Refined and capable, the next evolution of the AirHed Cine arrives with a redesigned panning arm, upgraded quick-release plate, and rotatable clamp for vertical video.
Following on from the popularity of the original AirHed Cine, 3 Legged Thing has launched the AirHed Cine CC. This robust, compact fluid video head is packed with features for content creators, as well as wildlife and birding enthusiasts.
The AirHed Cine CC is a compact fluid video head with 360? panning and 165? of total tilt (90° forward / 75° back). Each axis has smooth cinematic movement, and separate lockable controls. It has several key improvements over its predecessor:
The Arca-Swiss-compatible clamp rotates 90? allowing use with Arca L-brackets and cages for shooting vertical video
The panning arm is retractable for easier transportation, and can be mounted on either side of the head for right or left-handed use
The new XP 100 Ultra Plate quick-release plate adds versatility with its patented triple-axis XPAND slot for use with 3LT’s XPAND system Cheese Plates and Risers. It has a sliding camera screw sled with retractable locator pin and ¼”-20 camera screw; cable management hook at one end, and multiple thread options for accessory attachment.
“We’re excited to release the AirHed Cine CC,” said Stuart Boston, Chief Operating Officer, 3 Legged Thing. “We’ve taken feedback from its predecessor and incorporated new features that increase usability. We’re sure customers will love it!”
The AirHed Cine CC is perfect for videographers and content creators using mirrorless and lightweight cinema cameras up to 10 kg / 22 lb, and can be attached to any tripod or monopod with a 3/8”-16 screw thread. The head’s smooth pan and tilt motion will also appeal to birders, wildlife and sports photographers, and spotting scope users looking for a stable mount for their gear.
The head weighs just 690 g / 1.5 lb, giving it an impressive 14:1 load to weight ratio.
Availability AirHed Cine CC is available starting today from 3LeggedThing.com and all good camera retailers, with a suggested retail price of £229.99 / US $249.99.
Tamron, a leading provider of high-quality lenses, announces the presentation by the Technical Image Press Association (TIPA) of its TIPA Award 2026 to two lenses; 16-30mm F/2.8 Di III VXD G2 (Model A064) for “BEST FULL FRAME WIDE-ANGLE ZOOM LENS” and 35-100mm F/2.8 Di III VXD (Model A078) for “BEST FULL FRAME TRAVEL LENS”. With these latest accolades, TAMRON has been honored with TIPA Awards for thirteen consecutive years.
This lightweight and fast ultra wide-angle zoom delivers exceptional sharpness from edge to edge, even at F2.8. It combines outstanding optical performance with a robust Moisture-Resistant Construction suited for demanding environments. Its impressive versatility makes it ideal for capturing a wide variety of subjects, even in challenging lighting conditions, making it an all-around choice for landscape, architecture, event, and travel photography. Performance-wise, it delivers fast, reliable autofocus to ensure success in both still and video capture. This affordable lens has an MOD (Minimum Object Distance) of 0.19m at 16mm and 0.3m at 30mm, creating even more potential for exciting imaging opportunities.
This handy, take anywhere lens offers an exceptional blend of optical performance, portability, and innovation. It delivers consistently sharp images across its versatile zoom range and maintains a bright F2.8 aperture, excelling in low-light conditions while producing beautifully rendered depth and clarity. The advanced VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism ensures rapid, precise, and silent focusing to meet the demands of both still and video creators. Remarkably compact and lightweight for its class, this lens redefines mobility without compromising on image quality.
There’s a Nikon FM2 sitting on a shelf in my office. It hasn’t had film in it for years, but I can’t bring myself to move it. Something about its heft, its cold metal body, the satisfying click of its shutter — it reminds me why I fell in love with photography in the first place. These days, my best shots often come from a camera I carry in my pocket everywhere I go: my phone.
Sound familiar? If you’ve been shooting for any length of time, you’ve probably had this same quiet reckoning. The tools have changed so dramatically that it can sometimes feel like photography itself has changed. But I’d argue it hasn’t — not even a little.
What actually changed (and what didn’t)
Let’s be honest about what modern cameras and phones have improved. Autofocus is faster and more reliable than the best manual glass from the 1970s. Image sensors capture dynamic range that would have required a master darkroom technician to coax from a roll of Kodachrome. Computational photography — the ability of software to merge multiple exposures, reduce noise, and sharpen edges in real time — has genuinely pushed what’s technically possible in a photograph.
