Equine Photographers Podcast

41: Field Notes – The Throughput Problem 02.07.2026 9min

Most photographers think they have a speed problem. They don't—they have a throughput problem. Learn how better systems and workflows create a more profitable photography business.

40: 10 Years Later: Carien Schippers 30.06.2026 56min

Carien Schippers joins the 10 Years Later series to discuss a decade of change, business evolution, industry shifts, and lessons learned along the way.

39: Field Notes – The Backup Gear Myth 25.06.2026 10min

SUBSCRIBE INTRO Backup gear is one of those topics that almost always turns into a discussion about equipment. How many camera bodies do you own? How many lenses? How many memory cards? Do professionals really need backups for everything? But the longer you’re in business, the more you realize that backup gear isn’t really about gear at all. It’s about preparation. In this episode, Suzanne explores why professionals spend money on systems, equipment, and processes they hope they’ll never need—and why the ability to recover from failure is often more important than avoiding failure in the first place WHAT THIS EPISODE COVERS why backup gear is really a risk management conversation the difference between hobbyist thinking and professional thinking why professionals invest in redundancy how backups extend beyond cameras and lenses the hidden costs of equipment failures why preparation often looks excessive until something goes wrong the relationship between luck, planning, and reliability how backup systems create confidence for both photographers and clients KEY TAKEAWAY Backup gear isn’t about equipment. It’s about building a business that can continue operating when something inevitably goes wrong. The professionals who survive unexpected problems aren’t necessarily the ones with the best luck. They’re usually the ones who prepared for the possibility that luck might run out. WHY THIS MATTERS Most photographers focus on acquiring equipment that helps them create better images. Far fewer spend time thinking about what happens when a critical piece of equipment, technology, or infrastructure fails. Clients rarely remember the problems that never happened. They remember whether the photographer delivered. The ability to recover quickly from equipment failures, technology failures, or unexpected disruptions is often what separates a professional operation from a fragile one. THE BIGGER CONTEXT This conversation extends far beyond photography. Horse shows have contingency plans. Airlines build redundancy into critical systems. Businesses develop procedures for situations they hope never occur. The common thread isn’t fear of failure—it’s an understanding that failure is sometimes unavoidable. Professionalism is often less about preventing every problem and more about ensuring that a problem doesn’t become a disaster. Backup gear is simply one visible example of a much larger principle: preparation creates resilience. FINAL THOUGHT The best backup plans are often the ones you never have to use. Most of the money spent on backup cameras, backup memory cards, backup hard drives, and backup systems will hopefully never prove necessary. But the day they are needed is rarely the day you have time to put them in place. Because in the end, backup gear isn’t about cameras. It’s about being able to keep moving when things don’t go according to plan. RELATED CONTENT: Read the companion article on The Horse In Focus The Backup Gear Myth: Why Professionlas Spend Money Preparing for Problems They Hope Never Happen SUBSCRIBE About the Equine Photographers Podcast The Equine Photographers Podcast features conversations, interviews, and Field Notes exploring the business, craft, and future of equine photography. From workflow and pricing to industry trends and marketing, each episode is designed to help photographers build stronger, more sustainable businesses. 🎙️ Browse all episodes: Equine Photographers Podcast📖 Read related articles at The Horse In Focus: The post 39: Field Notes – The Backup Gear Myth appeared first on Equine Photographers Podcast.

38: Field Notes – Where People Think the Standard Lives (Part 7) 11.06.2026 12min

