How to Photograph Agility Events and Other Dog Sports

By: Anabel DFlux 

Humans and horses aren’t the only athletes to reach massive feats – dogs do too! From the athletic sighthounds to the driven border collies, dogs have been competing in a slew of sports on the world stage since before you were born. Some of the most popular athletic canine sports include agility, dock diving, frisbee, flyball, barn hunt, nose work, weight pulling, lure coursing, and herding.

Possibly the most well-recognized of these sports is agility, in which a dog has to race through obstacles (such as jumps, weave poles, tunnels, dog walks, A-frames, and teeters) with their handler. This fast-paced sport has been captivating dog photographers for years, but yet there remain so few agility photographers.
Some quit from frustration due to the degree of difficulty to photograph, while others find the long hours hard to manage. Whatever the reason, this article is here to make it easier for you! Many of these tips can be applied universally to all canine competitions, as most have these three things in common: action, speed, and unpredictability.

Let’s start with equipment. You can’t photograph if you don’ a have camera. Here are the ideal gear recommendations for doing photography of dog sports.

The Right Camera

As most of the dog sports listed involve speed, you’re going to need a fast camera. Similar to photographing human sporting events such as football and baseball, the speed of your camera will determine what moments you can capture.

You want to ensure that your shutter closes at the exact moment you want it to, or is able to capture an entire sequence of movement (which is what many competitors love to see from action photographers). The more frames per second your camera can shoot, the more sequence shots you can capture.
To anyone wanting to get very serious into this type of photography, I always recommend purchasing a DSLR that has a strong inclination towards action photography due to its frames-per-second, such as the Canon 7D (the 7D Mark II is the newest model – 10 frames per second), the Canon 1D-X Mark II (14 fps), the Nikon D5 (12 fps). I am sure there are additional Nikon (as well as other brands) equivalents with faster speeds, but I am versed in Canon so you’ll have to do your research.

Choose the Right Lens

The key to dog sports photography is to interfere as little as possible with the event going on. That means shooting from a distance so that your activity doesn’t distract the dogs from their task. As such, most (if not all) agility photographers will work with a telephoto or zoom lens. This allows you to be far enough away from the subject so as to not affect their performance while being able to zoom in tightly and capture some beautiful compositions.
My favorite lens for dog sports photography is the Canon 70-200mm F/2.8 L IS USM II. But I have seen many other photographers inclined toward the 300mm or 400mm range to get even closer to the dogs without needing to get in the way physically.

Finding a lens that has a maximum aperture of f/2.8, or around that range, is a great idea in order to isolate the dog from the rather cluttered frame. Since agility rings can make a photograph look chaotic due to a number of obstacles in close proximity to your subject, getting a lens that can shoot at f/2.8 will also all you to blur or soften some of the distracting elements in the background.

Camera Settings

Your settings will make a noticeable difference in your ease-of-shooting. Besides needing to shoot with a very fast shutter speed to freeze the action (1/1000th at a minimum but I personally like to shoot at 1/3000th and faster), there are a few other things you can do to get sharp images. Many new cameras have technological advancements that make action photography significantly easier than it has been in the past, such as new autofocus mechanisms. However, what the majority of new and old cameras have in common in regards to settings are the focus mode and burst (drive mode).

First, change your focus mode to Continuous Focus Mode (AI Servo for Canon users or AF-C for Nikon users). This mode allows your camera to lock onto your subject and follow the dog around as it moves, preventing you from consistently needing to refocus. Where new technology comes into play are the additional customizations for your this mode.
Some new cameras allow you to either use the Continuous Focus Mode presets or make your own that pertain to what you are shooting. For example, on the Canon 7D Mark II, you can tell the camera how your subject moves and what obstacles may be present by adjusting the various levels of sporadic movement, obstacle interference, and more.

There are even presets for erratically moving subjects and following the subject despite obstacles getting in the subject’s way. I usually tell the camera that my subjects are moving erratically in multiple directions and that there are many obstacles in the way when photographing agility. In cameras that do not have this feature, your AI Servo (AF-C) is still a good focusing mode choice.
Next, take advantage of the frames-per-second your camera offers by using burst mode (high-speed drive mode). You can ensure that you get the right shot by setting your camera to burst mode (where you take multiple photographs in a row while pressing down on the shutter) and shooting with a fast shutter speed to freeze the action. Like I mentioned previously, competitors love sequence shots. The only way to get these cool sequences is by shooting in burst mode!

Shooting Technique

Partnered with your gear and your camera settings, your shooting technique will make or break your results. The most common technique that I see used for dog sports photography is to pre-focus on an obstacle and wait for the dog to get there. But I believe you miss a lot of key moments when you do that, especially since dogs can be unpredictable (and even though the obstacle is a part of the course, that doesn’t mean the dog will comply).

Be prepared to practice the art of panning. Panning is moving your camera horizontally with the subject’s movement. You synchronize your camera movement with that of the subject moving parallel to you. I find it easiest to focus on the dog while it is waiting to be released by the owner and then follow the dog throughout the course.
In agility, the course is preset and the handler must memorize it, and then lead the dog through. This makes panning much easier because, by the second or third dog, you will know the course by heart. With other sports where the movement is more unpredictable, like frisbee (where the dog has to catch frisbees before they touch the ground), just use your best judgment on where you think the dog is going to go. This takes practice, but nothing comes without practice!

Alongside panning, another tip to get the most dynamic actions shots is to photograph from the subject’s eye level. Be prepared to spend a lot of time on your knees as the dogs go through the obstacle course. This allows viewers to relate to the subject (as is the psychological nature of photography) and gives them an idea of the height the dog is jumping which aids in how dramatic the photograph appears.
In agility, depending on the type of organization that is governing that sporting trial, you may or may not have to shoot through a fence. If there is a fence, it is often full of large gaping holes that you can photograph through.

Now that you have our gear set, before running off to excitedly photography some cool dogs, there are several important rules and considerations to keep in mind while photographing these canine superstars. Please follow them to respect the owners and for the dog’s safety.

Ask for Permission before Photographing Events

Always ask for permission before photographing any dog sporting events. You do not want to tarnish your reputation by being asked to leave (even if you are only photographing for your portfolio, experience, or fun).

Some clubs (such as a few that I work with) have an official photographer and do not allow outside photography to take place. Other clubs may have a vending fee and request liability insurance for all photographers wishing to make a profit from photographing the event. A few clubs do not even allow photographers in the first place. Always ask for permission. Asking also opens up the door to developing a great relationship with the people putting on the event.

