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.