is meant. The difference between hard and soft light has less to do with how bright the light is as it refers to the relationship between the light and its surrounding shadows. With hard light, those transitions tend to be very abrupt, while soft light features a more gradual progression between light and shadow.
Hard light is usually the easiest to achieve because it is very direct. It comes from a single unfiltered light source, such as an uncovered light bulb and shines directly on the subject rather than bouncing or reflecting off a studio backdrop or other surface. The shadows it produces are very dark, and the contrasts it produces in photographs involve very bright highlights and the blacks are very deep. There’s a very hard edge to the shadows and they come off as very distinct, and the shape of the shadow mirrors that of the subject.
When a model is photographed with hard lighting, the result usually isn’t very flattering. Noses tend to cast harsh shadows and things like blemishes tend to be highlighted. Brutal honesty, rather than flattery tends to be the goal.
In landscape photography, hard lighting does better, as it captures many of the textures that wind up looking flat when shot in soft light. For most portrait photography, soft light is the preferred choice.
While hard light comes from a single source, soft light comes from many different sources and from different directions, or the effect could come from a single light source, but only if it is very close to the subject. Deep shadows rarely happen under soft light, and the shadows that do happen are gradual, with soft edges, rather than abrupt ones. Often to achieve a soft light effect, a photographer will arrange for light to bounce off other surfaces before it hits a photographic backdrop.
The sun, while often thought of as a soft light can serve either purpose. When a subject stands in a shadow, or if the day is overcast the light will appear softer than it does it they are directly in the sunlight.
Professional Soft Box Lighting Techniques
Photographers often use a soft box in lieu of an umbrella to soften and diffuse the light. The lighting techniques that are applicable when diffusing light with an umbrella are the same techniques used with a soft box. The difference however, is that the soft box typically demands stronger light than would be necessary with an umbrella or lighting a subject directly. A soft box modifies light by allowing a lot of light to shine on the subject with a decreased risk of unwanted shadows.
How much area you’ll be able to cover with a soft box is determined by the actual dimensions of the soft box. You can typically use a small soft box for portraits or small product photography. For larger subjects however, most photographers will use a large soft box. In addition, there are other things to consider when choosing a soft box:
Anna Myers
Size:
There are a variety of different sizes of soft boxes. The largest soft boxes can run larger than 6 feet long. The larger a soft box is, the softer the resulting light produced. Keep in mind that you should always use a soft box that is larger than your subject, so that the light is evenly distributed.
Quantity:
Most photographers use several soft boxes in a variety of sizes. If you’re focusing on portraits, you’ll probably use a key light in the form of a large soft box and a fill light created by a second soft box or reflector. For macro photography, use a single soft box set close to your subject and lined up with your camera.
Lighting with a single soft box:
Many professional photographers rely on a single soft box for evenly distributed soft lighting. Placing a single soft box on one side of your subject will create a unique shadow on the side opposite the soft box. In addition, you’ll create evenly distributed, smooth light on the subject. In place of a fill light, you can use a reflector, a piece of white cloth or a piece of white styrofoam.
Lighting with two soft boxes:
Set two soft boxes at 45 degree angles on opposite sides of your subject. Adjust the angle to experiment with brightness and adjust the distance between the lights and the subject to create unique details.
For close up portraits, arranging the soft boxes so that one is just above and in front of your subject and the other just below and in front, can even the lighting out and reduce unwanted shadows.
Exposed! Rembrandt Lighting
Many excellent photographers make their best impression by first studying the approaches and techniques of other artists, including photographers, sculptors and painters. The common thread between all of these individuals is the goal of improving the quality of their work and developing a signature style as their career advanced. This is the rationale behind the use of the same four fundamental styles of lighting by professional photography instructors and the premiere photography schools. The four fundamentals of lighting include Paramount, Split, Loop and Rembrandt, named for the famous Dutch artist.
