Earlier I shared a bunch of images of wild animals for you to admire. There are some amazing shots out there and it takes a great amount of patience to be a wildlife photographer.
So your challenge this week is to go out and photograph some animals. They don’t necessarily have to be wild, but if you can find some – bonus!
By Massmo Relsig
Your dog, the squirrel in backyard, or even a visit to your local zoo will work. Think about your lens selection (wildlife photographers usually use really long lenses, partly to keep their subjects from eating them), your camera settings to freeze or blur any action, and your timing. Will you use a tripod or a monopod? What time of day is best to find the animals and get the best light?
These are all things I want you to consider as you go out to photography animals. Remember if you head out into nature:
Take only photographs – leave only footsteps
Photographing animals will require patience. They may not do what you want or expect them to do, so you have to be ready and anticipate their actions. Are you up to the challenge? Go!
By jimmy brown
By Silver Doctor
By Tobias
By Lumiere2005
By Martin Fisch
By Terry Chay
By Humberto Moreno
By Tetsumo
By Marie and Alistair Knock
By Ian Robertson
Share your animal photos
Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section as pictured below) and they’ll get embedded for us all to see or if you’d prefer upload them to your favourite photo sharing site and leave the link to them. Show me your best images in this week’s challenge.
The post Weekly Photography Challenge: Animals by Darlene Hildebrandt appeared first on Digital Photography School.
[ By WebUrbanist in Architecture & Public & Institutional. ]
Aiming to change the nature of zoo experiences for species on both sides of the glass, Zootopia radically reverses traditional layouts and changes conventional expectations. It almost looks as if the humans were on the display while the animals are given the most space possible to roam.
Being created in conjunction with the Givskud Zoo and Safari Park in Denmark, this architectural design by Bjarke Ingels Group (BIG) is in part a response to some long-standing criticisms of zoos, attacked for putting animals into barred, walled and windowed boxes.
Instead, this architecture is meant to disappear, with barriers becoming effectively invisible and the experience more seamless for humans and animals alike. Rolling hills and strategic rocks replace over dividers, creating an environment that looks, feels and ultimately is more natural.
Additionally, habitats are being designed around the spatial needs and social desires of individual species, granting them the freedom as well as privacy required for each animal type to both survive and thrive.
For visitors, a central entrance gives a wide view in all directions to section spinning out from the middle and representing various climates and regions. Travel through the zoo will happen on foot but also by bike, boat and sky car.
The idea itself is not entirely novel – there are many drive-through zoos and wildlife refuges that attempt to simulate more organic conditions and break down barriers between humans and the animals they are visiting. Still, for a large-scale zoo, this approach is rare is not unprecedented in its aims and scope.
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[ By WebUrbanist in Architecture & Public & Institutional. ]
Elena Shumilova’s photographs catch the viewer from the very first moment and take him away from reality into a mysterious world of dreams, childhood and goodness. The most memorable photos are the ones that tell a story. The pictures you’re going to see below are short stories about two adorable photographers’ sons and their animal friends. It’s hard to believe Continue Reading
The post Heartwarming Pictures of Children and Animals on the Farm by Russian Photographer Elena Shumilova appeared first on Photodoto.
When was the last time you got to snuggle a wolf puppy at work?
Never? Us neither. Sharon Montrose, on the other hand, can raise her hand to that one (and we’re green with jelly).
Sharon’s the photographer behind The Animal Print Shop. You might’ve spotted her portraits of wide-eyed baby giraffes, raccoons looking smug, and baby bears being baby bears.
We asked about how she discovered her awesome talent for photographing animal personality and what working commercially is all about.
While wolf pups might not be next up on your model list, you’ll get inspired to sit your pet down for a session!
Sharon Montrose on Animal Photography
p.s. We’re hiring for an amazing opening at Photojojo. We’re looking to re-invent what/how/where we publish online, and we’re seeking one amazing somebody to lead the charge as Editorial & Community Lead.
Who is Sharon?
The first time we heard about Sharon, she was snapping a baby giraffe in this Etsy interview. That’s when we knew that she probably had the best job in the world.
Sharon’s an acclaimed animal photographer who happened upon her talent for capturing portraits of animals when she was inspired to photograph her own dog one day (read more about that in the interview).
