HORSE
PHOTOGRAPHY
Lynette Smith
LESSON SIX
Setting up the Pose
I. The Rule of Thirds
II. What are Your Objectives for the Photo?
III. Framing the Subject
Stick to
the basics
Know your
subject
Get the
best angles
Expression
Background
Light
Helper/Assistant
IV. Point of View
Depth of
Field
V. Equine Photography Tips
VI. Elements and Fundamentals of Composition
VII. Photographing the Horse In-Hand
Practice
Tips for
Photographing Conformation
VIII. Headshots
IX. Action Photos
Movement of the Horse
X. Photographing In Indoor Arenas
XI. Understand the Different Disciplines.
I. The Rule of Thirds
One
of the major rules of composition in photography is called the Rule of Thirds. The Rule of Thirds goes back to the
days when Greek artists discovered and applied it.
This
“rule” applies to everything: landscape, macro and portraits with the classic
portrait being the exception.
What
this means is that instead of placing your subject (main focus point of
interest) in the center of your frame you put it on an intersection of thirds.
The rule of thirds says that before you capture your subject, you
should consider how the composition would look when you split it into thirds both
vertically and horizontally. In studies it has been noted the point of
intersection for these thirds is typically where your eye first travels when
viewing an image. So separating the image into thirds creates a natural
compositional element.
By
using the Rule of Thirds it will help create and produce well-balanced images
that are easy on the eyes. You want to
remember to position things relative to the edges of your frame so you do not
end up with a vast empty area.
One
last thing to remember about the Rule of Thirds is that once you get the hang
of it, you will most likely want to break it quickly. If that happens, it’s completely fine! As we’ve discussed before, photography is
subjective and doesn’t follow a set of rules that are always “exactly” the
same. Rules are great for guidelines,
but you may find you can shoot better, more creative images by bending or
ignoring the rules. If that’s the case,
shoot away.
Although
the Rule of Thirds is fairly structured, there are many great methods you can
utilize to 'see' things and combine them into your composition.
You’ll
also find there are some rules that are “unbreakable”, such as: always use the
correct exposure, don’t allow blur to ruin your images, always adhere to the
rule of thirds for pleasing compositions etc.
But,
when you feel really comfortable with your photography, break some rules and be
creative.
However,
before you break the rules it’s important you know why you
are breaking the rules and how that will ultimately impact the viewers
experience with the photograph.
If we always followed the rules, then all photographs would look
the same, have the same feel and frankly be boring. Learn the rules and then learn how to break
them for better photographs.
To learn more about the Rule of Thirds here is a great reference
site: http://photoinf.com/General/KODAK/guidelines_for_better_photographic_composition_rule_of_thirds.html
II.
What are Your Objectives for the Photo
I recently had a
photo inquiry from a high school senior wanting photos of herself with her
horse. She was on a tight budget and
decided she couldn’t pay my fee, so she chose another photographer.
Sadly for everyone,
the photos didn’t turn out well. The
client isn’t happy, so the photographer has to re-shoot the session. If you expect to make a living as a
photographer, this isn’t a good scenario.
Taking time out of
your day to re-shoot a session is both lost time and money.
My guess after
looking at the photographer’s work is he/she didn’t have a clear objective.
One of the best
ways to avoid this scenario is to be sure you have a clear objective prior to
doing the photography work.
The first consideration when
working for a client is to know what the client wants…..what is the client’s
idea of the perfect photo?
A common problem
within the equine industry is an experienced photographer who has absolutely no
experience with horses or an inexperienced photographer who knows a great deal
about horses.
You must know your
craft. This course is about
“photography”. No matter how much to
gain from this course, you’ll continue to learn about photography if you want
to be successful.
The same is true
about horses. No matter how much you
already know, you’ll continue to learn about horses if you truly want to be
successful.
Know your craft
which is “photographing horses.”
You must about the
different disciplines, breeds and events in order to be able to understand the
“clear objective” for the photograph.
Knowing about the breed of horse you love and the events you love is not
enough…you must learn about all breeds and what they do.
