Hey Guys,

Thanks for the feedback. Let me ask a question about the shadow. If I were shooting a human, I would be using a small reflector to take out the shadow under the chin. The problem with shooting dogs (and even worse, cats) is that they move around a lot. Outside of perhaps placing another light from down below, or trying to pull the shadow out in PS, I cannot think of a way to eliminate this problem.

Thoughts?

James

James, what are using for light? Looks like a softbox but is it on a hotshoe? I ask that because it looks like it is pretty centered and high'ish. When shooting pets like this where you have white in the chest, I have found an umbrella works better, shooting through and off center either camera left or right and a bit lower. The problem is you end up with a bit of flat lighting with the umbrella but if you also used a hairlight with a grid and light the background it will add lots of depth. Just some thoughts.

by the way, I almost always set the hairlight opposite the key.

You've either got to add another light or reposition what you have...or use a much larger light source closer to the animal to get the light to wrap more. Of course any of these options changes everything.

With cats I use medium and large softboxes to wrap the light and if I have a real problem I'll add another light to eliminate the shadow...makes for flat lighting so I don't like to do that. Also the problem is not as pronounced in cats because the muzzles are very short compared to a dog snout.

I still end up Photoshopping more than I want.

I agree on the larger softbox, but I have a 47" octabox that works super with people and I often use a grid with it, but it can be very intimidating to pets. The pets I have worked with seem to react better to umbrellas. Maybe the softer curved appearance? Not sure but has been my experience.

Bob,
I think you're advice is right on. I don't mind the flat lighting with animals since you can always create some directional effects in PS. But it's hard to get rid of those harsh shadows.

Anyway, I have no problems with flat lighting for dogs or cats. Nobody has ever complained because they could see the entire animal:). Flat with people is, well, FLAT!!! But with animals, it's a nice way to capture their 3rd dimension, IMHO.

Jim

James,
I agree. We're working on a website for our Standard Poodle client and she wants video of her dog moving -- she moves quite well, thank you -- so I'm thinking of giving the HD of the 5D MkII a try. It's been a while, but I used to handle some of those big studio cameras in a TV studio so I just might be able to figure out how to capture some decent video.

I also had a wedding client today ask if we could shoot some video along with the stills and that really got me thinking. The problem for me is moving intellectually between stills and video. I guess it's similar to when I shoot my moving shots in the ring. Time that first move and then press the shutter and pan like hell!!! But, at a wedding, you'd have to figure which segments you wanted to film vs photograph and that really requires two people shooting for different effects.

Anyway, I still believe the best application of that video function might be weddings. I just need to figure out how exactly to do it and still get the stills.

Jim

Bob,
depends on your definition of warm. Last night, it dropped into the mid-20s and today's high will be in the low 50s.

However, the weekend forecast is for 70s so if I have an application of your video/photographic skills in the near future i.e. a wedding, you'll get a formal invitation.

Jim

Hey Guys,

A bit about my set-up. I have been using either a three or four flash system employing Gary Fong Domes to help diffuse the light. One light is typically used as a bounce to help keep shadows down. One flash is typically located about two feet higher than the head of the pet - from as far back as the room will allow (never a lot here in the City). The third light is aimed to add fill. I typically use the bounce and higher flash as main light at a 4:1 ratio.

I have been hesitant to employ monolights principally because I generally don't have the space. They are definitely preferable for doing any sort of portrait work...and if I had a studio, that is definitely how I would do it. Manhattan homes though are a bit of an experience. I have been in apartments as big as you can find, and apartments where I had to photograph the pet sitting in the living room from the bedroom because the room was so small. I am going to post some photos later of a beautiful Poodle that I photographed two weeks ago. I was working from less than 3 feet away for much of the shoot.

So, the moral of this story is I guess I may need to do one of three things: (1) Cut the power of the bounce as that is probably causing much of the shadow, (2) Change the position of the fill, (3) Always shoot with a fourth flash angled in such a way to make sure that shadows don't occur.

Cheers
James