While she shoots dogs and cats commercially (you’ve probably seen her photos on billboards), Sharon has had the opportunity to work with less common animals like bear cubs, ostriches, and flamingos in her personal photography. This project is what became her Animal Print Shop series. Read about where the animals come from here.
Looking through Sharon’s portfolio is a roller coaster ride of awwww and is that real! and dang, she’s inspiring. Read on to learn more about how Sharon got started and what gets her inspired.
Is photographing large animals intimidating?
Q:You’ve photographed buffalo, cows, giraffes, lions even! Is it intimidating to stand in front of an animal that large with your camera?
A: No. I’m naturally a somewhat fearful person, but I when I get behind the lens, my fear is goes away–I think I’m too distracted getting my shot to be afraid.
How do you get great photos of wiggly subjects?
Q:So, kittens and puppies aren’t known for their sitting-still-in-one-spot skills. How do you manage to get great photos of them regardless?
A: Patience and timing. With animals that move around a lot, you have to be ready and focused to hit the shutter in that split second when they stop.
How many shots does it take to get that one photo?
Q:When you’re shooting for your Animal Print Shop series, how many shots does it take to get that one incredible photo?
A: It really depends on the animal–if it’s a calm animal (like a cow) who will just stand there and look around, I can get my shot in a couple frames. Others though, like little lion cubs, are running all over the place and take some serious time and patience.
How did you get into animal photography?
Q:Did you know you wanted to get into animal photography off the bat? If not, what was getting there like?
A: At first I had a very tough time turning what I loved doing into a way to earn a living. I floundered before I became established as a working photographer. I was shooting headshots and weddings and doing okay at it, but I wasn’t happy doing either and had lost the love I had for photography.
Around the same time, I adopted my first dog (several members of my family also had dogs), so I started taking photos of all the dogs in my life to see if it reignited the love I once had for photography. It did, and I learned an important lesson as a result: I had to have an authentic connection with my subjects.
Shortly afterwards I began work on my first book Dogtionary (Viking Press 2001). The book came after many failed attempts at marketing myself as a private party pet photographer. Back in 1998 people didn’t spend money on their dogs like they do today.
The book (and subsequent books) established me in my niche because the internet was still new, so being published was more productive in those days and there were very few published photographers with dog books in the United States. There were only a handful of us in the shadows of the great William Wegman, Elliot Erwitt, Henry Horenstein, and Keith Carter. I think it was me, Jim Dratfield, Kim Levin, Valerie Shaff, Sharon Beals, Deborah Samuel, Jeff Selis, and Debra Marlin. If I forgot someone, I’m human, please don’t send me hate mail.
Can you describe a shoot in 5 steps?
Q:Can you describe a shoot (let’s say one from your Animal Print Shop series) in 5 steps? Give us an idea of what happens start to finish!
A:
1. Phone calls: Reaching out to my contacts to see if there’s anything out there for me to photograph.
2. Production: Coordinating the logistics and equipment for the shoot.
3. Shoot day: The best day!
4. Editing, post production, and test printing.
5. Producing Materials for New Release: Producing product shots, printing inventory, and adding the new release to the site, plus marketing efforts.
What is having a professional team like?
Q:What is having a professional team like? Are you ever like, “I wish it was just me?”
A: I never wish it was just me. I literally couldn’t do what I do without my team–I’m very lucky to have them.
What didn’t you realize you would be doing?
Q: You’re pretty much running your own business as a photographer. What do you do a lot of now that you didn’t realize you would be doing when you started?
A: Answering questions about myself in interviews. I take my work seriously, but I don’t take myself seriously–so it’s a weird challenge.
How much creative free-reign do you typically get?
Q:In commercial photography how much creative free-reign do you typically get? We’re guessing you’re working with clients’ marketing teams and maybe stylists — how collaborative is it?
A: It’s always a collaborative effort to get the shot, sometimes with many different creatives coming together: creative director, set decorator/prop stylist, production, and my crew.
If I have been selected for a job by a creative team, it’s because they like what I do and believe I can nail their comp, so it’s inherently collaborative.
Usually after we’ve been successful at getting their comp and the client is happy, I’ll shoot variations and freestyle a little to get extra options and make sure they have everything they need — that’s where I get free-reign. And sometimes they end up using those shots instead or in addition to the original concept.