Do Not Distract the Dogs

As tempting as it is to cheer when a cute dog does an obstacle well, or to make noises to have the dog look at you, please don’t. These dogs are there doing a very important job – showing off their skills! Agility trials and other competitive events are expensive for the handler to enter, the dogs train for many hours to compete, and they want to have just as much fun as you are having.

As such, we must all be respectful of each other. Much like you wouldn’t want someone trying to distract you while you work, these dogs don’t want that either. Make sure you aren’t photographing too loudly or too close to the obstacles, and try not to make any noise that could thwart a dog’s attention away from their handler.

If a Dog Comes Up to You, Ignore the Dog

Not all dogs have iron-clad self-control, especially the novice dogs that are still learning the ropes in the trialing world. If a dog happens to notice you while in the ring, turn your head, body, and camera away from the dog. If a dog runs up to you while in the ring, ignore the dog. Turn away, and do not pet or talk to the dog. The best way to help the dog focus back on their handler is to not pay the dog any mind.

Be Considerate of the Competitor’s Wishes

If a competitor comes up to you and asks you not to photograph their dog, please be respectful of their request. As much as you want to photograph all of the dogs that come through, some owners may not want you to (and that’s okay). There are a hundred different reasons why someone might not want their dog photographed while the dog is competing.

Do Not Pet a Dog without Asking, Even at a Dog Sport Event

As much as this should be common sense, many people forget that even at dog events, you should still not pet a dog without consulting with their owner. Though many dogs are beautifully trained at dog sporting events, not all are friendly with people. As this is not a conformation dog show where a judge has to touch and handle a dog, not all of the dogs at an agility trial, herding event, or other sports like being petted by people (and the owners are not obligated to teach their dog to tolerate strangers petting them).

Do Not Set-Up Inside the Competition Ring without Consent

Some organizations that govern dog sporting events require a fence to be placed around the competition course. Though you may sometimes be able to set-up inside the boundary rather than outside of it, do not do so without consulting the competition judge or the trial secretary. Setting up inside the boundary can be a safety hazard for both you and the competitors. So if you are granted permission, listen to where the judge tells you to stay.

Don’t Set-Up Too Close to the Weave Poles and Tunnels

This is a lesser-known consideration that does not apply to all, but I have seen it applied to many in my career as a dog sports photographer. Some dogs get spooked or distracted if a photographer sets up in front of the exit of a tunnel, as the dog cannot see you until it leaves the tunnel. Likewise, some dogs get terribly distracted from doing their weaves if they see you at the weave pole entrance of exit.

These two obstacles tend to be a bit more difficult for some dogs than jumps or dog walks, and you want to ensure that you don’t add extra stress for them Instead, set up further away and use your zoom lens to capture the dog speeding out of the tunnel!

Don’t Eat Near the Competition Ring While Dogs are Running

Another common-sense piece of advice that goes ignored far too often is to not eat near the ring while the dogs are competing. The smell of a delicious hot dog could encourage even the most driven dog to forget what they’re doing and come ask for some food.
Now that you’re an expert, here are some tips and tricks to help you out:

Pay Attention to the Course

The easiest way to photograph a sporting event is to know where your subjects are going to go! For agility, there is a 15-minute walkthrough before a course begins in which the competitors learn the course. Watch them, or even participate in the walkthrough yourself, and learn about the route. For sports that don’t have walkthroughs, try and figure out what the course set-up is using logical reasoning.

Listen to the Briefing

Before a trial begins, most events will have a competitor briefing. Participate in the briefing to learn valuable information about the event that is about to take place. As well, the briefing is a great time to introduce yourself to the competitors.

Don’t Stress About Photographing All of the Obstacles at Once

This took me years to figure out. You do not need to worry about photographing every single obstacle in every single course. The courses get changed several times throughout the day, the sun will move every hour, and nearly all of the dogs will run at least three more times before they leave the event.
It saves a lot of time, energy, and stress to only focus on a few obstacles that you know you can photograph well (whether it be due to the lighting and/or the obstacle’s proximity to you) per course. If you come in the morning and stay until the end in the later afternoon, you will most definitely photograph everyone’s dog doing every single obstacle.

When Organizing, Sort Photos by Class or Jump Height

The real challenge comes after the photo shoot: how to make sure the competitors can find their dog (or you can find their dog). I find that organizing your images by class (every dog sports event has different classes, often named for their difficulty level) helps immensely.
For dog agility, sometimes photographing by jump height can be just as beneficial. Do keep in mind that height changes per organization that governs the agility trial. There are three organizations in the US that set the rules for their agility trials: The American Kennel Club, the United States Dog Agility Association, and the North American Dog Agility Council. Each of these has their own jump heights and class names.

Ask for the Run Order

It’s completely acceptable to ask for the run order from the trial secretary or someone higher up in order to help you organize the dog photographs. Do keep in mind that the run order may change throughout the competition, so listen to the announcements and keep notes on what changes are being made.

Knee Pads are Your Best Friend

Since you ideally want to photograph from the dog’s eye level, you will spend hours on your knees. Skating knee pads are a great idea to reduce the amount of bruising and pressure to your knees. Trust me, you’re going to want to do this after several trials of black and blue knees.

Stay Hydrated

Dog sporting events are long, tiresome, and depending on your location, can be very hot. Make sure that you stay hydrated and take care of yourself, even when you’re wrapped up in the shoot. Bring a cooler with plenty of water, and a backpack with snacks or food that you can eat during your breaks. Fruit is a great snack, it’s healthy and will give you a bit of an energy boost from the sugar.
That being said, I often break my no-junk-food routine at dog sporting events because the sweets and fast food are quick, easy, filling, and can help keep me going!

Don’t Forget to Photograph the Novice Dogs

Don’t leave out the new guys! Many of the advanced competitors have hundreds of photographs of their canine athletes over the years, but the novice dogs are brand new and probably don’t have any at all. So be sure to capture photographs of the new kids on the block. They will thank you immensely for them.

It Is Possible to Photograph More Than One Ring at a Time

This takes a bit of practice and stamina, but it is absolutely possible to photograph more than one ring at a time. In agility and some other sports, two different rings can be running simultaneously. Often, the rings will be very close to each other. If you position yourself between the two rings, and time the obstacles correctly, you will have enough time to turn from one ring to the other and photograph both. This is how I get photographs of both the novice dogs and the advanced dogs while they are running at the same time.