You don’t want to
do is show up to a photo shoot with no objectives or ideas for what you’re
going to do. Your client will figure
this out quickly and you will lose your credibility. Study the event so you know what it’s all
about.
When photographing
horses it’s important to know what angles work best, how to position the horse,
how to position a horse’s legs, the subject with the horse, the horse’s head
etc. If you have a horse at a certain angle
they can look distorted and out of proportion.
Their head can look much bigger than it really is.
Don’t focus on the
composition of the overall photo and forget the conformation of the horse.
You need to
understand what looks appealing and what is unappealing, and the way you gain
that understanding is PRACTICE.
Take photos of horses
you’re around from every angle and you will quickly learn what side of a horse
looks better than the other as well as what angles work and which don’t. (We will cover some of these angles further
in this lesson).
Here are some questions to ask yourself
before you begin a photo shoot.
What exactly am I trying to
capture?
Am I trying to
document a specific horse?
Will the photograph
be used for a magazine article or advertisement?
Does the client
want candid shots?
Is this a snapshot
to remember the day?
Are the photos of a
horse or horse and owner?
Your objective will
determine your decisions, direction and the effort you will put into the photo
and if you will need help. You may find
certain situations may force you to change your objectives.
To know what the
client wants, ask questions.
Asking questions
really means listening to what the client is saying. If the client asks for photos of the horse by
water on a cloudy day – don’t take photos in a wheat field, in bright sun.
You must do your
best to satisfy the client while you put your creative spin on the photo.
Questions to ask your clients prior to a
shoot:
Do they have a vision for their images?
Do they have a special
location/setting in mind?
How will the photos
be used?
Are they creative
shots for their wall or conformation shots for registration papers?
When do they need
the final images?
Your goal should be
to create the client’s vision so the client will love it for a lifetime.
I cannot stress
this enough: the most important thing
you can do is “listen” to your clients. When
you know what they want, create a photograph that they will love.
Your objectives
will dictate other considerations, such as lighting, backgrounds, camera
settings and weather. You don’t always
end up with the perfect day for a photo shoot.
How will you work around bad weather?
Check the weather reports the day prior.
Do you have a “Plan
B”?
The horse will play
a big part in your minute to minute decisions.
Is the horse easy
to handle? Can you get his
attention? How do you get and keep his
attention? What is his best side?
The color of a
horse can also determine your background choices.
III.
Framing the Subject
Stick
to the basics when framing your subject.
The
majority of cameras use a rectangular frame. As you shoot your photos it’s a
good idea to shoot both landscape (horizontal) and portrait (vertical) to
provide different looks and options.
Experiment and don’t be afraid to think outside the box, looking for the
best possible way to frame the picture.
When
you frame a shot of the horse’s head using the classical “portrait” (vertical)
format, the ideal composition has the subject’s head near the top of the frame.
Don’t be afraid to allow a portion of the head to run off the frame. This makes
for an interesting composition.
Take
some photos of the subject not out of the frame as well. More options are better than fewer.
Fill
the frame; the horse should take up at least 50% of the photo.
Always
focus on the horse’s eyes when you shoot a portrait photo otherwise the image
will lose its effectiveness. As they say, “the eyes are your window to the
horse’s mood and soul.”
Know
your subject. Capturing the horse’s personality
is the overall objective. Try to allow a
little time to get acquainted with the horse prior to the photo session. You can also get great photos when horses
come in for feeding with them focused, attentive and ears forward.
Get the best angles when posing the
horse. A common error is the “big head, small rump” caused by a
wide-angle lens which tends to distort things by making objects nearest the
camera look bigger and objects farther from the camera look smaller. To reduce
this error, use your telephoto lens and stand farther away from the horse. When taking a “side view” make sure to stay
perpendicular to the horse avoiding distortion.
Other good angles. When a horse is cantering
and you want to show movement or speed, capture the image the moment the horse
extends his leading fore leg. To show power, take the photo the moment the
horse has all four legs under himself or when the front legs coming up to
extend once again.
To
get a good trotting picture, capture the image when the front leg is fully
extended.
Finally,
when a horse is walking, he will look calm and relaxed when a front leg is
lifted to take a step.