Amanda Nelson Photo
Rembrandt lighting is popular, mainly because it creates an image that has what is known as a chiaroscuro style. Chiaroscuro style is used by different artists, including photographers, to make their work appear more realistic by manipulating highlights and shadows. As a result, images look more three dimensional. Rembrandt lighting doesn’t have to involve the use of artificial light sources, because you can utilize natural or existing lighting for the effect. Placing your subject into the lighting and not the opposite, helps to create a Rembrandt effect.
The most important factor in Rembrandt lighting is the way you place your subject in the light in a way that creates a triangle of light under their eye when you turn their head. The triangle of light is typically found on the eye that lies furthest away from the lens however this is not always the case. Instead of focusing on that triangle, it’s more important to ensure that one side of your subject’s face is well lit by the main lighting source while also creating a nose shadow on the opposite side of their face. The triangle of light under the subject’s eye fades into the shadow on the side of their cheek.
Geometry and its rules play an important role in Rembrandt lighting. The bottom of the triangle that lies under the eye should not be larger than the width of the subject’s eye. The height of that same triangle should be equal to or less than the length of your subject’s nose, vertically. Keep in mind that this does not create a right triangle, so there will be no discernible hypotenuse. Instead, no two sides will create more than a 90 degree angle and no two sides will form an angle of less than zero degrees.
What’s most important is not the exact shape of the triangle but the illusion of depth the image creates.
Portrait Photography and Posing
Portrait photography is in high demand nearly everywhere and your opportunities for repeat customers and new ones is virtually endless. Poses are at the heart of being a successful portrait photographer and there are several very fundamental posing techniques that every photographer should know. These can include, but are not limited to, baby portrait poses, wedding images and senior class portrait poses. Each type of pose has its own specific set of requirements.
Important factors to consider when taking portraits include being aware of subject fatigue. Subjects often have to sit still in awkward or physically challenging positions and may require a break between poses to relax and take strain off joints and muscles. You also want your subject to look as natural as possible, so allowing them to rest between shots can create a more natural result.
Another important technique in taking portraits is to flatter your subject by minimizing their nose. This can be accomplished by standing away from them approximately 12 feet, so that the nose isn’t quite so prominent. Unfortunately, because you’re taking a portrait, you’ll want to fill much of your frame with their face, so you will also need to work with a zoom lens. This usually means working with something like a lens between 90 and 135 millimeters long, if you’re working with a 35 millimeter camera.
Lighting is extraordinarily important for portraits too and using natural light or an umbrella can help soften the light and reduces shadows that are cast on your subject. If you’re a fan of high impact photography instead however, which is dramatic and uses strong light and high contrast, you’re better off working with indoor lighting. This type of portrait is accomplished by positioning your subject at angles that are different from those of the light, such as from one side or even under the subject. This approach helps to make shadows longer instead of making them less prominent and creates a dramatic image. One way to achieve this is by placing your primary light source at a 90 degree angle to your subject’s face. This puts a dark shadow on the entire opposite side of the subject’s face. You can also add shadows and manipulate them in your post processing.
How to Set Up Professional Photo Backdrops
Professional photographers rely heavily on their backgrounds to capture the highest quality photographs. Before the first click of the camera is heard, a professional photography has taken the time to choose a background type, style and fabric that will compliment his subjects. If you are preparing to do some studio sessions, the tips below will give you some pointers related to choosing and using professional photographic backgrounds for better photos.
TIPS FOR SETTING UP A NEW STUDIO
- Choosing studio floor space involves more than just checking the square footage. Look for a studio that is long and narrow. In order to get the most from your background fabric styles, you need a room that is at least 20 feet long. This gives you ample room between the subject and backdrop and you and your camera. It also gives you plenty of room for extra lights, supplies and mobility.
- The first thing you need to start your studio setup and design is clean, white walls. Painting the walls and ceiling with a matte finish will open up the world of possibilities. Select a good quality paint that is washable and provides full even coverage.