INTRO Most people think standards live in equipment, software, or technology. They assume the quality of an industry rises or falls based on the tools being used. But standards don’t come from cameras, editing programs, or AI. They come from the work people see repeatedly over time. In this episode, Suzanne Sylvester explores where professional standards actually originate, how they quietly shift, and why the responsibility for maintaining them rests with the people creating the work—not the clients consuming it. WHAT THIS EPISODE COVERS why most people misunderstand where standards come from how expectations are built through repetition and exposure the role of accuracy in equine photography and marketing why consistency matters more than individual images how reliability contributes to professional standards where photography and design intersect the difference between work built with purpose and work that simply looks finished why clients are reacting to standards rather than creating them how AI contributes to the “close enough” problem who is ultimately responsible for maintaining industry standards how standards shift gradually through everyday decisions KEY TAKEAWAY Standards are not defined by tools. They are built through thousands of small decisions involving accuracy, consistency, reliability, and communication. Every image delivered, every advertisement created, and every gallery published contributes to what people eventually come to expect as normal. WHY THIS MATTERS In the equine industry, representation matters. A horse that is inaccurately photographed, misleadingly edited, poorly presented, or inconsistently marketed affects more than a single image. It influences buyer expectations, client trust, and the overall perception of quality within the industry. The standard isn’t maintained through occasional great work. It’s maintained through consistently making correct decisions over time. The Bigger Context This episode continues several themes explored throughout the Field Notes series: technology versus understanding AI and “good enough” work consistency as a professional skill client expectations responsibility within creative industries the long-term impact of everyday decisions As tools become more powerful and content becomes easier to produce, the gap between creating volume and maintaining standards continues to widen. The expectation hasn’t changed. What has changed is how easy it has become to produce something that appears close enough FINAL THOUGHT The standard doesn’t move all at once. It shifts through small adjustments, rushed decisions, and work that looks acceptable but isn’t entirely correct. Most people don’t notice it happening until expectations have already changed. At the end of the day, this isn’t about cameras, software, or AI. It’s about decisions. And every decision contributes to what the next person expects to see. That’s how standards are built—and why the people who understand the work are ultimately responsible for holding them. RELATED CONTENT: Read the compaion article on The Horse In Focus What the Standard Actually Is—And Who Is Responsible for Holding It (Part 7) SUBSCRIBE The post 38: Field Notes – Where People Think the Standard Lives (Part 7) appeared first on Equine Photographers Podcast.

37: Field Notes – Photographers vs Designers: Where the Line is Actually Drawn (Part 6) 04.06.2026

INTRO The line between photographers and designers has been shifting for years. Photographers are creating ads. Designers are picking up cameras. And in many cases, people are doing both. On the surface, that looks like a natural evolution. But underneath it, there’s a growing gap in how those roles are being understood. WHAT THIS EPISODE COVERS how and why the line between photography and design has blurred how the design industry shifted before photography did why designers moved into photography why photographers started taking on design work where the overlap works—and where it starts to break down how AI behaves differently in design vs photography why accuracy matters more in equine work KEY TAKEAWAY The divide isn’t photographer vs designer. It’s the difference between understanding the work and relying on tools to make something look finished. WHY THIS MATTERS In equine marketing, both photography and design carry responsibility. A strong image with weak design fails to communicate.A clean design built on a weak image fails differently. Both sides have to hold. THE BIGGER CONTEXT This episode connects everything from the series: accessibility technology pricing AI The tools are overlapping. The roles are shifting. But understanding hasn’t increased at the same rate. FINAL THOUGHT The question isn’t: “Who does photography?”or“Who does design?” It’s: “Who understands what they’re creating?” Because these aren’t just images. They’re representations. RELATED CONTENT Read the full article:Photographers vs Designers: The Overlap No One Talks About Subscribe The post 37: Field Notes – Photographers vs Designers: Where the Line is Actually Drawn (Part 6) appeared first on Equine Photographers Podcast.

36: Field Notes – The Pricing Problem: Why So Many Equine Photographers Struggle to Make a Living (Part 5) 28.05.2026

INTRO Pricing is one of the most consistent conversations in equine photography—and one of the most misunderstood. It’s often reduced to undercutting or people charging too little. But the reality is more complex than that. This episode looks at why pricing continues to be a problem in the industry, and why it’s tied to larger structural shifts rather than individual decisions. WHAT THIS EPISODE COVERS why pricing issues keep showing up in the industry how accessibility and technology changed the market how photographers typically set pricing—and where that breaks down what actually drives pricing pressure over time why equine photography is especially affected where technology fits into the conversation how the market separates between price and value KEY TAKEAWAY Pricing problems are rarely just about numbers. They come from the gap between what the work actually requires and how that work is understood. WHY THIS MATTERS In equine photography, pricing doesn’t just affect photographers. It affects: how work is valued what clients expect how consistent the industry becomes When pricing is disconnected from reality, it creates pressure that spreads across the entire market. THE BIGGER CONTEXT This episode connects directly to the broader shift happening in the industry. More access → more people entering → more volume → more pressure. That pattern isn’t new—but the effects are becoming more visible. FINAL THOUGHT At the end of the day, the question isn’t: “How cheap can I be to get booked?” It’s: “Can this actually support me over time?” Because if it can’t, it doesn’t matter how busy you are. RELATED CONTENT Read the full article:The Pricing Problem: Why So Many Equine Photographers Struggle to Make a Living Subscribe The post 36: Field Notes – The Pricing Problem: Why So Many Equine Photographers Struggle to Make a Living (Part 5) appeared first on Equine Photographers Podcast.