Getting the right expression. Ears up! A picture of a horse with its ears back, down, or to the
side is unflattering to any horse.
Unless you are specifically capturing a horse's emotions where the ears'
being back or down is appropriate, you want to make sure the ears are up. This is where an assistant will come in handy
by having someone rattle a container with cookies, grain, a dog squeaky toy,
another horse walking by etc. You may
have to shift the items to get the expression if the horse starts to appear
numb to the noises.
Choosing the background. It’s important to decide before the
photo shoot what elements of the background will
have an impact in your photograph. If the background is too busy, the horse may
not stand out as the main subject. You
also want to keep your composition as tight as possible, while showing a little
background to tell a story. I recommend keeping the background detail to a
minimum that balances the color of the horse. For instance, if the horse is
dark and the background is dark there may not be enough contrast to “pop” the
horse in the image. Light or white backgrounds work very nicely for
photographing darker horses. Darker backgrounds work great for lighter
horses. Objects in the background should
not look like they’re sticking out of your horse’s head etc. Be mindful where things are in the background
in relation to the image you’re shooting.
When you increase Depth of Field, your subject is sharply focused while
the background is blurred. A shallow
depth of field is when both the foreground and background appear to be in
focus. Try using a large lens aperture
(a low F-stop of f 2.8). to get your both the main focus point in sharper focus while the surrounding
photo will be less in focus making your subject pop out of the picture.
Finding the right light. We wouldn’t have pictures
without shadow and light. More than any element, lighting and shadows provide
the strongest impact on the mood of your photos. If you have too much light
(brightness) you will wash out your subject, and if you have too much shadow
everything is lost in darkness. Try to take outdoor photos on a
relatively cloudy day or try to have your horse in the shade of a tree or
building. Direct sunlight can cause harsh shadows. If you are unable to stay
out of the sun the next option is to use your camera’s flash-fill function to
reduce the harshness. If you’re taking your photos indoors, position the horse
next to a window. North-facing windows are a great option because the light is
diffused.
Using a helper/assistant. Ask a friend to assist when taking
photos of horses. They can help by
making a noise or waving a plastic bag to get the horse's attention. Prior to using the devices be sure the horse
is “okay” with the item and doesn’t become explosive endangering rider or
handler.
IV.
Point of View
Depth of field (DOF) summed up in one
sentence is the distance in front and beyond the actual point of
focus that appears to be sharp. Three
factors come into play: lens aperture, focal length and how far away you are
from the subject.
When
you focus your camera lens on a subject, you are unknowingly including a
greater area in focus. Each aperture
setting provides a different depth of field.
How
is depth of field determined? A small
aperture like f/11, f/16 and f/22 will give you the greatest depth of field
where large apertures like f/2.8, f/2 and f/1.4 will provide very little depth
of field.
Depth
of field will also depend on the camera-to-subject distance. Using the same aperture, the depth of field
will be shallower if you focus on a nearby object than if you’re focusing on
one that’s further away.
By
focusing closer on your main subject you can include more foreground than
background while keeping your subject within the depth of field. The reverse is also true.
If you want to isolate your
object from the background for portraits, a short depth of field may prove
appealing. When you want the entire
horse, landscape and background in focus then a large depth of field is a good
choice.
Depth
of field is personal preference when determining the appropriate
DOF to enhance an effect in a photograph.
A
wide-angle lens has greater depth of field than a telephoto lens.
Aperture f2
Example 1 –
Larger Aperture 2.8 - narrow depth of field in focus – shallow (telephoto
lens). You’re photographing close so the focus is shallow and the background is
blurred.
Aperture f16
Example 2 –
Small Aperture f11, f16, f18, f22 will be most sharp and in focus with a deep
view (wide angle lens). You are
photographing far away so your focus is deep and everything is sharp and in
focus.
When
you want to maximize depth-of-field and have as much sharpness to your image as
possible, use a wide-angle lens, set a small aperture and stand back from your
subject.
To
minimize your depth-of-field with only a small area of the scene in sharp
focus, use a telephoto lens, a large aperture, and move in closer to your
subject.
V. Equine Photography Tips
Here are a few quick
tips to help make your picture taking a success!
