CHAPTER 9: PHOTOGRAPHING HORSES AND OTHER ANIMALS

I welcome the opportunity to photograph animals of all shapes and sizes. While dogs are the primary type of pet I tend to photograph, horses and other types of animals have also become part of my life as an animal photographer.

This chapter primarily focuses on horses, but it will also cover some helpful tips on photographing other animals. I am here to support you in feeling prepared and confident, so you can creatively and logistically handle any pet you find in front of your lens.

Horses

Horses are elegant, beautiful creatures that, in my experience, have a very unique bond with those who adore them. I love photographing these magnificent beings, and I really enjoy capturing the powerful partnership between horses and their people.

To clarify, I am not so interested in capturing images of the owner riding the horse, nor am I keen on photographing horse events or competitions. While these types of photographs have their place and value in the equine world, it is simply not where my interests lie. I find it rewarding to capture the organic connection that emerges through emotion and sweet moments of interaction.

UNDERSTANDING HORSE BEHAVIOR

Horses are very large animals that might be intimidating if you are not used to being around them. They undoubtedly command respect, and I recommend developing a sense of their behavior before you start photographing them—for your own safety, as well as for others. Like other types of pets, gaining some basic knowledge of their mannerisms and general reactions will help you have a smooth experience and make more impactful images.

One of the things that held me back from photographing horses for some time was the misconception that I had to know everything about them. Not a rider or horse owner myself, I felt as if I wouldn’t be able to do the photographs justice, and I was definitely intimidated by the size and power of the animals.

In order to overcome my intimidation, I decided to enlist the support of my friend, Joy, who had multiple horses of her own and years of experience working with them. She shared loads of knowledge about how to interact with these beautiful beings. I gained valuable experience spending time around Joy and her horses, watching her interact with them. As my understanding of their behavior grew, my intimidation of horses transformed into respect.

If you have the opportunity, seek out someone in your community or network who may be willing to allow you to spend time watching them interact with their horse(s) and share their knowledge with you.

BEFORE THE SHOOT

When you are planning the session, start by simply asking the horse owner to tell you about the horse you’ll be photographing. If you want to prepare even further, consider doing a little research on the type of horse you’ll be working with. You don’t need to know everything about the horse ahead of time, but more knowledge is often helpful.

One high-value way to prepare is to find out about the horse’s temperament. Some terms that might be useful include: gentle, quiet, hot, spooky, nervous, easily excitable, or stubborn. Be aware that just because the owner may describe their horse as quiet, for example, it doesn’t mean that the horse is incapable of being frightened or of reacting to something that makes them uncomfortable. Knowing the horse’s general demeanor, however, will give you a good indication of how you’ll be able to work with them.

It’s a good idea to have a discussion with the horse owner about regular feeding times, so you can adjust if you’ll be photographing during that time. It can take a while for horses to eat, and if they need to eat in the middle of the photo shoot, you’ll be missing out on some valuable time. I find that having the horse fed prior to the session is helpful so that they have a full belly and aren’t agitated because they are hungry.

Ask the owner to either bring or have snacks accessible (like carrots or whatever their horse likes), or bring some yourself. Treats for horses can be perfect rewards and provide extra incentive during the shoot.

Unless you’ll be photographing the grooming process, kindly remind the owner that their horse should be presentable for photographs—brushed and groomed as needed, ready to go when you arrive. Bridles, halters, and leads should ideally be clean if they’re going to be included in the shoot. If the horse tends to have an issue with flies and typically requires fly spray, it’s a good idea to ask the owner to apply it before you begin.

The light in this barn stall was beautiful and made for an interesting background.

Ask about the location where you’ll be photographing, and if possible, scout ahead of time to gather ideas and set priorities for your session. Before the shoot, find out what the owner is looking for in the session. Here are some questions you may want to ask:

• Do they want a natural setting, a structure like a barn, or both to be featured?
• What important features of the horse or horses are they looking to capture? What do they love most about their horse?
• Do they want photographs of grooming and prepping the horse?
• Is there anything you need to know about the horse in terms of do’s and don’ts?
• Will the owner be included in the portraits?
• Is there any special activity or physical exchange that the horse and owner share that you might capture?

If the owner/rider will be photographed, I want them to feel confident about how they look. I suggest that they dress comfortably, but a little more dressed-up than they would be if they were just riding the horse on their own time. They may or may not choose to wear riding-specific clothing, and a helmet is really only necessary if they’re going to do a lot of riding.