Most Importantly, Have Fun

Don’t lose sight of why you are there – to have fun! These events are long, tiresome, and chaotic, but are so rewarding. The photography is challenging and addicting. But don’t forget to have fun!

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Know Your Rights – A follow-up & a very disturbing video

By: Elizabeth Halford  

Are you a photographer hell-bent on striking terror into your community?
One of my very first posts here on DPS was called “I’m a Photographer Not a Terrorist – How to Shoot in Public With Confidence“. Since the induction of Section 44 The Anti-Terrorism Act, photographers allover Britain have been treated like criminals by PCSOs and Police Officers.
There are loads of alarmist videos and blogs on the internet and I don’t get worked up about them all. But then this morning, there was this video from The Guardian of a man who filmed his own arrest under suspicion of anti-social behaviour. You can hear the officer claim that it was ‘the way in which he was holding his camera’ that caused the public and the officers to question his motives. When asked for his details, he denied them as a matter of principle and was then arrested.
This video has really shaken me up. It could happen to any of us. And did you see the little point and shoot he was using? Nothing close to the size of my 7D with 200mm lens! I don’t even own a point-and-shoot so I would certainly be questioned under this same suspicion. I was followed by three officers in Winchester last year while taking this photo of rhubarb. I doubt the fruits were feeling particularly terrified by my suspicious activity.
Please get in on this conversation and tell us: have your rights as a photographer ever been contravened? 

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Avoid These 5 Major Mistakes Made By Travel Photographers

By: Andrew S. Gibson

Whether you are traveling abroad or within your own country, there are several mistakes that I’ve seen travel photographers make that hinder the process of making memorable photos.

Mistake #1: Not being aware of cultural sensitivities and laws

When you travel to another country it’s easy to forget that the people there may see certain things differently than you. For example, in China, you will see signs up in temples asking you not to take photos. So it should be fairly obvious that doing so may cause offense.
Others are not so obvious. Did you know that in Spain the law prohibits photographers from taking photos of people in public without permission unless they are taking part in a cultural event such as a festival? That’s right, Spain is not a great place to be a street photographer (although that doesn’t stop people from doing it).
Unless you know this, you probably think taking candid photos of people in Spain is perfectly okay (as it is in most other places). Once you understand the attitude (and the law) towards photographing people in Spain, you can adjust your behavior to fit in with local expectations and behavior.
If you want to create a street photo of somebody, it’s best to stop them and ask for permission. That way you protect yourself and (added bonus!) keep out of trouble with the police.

I made this street portrait in Cadiz, Spain after asking the street vendor if I could take his photo. If I 

had tried to take a photo without him noticing it would have been illegal, and if he had called the 

police I would have been on the wrong side of the law.

Some countries have laws forbidding the photography of certain buildings, like airports. Did you know that photographers have been arrested, jailed, and accused of spying in Greece for photographing an airshow at a military base? If you’re going to Greece it’s a good idea to know which buildings are out of bounds for photographers. Make sure you’re aware of any legal restrictions in your country of travel.

Mistake #2: Being disrespectful to local people

When you travel somewhere new, especially somewhere that is exotic to you, it’s easy to treat people as if they were laid out, like colorful extras in a movie scene, for you to take photos of. That is not true, and it’s disrespectful and unkind to act as if it is. Imagine how you would feel if somebody from another country came and tried to take photos as you went about your daily life, without consideration for you and your feelings.
It seems to me that a big part of the problem is when people travel through other countries without interacting with locals in anything other than a commercial context, such as renting a hotel room or eating in a restaurant. Sometimes this is down to language – it’s hard to strike up a conversation in China if you don’t speak Chinese, for example.
But your travels (and life in general) can become a lot more interesting if you are open to non-commercial experiences with local people. Try having conversations with people about their hopes and dreams, what they do for a living, how they like living in their town and similar topics. You’ll gain a deeper understanding and appreciation of the places you’re traveling through when you do.

A Spanish friend of mine invited me to see a farm owned by a member of her family. I would never 

have gotten to see the farm or make this photo if we didn’t know each other.

Language study is an excellent way to meet local people. I have many good friends in Spain and South America that I met online through websites aimed to help people learn other languages. I’ve met most of them in person and learned a lot about their culture and countries in the process.

Mistake #3: Not putting safety first

Another mistake I’ve seen photographers make is forgetting to take care of their personal security or failing to take appropriate precautions to guard their gear against theft.
Most photographers travel to most places without any security problems, but there is always the potential for something to go wrong, especially if you don’t put much thought into your personal safety and the security of your camera and computer equipment. Some countries are safe, others can be dangerous, so make sure you do your research beforehand and take any appropriate precautions.
A good travel insurance policy that covers your gear (check the fine print) will help give you peace of mind if the worse does happen.

Mistake #4: Taking too much gear

We’ve all seen the type of photographer that walks around with a large dSLR camera and telephoto lens, perhaps even two, swinging from their side.
At the other extreme are photographers who travel with just one camera and one lens. When I worked at EOS magazine we published an article about a photographer who traveled to India with one camera and a single 50mm lens. He made some beautiful images so the approach worked for him.

During a recent trip to China, I calculated afterward that I had used my 35mm lens for 73% of the 

photos, including the one above. That tells me that I probably could have taken just that lens and still 

enjoyed a very productive journey.

There’s nothing wrong with taking lots of gear, especially if it works for you. Professionals often take lots of lenses so they know they are covered for just about any situation they may encounter. But there are a couple of things worth considering.

• The first is that a large camera and lens combo is an obvious target for theft. Smaller cameras attract less attention and don’t look as expensive.
• The other consideration is creative. If you have too much gear it’s heavy to carry around and you can waste time trying to decide which lens/camera combination to use.

The key is to think in advance about the subject matter you intend to photograph and what gear you’ll need for it. If you are into long exposure photography, for example, then you’re going to need a tripod, cable release and neutral density filters.
If you are photographing people, you need to decide what lens or lenses you are going to use for portraits. If you are photographing local architecture, you will probably need a good wide-angle lens. If you are going to walk around all day taking street photos, a small camera and lens are much less tiring than a large DSLR with a telephoto zoom.
You get the idea. Ultimately, you need to find the right balance between taking enough gear to meet your needs and taking too much. Also, if security is a concern, you may want to consider leaving your more expensive gear at home.

