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EPNet News
a publication of the Equine Photographers' Network

August 15, 2002
Volume 2, Issue 8

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Business Practice

Know Thy Subject & The Wishes of the Client

If you want to be successful in equine show photography you must know your subject and know it well. Each breed of horse must be represented visually to meet the described standards of that breed including variations of gait as well as conformation - e.g. a flat or Roman face is desirable in a Spanish breed horse but would be a fault, or against the breed standard, for an Arabian. The various equine disciplines also value different places in the gait sequences in terms of what is felt to best portray excellent performance for a specific discipline - e.g. a great park trot is vastly different from a great dressage trot. Riders do not want to buy images showing the worst of their bad rides. Even in the worst rides, there will usually be a few moments of good movement (maybe not spectacular but acceptable & not completely incorrect) BUT you have to know when that's happening and/or how to frame properly to minimize any errors in order to capture it and you have to watch every stride of the ride to see it. This is where studying your subject or discipline is so very important. If you don't know what is correct & desired for the discipline or breed, you'll just be shooting on chance and you certainly will not look like a pro when your work is seen.

Without real knowledge, editing becomes almost an impossible task. But merciless editing also is a large part of being a success. As a professional, you should not show the outtakes that are not correct. About half or more of the frames I shoot are throwaways and this is common amongst equine photographers. Critical editing is really important and this is true for each and every discipline and breed.

Recently a client said: "Videos are great for the instruction on what is going wrong & what is going right. But photos are like inspiration - you get that beautiful shot of you & your horse, even if it was just one moment in an otherwise terrible ride, and you look at it and you think: 'Yes! This is how good my horse is!' and the photo is encouragement and something to keep you going towards the next good ride because you know you can do it as the photo proves." Wisdom straight from the horse's mouth....

If you are aiming to provide quality show photography, study your subject and don't stop studying - only the dead quit learning. Edit out your bloopers or so-so takes. Remember that the client is looking for a shot that will be an inspiration to achieve even higher goals and your job is to provide that through your work. The rewards are there and are really great when you can provide that inspirational image clients are looking for.

Kathleen Wattle
Captive Spirit Photography
"Capturing the essence . . . for Business or Pleasure" www.captivespirit.com


Inspirational Moments . . . 

"A horse is a thing of such beauty...none will tire of looking at him as long as he displays himself in his splendor."

- Xenophon

DIGITAL CONNECTION:

The Positives of going Negative-less
A report from the field

Since I recently purchased the Canon 1D and have tried it out in the field, I've been anxious to tell everyone how the experience has been. Typical of experiences that exceed any possible, conceivable greatness, one word won't suffice, so get ready for a read!

First of all, I no longer have to fumble with film. Hitting the end of the roll at the most inconceivably inappropriate time is a thing of the past! You get used to this (hitting the end of the roll) and you learn to live with it. It's not until you have switched to digital that you realize what a nuisance that was! Gone! Just keep shooting! No cursing, no fumbling, no missing that perfect shot! Gone!!

Second, Keeping track of individual rolls is also gone. Yes, I do have to write notes that track each horse, but that's much easier than doing only that (as well as keeping track of each roll). There are a couple of ways of doing that, and I won't go into it here.

I can change film speed, frame to frame. Can you even imagine how convenient that is!? Have you ever shot during a day with constantly passing clouds, bright sunlight, and dark shadows!? And speaking of shadows, I couldn't help but notice right off that digital is much less contrasty than film.

And speaking of film, I'm not wasting any. I shoot whatever I want, take a few seconds to sneak a look at the results, and delete what I don't want. Simple.

The peripherals mentioned above include extra batteries for the camera and the laptop, the 550 EX flash, a couple of 512 MB flash cards, an Apple laptop (OS X, classic and 9.2, 800MH, 40 GB, 512MB of memory, modem, CD/DVD burner, Airport) and a Canon S9000 printer.

It's enough of an outlay all at once to make me feel faint. I've been debt free for several years and it's a delicious feeling, but I had to have the camera. It only made sense, so here I am now, back in the world of reality, but it's OK. This camera and all the benefits it bears are more than worth it. I couldn't have known that without having gone this route.