BODY LANGUAGE AND SAFETY

There is a vast amount of information available regarding the behavior of horses, and as you dive deeper into the equine world, I invite you to research away. For the purposes of getting you ready to create photographs of horses, I will stick to some of the main factors I’ve found to be most helpful. When I photograph horses and interact with horse owners, I do not pretend to know more than I do about horses, but rather, ask plenty of questions and check in with the owner as we navigate our way through the session.

The most important element of safely photographing horses is to maintain awareness of your body language and energy and to notice how the horse responds as you interact with them.

A HORSE’S PERSPECTIVE

Horses’ eyes are on the side of their head, unlike dogs’ and cats’ eyes, which are on the front. Thus, horses have some blind spots that are important to be aware of as you’re moving around them while photographing. They can’t see directly behind them, directly below their nose, or directly in front of their forehead. As you approach and move around a horse, make sure they are aware of your presence before moving around any areas they can’t see. You can do this by talking to them, or you can introduce yourself to them from where they can see you, and maintain a connection to them with your hand. This way they can make a connection between the person they’ve met and the presence to the side of them or behind them.

Horses’ eyes are on the side of their head, not the front, like dogs’ or cats’ eyes.

The flared nostrils and tight jaw on this horse convey a fairly high level of intensity. The horse had actually just finished running in the round pen and was pretty excited! While excitement is certainly not a bad thing, it’s helpful to pay attention to these kinds of cues throughout the shoot.

It’s wise to stay out of the horse’s “kick zone,” which is anywhere in their blind spots where their legs can reach. Horses can kick out to the side and back behind them, so stay out of this area as much as possible. Remember, just because an owner has told you their horse has never kicked before doesn’t mean they’re not capable of it, especially if they’re startled.

EARS

Horses’ ears can provide very helpful information. Pinned-back ears (when they’re tightly folded against their head) generally indicate that a horse is upset or afraid. When their ears are turned to the side—just one or both—it can indicate that they are listening to something on the side or behind them. Forward-facing (perked up) ears can mean that they are listening to something in front of them and are alert. Perked up, forward-facing ears are generally the most desired for portraits.

I love creating images in which the horse’s ears are perked up and facing forward. This is not always possible, especially if I am working alone or if the horse just isn’t in the mood to perk up!

EYES

Relaxed horses have soft eyes that aren’t open so wide that you can see a lot of the white areas. If they’re really relaxed, they may even close their eyes. When I am photographing, I want to capture images in which the horse has relaxed eyes, and I will always pull images that show the whites of the horses’ eyes because they look too intense.

BODY

Like dogs, horses often exhibit their response to the environment and others through their musculature. For example, a horse with a clenched, tight jaw is showing nervous tension or stress. Ideally, we want to photograph and interact with horses that have soft mouths and relaxed musculature. This can be a subtle indicator of their reaction to what’s going on around them, but valuable nonetheless.

WEATHER AND BEHAVIOR

Weather can absolutely impact the behavior of horses. Windy and stormy days can result in overstimulation and make it difficult for them to remain calm for portraits. Even storms in the distance can affect the temperament of a horse. If your goal is to create serene portraits, it might be a good idea to reschedule for calm weather days.

Weather can play a significant role in the behavior of horses. This doesn’t necessarily mean that you won’t get interesting photographs.

The Shoot

Portrait sessions with horses, as with other types of animals, require decision-making about location, timing, communication, attention-getting, and aesthetics.

LOCATIONS FOR HORSE PORTRAITS

Most of the time I photograph horses in and around where they spend their time. This location generally includes a structure like a barn, a round pen, a fenced-in arena, or a nearby open space.

SHELTER STRUCTURES

The types of structures where horses are boarded or live vary as much as houses for humans. You may find traditional wooden barns or beautiful corrugated metal barns that are dedicated to keeping horses sheltered from the elements. They can all photograph quite well and may lend themselves to your portrait creation. I love having the option of photographing in and around a structure of some sort, because it often allows for open shade lighting and fun compositional elements like color and texture. Also, in a barn or other structure, the horse is contained in some way, making it easier to capture details. Most of my favorite images of horses, however, are created away from structures.