·
Watch the background; look
for simple backgrounds to minimize distraction.
·
Explore the variety of
viewpoints available for your subject. A low angle, looking into the blue sky
can produce a simple and pleasant background.
·
Subject placement in the
frame; off-center placement of your subject creates a dynamic balance. Lens
choice; normal (50 mm) or wide angle (24, 28 or 35mm) allows moving close to
subject.
·
Telephoto or telephoto zoom
(70-210mm) for details out of reach. Keep your camera steady! Gently
squeeze the shutter release for sharper photos. Keep shutter speeds
fast! Faster shutter speeds, such as a 1/250 of a second generally
provide sharper pictures when using telephoto lenses and hand-holding your
camera.
·
Use a wide aperture setting
to soften distracting or ugly background detail.
·
The smaller the aperture
setting, the deeper the depth of field.
·
The size of the aperture is
indicated by f-stops, which are typically displayed on the barrel of the lens.
·
The larger the f-stop, the
smaller the lens aperture.
VI.
Elements and Fundamentals of Composition
Typically, amateur
photographers do not take the time to learn the basics of good photography and
continually make the same fundamental mistakes in their composition. Once
you understand a few guidelines, it’s not that difficult.
Composition
refers to how you arrange the visual elements in your photograph. The first
rule of good composition is the rule of thirds, which we’ve discussed.
When
planning your shots, use as many background elements as you can find.
Experiment with the best layout, move your subject(s) around into different
thirds of your grid. If there are linear elements in the background, such
as fences, trails or roads, these can be used to lead the viewer's eye right
into your photo. This can work best when they are placed at a diagonal
across the entire picture.
After
you’ve found the best composition and taken your digital photo, be sure to
culled and clean up the final image(s) by cropping out unnecessary
objects. Look at the photos and see if there are things in the field of
vision that don’t belong or may distract a viewer from the photo's main
focus.
Good
photos are seldom created by chance. To make the most of any subject, you must
understand the basic principles of composition. The way you arrange the
elements of a scene within a picture will catch the viewer’s attention, please
the eye, or make a clear statement.
By
developing photographic composition skills, you can produce photographs that
suggest movement, life, depth, shape and form.
Some
of the principles and elements that make good or correct composition are:
·
Center of interest
·
Subject placement
·
Simplicity
·
Viewpoint and camera angle
·
Balance
·
Shapes and lines
·
Pattern
·
Volume
·
Lighting
·
Texture
·
Tone
·
Contrast
·
Framing
·
Foreground
·
Background
·
Perspective
As
you experiment with these principles of composition, you will soon discover
some are very similar and overlap one another.
Composition Tips:
·
Hold your camera at the
main object's level. Taking a picture from above or below with horses can
create an unusual distortion that you may not want.
·
Typically, the main
source of light should be placed behind you. Taking photos when the light is
between you and your subject can create many challenges.
·
Use dark backgrounds for taking
photos of light colored horses and light backgrounds when photographing dark
horses. This will keep the horse(s) from
getting lost in a background. A solid
white background will cause flare effects and can reduce the contrast of the
image. When the main object of an image is located on the long shot, the whole
image will look better if the foreground objects will be taken into the image
as well.
·
When photographing a
moving horse, save some space in front of the horse so you “feel/see” the
movement in the photo. If the horse is
moving from left to right and is to the right of the image it won’t look like
he has the right motion or movement.
·
Don't be afraid of
breaking rules!
VII.
Photographing the Horse In-Hand
Photographing for
conformation includes a great deal of information related to each specific
breed. You should know as much about
horses as you can learn….understand what breeders and exhibitors are looking
for, and know the terminology. There is
a great deal to learn about photographing for conformation and in this lesson
we’re only going to have a brief overview.
You must learn about the breeds you will be
photographing and have a complete understanding of the breed’s conformation
standards.
Photography poses
for conformation are not the same for every breed or horse. Know what is acceptable for that breed and
develop an eye for what is appealing.
Then attempt to re-create it in our photos.
If you do not know
the breed standards, do not accept an assignment to shoot for
conformation. It is better to turn down
an assignment than to have a very unhappy client.