Mistake #5: Not doing enough research

If there’s one mistake that links all the others, it’s this one – not doing enough research. It’s important because it makes you aware of any local laws or cultural sensitivities you need to know (mistake #1).
As part of your research, you may get in touch with local people (mistake #2) who can give you advice or help you gain access to places or events you would never know about otherwise. Some photographers go even further and work with a fixer – somebody who introduces you to other people, translates if necessary, and acts as a bridge between you and the local culture.
Research alerts you to any security considerations (mistake #3). It helps you decide what gear you need to take, and avoid overload caused by taking too much equipment (mistake #4).
In other words, doing your research is a key part of avoiding the mistakes that many travel photographers make.

Research also helps you find interesting places to photograph, such as this ancient fishing village in 

north Devon.

These mistakes are based on my observations of other photographers while traveling. But what mistakes have you seen other photographers make? What mistakes have you made yourself? I’m looking forward to hearing your responses in the comments section below.

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Railroad Safety for Photographers

A Post By: Lori Peterson  

If I walked into your yard and just started taking photos, would you call the police or would you just ignore it?
If you have a studio and I waltzed in with my camera and models and started shooting my latest and greatest session, would you have me removed immediately?
Chances are that after initial shock wore off you would be calling the police and asking them to get me out of your studio or off of your property.
It might an extreme example, but realistically this is what happens when a photographer brings their client, props, and their camera onto railroad tracks to shoot.
Railroad tracks are private property. They are not public property. It is illegal to shoot on railroad tracks. You can see what your particular state says about even being on the tracks by going HERE.
You might say “Well, these tracks are abandoned”. Unused tracks are not abandoned. They are still owned by the railroad company and you are still trespassing.
Ignorance of the law will only get you so far when you are confronted by a police officer or a tragedy because you didn’t follow the law. It is virtually impossible for the railroad companies to cover every inch of track with signs that warn them that they are trespassing.

You might say “We can hear the trains coming.” Not all trains will sound their horns. Trains cannot stop as quickly as a car. It takes approximately one mile for a train to come to a stop. Trains travel between 79-125 mph even though it may not look like they are going that fast.  If you are driving 125 mph and a child ran out in front of you, would you have time to react to stop in time to not hit the child? No, you wouldn’t. Now think about all the cars that are attached to that front of the train. The force of the trains coming to a quick stop in time to avoid a tragedy is unimaginable. Even moving at a slower speed it would be very hard for a train to come to a complete stop to avoid hitting people who are on the tracks.

I recently had an exchange with a photographer and we talked about her shooting on active railroad tracks. Her response when she found out that it was not only illegal but dangerous was “There are about 6 other photographers that take pictures in this location that I know of. As far as accidents, the trains have came many times while we are out there & the lights and little gate things come down way in advance.”
Where is the logic or the pure common sense in her defense of being on the tracks? There is none. She clearly stated that she was on active tracks and she clearly dismissed any danger. In her portfolio there are images of small children on suitcases and several props around them. There are images of pregnant women lying down on the tracks. Client safety clearly is not a priority.
Trains can move in two directions. The railcars can be pushing the locomotive instead of the locomotive pulling the railcars. Someone in the locomotive might see you on the tracks, but by the time they communicate with the back of the train that is pushing those railcars it would be too late.
When you bring clients onto railroad tracks you are putting them at risk and you are putting yourself at risk. You or your client could get hurt or killed. You are also putting the people who are operating that train at risk. The potential pile-up when they have to abruptly stop means you are putting more people at risk. A train derailment can mean chemical spills and property damage to any nearby homes. A photographer causing accidents on the tracks would be responsible for the any injuries or deaths, derailments, chemical spills, property damage, delays in shipping, etc.
Photographers will imitate other photographers. Client education is a key component when it comes to railroad tracks and safety. If your client asks for a session on railroad tracks, explain to them about the laws and the fines for being on the tracks.. As the photographer, you are the one ultimately responsible for the photoshoot. If anything happens it is your business, your finances, and your name on the line. Photographers need to educate other photographers that shooting on tracks is NOT acceptable and then they need to work on educating their clients that shooting on tracks is dangerous on too many levels to get that clichéd image.

For further reading about railroad safety and photography:

If you are found shooting in areas that are owned by Amtrak that are considered a part of their restricted area, and this includes the tracks, you can be subject to fines, arrest, and seizure of your camera and equipment.
Union Pacific has very specific policies regarding their tracks, whether they are active or inactive. They not only fine photographers who trespass on their tracks, but if they find the images online, they will request that they be removed.



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I’m a Photographer, Not a Terrorist – How to Shoot in Public With Confidence

By: Elizabeth Halford

Would you believe that in the UK, anti-terrorism laws include bits for photographers?
These days, photographers are routinely made to feel like terrorists. Highly suspect criminal characters who must be watched closely. Case in point? Picture me walking around the Winchester Saturday market taking macro photography of the fruit & veg stalls…followed by two police officers (see the dangerous photo in this post). It happened. Seriously. Another example? Trying to photograph my son’s baptism in a privately rented swimming pool and being denied because it was ‘against child protection laws’. My son’s baptism! Once in a lifetime event, people!

In England, the new anti terrorism legislation and child protection laws cover all manner of photographic sin and is what prevents photographers going about their business in a dignified fashion. Which brings me to tip numero uno:
1.) KNOW YOUR RIGHTS
Empower yourself and be confident in your rights as a photographer. Take some time to look up the law in your country. Oh, look! I’ve done it for you (I’m so nice!): UK, America, Australia. There are PDF pocket guides which I have printed and stuffed in my camera bag. If some uninformed police officer, annoyed citizen, concerned parent, parking meter maid (get the point?) approaches you and asks you to ‘put the weapon down slowly!’ you can roll your eyes, hand them a little piece of paper and be on your way. Ok…I don’t recommend rolling your eyes as a police officer.
2.) BE PREPARED
Even if I’m not going out for the purpose of capturing life outside the dark room, I still have my camera on me. You never know what you might encounter out in the world. And on the subject of being prepared, check and re-check that you have everything you need for your adventure. I often get overly confident and think I’ve got everything only to get to a shoot without memory cards or, most recently, get to London for my photography weekend with cameras and NO LENSES! Talk about depressing! Put a post-it on the door to remind you to re-check that you have everything.