But here’s what hasn’t changed: you still have to decide where to stand. You still have to choose your moment. You still have to ask yourself what this photograph is about.
“The camera is an instrument that teaches people how to see without a camera.” — Dorothea Lange
That quote, from one of the greatest photographers of the 20th century, was true when she was shooting on large-format film in the 1930s. It’s equally true today. The art of photography is the art of observation — and a smartphone hasn’t changed the nature of observation any more than a ballpoint pen changed the nature of writing.
The hidden gift of film constraints
Photographers who came up shooting film will tell you something that sounds almost paradoxical at first: having fewer shots made them better. When you only had 36 exposures on a roll — and developing cost money and time — you thought harder before pressing the shutter. You waited for the light to be right. You watched your subject until the perfect moment arrived.
That discipline is still available to anyone who wants it. Some photographers deliberately shoot with apps that simulate a 36-shot roll. Others commit to only keeping one photo per outing, regardless of how many they took. The constraint isn’t in the camera — it’s in the mind of the photographer.
“Every generation of photographers inherits the same essential challenge: learning to see the extraordinary inside the ordinary.”
The case for both worlds
Something interesting has happened in the last few years: film photography has experienced a genuine, sustained revival — and it’s being driven largely by young people who grew up with smartphones. They’re not rejecting digital photography; they’re adding to their practice. They shoot film because it slows them down. Because holding a physical print feels different from swiping through a gallery. Because the grain and the imperfection feel honest.
Meanwhile, serious photographers are doing extraordinary work with smartphones. The photographers publishing in major magazines, winning awards, and building huge audiences online are increasingly using mobile cameras not as a compromise, but as a deliberate creative choice. The intimacy a phone allows — the way it doesn’t intimidate subjects the way a DSLR might — has opened up entirely new photographic possibilities.
The best photographers today understand that the question isn’t “film or digital?” or “camera or phone?” The question is always the same one Henri Cartier-Bresson was asking in 1940: what is the decisive moment, and am I ready for it?
Light, composition, and the moment: the holy trinity
Every photography teacher, from Ansel Adams to the best YouTube tutorials today, comes back to the same three fundamentals: light, composition, and moment. These are the elements that make a photograph sing — and they are entirely independent of the gear you’re holding.
A vintage Leica rangefinder and a flagship iPhone both need the same golden-hour light to produce a glowing landscape. A medium format film camera and a mirrorless body both require the photographer to understand the rule of thirds, leading lines, and negative space. And no camera ever invented can press its own shutter at precisely the right instant — that’s still you, every single time.
This is the most liberating truth in photography: the equipment matters far less than the eye behind it. The best camera you own is, overwhelmingly, the one you have with you and know how to use.
?
5 Affordable Cameras Worth Buying on Amazon
If you’re ready to step up from (or complement) your phone, here are five well-reviewed, budget-friendly options available on Amazon right now — from approachable point-and-shoots to capable mirrorless bodies.
A classic starting point for new photographers. The Rebel T7 pairs a 24.1MP CMOS sensor with Canon’s reliable DIGIC 4+ processor and ships with an 18–55mm kit lens, giving you a versatile everyday focal range right out of the box. Built-in Wi-Fi makes sharing straightforward, and the optical viewfinder delivers a satisfying, traditional shooting experience. An excellent choice for anyone who wants to learn on a real DSLR without breaking the bank.
The most affordable new mirrorless camera on the market, the R100 features a 24.2MP APS-C sensor — the same chip found in Canon’s pricier R50 — with a reliable dual-pixel autofocus system that handles portraits and moving subjects well. It’s compact, comfortable to grip, and opens the door to Canon’s growing RF lens ecosystem. A sensible, future-proof investment for first-time mirrorless buyers.
Don’t let the “vlogging camera” label fool you — the ZV-1F’s 1-inch sensor, best-in-class autofocus, and compact form factor make it a genuinely capable still camera too. Its 20mm fixed lens is ideal for environmental portraits and street photography, and the flip-out display makes it easy to compose shots from unusual angles. For photographers who also want to shoot video or create content, it’s arguably the best value in this price range.