Learn the
terminology of conformation.
Equipment needed includes
your 70-200 zoom and most likely you will shoot the images over 100mm if you
are shooting straight from the side. The
telephoto lens is almost a necessity for everything but profile poses.
Using a wide-angle
lens could show distortion. The more you
practice, the more you will see and learn what works and what doesn’t.
Take photos from
different angles too. When photographing
the side of the horse, keep the horizon line above, in the middle and below the
horse by moving from a standing position to lower and then almost kneeling. This will give you an idea of what you like
as well as provide you with various angles to show the client.
Keep notes: jot
down where you stood for different shots so you can see what worked and what
didn’t.
Practice, practice, practice.
Most importantly
your photo should be balanced and provide an complete
view of the horse’s conformation.
There is a lot of
information on the Internet about horse breeds.
Here is one reference site (but there are many more) http://www.horses-and-horse-information.com/horsebreeds.shtml. Read industry, breed or event publications to
help you learn more about what is considered an appealing conformation image.
Tips for photographing conformation:
·
When you photograph the horse, you want to show the neck and
withers of the horse. A good way to do
this is by moving the mane to the opposite side of the horse’s neck. Another option is to have your client braid
or band the mane.
·
Make sure the horse’s tail is out of the way when photographing
the rear shot of his hind legs. Great
alternatives to having someone hold the tail out of the way while you take the
photos is to have the tail braided or clip it up out of the way.
·
Make sure the horse has been groomed before taking the
photos. You don’t want mud on him, goo
in his eyes, a drippy nose etc. A
groomed horse always takes a much better photo.
·
Only use a halter or bridle so you don’t obscure the view of the
horse. No boots, leg wraps either. You want to really “see” the entire horse
without anything being hidden by tack.
·
Help is always a good idea.
Someone to hold the lead rope, a cookie or carrot to get the horse to
stand, look or move where you need him.
·
Make sure the lighting is complimentary to the horse. If there are too many shadows the form and
muscles of the horse may not show properly.
·
When possible stand on level ground and make sure he’s
squared. You also do not want the horse
looking to the side; you want to see the neck clearly so have the horse looking
straight ahead. Don’t stand above a
horse. Get down where the camera height
is about level with the horse’s midline.
·
It’s important to photograph the horse directly from the sides and
directly from the front and behind.
·
Avoid backgrounds with a lot of clutter or that are “busy”.
·
Photograph from the direct side of the horse or slightly to the
rear.
·
Make sure you photograph with the horizon below the top-line of
the horse’s back.
·
Morning or afternoon light when the sun is somewhat low in the sky
is best.
·
Keep the sun behind you.
·
The horse’s should be standing directly over his near fore and
have the off legs slightly forward and under him (You can see photos with the
link above).
·
You will also want to take direct front and hind shots that show
the legs and complete conformation.
·
Always make sure the ears are forward and alert (it’s a
plus). Squeaky toys, cookies in a
bucket, plastic bags etc. can help.
Take many photos
and expect only a few very good ones.
VIII.
Head Shots
Head
shots of horses are basically a portrait of the horse. The "head
shot" or portrait is a great way to show off your horse. A beautiful head is one of the most important
aspects of horse conformation.
Ideally
you want the portrait to show a clean, bright eye. You will want to use a lens with a longer
focal length like your 70-200 mm.
Photographers who specialize in conformation shots typically shoot a 200
focal length for head shots.
Keep
your horse in clear focus and make sure there are not a lot of back ground distractions; if there are be sure they are out
of focus.
I
will take several photos by moving 10-20 feet away from the horse and kneeling
down so the background is clear sky, trees or a hillside. I may also stand on a ladder or fence rail
photographing a bit down to get a more artistic pose.
When
photographing head shots soft light works best; shoot in the early morning or
late day.
Using
a flash can brighten the eye and add a sparkle to the eye that you don’t get
without the flash. Make sure you’re far
enough away so you don’t get the “glow eye” from the horse.
Horse
head shots can be horizontal or vertical; there is no “set” way.
It’s
important the horse has been groomed and his face, nose and eyes are all
clean. Have a towel handy just in case.