ROUND PENS AND ARENAS

These types of spaces, which are fenced in and used mostly for training purposes, can be a great place to capture action. The fencing isn’t usually an element I’m interested in including in my composition, at least from the inside. But on the outside, fences can come in handy for photographing people with their horses. For example, a person can sit on or lean against the fencing as a great option for posing. If I have to create portraits in an area like this, I will try to diminish the background using a shallow depth of field or see if there is a way to change my point of view, either by photographing from up high or down low. If the horse is going to be running, I will usually want to stay along the fence line and shoot with a long lens or stand in the center of the pen as the horse moves around the perimeter.

OPEN SPACES

My favorite location for photographing horses is in an open space, clear of fences and other structures. I love creating images in big fields with tall grasses, flowers, or beautiful trees. The challenge of photographing in open spaces is that photographing the horse solo may not be safe, as the horse could get loose or harmed. So, if I am shooting in an open space, I usually enlist the help of the owner and will use my friend, Photoshop, to remove the person from the image later.

OTHER LOCATIONS

I tend to stick with locations where the horse is comfortable and spends time, but don’t limit yourself if an idea for another location strikes you. If you find the horse is really adaptable and the owner is excited and up for transporting the horse, by all means, go for it!

TIMING

Once I’ve made a decision about my favorite location(s) to photograph, I will determine where the sun is going and how the light will shift so that I can decide where to start. Sometimes my location choice at the time is based more on the light than the location.

The amount of time a horse will cooperate for a portrait session will vary greatly and depend on the particular horse’s temperament, the weather, the owner’s energy and involvement (or lack of involvement), and the types of images you’re trying to get. My sessions with horses typically last no more than two hours, and I usually don’t use a lot of equipment (unlike other types of animal sessions, which is why those can take more time). I find it helpful to do most of the static images toward the beginning, and as I notice the horse losing interest or getting a little restless, I’ll capture more candid-type images. I will also give the horse breaks from having to do anything or holding still; I will use that time to regroup, adjust my equipment, determine my next steps, further connect with the owner, or capture detail images.

I tend to push just beyond the point when the horse is finished with the photographic experience, because I really want to make sure I’ve given 100 percent to the creation process. I do so, however, with sensitivity to the fact that when the people and horses are really “over it,” I won’t get anything positive by continuing.

I often feel that less is more when it comes to accessories for horses, but sometimes the circumstances call for including them. It would have been much more difficult to photograph these three horses together if they weren’t wearing bridles.

TACK

Tack for horses includes bridles, stirrups, saddles, halters, reins, and bits—or any other equipment that is used on a horse. Some basic knowledge of these items is helpful for when you’re photographing and directing. If the owner of the horse really loves a particularly fancy bridle, you may want to photograph it on the horse and get some nice detailed, closeup images.

In general, I gravitate toward including minimal tack in order to keep things simple, but I am certainly willing to work with what feels best for the client.

HORSES AND YOUR ENERGY

When I first meet a horse, I will typically leave my camera at my side or even in my car. If the horse seems curious or even tentative, I may let them smell my equipment and me and settle into my presence.

When you’re around horses, do your best to keep your energy soft and slow. Keep your actions small and notice how your presence and actions are affecting them. Each horse has unique characteristics and will react differently to you, your actions, and your equipment. If you are stressed and frazzled, moving too quickly and dropping a reflector, for example, may spook a particular horse.

HORSES SOLO

When I photograph a horse, I usually enlist the help of the owner and photograph in an enclosed area, so the horse doesn’t get harmed or lost. An owner can help guide the horse or hold his or her attention (the level of cooperation depends on the horse’s demeanor and training level).

Horses generally like to graze if they have the freedom to do so, and this can be a challenge for photographing them without their owner. In general, I will either have the owner hold onto the reins or help guide the horse’s head upward (and later digitally remove the reins), or see if I can get the horse’s attention enough for them to lift their head on their own. The other option is to photograph a little tighter and crop out the owner or helper.

DETAILS

I love photographing details during a photo shoot with horses, and these shots can be quite meaningful to owners. For example, horses’ large, striking eyes can work really well as detail images. Sometimes I will photograph their mane, markings on their coat, or even nametags and special tack that is worthy of documenting. While detail images are typically not the images that clients choose as main wall portraits, they can be great for albums or wall galleries.

I loved the details of this horse’s braided mane.