Who are your top 3 favorite photographers?
Sally Mann, Robert Mapplethorpe, Edward Weston.
Where or who is your favorite inspiration?
Q:When you want to photograph your own stuff, where or who is your favorite inspiration?
A: Honestly, it’s hard to shoot my own stuff now since I’m so busy running The Animal Print Shop. Inspiration does strike though, and I usually just pull out my iPhone to take a few snaps. It’s usually of my dogs or my crew messing around at the shop to post on Instagram.
Unless I’m in my most favorite place on earth: Yosemite. There you will find me somewhere along the Merced River in all my photo glory looking like a total Ansel Adams wannabe, photo-geek. True story.
Do you have any favorite phone photo apps or tips?
Q: We see you’re on Instagram. (OMG wolf puppy!) Do you have any favorite apps or tips?
A: I like VSCOcam and Squareready. But don’t ask me, I’m old.
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The streets of Panama City are now crawling with exotic birds, iguanas, lemurs and other creatures measuring up to three stories in height after a visit from famed Belgian street artist ROA. Following his exhibition in Brussels last February, ROA made his way to the Latin American nation to work on new mass-scale pieces in his signature monochromatic style, set against broad stripes of color on stained, peeling urban surfaces.
Animal are ROA’s favorite subject, and the artist often chooses species that are native to the areas in which he’s working. This faunal imagery contrasts with the stark concrete and asphalt spaces of the city, bringing in a connection to nature as well as some spectacular art that people from all walks of life can enjoy as they go about their daily routines.
“Since I was a kid I drew animals, so I wanted to paint like I draw, but more plastic and looser. I gave it a try on the wall… I got inspired to go up to paint in left-behind factories and hidden places and experiment with lines and scales. I was still enjoying it because every wall is different; the environment, the social life around it, the external conditions, the depiction, the challenge is always there.”
Check out ROA’s previous work in Mexico City as well as some panoramic pieces and lenticular art, which changes depending on the angle from which you view it.
Intricately painted and carefully posed, the human bodies serving as canvases for artist Gesine Marwedel are virtually unrecognizable as they morph into swans, flamingos and iguanas. The 25-year-old German painter employs performance artists to bring her colorful illusions to life, leaving their faces and other body parts visible as part of each composition.
The ability to contort into unusual positions is a crucial element of making each of these incredible three-dimensional paintings work. Each photograph depicts not only the painted animal, but also its grace and movement.
“Body painting is not just paint on a living canvas, it is picking up the body shapes in a subject and the painting on the body,” Marwedel told PSFK. “It is the transformation of a human being into a breathing, moving, living work of art.”
Marwedel began to explore body art after providing therapy for disabled and autistic children through speech and music. See more of her work at her website, or in person at the World Body Painting Festival, to be held in Austria in July 2013.
Kit Harington talks about working with animals at the San Diego Comic-Con for the Game of Thrones panel. Photos: www.flickr.com Camera: Nikon D5100 Nikkor 70-200mm f/2.8G ED VR II AF-S Special thanks to Borrowlenses.com Video Rating: 5 / 5
The first time we heard about Sharon, she was snapping a baby giraffe in this Etsy interview. That’s when we knew that she probably had the best job in the world.
Q: You’ve photographed buffalo, cows, giraffes, lions even! Is it intimidating to stand in front of an animal that large with your camera?
Q: So, kittens and puppies aren’t known for their sitting-still-in-one-spot skills. How do you manage to get great photos of them regardless?
Q: When you’re shooting for your Animal Print Shop series, how many shots does it take to get that one incredible photo? 
Q: Can you describe a shoot (let’s say one from your Animal Print Shop series) in 5 steps? Give us an idea of what happens start to finish!
Q: What is having a professional team like? Are you ever like, “I wish it was just me?” 
Q: You’re pretty much running your own business as a photographer. What do you do a lot of now that you didn’t realize you would be doing when you started?
Q: In commercial photography how much creative free-reign do you typically get? We’re guessing you’re working with clients’ marketing teams and maybe stylists — how collaborative is it?
Q: When you want to photograph your own stuff, where or who is your favorite inspiration? 
Q: We see you’re on Instagram. (OMG wolf puppy!) Do you have any favorite apps or tips?
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