Learn
how to distort the head when taking photos so you have a good idea how not to
distort the horse’s head shots.
Don’t
fill the frame with the horse’s head; you can always crop.
If
you don’t include enough of the neck in the photo, the head will tend to look
distorted or oddly large.
Always
choose the right lens for the job you are doing. You may have to experiment, so keep
notes.
Tips for photographing head
shots:
·
Choose a good location where there is
little or no clutter in the background.
·
Pick the right time of day (early
morning or late afternoon when the sun is behind you and shining on the horse.
·
Properly groom and clean the horse
according to its breed and discipline.
Make sure the halter is clean and not damaged. Also, make sure the halter compliments the
horse. (I always have a plain black lead
rope and halter with me just in case.) You’d be surprised at how many horse
owners do not have a clean halter or lead rope.
·
Show halters should fit snug on the
face.
·
If you understand how to use the
camera’s aperture by setting the f-stop, photograph with a low number like 3.2,
3.5 or 4 and this will make the foreground sharp and the background fuzzy. You can also use the portrait setting on your
camera for a similar effect.
·
Having an assistant can prove
handy. Have the handler hold the horse
on a very loose lead (you can edit the person out later). Your assistant will work on getting the
horse’s attention, but only when you’re ready.
·
Compose your photo. Make sure the photo shows the ears, nose and
some of the back and chest. Leave room
above the ears for cropping if needed.
Make sure you can see one eye fully if possible and a shape of the other
eye. A slight angle is preferable for
most horses versus a full profile or straight on headshot.
·
When you’re ready to take the photo
have your assistant start getting the horse’s attention. When the ears are forward start taking your
photos (take lots of shots). Keep taking
the photos until the horse or the assistant wears out.
IX.
Action Photos
Photography often tells a story and this is
particularly true of action photos. A photo can document the struggle to get
ahead or the thrill of competition, the glory in winning or the agony of losing.
Equipment, planning and technique help you get
a great horse action photograph.
Action
photography requires a faster shutter speed than still photograph so you can
“freeze” the action. The shutter speed
is the time the lens aperture is open and gathering light. The faster a horse is moving the faster the
speed must be.
You will
need a digital camera that offers fast shutter times (at least 1/8000 a second)
and continuous shooting. Most action
photographers recommend the shutter speed be at least /1/500th of a second.
The classic
trot shot is the profile in action. The
horse is parallel to the camera. The
trot is a two-beat gait and you want to capture the horse’s feet when they are
at the point of the greatest extension.
The canter
or lope is a three-beat gait. The horse
will look more graceful when the weight is on the hindquarters or when all four
feet are off the ground at the same time.
With so
many of the different riding disciplines, it takes a lot of study to perfect
your craft. What you photograph for a
reining event is different than the look of a dressage photo.
Understanding
the movement of the horse is important to help you know what “looks” correct
and what doesn’t. Asking questions,
reading magazines and even talking with people from the event will help you
improve your work. People are always
thrilled to talk about their horses and discipline and what “looks” the best,
so don’t fail to ask.
A zoom lens
is handy for action shots as it will help you fill the frame.
I find that
at least half of my digital photography depends on “catching the moment”. Digital cameras make photographing action more difficult because of “shutter lag”
time. “Shutter lag” is the pause that occurs between the time you press the
shutter button and the time the camera actually captures the image. You might push the button to take a photo of
a moving horse, but the horse is out of the picture before the camera captures
the photo. Being aware of the shutter lag will help you time your shot and help
you understand how much anticipation you need.
Most digital cameras have a certain amount of shutter lag; it is more
apparent in compact digital cameras than in digital SLR's.
The best
way to capture an action is to first ANTICIPATE it. Estimate when and where it
will occur. Second, get to know the timing of your camera’s shutter button! All
digital cameras have a two-stage shutter button. Most importantly, practice.
Movement of the Horse
Understanding
the movement of a horse will help you take better photos as you’ll have a better
grasp of the correct timing and cadence to capture the right motion or
pose. Horse movement is referred to as
the horse’s gait.
Horse
gaits are the different ways in which a horse moves.