GETTING A HORSE’S ATTENTION

Horses primarily respond to sights and sounds that are coming from a distance. They don’t typically respond to squeaky noises, although some will perk up at the sound of their owner’s voice or clicking sounds.

Your ability to gain the attention of the horse will shift dramatically depending on his or her demeanor and mood at the time. Some horses are desensitized to most sights and sounds and will likely require novelty or big movements to get their attention, whereas a very nervous horse could get perked up easily with something quite subtle. For attention-getters that go beyond noises you make with your mouth, it’s important to ask the owner’s permission and ensure that you test out your attention-getters when everyone is prepared and not mounted on a horse. Some ideas for attention-getting, which may require the help of an assistant or the horse owner, include the following:

• Reflective surfaces at a distance
• Umbrellas opening and closing at a distance
• Treats in a bucket making noise
• Someone waving a piece of grass at a distance
• Tasty treats (carrots or apples) as incentive
• Dancing and general movement of a person at a distance
• Throwing something (such as rocks or dirt) up in the air at a distance

If you test out one of these ideas and the horse seems stressed, you’ll want to shift your approach. If you’re not sure how to tell the difference between the horse being curious and stressed, check in with the owner, and they’ll easily let you know whether or not it’s OK to continue. Whatever you choose to do, make sure you do it in short bursts, because horses can get desensitized pretty quickly and you don’t want to miss that perfect moment by using your attention-getter when you’re not ready to press the shutter.

If you don’t have an assistant and you are photographing a horse and person together, just do your best and see what you can do on your own to get the horse’s attention. You might be pleasantly surprised.

LIGHTING AND GEAR

Generally when I photograph horses, I bring a ladder, some large reflectors, my camera body and lenses, attention-getters, and a small flash unit with a small softbox on a pole (to be used if I have an assistant). While it is totally possible to photograph horses with studio lighting (and even in the studio), it is not usually my approach. I like to focus on my connection with the horse and the client or person I’m photographing and not make the experience too gear-heavy. Also, having a large amount of equipment slows me down and, as discussed, can be startling to a horse. Unless I’m going for one amazing “hero shot” for my portrait clients, less equipment gives me more freedom.

Because horses can get a little nervous around equipment, I am always sure to communicate clearly with the owner to ask if they have a sense of whether a flash or a reflector might startle the horse. If they don’t know, I will ask permission to test it out while the person is at a safe distance from the horse. If the horse backs away dramatically after the pop of a flash or the raising of the softbox, they are showing me that they’re uncomfortable, which is a signal for me to either stop or continue very slowly (with the permission of the owner) to see if the horse will get used to it. If the horse is unfazed by what I am doing or introducing, I’ll continue as long as I like the results.

If I decide to put my reflector down for a while, I will put something heavy on it so it doesn’t blow away in the wind, which could really frighten a horse. Use care when opening and closing the pop-up reflectors, as those guys can get away from you easily. Likewise, if you choose to set up a light, I highly recommend that you have a helper stand with that equipment to ensure that it doesn’t blow over and startle the horse. I also suggest setting your equipment bags off to the side so that if the horse runs, he or she will not run over your bags and hurt themselves and your gear.

This may seem like lots of do’s and don’ts, but once you start interacting with horses, photographing them will become second nature and will not seem overly prohibitive. Feel free to develop a way of working with your equipment that works well for you, but maintain communication and awareness in order to keep you, the horse, the owner, and your equipment safe.

People and Horses Together

Horses possess a unique grace and strength, and I love capturing the bond between horses and their people. Horse owners typically spend a lot of time with their horses, and as a result they are very in tune with one another.

COMMUNICATION DURING THE SHOOT

Good communication from the beginning of your interaction with the person and horse you are photographing will help create a smooth, more successful experience. I already addressed the benefits of finding out as much as you can about your subject before you photograph them, and I encourage you to continue this communication as you photograph.

It can often be helpful to share your ideas with the people you’re photographing so that they’re more comfortable and confident.

Before you begin, communicate your ideas with the person who will be in front of your camera. You might address wardrobe choices, locations you have selected, or specific ideas you have in mind. Sharing your game plan sets them at ease and makes them a collaborator in the process. You can use phrases like, “I was thinking we’d start over here by the barn” or “I love the way what you’re wearing contrasts with this background, so are you comfortable beginning over by those trees?” You may also want to ask if they have their own ideas. The more involved they feel as a collaborator, the more they’ll enjoy themselves and the more comfortable they’ll appear in front of the camera. If I ask for my client’s opinion and I get a response like, “I don’t have a clue. You’re the expert,” I’ll back off from asking their opinion and recognize that they’d really just like to be told what to do and where to go.