- Professional Photographers use lots of lights. Have an electrician check for wiring and install extra outlets. Eliminate outlets or limit the number for your primary background wall. Don’t want any plugs or electric cords showing up accidentally in photos.
- Establish a storage area for props. Keep your tools, supplies and props in a storage cabinet when not in use. A clean, organized studio is mandatory.
Now that you have a basic studio set up, you are ready to set up your background and start your session.
- Setup Your Lighting
Choose your fill, main and supporting lights based on your subject. If you are taking portraits you may want to add some additional light to showcase hair styles. You could use a reflective board for bounce effects, if desired. - Choose Your Backdrop
Selecting a photographic background is a personal choice. Part of the creative process involved with photographic artistry is selecting the best fabric, colors and styles to present your subject in the most flattering way. Play with the backgrounds until you are pleased with the tone and personality. Digital cameras make it easy to preview your photos, so if you don’t like the background in a particular setting-feel free to change it.
How To Use Strobes And Studio Lighting Pt 3
White & Gray Card Balance
You will get a reliable daylight substitute from most flashes and photographic strobes. Using an automatic setting on your camera is not recommended when you are in the studio.
Room lighting can trigger auto adjustments. This could result in a skewed adjustment.
Tungsten lights are hot lights. Be cautious about setting them too close to your seamless paper backdrops. Use only gels and film that are suitable for the high temperature. They can be shaded blue to produce more natural lighting.
Use a gray or white card to manually take a reading on your white balance. Snap a photo of the card and keep it as a reference card for later. Editing will be easier if you have a place to start with a record of the settings. It is more efficient to shoot with these settings rather than editing later.
Eye Catch lights
Eye Catch lights—those tiny reflections in subjects’ eyes—can help you recall how your studio lighting was setup. Just by examining your portraits closely, you can discover how many lights you used and which ones were more dominant. Don’t attempt this with another person’s work. With editing software and digital manipulation, you can never be certain that the photograph is untouched unless it is your own. Remember to keep it simple. A single light source will deliver a more natural catchlight
Fashion Photography Lighting: Soft Boxes!
Because soft lighting is the preference during fashion photography, rather than stark hard over-head lighting, photographic soft boxes are generally a staple in most photographers’ studios. The soft box not only affects the model, but the photographic backdrop as well.
Photo : Krazy Kev Cool
Step One:
Light that is considered soft is diffused, and is more flattering. When light doesn’t travel in the same direction, it is softer. However, direct light is harder. Think of what it’s like on a cloudy day, where the light is softer because the sun’s rays are shining through the clouds. However, when the day is sunny, the light is stark and hard.
Step Two:
Creating soft light lamps is simple. Shine light through material in order to create diffusion. Materials include seamless paper, muslins, and silks. Choose materials that will not sacrifice light intensity when diffusing.
To add the material to diffuse your lights, you can attach the fabric right to the light. This isn’t recommended, though, because it could catch fire. Another option is to build a frame, attach the material to it, and shine the light through. Using a photographic soft box, though, is the easiest option.
Step Three:
Soft boxes a specifically designed to create and diffuse soft light. These attach directly to lamps, and aren’t fire hazards. Even though they’re referred to as boxes, they actually aren’t boxes at all. The soft box is constructed from a ring, four sticks, a black box, and diffusion material.
The outside of the soft box is black, that way bouncing light isn’t an issue. Inside the soft box is reflective material used for maximum light creation out of the box from the bulb. The spread of light is further maximized through use of a design where the box widens at the end where diffusion occurs.
Step Four:
If you’re in need of a soft box for one day’s work, you can construct one easily. Purchase a large piece of foam that is black on one side and white on the other, black tape, a light stand, and material. Cut the foam into four pieces, each equal in size, and tape them together so the white is on the inside. Tape the material the front of the box, and mount it to a stand. Place your box in front of the light.