Sometimes you just want a simple, reliable camera you can hand to a friend or toss in a bag without anxiety. The FZ55 delivers 16MP images, a 5x optical zoom, and 1080p video in a lightweight body, all for well under $150. Amazon reviewers consistently praise its ease of use and image quality for casual shooting. It’s a great gateway camera for young photographers or anyone looking for a low-stakes way back into dedicated-camera shooting.
In a world of ephemeral digital images, the Instax Mini EVO bridges the gap between digital convenience and the tangible joy of a physical print — something that resonates deeply with the spirit of film photography. It combines digital shooting with instant printing via its hybrid design, and its retro aesthetic makes it genuinely pleasurable to use. For photographers who want to reconnect with the physical side of the medium, this is a uniquely satisfying option.
The takeaway: your eye is the constant
The history of photography is really a history of tools getting out of the way — getting lighter, faster, cheaper, and more forgiving — so the photographer can focus on what was always the point: seeing. Every great image ever made, from Dorothea Lange’s “Migrant Mother” to a viral phone photo taken this morning, began with someone paying attention.
So shoot with your vintage film camera. Shoot with your mirrorless. Shoot with your phone at breakfast. The art doesn’t live in the equipment. It never did. It lives in you — in the moment you decide that this is worth preserving, and you raise whatever camera you have and press the shutter.
That moment is identical whether the year is 1965 or 2026. That’s the beautiful, stubborn truth at the heart of photography…
Get, make photographs, come back and tell us what you learned.
You’ve got a decent camera. You understand exposure. But something about your photos still feels… off. More often than not, the culprit isn’t your gear — it’s composition. The good news? These mistakes are easy to spot once you know what to look for, and even easier to fix. Here are ten composition habits that might be holding your photos back.
1. Putting the subject dead-centre every time The rule of thirds exists for a reason. Placing your subject slightly off-centre creates visual tension and a more natural, engaging image. Try positioning eyes, horizons, or focal points along the grid lines instead.
2. A cluttered, busy background Your background is working either for you or against you — there’s no neutral. Before you shoot, scan the whole frame. Distracting elements behind your subject? Move your feet, change your angle, or open up your aperture.
3. Cutting off limbs at the joints Cropping someone at the wrist, ankle, or knee looks awkward and unintentional. If you need to crop a person, do it between joints — mid-forearm, mid-shin, mid-thigh.
4. A horizon that’s not actually horizontal A tilted horizon is one of the most common and most fixable mistakes in photography. Use your camera’s built-in level (most have one), or spend 10 seconds straightening in post.
5. No clear subject Ask yourself: what is this photo of? If the answer is vague, your viewer won’t know where to look. Every strong image has a clear visual anchor. Find yours before you press the shutter.
6. Not using leading lines Roads, fences, rivers, staircases — these are gifts. Leading lines pull the viewer’s eye into the frame and give your image depth and direction. Look for them in every scene.
7. Shooting everything from eye level Eye level is comfortable, but it’s also predictable. Get low and shoot upward for drama. Get high and shoot down for context. Even a small change in angle can transform a photo entirely.
8. Ignoring negative space Empty space isn’t wasted space. Negative space gives your subject room to breathe and can make an image feel calm, deliberate, and modern. Don’t feel compelled to fill every corner of the frame.
9. Merging edges — where your subject “touches” the background When a tree, pole, or wall appears to grow out of someone’s head, it’s called a merge — and it’s distracting. Check your edges before shooting and adjust your position to separate the subject from the background.
10. Forgetting to simplify The best compositions usually have one thing to say. Before you shoot, ask: what can I remove from this frame? Great composition is often about subtraction, not addition.
The great thing about composition is that it costs nothing and improves everything. You don’t need a new lens or a camera upgrade — just a more intentional eye. Pick one of these to focus on during your next shoot and see what a difference it makes.
If you’ve poked around your camera’s menu settings, you’ve probably come across an option that says something like “Image Quality” or “File Format” — and two choices staring back at you: RAW and JPEG. Most beginners shrug and leave it on JPEG because, well, it’s the default. But understanding this one setting could genuinely transform the photos you’re able to produce. Let’s break it down in plain English.
What actually is a RAW file?