If I find that I need to adjust my settings, add some kind of lighting element, or move my position, I will communicate these things as they come up. I want to make sure that everyone knows what’s going on, including my assistant if I have one. If there is going to be a longer pause, it might be good to have the owner walk the horse around a bit to refresh them.

Even if I get frustrated with myself or I am struggling to get something right, I am always sure to stay positive with the people and animals in front of my lens. If I look down at my camera and make a face or a noise, the person I am photographing will likely feel insecure and think that they did something wrong or don’t look good. If I overexpose a few frames without realizing it, I practice keeping my mouth shut and my attitude positive.

Once the photo shoot gets started, I often allow the interactions between the horse and owner to develop on their own. I want to make sure I allow for some surprise moments, gestures, and actions and respond to them.

The easiest way to remember to communicate as you’re photographing is to remind yourself of what it feels like to be in front of the camera and how much you value being supported in that position.

POSING AND GESTURES

The posing and gestures that occur between horse and owner are quite different on a physical level from those between pet owners and their dogs and cats. I will certainly photograph a person on a horse as part of capturing their special partnership, but this physical setup can be somewhat limiting in terms of poses and gestures. I love having the rider lean forward to embrace the horse and get their faces closer together. This physical connectedness effectively turns the exchange from a more formal horse-and-rider relationship to an embrace of friendship and love. In general, I like to try to have the human’s face close to the horse’s face. This may be possible if the person is standing on the ground, sitting on a fence, or even standing on a ladder behind the horse. Positioning their faces closer allows for a tighter image, which offers nice variety and more intimate portraits.

When I am trying to capture more fluid, interactive images, I will ask the human to love on the horse by caressing it softly or embracing it. If I am going to try to get the horse’s attention, I will communicate this with the human and tell them to stay focused on the horse while I gain the horse’s attention. I will always need the owner’s help getting the horse into physical position, but it can be difficult to have them help with attention-getting if they are standing next to the horse.

If the horse is wearing a halter and reins, I will have the person hold them loosely and with as soft a grip as possible. I find it difficult to photograph horses with bits (the metal pieces that are attached) in their mouths, because they often bite at them, which looks awkward in photographs.

I used this hay bale to get the woman’s and horse’s faces closer together.

I will certainly ask for specific gestures, be very intentional about which side of the horse I want them to stand on, and so on. If I am committed to getting the best images, I make sure to ask the owner to move around and reposition the horse as needed.

FLATTERING A HORSE

I photograph horses with a variety of lenses and find there to be solid uses for all of them. I am mindful, however, to stay away from distorting horses’ bodies by using a really wide-angle lens up close. This distortion elongates their noses, which isn’t flattering for them. If I am going to use a wide-angle lens or wide zoom, I like to keep some distance to avoid this distortion (unless I’m going for an intentionally funny look). By contrast, longer lenses are quite flattering for horses; I love the 70–200mm in particular.

This image was created with a 70–200mm lens which helped soften the background without distorting the subjects.

My favorite view of a horse is a profile or partial profile, because this angle really shows off the sleek lines on their faces. I find it challenging to get a flattering photograph of a horse from a straight-on view, because the long body becomes truncated, turning it into a big blob (that’s a technical term).

UTILIZING THE ENVIRONMENT

While I love moving in close and photographing details, making images that include a horse’s environment—with people—is a powerful way to showcase compelling compositions and scenery, illustrate scale, and tell a story with your photographs. Each location will offer something unique for you to share with the viewer about that horse and owner’s story. When the owner views these images in the years to come, they will be able to emotionally tap into that time and place, making the images that much more meaningful to them.

The bluebonnet flowers made for a beautiful environment for these portraits of Lauren and Tuf.

Other Types of Animals

I am intrigued by all kinds of animals. While I’ve photographed dogs most frequently, I have had some really magical moments working with a variety of species over the years. I’ve photographed a pig, goats, a rat, a bird, baby tigers (not pets but wow, was that amazing!), a monkey, a turtle, a chicken, a hedgehog, a duckling, peacocks, bunnies, longhorns, and a ram. The level of “petness” varies for each of these animals, but the opportunity to photograph these beautiful creatures has been a dream come true. With each type of animal, I have the opportunity to learn something new.