3.) ADMIRE OTHERS
There are so so many amazing, inspiring photographers in history whose art was photographing strangers. My favourite is Henri Cartier-Bresson. Look at their work often and remind yourself that if they hadn’t taken those photographs, those moments in history, however meaningless they may seem, would have been lost forever. Photographers are not criminals, rather, we are heroes! We have the power to stop time. We hold in our grasp the power to preserve a moment for eternity. Be confident in that fact.
4.) BE REALISTIC AND FLEXIBLE
I could go out shooting for an entire day and end up with only one or two ‘keepers’. As in any type of photography, just shoot shoot shoot and see what you end up with at the end. I often go out with the goal of shooting one thing (perhaps an old couple holding hands on a bench) and come home with a cracking good shot of rhubarb. Be flexible and just let the day, the sights, the smells and the opportunities lead you. Don’t manipulate – let fate decide what the day brings and just document what you find.

5.) DISCONNECT
Sunglasses and an ipod. I use them to disconnect from my surroundings. This one is a double-edged sword, though. One the one hand, according to tip 4, I like to let my surroundings guide me and determine what happens. However, when you feel conscious of nosey people whispering or even the police who will harass you while you’re operating well within your rights, it’s nice to just disconnect. Glasses can impair your viewfinder skills, but I like to look around without people knowing I’m looking at them and if the police see you seeing them, then you sort of have to pack up and move on. I’m at an advantage in the UK where often, ‘good manners’ dictate how people interact with you. Even if they hate your guts for taking photos, they will usually be too timid to say so, especially if they can’t just shout because you’re listening to music (even if you have nothing playing!) Even the police are timid to tap you on the shoulder. I don’t know how that works in America, but I’d venture to say that people are less suspicious there and generally in a better mood.
6.) JUST BE POLITE
Obviously, be polite and use common sense. I never shoot children without parental permission. You really don’t want to mess with a mother bear and her cubs. Even when I’m photographing my own children, if another kid comes nearby or starts playing with mine, I put my camera down. It’s just common courtesy and besides, the law forbids you from taking photos of kids without consent.
7.) TRY TO BE A WOMAN
This might be the most difficult tip for some. Try your best to just be a woman! I am so blessed to be a female photographer. We are generally regarded less dangerous and people treat us differently. If someone freezes in their tracks when you pull out your camera (I mean cm’on they’re dangerous!) just smile sweetly and continue on in your photographing.
8.) ASK FIRST
I really have a passion for photographing the more seedy side of life. I often approach a homeless person or the most downtrodden looking guy drinking at 11am and simply ask. I usually say ‘hi, I’m a photographer may I take your photo?’ They’ve never said no. I back up to the other side of the street and just wait until they forget I’m there. And for goodness sake, buy ’em a cup of coffee!

9.) HAVE A REASONABLE EXPECTATION
In tip 1, there are links to sites to find the law in your country. There’s this thing called a ‘reasonable expectation of privacy’ which we don’t generally have when we’re out in public. It’s not reasonable to believe that you have privacy when you’re sitting on the street playing an instrument for money or walking around Disney World. Feel free to photograph just about everything you see out in public. I mean…it’s called ‘public’ for a reason, eh?
10.) SAFETY IN NUMBERS
New to photographing in public? Go with a friend. Go places where there are other photographers. Go to a city or tourist attraction where everyone has a camera around their neck! You will just blend into the throngs of fellow photographers. For me, this also creates a pretty cool challenge – photograph popular places in a completely different way than everyone else. Google “Disney Castle” or something and all the photos will look the same. Try to capture it in an original way.
So my last thought to you? I will stand on the roof and proclaim “Photographers young and old! Professional and hobby! Compact lovers and SLR owners! BE BRAVE AND BOLD! YOU HAVE THE POWER TO FREEZE TIME FOR ETERNITY!”

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The Best Photography Contests to Enter in 2020

In the last few decades, photography contests have had a hand in shaping the industry, promoting emerging voices, and predicting new trends. In 2020, camera brands, independent publishers, universities, and non-profit organizations alike will launch new competitions for photographers, with awards varying from cash prizes to international exhibition opportunities and more.
In anticipation of the year ahead, we’ve compiled this list of fifteen photo contests that are currently accepting submissions or opening shortly. We’ve included some heavy-hitters as well a few niche contests to give you some variety—based on your level of experience and area of interest.
Of course, this is by no means a comprehensive list, and in many ways, we’ve just scratched the surface. Remember to follow your favorite photo platforms and social media channels to stay up-to-date on upcoming competitions and awards.