Think of a RAW file as a digital negative — it’s all the data your camera sensor captured, completely unprocessed. When you shoot RAW, your camera records everything: every detail in the shadows, every highlight, every colour nuance. Nothing is thrown away.
The trade-off? Your camera doesn’t do anything with that data. RAW files can’t be posted to Instagram straight out of your memory card. They need to be processed in editing software like Adobe Lightroom, Capture One, or even the free Darktable before you can share them. That’s extra work, but it’s also where the magic happens.
So what does JPEG do differently?
A JPEG is a finished product. The moment you press the shutter, your camera applies sharpening, contrast, colour, and noise reduction — automatically — and then compresses the image down into a smaller file. It’s ready to share immediately.
The downside is that your camera makes those decisions for you. And in doing so, it throws away a lot of data to achieve that smaller file size. Once that information is gone, it’s gone for good.
Why does this matter when editing?
This is where the RAW vs JPEG debate gets really practical. Let’s say you take a beautiful landscape photo, but you slightly underexposed it — the image looks a bit dark. Here’s what happens in each format:
With RAW, you open the file in Lightroom, drag the Exposure slider up a couple of stops, and the detail that was hiding in the shadows comes right back. The image still looks natural.
With JPEG, you try the same thing. The image brightens, but the shadows turn muddy and noisy. You might also start to see banding — those ugly stripes of colour where smooth gradients used to be. That’s because the data you needed to recover the image simply isn’t there anymore.
RAW files typically give you around 4 stops of exposure recovery in either direction. JPEGs? About one stop, if you’re lucky. That headroom is the difference between a recoverable mistake and a deleted photo.
The colour and white balance advantage
Here’s another thing beginners often don’t realise: white balance is completely non-destructive in RAW. Shot your indoor portraits under warm tungsten light and forgot to adjust white balance? No problem — in Lightroom, you can fix it perfectly after the fact with zero quality loss.
In JPEG, changing white balance in post is genuinely editing the image data. You can nudge it slightly, but a major correction will shift colours in ways that look artificial and degrade quality.
“But my JPEGs look great straight from the camera!”
They might! Camera manufacturers have put enormous effort into their in-camera JPEG processing, and modern cameras produce lovely JPEGs. If you’re shooting fast-moving events, sports, or documentary work where you need to hand off photos quickly, JPEG is completely legitimate and used by professionals every day.
The question is: are you getting the most out of your camera, and do you have the editing control you need?
If you’re learning photography and want to understand how exposure, colour, and light work together, shooting RAW forces you to engage with those decisions in post. That process is incredibly educational. You start to see what the camera captured versus what you created — and that gap is where you grow as a photographer.
The storage and speed trade-off
RAW files are big. Depending on your camera, a single RAW file can be 30–80 MB, versus 5–20 MB for a JPEG. If you’re shooting hundreds of frames, that adds up fast. You’ll need bigger memory cards, more hard drive space, and longer backup times.
RAW files also slow down your camera’s burst shooting because there’s more data to write to the card. If you shoot action or wildlife where you’re hammering that shutter button, this can matter.
Many cameras offer a great middle-ground solution: RAW + JPEG. You get both files simultaneously — the JPEG for quick sharing and preview, the RAW if you want to edit properly later. Storage hungry, but flexible.
Which should you choose?
Here’s a simple way to think about it:
Choose RAW if you care about getting the best quality from every shot, you enjoy or plan to learn editing, you shoot in challenging lighting conditions, or you’re working on portraits, landscapes, or any photography where the final edit matters.
Choose JPEG if you need photos ready to use immediately, you’re shooting high-speed action and need fast burst rates, or you genuinely don’t want to edit and your camera’s JPEG output already makes you happy.
Choose RAW + JPEG if you want the best of both worlds and don’t mind using the extra storage.
Getting started with RAW
If this has convinced you to give RAW a try, here’s how to start: change your camera’s image quality setting to RAW (or RAW + JPEG), and download Adobe Lightroom (there’s a free mobile version) or the free desktop app Darktable.
Take a photo in tricky lighting — something with bright windows and shadowy corners is perfect — and spend 10 minutes just moving sliders around. Watch how much detail you can pull back from areas that looked completely lost. That moment of “oh, wow” is what turns most people into permanent RAW shooters.
