24 Saber Tails Spring 2016

Petit Basset Griffon Vendéen Club of America

Bernie and Kiki Looking Out Window

is intended to avoid “red eye” in human subjects, but which 

can cause dogs to flinch or close their eyes.

A

t least for me, indoor photography tends to be more 

like still portraiture than capturing action.  Due to 

space constraints and relative dimness indoors, I rarely try 

to take photos of my dogs in motion when they’re in the 

house.  I also tend to get closer to the subject than I usually 

do outdoors.

I

t’s just as important to be aware of the background when 

shooting indoors as outdoors.  A plain wall can be the 

best background, not diverting attention from the dog.  

Don’t be afraid to get in close and to try different angles.  

Often being at the dog’s level will result in a nice photo.  It 

can work especially well if the subject is brightly lit and the 

background is dark, provided the camera’s exposure meter 

is not fooled by the background.  Getting in tight can 

usually deal with that, so the camera’s built in light meter 

mainly sees the dog.   Sit or lie on the floor with the dog 

or, if the dog is on furniture, kneel to be at the dog’s level.  

Take a closeup of the head, maybe from the front, also a 

3/4 view and side view, back off for a 3/4 shot of the body, 

back off further for a full body shot.  Try different things, 

different angles, see what works on that particular day with 

your dog’s mood and your mood at that time.  Don’t be 

afraid to take a lot of photos.  You can delete the rejects 

later. 

P

atience is key to taking photos of dogs.  Sometimes 

you have to wait them out or be creative in getting 

them to look good.  And sometimes you just have to 

give up and try again another time.  Don’t be impatient.  

The dog will usually sense that and the expression will 

not be as good.     

M

ost times I try to wait for the dog to appear natural.  

This will allow the dog’s own personality to come 

out.  Be alert for a change in expression, a movement 

of the head, or even a yawn.  However if the dog isn’t 

offering expressions you find interesting, try offering 

treats or toys, and being ready to react quickly to grab 

changing expressions.  The photo of Bernie and Kiki 

“singing” required a bit of enticement.

I

n most cases room light will be soft and relatively dim 

unless near a window.  Artificial (room) light indoors 

isn’t nearly as bright to a camera as it is to our eyes, 

which presents challenges for your photo technique.  

With room light you are probably going to want to use 

the “fastest” lens you have if you have interchange-

able lenses.  A fast lens, such as one with a maximum 

aperture of f/1.4 or f/2.8 will let in more light than 

a lens with a maximum aperture of f/3.5 or higher, 

typical of most zoom lenses or lenses on a compact 

camera.  You will probably be shooting with the lens 

wide open or close to it, to maximize the light hit-

ting the sensor.  You will likely also have to raise the 

ISO, in effect making the sensor more sensitive, and 

use a relatively slow shutter speed (another reason 

why shooting dogs in motion indoors without flash 

is difficult).

W

hen using available light indoors with a 

relatively low shutter speed, you can use 

techniques to minimize camera motion during the 

exposure, which lessens sharpness.  You can use 

a tripod, but that restricts mobility and changing 

camera angles.  You can use an object, including a 

table, the floor, or a wall, to support your camera 

arm and steady you.  Or you can bring your camera 

arm to your chest, supporting the camera.  Be care-

ful of your breathing and avoid getting your arm 

fatigued so that it shakes.