Assorted Categories of Photography Contests

International Photography Awards
Prize: $10,000 cash prize for the ‘International Photographer of the Year Award’ (Professional Categories), $5,000 cash prize for ‘Discovery of the Year Award’ (Non-Professional Categories), exhibition, publication, and more.
Deadline: February 29, 2020.
Entry fee: Single Image: $35 in Professional Categories, $25 in Non-Professional Categories. Series: $60 in Professional Categories, $50 in Non-Professional Categories. Discounts may apply.
Eligibility requirement: Living photographers 18 years and older.
As the “sister-effort” of the Lucie Foundation, this award has been a fixture of the photo community since 2003. In addition to the top awards in the Professional and Non-Professional Categories, 13 Professional Category winners will receive $1,000, and 13 Non-Professional Category winners will receive $500.
All Category winners get two tickets to the renowned Lucie Awards Gala in New York, where they are finalists for either the International Photographer of the Year Award or the Discovery of the Year Award. Previous winners include Nadav Kander, Sandro Miller, Maxim Dondyuk, and many more.
ND Awards
Prize: $2,500 Professional Grand Prize, $1,300 Non-Professional Grand Prize, a monthly feature on the front page of ND Magazine, and more.
Early deadline: April 26, 2020
Final deadline: September 20, 2020
Entry fee: Single image: $20 Non-Professional, $25 Professional. Series: $25 Non-Professional, $30 Professional. Discounts apply to early birds.
Eligibility requirement: Photographers 18 years and older.
Presented by ND Magazine, this annual photo contest covers a range of Categories: Abstract, Architecture, Cityscapes, Fine Art, Portrait, People, Photojournalism, Nature, Landscape, Nudes, Seascapes, Street, Travel, Underwater, Urban, and Wildlife. Professional Category winners receive $500 each, and Non-Professional Category winners receive $300.
Also, Subcategory winners and Honorable Mentions earn medals and are showcased on ND’s online Winner’s Gallery. Judges are looking for work that is modern and fresh but also pays respect to the history and tradition of the medium. They’re also interested in innovative, unconventional work with a strong artistic vision. Previous winners include GMB Akash, Brooke Shaden, Francesco Pistilli, and more.
Prix de la Photographie, Paris (PX3)
Prize: $5,000 cash prize for PX3 Photographer of the Year (Professional), $2,000 cash prize for PX3 Best New Talent (Non-Professionals and Students), exhibition, the PX3 Annual Book, and more.
Early deadline: January 31, 2020 (10% discount)
Final deadline: May 1, 2020
Entry fee: $30/single image, $50/series for professional photographers; $20/single image, $40/series for non-professional and student photographers. Discounts may apply.
Eligibility requirement: Living photographers 18 years and older.
This contest comprises several categories, including Press, Portraiture, Fine Art, Nature, and many more. In addition to the overall prizes, First Place Category Winners receive $500 (Professional) or $250 (Non-Professionals and Students). Submitting photographers will also be considered for the PX3 Annual Book and Winner’s Exhibition in Paris.
*PX3 also has a special “The State of the World” contest, with a focus on eyewitness accounts and global issues. Hossein Farmani, gallerist, philanthropist, and founder of PX3, the Lucie Awards, and more, will select 30 photo stories for a curated exhibition. The entry fee is $35, and selected photographers receive $200 each.
Moscow International Foto Awards
Prize: $3,000 for MIFA Photographer of the Year, $2,000 for New Talent of the Year, $100 for Category winners.
Deadline: April 12, 2020
Entry fee: Single image: $20 for Professionals, $15 for Emerging/Non-Professionals, $10 for Students. Series: $30 for Professionals, $20 for Emerging/Non-Professionals, $15 for Students. $50 for the Portfolio Category
Eligibility requirement: Photographers 18 years and older
Open to photographers from around the globe, this award offers cash prizes as well as significant exposure opportunities. It also comprises an array of genres, from advertising and editorial photography to fine art, science, and nature. The current MIFA jury includes Hossein Farmani, gallerist Susan Spiritus, Tiffany Sprague of the Yale University Art Gallery, The Photo Review founder Stephen Perloff, APF Magazine Editor-in-Chief Rohit Vohra, and many more.

Portfolio Photography Contests

2020 Aperture Portfolio Prize
Prize: $3,000 cash prize, publication in Aperture magazine, and an exhibition in NYC.
Deadline: January 22, 2020
Entry fee: A subscription to Aperture magazine
Eligibility requirement: Open only to Aperture magazine subscribers.
From the world-renowned Aperture Foundation comes this annual prize dedicated to recognizing talent and identifying trends within the industry. The editors and curatorial staff will be looking for exciting and innovative collections that haven’t been widely published, and they’re interested in work made within the last five years. Since this is a portfolio prize, you’ll want to send in 10-15 images from a larger, cohesive body of work.
THE FENCE
Prize: $5,000 project grant, a solo exhibition at Photoville in NYC, group exhibitions, and more.
Deadline: April 10, 2020
Entry fee: $45 per series
Eligibility requirement: Photographers 18 years and older.
THE FENCE is a series of public, open-air exhibitions taking place in major cities around the United States and Canada, including Brooklyn, Boston, Houston, Atlanta, Seattle, Denver, Sarasota, and Calgary. Winning images are printed on vinyl mesh and installed in highly-trafficked areas for at least three months. In total, THE FENCE attracts approximately eight million visitors every year.
One Juror’s Choice winner receives a $5,000 grant to support their project and its development, along with a solo exhibition at Photoville, New York City’s largest annual photography event. One People’s Choice winner receives a Leica camera and is granted admission to a Leica Akademie masterclass.
Feature Shoot Emerging Photography Awards
Prize: TBA
Deadline: Fall/Winter 2020 (date TBA)
Entry fee: $35
Eligibility requirement: Photographers 18 years and older.
Now in its fifth year, the Feature Shoot Emerging Photography Awards recognizes up-and-coming talent across genres and categories, ranging from fine art to documentary.
Although the 2020 awards haven’t yet been announced, prizes in past editions have included cash prizes of $500-$5,000 and group exhibitions at renowned institutions like Aperture Gallery and United Photo Industries in New York, Head On Photo Festival in Sydney, FORMAT International Photography Festival in the UK, and more. Previous winners include Lissa Rivera, Synchrodogs, Michael Joseph, Shannon Johnstone, and more.

Documentary Photography Contests

CDS Documentary Essay Prize
Prize: $3,000
Deadline: March 1, 2020
Entry fee: $40
Eligibility requirement: All ages and nationalities
Presented by the Center for Documentary Studies at Duke University, this prize alternates between photographers and writers—one year, it accepts documentary writing, and the next, it accepts photos. 2020 is a photography year, and they’re accepting current or recently completed long-term projects. Entrants submit 15 images and a one-page written statement.
In addition to receiving the $3,000 cash prize, the winning photographer will have their work added to Archive of Documentary Arts at the Rubenstein Library at Duke University.
*The CDS also presents Dorothea Lange–Paul Taylor Prize for ongoing documentary fieldwork that incorporates photos and the written word. The deadline for submissions for this award is May 15th, 2020, and the prize is $10,000.

Wildlife Photography Contests

Audubon Photography Awards
Prize: $5,000 Grand Prize, $2,500 Professional Prize, $2,500 Amateur Prize, $2,500 Plants for Birds Prize, $1,000 Fisher Prize. Youth Prize winners receive six days at winner’s choice of one Hog Island Audubon Camp during the 2021 season.
Early Deadline: March 30, 2020
Final Deadline: April 6, 2020
Entry fee: $20/image. Discounts apply to early birds.
Eligibility requirement: Legal residents of the United States and Canada (excluding Quebec), age 13 and older.
This competition is exclusive to photographers of birdlife in the US and Canada, and a special Plants for Birds division will highlight the identifiable plants and supporting habitats surrounding these important animals. Submissions fall into one of three categories: Professional, Amateur, and Youth (ages 13-17). Winners will be published in Audubon and Nature’s Best Photography magazines and will also be part of a traveling exhibition.
Submitting photographers must follow the National Audubon Society’s ethical guidelines to protect the birds and ensure their safety in the future. Photos must be truthful in nature; images that have been digitally altered beyond standard optimization aren’t eligible.
The Comedy Wildlife Photography Awards
Prize: Kenyan safari for the overall winner, gear, and more.
Deadline: TBA
Entry fee: None
Eligibility requirement: Open
Founded by photographers Tom Sullam and Paul Joynson-Hicks, The Comedy Wildlife Photography Awards are an annual contest devoted to conservation—and humor. Any photography lover with a laugh-out-loud funny picture of animals in the wild is welcome to submit. At the heart of these amusing animal photos is a serious message, and the award supports the Born Free Foundation, a charity organization tirelessly advocating on behalf of wildlife.
A collection of winning images from previous years can be found in the book Wild and Crazy: Photos from the Comedy Wildlife Photography Awards.

