Up Close and Personal | National Geographic

I think I’ll always be photographing
horses I can’t imagine not photographing
them you know the great subjects their
their stunning subjects I think a lot of
artists have been drawn to them I bring
the studio to them
I suppose I’m creating my own
environment for the horses I think by
doing that you’re you’re kind of really
isolating them and making them stand out
the shop that I entered International
Geographic was of a flea-bitten gray it
was a pure Arab we had this kind of
Seabreeze come in which is sort of
blowing the the main around and the
sunlight came out and just burst into
the shot I remember the horse just swung
his head round and I was using quite a
big zoom lens and I had to sort of throw
myself back to try and squeeze
everything into the shot and I think I
was just waiting for that that rice I
just come in it was bang and just
quickly get that shot I think with these
sheets you know you you have certain
things in mind that you want to get out
of the shoot but ultimately that the
horse really dictates and controls the
sheets you know you can’t direct the
horse all that well into the light but
just a little bit further away from us
you know that the big animals and they
pretty much do what they want to do so I
think you’ve got to keep looking through
the lens and I’m waiting for you know a
good composition for the lights Peters
right and and just certain moments to
happen but you can never really tell
what they are until until you just see
it through the lens and you do and you
just have to take photo it’s great to
try and get some feedback from somebody
whose opinion you really value and he
doesn’t really gets any any best the
National Geographic you know so that’s
it’s wonderful to to sort of be told yes
I’m heading in the right direction
you