Continuing on about the camera: the current state of digital is so much sharper than film could ever be! I never knew that was possible, so looking at the first images was a real high. Now, a thousand captures later, I'm still high. Can you tell?
:o)

Used to be that whenever I took a picture, I'd think to myself that I could fix the background later. It involved scanning, of course, but that was OK. Really, Desktop Printing was a marvelous invention, and I really appreciate what it's brought me over the years. However, I DON'T HAVE TO SCAN ANYTHING ANYMORE! One less step in the workflow, and it's a great big one.

Another thing that blew me away was the color calibration. In my office I work (image manipulation and ad design) on an old G3 and even older Epson Stylus 800. Getting them to output something similar to the final output from the printer was always a challenge. We got it worked out, but it varied from time to time, especially whenever I did a reinstall on the harddrive. Now, I'm very pleased to announce that the camera, PhotoShop, the laptop and the lab I use all agree, first time. The capture comes out in print the way it looked going into the camera. Gone are the days of frustrating struggle to get everything to work on the same level of color, contrast and exposure.

Creativity is increased, too. When I was shooting film, people used to say that the film was the cheapest part of photography. Those people were uninformed, but they said it anyway. It was partly, somewhat true, but I spent more on film per year than anything else when I was doing shows. That frequently kept me from shooting everything I saw (or thought I saw). Now I don't have to even think about that. I just fire away.


And that's another thing about this particular camera: its response time is faster than I'm accustomed to. I used to shoot the 1v, Canon's top of the line film camera. It was (and still is, really) the perfect film camera. Quick and all that, but once I picked up the 1D, I found that I had to wait an instant before pushing the shutter. At Gladstone (June) when I was borrowing the 1D from Canon, I found that many of my pictures came out an instant sooner than I wanted. This was unheard of! I had to retrain myself to use the 1D, to learn to wait just the tiniest fraction of a second before releasing the shutter. It's very, very responsive. I'm not complaining; I'm marveling!

Used to be that whenever I took a picture, I'd think to myself that I could fix the background later. It involved scanning, of course, but that was OK. Really, Desktop Printing was a marvelous invention, and I really appreciate what it's brought me over the years. However, I DON'T HAVE TO SCAN ANYTHING ANYMORE! One less step in the workflow, and it's a great big one.

I can select the resolution, too, both in the camera and in the computer. I'm still learning about this, so I can't explain it fully. I just know it's true.

Well, that should about....no, wait, there's more! I nearly forgot...

Not only can I change "film" speed, I can also change "brand names." That is, I can switch the "look" (actually called "matrix" on the camera), switching, for instance from Kodak Royal, to Kodak E100SW to Fuji whatever, to Portra, on and on, and from frame to frame. And not only can I do those two things, I can also switch from exposure to exposure. That is, from bright sunny, to shadow, to flash, to neon, to tungsten.......well, you get the picture. (hah, hah!)

In review, going digital for me is going to turn out better pictures and save time and money. Now I ask you, what else is there?! How can you possibly make your business more profitable than to save time and money, while making better pictures, to boot! Go digital! It's awesome.

Susan Sexton
www.susansexton.com

P.S. If you do go digital, the first and most important thing you want to check is the time lag. That was most important to me, and it's why I spent $5,100 on the camera, alone. Ask around, but particularly, talk to people who own both the Canon 1D and some other kind of digital camera. These are the only people who really know what time lag is!


The Vintage Image
Haying took up alot of time during the summer. Many farmers would gather together and help each other hay until all fields were done. This is my great-great Uncle W. J. Schmekel haying in the 1920s in Wisconsin. Notice the fly sheets on the teams in the fore-ground.

Wendi Ross
"Have Camera...Will Travel..."
Blue Ribbon Photography
http://www.qualityponies.com/equinestartpage.html

Spotlight:
Behind the Camera

Stephen E. Lasko Photography


The people behind the photos:

Candace and Stephen Lasko of Dubach, Louisiana

We are relatively new to equine photography as a specialty, but the shows I’ve worked with seem to have done quite well and since we’re both associating with the “first love” of our lives it looks like a fun future is ahead for us. My wife, Candace has had a passion for horses since she was a horse-crazy kid in Sandy, Oregon. She’s trained and worked with horses & people (western pleasure) for most of her life. We still have the grand kids of her high school graduation gift: Kaylor (see EPN home page opening slide show) and El Milagro, both Appaloosa/Palomino mix and a beautiful Appaloosa named Arizona. All are now well-loved pleasure horses. And I'm ecstatic to be back behind the lens again!. I've had a camera in hand since '67, when I started shooting for my high school paper & year book. I've used everything from the obscure "Exacta", which most people have never heard of, to the Mamiya C series, 2 ¼ x 2 ¼ which I sorely miss. I started to turn pro in ‘71 when my equipment was stolen during a riot in San Antonio. The lesson is to NOT try to shoot a riot while still IN the riot. I started replacing that equipment with a Canon F1 in '72, earned a few awards & prizes, ooo's & aaaah's, and that's about it. I went into engineering work after serving in the Air Force and have been in technical fields ever since. About a year ago, I started building up my digital equipment and our new business to provide photography at equine events. I do have a limited edition in print and a couple more in process, but we've mostly enjoyed covering the shows as it allows us to work together.