Black and White Photography Contests

MonoVisions Photography Awards
Prize: $3,000 for Black and White Series of the Year, $2,000 for Black and White Photo of the Year
Early deadline: January 19, 2020
Final deadline: May 17, 2020
Entry fee: $25/single image, $30/series. Discounts apply to early birds.
Eligibility requirement: Photographers 18 years and older.
Open to monochrome photographers working across 12 categories (Abstract, Architecture, Conceptual, Fine Art, Landscapes, Nature and Wildlife, Nude, People, Photojournalism, Portrait, Street Photography, and Travel), this competition includes everything from traditional darkroom photography and cutting-edge digital images.

Mobile Photography Photo Contests

iPhone Photography Awards (IPPAwards)
Prize: TBA
Deadline: March 31, 2020
Entry fee: $3.50/single image, $9.50/3 images, $15.50/5 images, $29.50/10 images, $45.50/15 images, $57.00/20 images, $65.50/25 images.
Eligibility requirement: Open
Photographers around the world are invited to compete for this award—commonly dubbed the “Oscars of mobile photography.” There are multiple categories open for this contest, including Abstract, Animals, Architecture, Children, Floral, Landscape, Lifestyle, Nature, News and Events, Panorama, People, Portrait, Still Life, Sunset, Travel, Trees, Series, and Other.
Of course, photos must be taken on an iPhone or iPad to be eligible—and they should not be edited using any desktop apps. Submissions should also not be published elsewhere, though publication on personal social media accounts is acceptable.

Travel Photography Contests

National Geographic Traveller Photography Competition
Prize: National Geographic Journey to Mexico, Manfrotto tripod.
Deadline: February 23, 2020
Entry fee: None
Eligibility requirement: All photographers residing in the UK and Ireland, 18 years and older.
Led by head judge Becky Redman, art editor of National Geographic Traveller in the UK, this competition welcomes travel pictures taken within the last two years by photographers of all levels. One Grand Prize winner receives a nine-day immersive adventure in Mexico, courtesy of National Geographic Journeys, with a focus on cultural wonders and cuisine. Winners in each individual category—including Cities, Landscapes, Nature, and People—win a Manfrotto Befree Advanced Travel Tripod (worth £168.95).

Themed Photography Contests

Tokyo International Photography Competition
Prize: International traveling exhibition in Taipei, New York, Dublin, and Tokyo, press coverage.
Deadline: January 27, 2020
Entry fee: $40
Eligibility requirement: Photographers 18 years and older
Presented by United Photo Industries and the Tokyo Institute of Photography, this annual competition is now in its seventh year. The theme this time around is ‘Turbulence’, so the judges are looking for images that address the climate change crisis. As polar ice continues to melt and wildfires burn around the world, TIPC will feature eight photographers confronting this issue head-on.
This year’s jury includes photo and climate experts, including Jehan Jillani, Picture and Visuals Editor at The Guardian; Miranda Massie of the Climate Museum; Brent Lewis, Business Photo Editor at The New York Times and Co-Founder of Diversify Photo; Sameera Savarala, Climate Change Specialist, United Nations Development Programme (UNDP), and more.
Nikon’s Small World
Prize: $3,000 First Prize, $2,000 Second Prize, $1,000 Third Prize
Deadline: April 30, 2020
Entry fee: None
Eligibility requirement: Anyone 18 years and older.
Of all the contests we’ve listed here, this is the only one devoted to microphotography. It’s been around since 1975, so it’s established itself as a fixture within photography and science communities alike.
Anyone with a passion for images and access to a light microscope can submit—macro photos and photos taken with an electron microscope aren’t eligible. The judges are looking for creative and original work that has both artistic and informational/educational appeal. They’ve also opened the competition up to videographers with the Small World in Motion competition.
Beyond the top three winners of Small World, photographers in fourth, fifth, and sixth place receive $800, $600, and $400, respectively. Those coming in seventh through tenth win $300, and photographers in 11th through 20th place receive $200 each. Honorable mentions win $100.

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Photography Freebie
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Taking full Control of Your Digital Camera

                                  Do you want to take full control of your digital camera?

Beginner Tips for Posing People with Confidence

By: Andrew S. Gibson

In earlier articles I gave you advice about planning a portrait shoot and some reasons for using natural light. Now it’s time to take a look at something that many photographers find difficult – posing.

The reason posing can create problems is because inexperienced models will look to you for direction. If your model is waiting for you to tell her what to do and you freeze up or don’t have any decent ideas you will struggle to create good photos. It’s up to you to take charge and tell the model how to pose. The key is preparation – you need a set of poses you can suggest to the model.
Update: since writing this post we’ve released our Handy Portrait Posing Guide with 67 sample portrait poses.

Before the shoot

Here are some points to think about before the shoot:
What kind of shoot is it? The posing requirements for a family portrait are very different than a fashion shoot. You can think about posing once you’ve decided what type of photo you are going to create.
Look for inspiration online. Chances are you have a few favourite photographers you follow on websites like Flickr and 500px. You will find some good poses in their portfolios. Download your favourites to your smartphone (or use Pinterest to create a mood board, covered in more detail in my article How to Plan the Perfect Portrait Shoot). Then you have something you can show to your model. Don’t try and commit the poses to memory – you will forget them under pressure.
Match the pose to your model. This is important. You’ll see some wonderful poses in fashion magazines. But many of them need a professional model to carry them off. Your model may not be able to do that, especially if she has a different body type than the people in the magazine.
Buy the Posing App. It gives you over 300 poses that you can access on your smartphone. The best way to use it is to select five to ten and make them your favourites. Then you can show them to your model so she understands the what you’d like her to do.

Screen shots from the Posing App. The line drawings are easy to understand and follow.

The author of the app has written several articles about posing for Digital Photography School you will find useful (click the link to see a list).