Got questions about RAW editing or what software to use? Drop them in the comments below — we’d love to help.
This article was updated in January 2024 with contributions from Kelly Wolfe, Dave Spates, and Jaymes Dempsey.
Photographing dogs in action is an absolute thrill. One moment they’re a ball of energy, and the next, they’re soaring through the air to catch a Frisbee. Those freeze-frame shots elicit smiles from everyone who sees them.
But it’s not just about clicking the shutter. A lot goes on behind the scenes. Dialing in the right camera settings, keeping the dog focused, and maintaining their enthusiasm are all part of the equation. In this article, I’ll share some golden nuggets that have helped me capture those split-second wonders on camera.
So whether you’re photographing your own furry friend or working on a pet photography gig, you’ll find some actionable advice here. Let’s jump right in and elevate your dog action photography skills!
1. Use the right gear
Image by David Spates
Before I delve into practical tips for dog action shots, I want to briefly explore the importance of gear, which can make or break your images.
If you want to take better action photos of dogs, I recommend a camera body with a fast burst rate. From my experience, five frames per second is the minimum. If your camera has a faster frame rate than that, you are going to increase your keeper rate as long as your approach and technique are on point, which we will get to shortly.
Additionally, fast autofocusing is a must-have. Fortunately, many modern mirrorless cameras do an excellent job of tracking subjects as they move – and some even include animal eye AF modes so you can focus consistently on the dog’s eye as they bound around the space!
I also recommend long and fast lenses. I’ve tried to photograph action shots with the 50mm f/1.8, and the Tokina 100mm f/2.8, with very little success. While both of these lenses are incredibly sharp, they are soft wide open and do not focus well on moving subjects.
Longer lenses with fixed apertures generally focus on moving subjects much faster than shorter lenses. They also keep you and your camera gear safer. Think about it. If you have a 45 point Border Collie running full speed right at you, you need to get the photograph and get out of the way quickly.
A longer lens will give you the time you need to move once the dog starts to fill the frame. I personally use the Nikon 300mm f/4 and sometimes I’ll even throw a teleconverter on it for extended reach and cleaner bokeh.
A 70-200mm f/2.8 lens can also be very effective for dog action shots. The focal length is versatile enough for close-ups and wide shots, while the large aperture allows for shooting in lower light conditions!
2. Make sure the dog is safe
First and foremost, safety should be your priority. Dogs are not just subjects to be photographed; they are living, breathing beings that deserve respect and care.
Always choose a location where dogs are allowed. You don’t want to get into trouble with authorities or risk the dog getting hurt in an unfamiliar environment.
Opt for areas that are far from any hazards. A busy road, a steep drop, or any place where a dog can get hurt should be avoided. Keep a close eye on the dog, especially if they’re off-leash.
Ensure the area is secure enough so that the dog won’t dash off to chase a squirrel or another dog. This might mean choosing a fenced-in park or similar space.
Know the dog’s limits. Some dogs might have health issues that prevent them from running or jumping. Others might be too young or too old for strenuous activity. Listen to the dog’s owner and observe the dog’s behavior. Remember, capturing their personality is more important than getting an action shot at the expense of their well-being.
If the dog seems uncomfortable, slow down. It’s perfectly fine to capture them at their own pace. No photograph is worth risking the safety or well-being of your subject.
In essence, always prioritize the dog’s safety. This will not only make for a more relaxed and enjoyable session but will also ensure that you get natural, happy shots that reflect the dog’s true spirit.
3. Get a real expression from the dog
Capturing genuine emotion in a dog’s eyes can transform a good photo into a great one. The key to this lies not just in your camera skills, but also in how you interact with the dog.
Use a positive, encouraging voice when calling the dog over. Our four-legged friends are very attuned to human emotions, so a happy tone can go a long way. Make sure you and the dog’s owner are both creating an atmosphere of positivity.
Prepare some rewards to place by your camera. Dogs love treats and toys, so having some handy can help you get those tail-wagging, tongue-out smiles. Discuss with the dog’s owner to find out what their pet finds irresistible – be it squeaky toys, tennis balls, or treats.
Let the dog approach the camera naturally, enticed by rewards and your encouraging voice. The owner will know what will make their pet tick, so take their advice into account.