The way we work:

We shoot strictly digital as a team. Candace works with me at the shows and handles the photographers booth. She prints proofs throughout the day to make them available for viewing, sometimes within minutes of the ride! We use four digital printers, each of which can handle high resolution proofs at a rate of one every 90 seconds. Later, all photos are enhanced by computer and posted on our photo gallery pages created specifically for each event for participants convenience. This has proven to be especially important to our business as some participants must leave before those last few proofs are ready. We make the photos available up to 20” x 30” and can also put them on coffee mugs, mouse pads, desk clocks, etc.

 



The equipment we use to shoot shows:

I’m presently using a Canon D30 digital SLR, and find that most of my work is done with a Canon 70-200mm f2.8, L series lens with image stabilization (IS). This is a top of the line Canon prime lens and it really makes me look good! I also occasionally use Canons 28-70mm, L series for close up’s (portraits & awards) & some candids, and a 75-300mm IS lens (not a prime lens) if lighting conditions are good and I need the extra reach. My 2X converter doubles the focal distance of any of them. My standard flash is also a top of the line Canon (so I guess you could say I’m a Canon fan), and my pro-flash is a Quantum X2, good for 200 to 400 watt seconds.

The future possibilities:

All in all, we’ve had a great time this year. We’ve enjoyed the people, the ambiance of the show ring and we especially like working together. The response to the photos we’ve taken at these events has been tremendous. Since our daughter recently graduated college and now lives in Portland, Oregon and our son is preparing to enter college this fall, we have been tossing around the idea to sell our 52+ acres and outfit a motor home to take our business on the road. Working and traveling together sounds like a great way to handle the "empty nest" syndrome.

Stephen E. Lasko Photography
P.O. Box 1736
Ruston, LA 71273
318-251-0210 Office
866-571-6464 Toll Free
318-251-0340 Fax
slasko@bellsouth.net

Photo Tip . . .

Many photographers carry a wide array of gadgets for help in getting a horse's attention, getting a more animated expression and for making the horse's ears come up. Although the rocks in the can and the plastic at the end of the whip are probably the most commonly used tools, here are some other "tools" photographers like to have handy; mirrors, squeaky toys, a talcum powder container that can be squeezed to produce a puff of "smoke", tape recordings of horse whinnies.
Very important in this process is to not let the horse see or hear these until everyone is in position for the photo!

Carien Schippers
www.imagequine.com


©Carien Schippers

»This Just In...«

The Equine Photographers' Network now maintains a list of assistants and apprentices for it's members. If you wish to work with a Network photographer please contact Carien at carien@catskill.net for more information on how to be added to this list.


The mission of EPNet News is to inspire, educate and reinforce
the importance of integrity and professionalism in business practice.


Editor
Rebecca Baucus 
Assistant Editor
Kathleen Wattle
Assistant Editor
Barb Young
Staff Writer & Logo Design
Deb Barone
Contact Editor to Submit Article Suggestions or Comments
Copyright, 2002, Equine Photographers' Network. All rights reserved.
As a publication of the Equine Photographers' Network, the EPNet News does not guarantee the accuracy, adequacy or completeness of any information presented. One Horse Productions, the staff of EPNet News, guest authors of the EPNet News and current members of the Equine Photographers' Network are not responsible for errors, omissions or for results obtained from the use of such information. Any reference to specific products, process, or service does not necessarily constitute or imply endorsement of such. All photographs and illustrations on newsletter are copyrighted through the respective photographer/designer and the Equine Photographers Network through publishing in the EPNet News .These images are not in the public domain and may not be posted on personal or commercial websites or correspondence or used in any manner without obtaining permission of the copyright holder. For more information on images contact EPNet News Editor.
Editor: rbaucus@chartermi.net

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