During the shoot

No matter how experienced or inexperienced your model is, here are some tips to help you find the perfect pose during the shoot:
Build rapport. This is essential. If your model likes you and sees what you are trying to achieve she will work harder. If you talk to her about things she likes you will see more life in her eyes and get better expressions, including natural smiles. She will be more relaxed. If your model is tense, you are going to struggle to get natural looking portraits. Take the pressure off her and bring it back on yourself. Assure her that if the photos don’t work out that it’s your fault, not hers. Build her confidence.
Look for natural expression. As you talk to your model you will notice natural expressions and mannerisms that you can use. Don’t be afraid to say “hold that pose” or “do what you did just now again”.

I noticed the model had a interesting mannerism so I asked her to repeat the gesture. This portrait is one of her favourites

Adapt poses. When you suggest a pose, such as one used in another photo or from the Posing App, treat it as a starting point, then adapt it to suit your model. If she looks unnatural in a certain pose, then adapt it so it suits her body and the clothes she’s wearing.

The pose on the left is one I found in the Posing App. For the second portrait I asked my model to drop her left arm so I couldn’t see it. Don’t be afraid to tweak poses, sometimes a small change makes a big difference.

Simplify. Keep everything as simple as possible. That applies to composition and the clothes and jewellery worn by your model. If she has too much jewellery on, ask her to remove some. It will improve the composition. If you’re struggling to find a good full-length pose, move in closer and shoot from the waist up, or do a head and shoulders portrait. The background will go more out of focus, and there will be less of the model in the photo.

Simplification in action. The closer you crop, the easier it is to pose your model. This is a good technique to use if you are struggling to make a certain pose work.

Pay attention to detail. Especially hands, which often look better side on to the camera. Look at photos where the model’s hands look elegant or are otherwise well posed, and ask your model to do the same. Check her hair to make sure stray strands aren’t blowing across her face or eyes. Look at her clothes to make sure they aren’t wrinkled or creased in a strange way.
Find something for your model to lean on. This makes it much easier to find a natural looking pose.

Two different ways to use a wall to give a model something to do. The Posing App has lots of poses for leaning.

Use props. If the model has something to hold or otherwise interact with, it gives her something to do. If she is having fun you’re more likely to get a great expression.

The model in this photo is into hooping. Using the hoop as a prop gave her something to hold and added interest to the portrait.

I suggested the model bring her horses along to the shoot. The horses are a natural prop and her interaction with them led to photos like this one.

Over to you

Do you have any tips for our readers about posing models? What has worked for you? Tell us about your experiences in the comments.

Portrait Tips for Posing Women

By: Karthika Gupta

Let’s face it – unless you are working with professional models who know exactly what to do, and how to pose in front of the camera with little to no direction from the photographer, most of your clients, especially women are self-conscious and stiff the moment they get in front of the camera. Nervous laughs and fidgety hands are all signs that they are uncomfortable; they need to feel at ease and are looking for a lot of direction from the photographer. As photographers that is our primary job – to make the client feel comfortable with us, being in front of the camera, and also give them beautiful photos of themselves. To that end, there are some simple tips and poses that work wonders especially for posing women in portraiture.

#1 Put them at ease and make them laugh

Even before you start taking their pictures, make small talk; ask them about their day and try to get them to relax. Find out what they think is their good side, and why, and keep that in mind while photographing them. If all else fails and they are still very uncomfortable and stiff, have them close their eyes, and at the count of three, open them and give you a very natural smile. This works almost 100% of the time. When they have their eyes closed, they relax their body and face and are able to gather their composure for a few seconds. If you have a continuous photographing mode in your camera (i.e. burst mode), use that to take a quick series with their eyes closed and when they open them. There is bound to be one that will work.

 #2 Avoid stiff limbs

Choose poses that avoid awkward angles to their hands and feet. Have them sit down on a chair, on the floor, or even on the sidewalk. With older women, have them sit on a chair and cross their legs. This gives a little poise and grace to the image. With younger women, or if you are outside, have them sit down on the ground, or lean against a wall or a fence, and cross their legs at the ankles. Always make sure there is a little bend in the limbs to soften the stance.

#3 Give them something to do with their hands

Often when posing people if the hands are awkwardly hanging on the side of their body, it looks weird and unnatural. Instead direct your clients by giving them something to do with their hands. Touching their face lightly, putting their hands through their hair, twirling the ends of their hair with their hands, holding the folds of their dress, interlacing their fingers, and putting their hands on their lap all work well. This gives women something to focus on, and helps them relax.

Give your clients something to do with their hands.

#4 Find the right angle to point the camera

Women always want pictures that make them look slimmer. This is easily achievable by a small change in the angle of the camera. Photographing from slightly above the client with the camera pointing downward, elongates the neck and gives a long lean effect to the face. This also helps define the jaw line. One caution, don’t photograph down at a 90 degree angle to the face. Not only is this an uncomfortable pose to hold when the client is looking straight up, but you don’t want to photograph down someone’s nose!
If you have to photograph women straight on where the camera is parallel to the face, have your clients slightly tilt their head to the right or left. Again, this relaxes the face, neck, and shoulders and gives a little twist to the normal straight-on portrait photo. Sometimes standing behind the client and having them look over their shoulder at you also works. To me this is a very natural and candid pose – as if they were doing something and turned to take a casual candid photo. One thing to be watch out for here is unflattering creases around the neck.

Looking up at the camera

#5 Environmental elements

There is just something really magical about the wind blowing and lifting the hair, or even beautiful catchlights in the eyes. This almost instantly adds a wow factor to a portrait. If you happen to be outside, try and use such environmental factors to your advantage. If you are indoors, the same effect can be achieved with a small fan, simple hair dryer, or even an extra reflector used to create some wind.
For catchlights, if you are outdoors, place your client in an open shade area and look towards a light source (the sun or even an off-camera flash). If it happens to be a cloudy day, or if you are photographing inside in a studio, catchlights can be achieved with reflectors. If you have a reflector that has multiple colored sides, use the sliver side and hold it at a 90 degree angle, or less, to the face. Play with the reflector placement to get the right look you want.

To me, all these tips have a common thread – pose your client such that they are comfortable in the pose. An uncomfortable pose or stance will show itself  obviously in your images, no matter how lovely you think the pose is. Never force a client into a particular pose.
Feel free to share tips that work for you when posing women for portraits.

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