As you interact, watch for those perfect moments. Sometimes the ideal expression will come naturally as the dog reacts to your voice or the promise of a treat. Be ready to capture it.
4. Learn about the dog in advance
Prior knowledge about your four-legged subject can make or break your photography session. You need to know the basics, such as the dog’s training level, to strategize your shots effectively.
Start with a conversation with the dog’s owner. Find out about the dog’s health, especially if they have any mobility issues or dietary restrictions. This information will help you decide how active the photography session can be and what treats you can use.
Ask about their personality traits. Is the dog energetic and outgoing, or more shy and reserved? Knowing this will allow you to set up your shots in a way that brings out their true character.
Query about their training level. Does the dog know basic commands like sit, stay, and come? This can have a huge impact on how you orchestrate the shoot. Well-trained dogs may allow for more complex setups, while a younger or less-trained dog may require a simpler approach.
Safety is another concern that goes back to knowing the dog. If you’re aware of their temperament and any potential health concerns, you’ll be better equipped to ensure a safe and enjoyable session for everyone involved.
5. For running shots, have the owner call the dog
Getting a dog to run is only half the battle. The real trick is guiding them in the direction you want. For well-trained dogs with a solid “sit and stay,” I typically position the owner about 20 meters behind me. They call the dog, who then races directly towards the camera.
For younger or less trained pups, it’s essential to pick a secure location with minimal distractions. Think a dog-friendly park or even the dog’s backyard. You can also enlist the help of an extra person to hold the dog in place if they haven’t mastered the “sit and stay” command.
Some photographers opt for the dog to be on a leash. This can work, especially if the owner jogs along with them. You can always edit the leash out later if it interferes with the shot.
Keep your position in mind. If you want the dog to run directly toward you, be sure you’re in a spot that allows for this. An alternate option is to place yourself so that the dog will cross your path, giving you ample opportunity to capture a series of action shots.
6. Let the dogs be themselves
While it’s natural to have a list of shots you want to capture, remember that dogs have personalities too. And sometimes, they just want to do their own thing.
Let them! Some of my best shots have come from moments when the dogs were simply enjoying themselves. They could be chasing after a ball, bounding through tall grass, or playing a game of tug-of-war.
When you let dogs be themselves, their personalities shine through. And that makes for truly unforgettable photographs. You’ll find that the spontaneity adds a layer of authenticity and emotion that is often missing in overly staged shots.
So if you find that the dog isn’t interested in running directly towards you, but would rather sniff around and explore, go with it. Capture those candid moments. They’ll likely end up being some of your favorites from the shoot!
7. Get down low
Photographing from up high might work for humans, but dogs? Not so much. The simple act of lowering your camera can transform your dog action photos.
When you’re at the dog’s level, the images have a unique intimacy. You’re entering their world, capturing life from their viewpoint. This makes for some really compelling photos.
Another perk is the background. Being low increases the separation between the dog and the background. This helps in creating that beautiful, blurry backdrop, also known as bokeh, which makes the dog pop in the image.
So don’t hesitate to get a bit dirty. Crouch down, kneel, or even go flat on your stomach. Experimenting with these angles can add a dynamic touch to your images.
Remember, varying your height and angle can yield a variety of shots, all in one session. So pack some knee pads along with your camera gear and get down to the dog’s eye level.
8. Choose the right settings for dogs in action
Camera settings can make or break action shots. For starters, I like to use Manual mode. This gives me complete control over the aperture, shutter speed, and ISO.
Fast shutter speeds are essential. Dogs are quick creatures, so to freeze their motion, I generally start with a shutter speed of 1/1000s. Don’t be afraid to ramp it up even more if the dog is particularly fast.
Aperture plays a role too. A wide aperture can help create a shallow depth of field, blurring the background and making the dog stand out.
Then there’s ISO. While you’ll want to keep it as low as possible to avoid grain, don’t be too concerned if you have to increase it to maintain a fast shutter speed. A slightly grainy shot is far better than a blurry one.
If Manual mode intimidates you, Aperture Priority and Shutter Priority are solid alternatives. They allow you to control one aspect, while the camera adjusts the other. Just make sure you’re still keeping an eye on those crucial settings like shutter speed.