PREPARATION

The most important thing to remember is that these pets are likely going to be more unpredictable than dogs, cats, or horses; and as a result you will want to give yourself plenty of time, patience, flexibility, and a double dose of humor. Here are some things to keep in mind with other types of animals:

• Can the animal be held?
• Is the animal treat-motivated?
• Can the animal be put on a bed or couch or elevated in some way, if desired?
• What kind of environment is the animal in (indoors, in a cage, fenced in, free roaming, etc.)?
• Is there anything especially unique about this animal, for example, something special they can do?
• Can the animal be photographed with lights?
• Can I physically handle the animal as a photographer?
• Is there anything that you know of that seems to get his or her attention?

I loved this sweet moment between this little boy and one of his pet chickens.

ANIMAL ENCOUNTERS

Here are a few notes about my experiences with some of the different animal characters I’ve photographed.

THE PIG I photographed was super sweet and hung around with the dogs. He was very food-motivated (surprised?) and despised being picked up. He didn’t seem to care much about the noises I made, which I thought was interesting. Pigs don’t sit like dogs do, but they lie down, which made for a cute photo when he decided to nap in the bed. Pigs don’t like slippery, shiny surfaces and generally don’t let you know when they have to go to the bathroom, so yeah . . . that’s something.

GOATS pretty much have their own thing going on, and the level of direction I’ve been able to give them is limited to treat bribery. Baby goats are easier to photograph while they’re being held, but they are still challenging because they get distracted very quickly. Be prepared to move quickly when you photograph goats!

SMALL PETS that can be held, such as chickens, ducklings, tortoises, hedgehogs, rats, and mice will likely be easier to photograph with people holding them. I recently created some stock images with an educational petting zoo in Austin, TX. The company specializes in working with children, and I took the opportunity to capture children spending time with small animals.

Photographing chickens can be quite entertaining, as they move and blink so quickly! If they’re used to being held, I enjoy photographing them in the arms of either a child or adult who knows them. Even a sweet chicken that is used to being held won’t let someone hold them for very long, so acting quickly is a must. I highly suggest making sure that you have your lighting and settings ready before having the person you’re photographing pick up the chicken.

The biggest issue in terms of photographing these small pets—unless they’re specially trained animals—is that they typically move around a lot and do what they want, when they want. This requires you to be more flexible as a photographer and go with the flow. The good thing is you may end up really surprised with the unplanned!

FARM AND RANCH ANIMALS aren’t necessarily considered pets but can be beautiful animal subjects nonetheless, and I love to use imagery of these types of animals in my fine art. When I’ve photographed longhorns, peacocks, a ram, geese, donkeys, chickens, and roosters on farms and ranches, I’ve spent a significant amount of time at the locations, letting the animals get used to my camera and me, observe me, and respond to me. I am always sure to maintain self-awareness in these situations; it’s important to stay safe and make sure the animals I am photographing feel safe, too.

You’ll likely learn something new from each type of animal you photograph, even if you do your research and prepare ahead of time. Try to have fun and think of it as exploration!

FINDING SUBJECTS

If you’re looking to create a portfolio of images with a variety of animals other than dogs, cats, and horses, you’ll want to look in the right places. Do some research and reach out to businesses and organizations in your area that work with different types of animals. You may want to make connections at a local feed store where ranch and farm owners purchase food and supplies for their animals. See if there are businesses in your area like the educational petting zoo I mentioned, and look into the possibility of offering them imagery in exchange for some time with their animals or even paying a modeling fee.

As you talk to people and create your animal portfolio, you may find that people start to find you versus you finding them. As you create images, be sure to include them in your portfolio so that people can see examples of your work. “Renting” trained animals with handlers—as is done in the movie industry and commercials—is an option, but you’ll need to be prepared to invest some significant money if you go this route.

As time passes, I have found myself more and more interested in photographing a variety of animals, and I think this is a result of my curiosity and general admiration for animals and their beauty. Whether I’m photographing a beautiful horse with their person, or a little boy with his pet chicken or pig, I feel a sense of creative fulfillment. If you have the curiosity, I encourage you to explore photographing all types of animals to discover what resonates with you.

There are so many ways to get involved in animal welfare with your camera. Photographing animals ready for adoption is just one!