Learn to count the beats of
the various gaits while you’re shooting the photos. This will help you get the right image versus
missing the shot.
At
the walk the horse is moving in a four-beat gait that averages about 4 miles per hour. The trot is a two-beat gait that has a wide
variation of speeds, but averages about 8 miles per hour. The canter is a controlled, three-beat gait
that usually is a bit faster than the average trot, but slower than the
gallop. Lastly, the gallop is very
similar to the canter, except it is faster and more ground covering.
X.
Photographing In Indoor Arenas
When photographing
inside, you’re dealing with a combination of things: bad lighting, fine dust,
background distractions and often shooting through a fence.
Arena
lights can cause the color of horses to have a “flat look.”
One of the
most important things you will need is a high quality
lens like a f2.8, 70-200. This lens
allows a lot of light into the camera to accommodate for the low light
settings. You will also need to adjust
your film speed. Remember, when the ISO
is increased, the fuzziness of the photo is increased as well.
I use my
f2.8 with 1/500 shutter speed (minimum). The aperture set to 2.8 and the ISO
anywhere from 1600 to 3200. With that combination I’m able to get a good
picture with frozen action. It’s a
matter of trial and error as well as practice.
Different arena’s photograph differently too.
When
shooting inside the lighting most often will be fluorescent or tungsten. You need to choose the lighting under your
camera options (You may see a cloud, sun, squares, etc.) refer to your manual
to determine if your camera has this feature.
If you don’t change the setting on your camera to accommodate the
lighting, the color of your photo may look “funky” or “off”.
Using a
“flash” has special considerations too.
The flash built on top of your cameras is not powerful enough to reach a
rider more than 10 feet away. In order to reach a horse in the ring you will
need a powerful flash unit.
Some
photographers use multiple high power on-camera flashes mounted on light stands
away from the arena. They are raised about 15 feet above the crowd, and are
aimed at the middle of the arena. The
flashes are triggered with a remote radio signal when you press the shutter on
the camera.
Using a
flash can give horses’ eyes that “glow”, and correcting that takes a lot of
editing.
Using a
flash for action events usually doesn’t work since the “flash” often doesn’t
reach the action subject.
And photos taken with a flash are often not
flattering to the subject. There is also
the possibility of the flash spooking the horse.
If you are
going to be shooting for a long period of time, use a tri-pod or monopod. Holding a camera for hours on end will wear
you out. The bigger the camera, the heavier
it is, the more difficulty you’ll have handling it, and that eventually means
mistakes from fatigue.
When
photographing indoors, I like to stand on a rubber mat; standing on a cement
floor for 10-12 hours is really hard on your back. Changing shoes a couple of times during the
day will also help prevent fatigue.
A small
point and shoot camera with a fixed lens is not going to take the same indoor
arena photo that a Digital SLR camera will take. The small point and shoot camera with a fixed
lens will pick up the fine fuzzy dirt, steam and other elements that you do not
want in the photo.
XI.
Understand the Different Disciplines
If
you don’t understand the different disciplines and what is considered the
“essence,” then getting photos that will “sell” will prove challenging. Your photography will impress riders and
competitors only if you know “how” to capture the timing, angle and movement of
a horse in the specific discipline.
Each
discipline looks for different things.
Dressage enthusiasts may want a nice collected “pretty” image whereas a
cattle cutter may want a photo of their horse “down in the dirt”.
It
takes time and effort to learn to photograph any of the disciplines, son learn
all you can by asking questions and practice, practice, practice.
ASSIGNMENT:
Your assignment will
be to photograph 3 different types of images. You can use the same horse or
different horses. With each photo submit the technical information (ISO,
shutter speed, aperture, focal length). Please do not use the auto or program
mode in your camera it will defeat the purpose of learning.
1. Conformation Photo
– photograph one horse at halter that would be an image someone could use to
sell their horse.
2. Head Shot – get
creative it doesn’t have to be a standard “head shot”. Could be informal, head
and neck or an action headshot.
3. Action Shot -
Photograph a horse at the walk, trot and canter. Informal in a pasture or at a
local event.
Submit your “best” photo from each category
Please send your
assignment and pictures to info@lynettesmith.com