9. Nail that focus!
Ah, focus: the nemesis of many action photographers. With dogs bounding around, keeping them sharp in your frame can be challenging.
For fast-paced action, using a single focus point and continuous focusing mode (AF-C) has always worked for me. With back-button focusing, the camera continues to refocus as long as you hold down the button.
Some cameras offer tracking options. These can lock onto the subject and adjust the focus as they move. Give it a try; it may work wonders depending on your camera’s capabilities.
Animal eye autofocus is another feature to explore if your camera has it. This function focuses directly on the animal’s eyes, ensuring a sharp, expressive face.
Don’t underestimate the power of practice. Take the time to understand how your camera’s focusing system responds to fast-moving subjects. Get out there and shoot, analyze your results, adjust, and shoot some more.
Mastering focus in action photography isn’t something you’ll do overnight. But with consistent effort and the right techniques, you’ll see marked improvements in your work.
10. Practice your timing
Timing is everything in action photography, especially with subjects as quick and unpredictable as dogs. So how can you get that perfect mid-air leap or playful sprint?
Start by observing the dog’s movements. Dogs, like many animals, have a natural rhythm when they move. Take the time to notice this pattern before you start clicking away.
Adopt a technique often used by equestrians: counting strides. When a horse rider is learning to jump, they count the horse’s strides to anticipate the perfect moment for a jump. Apply this method to dog action photography.
Each time the dog’s front legs leave the ground, count it out. One, two, three, and so on. This rhythm helps you anticipate when the dog will be in the ideal position for a fantastic shot.
This counting method might be easier with larger breeds that have a longer stride, but don’t worry if you’re photographing a small dog. Practice will help you adapt this technique to any dog size or speed.
Ultimately, your timing will improve with experience. The more you practice, the better you’ll get at capturing that decisive moment. And remember, digital film is free – so don’t hesitate to take many shots and refine your timing as you go.
How to photograph dogs in action: final words
And there you have it: the nuts and bolts of capturing dogs in exhilarating action!
The safety of your furry subject is paramount, so always choose a secure location and be aware of the dog’s comfort level. Each dog is unique, and getting to know them can inform your approach and result in more authentic photos.
Your gear and settings are crucial, but remember, they are just tools. It’s your understanding of the dog, your timing, and your technique that will set your images apart. Your role is that of both a photographer and an animal lover. Never lose sight of the latter.
Be prepared to adapt. Dogs, like any other models, have their own personalities and quirks. Sometimes the unplanned shots are the ones that capture the animal in the most beautiful way.
Thank you for joining me in this exciting realm of photography. Grab your camera, find a willing pup, and create some memorable, tail-wagging art!
Now over to you:
Do you have any tips that I missed? Share your thoughts in the comments below!
The Meitar Award for Excellence in Photography, a distinguished collaboration
between PHOTO IS:RAEL and the Zvi and Ofra Meitar Family, marks its tenth
anniversary this year. This prestigious prize recognizes a cohesive body of work that
exemplifies superior photographic practice and profound artistic vision.
The 2026 edition is a significant milestone for us. Since its inception in 2016, the Meitar
Award has evolved into a vibrant global beacon of excellence, annually attracting
thousands of creators who challenge and expand the boundaries of the medium. Over
the past decade, it has cultivated a vital space for multicultural dialogue, serving as a
definitive home for the most compelling and urgent voices in contemporary
photography.
At the heart of the award is our esteemed international jury—a panel of world-class
photographers, curators, and critics at the forefront of the global field. The jury will
select 20 finalists to be featured in a centerpiece group exhibition at the International
Photography Festival in Tel Aviv in November 2026.
Evaluations will be based on the originality, conceptual depth, and technical quality of
the submissions. Particular emphasis will be placed on portfolios that demonstrate the
maturity and potential to evolve into a powerful solo exhibition.
The award winner, to be announced in November during the festival, will receive a
$14,000 grant to present a solo exhibition at the following year’s photography festival.
Registration Schedule:
Registration is open from February 23, 2026, to April 12, 2026.
? Early Registration: February 23, 2026 – March 19, 2026, fee: $35.
? Late Registration: March 20, 2026 – April 12, 2026, fee: $45.
Photographs must be submitted via the contest website: https://ift.tt/l3NgEWe
For further information, please contact: info@photoisrael.org