35: Field Notes – From Film to Digital to AI: We’ve Seen This Before (Part 4) 21.05.2026 7min

EPISODE SUMMARY The current conversation around AI feels new—but the pattern isn’t. In this Field Notes episode, we look at how the shift from film to digital mirrors what’s happening now with AI, and how increased access has changed both the industry and the people working in it. SHOW NOTES The conversation around AI in photography is being treated like something completely new. But it isn’t. The industry has already gone through a major shift—from film to digital—and the pattern we’re seeing now isn’t all that different. In this Field Notes episode, we step back and look at what actually changed during that transition, and how it reshaped who could enter the industry, how images were produced, and how pricing and expectations started to shift. Because what happened then is happening again now. More access.More output.More pressure. And just like before, the separation isn’t coming from the tools. It’s coming from how well those tools are actually understood and used. IN THIS EPISODE We cover: what changed when photography moved from film to digital how accessibility reshaped the industry why more people producing images doesn’t equal more understanding how AI fits into that same pattern where the real separation is happening now why this shift is affecting pricing, workflow, and business structure KEY TAKEAWAY Every shift in photography increases access. It does not increase understanding at the same rate. That gap is where the separation happens. WHY THIS MATTERS In equine photography, this isn’t just about images. It affects: how photographers enter the industry how work is priced how businesses are structured how consistent (or inconsistent) the final product becomes And when those things shift, it doesn’t just affect photographers. It affects: trainers owners buyers and how horses are represented overall THE BIGGER CONVERSATION This isn’t about resisting new tools. Digital didn’t ruin photography. AI won’t either. But every shift changes who can participate—and how easy it is to produce something that looks finished. The question isn’t whether the tools are changing. It’s whether the understanding behind them is keeping up. CONNECTED CONTENT This episode is part of a larger series on equine photography and marketing standards. Read the full article:From Film to Digital to AI: How Accessibility Changed the Industry FINAL NOTE The pattern hasn’t changed. The tools have just made it faster. COMING NEXT The Pricing Problem: Why So Many Photographers Struggle to Make a Living If this is something you’ve seen play out over time, share this episode or pass it along to someone in the industry. Subscribe The post 35: Field Notes – From Film to Digital to AI: We’ve Seen This Before (Part 4) appeared first on Equine Photographers Podcast.

34: Field Notes – Stallion & Sale Ads: Why “Pretty” Isn’t the Same as Effective (Part 3) 14.05.2026 6min

Field Notes | Equine Photographers Podcast EPISODE SUMMARY A good-looking ad and an effective ad are not the same thing. In the equine industry, especially in stallion and sale horse marketing, there’s a lot of emphasis placed on how something looks. Clean design, polished images, visually appealing layouts. But none of that matters if the ad doesn’t actually communicate the horse. In this Field Notes episode, we break down what makes an ad effective, where things start to fall apart, and why clarity matters more than design when someone is making a buying decision. IN THIS EPISODE We cover: the difference between a visually appealing ad and an effective one why clarity matters more than design in horse marketing how buyers actually use images when evaluating a horse where ads commonly go wrong how photography and design work together—and where they don’t why “pretty” can sometimes get in the way of communication KEY TAKEAWAY A strong ad is not built to impress. It is built to communicate. WHY THIS MATTERS In stallion and sale horse marketing, images are not just decorative. They are part of the decision-making process. Buyers are using these ads to: evaluate structure assess presence form an initial impression If the image or design gets in the way of that, the ad stops doing its job. And when the ad doesn’t work, everything built on it becomes less effective. THE BIGGER CONVERSATION This isn’t about removing design. It’s about understanding what role it plays. Design should support the image—not compete with it. And the image itself needs to clearly represent the horse. Because if that foundation isn’t right, nothing layered on top of it will fix it. CONNECTED CONTENT This episode is part of a larger series on equine photography and marketing standards. Read the full article:Stallion & Sale Ads: Why “Pretty” Isn’t the Same as Effective FINAL NOTE A polished ad might get attention. But attention alone doesn’t sell horses. Clarity does. COMING NEXT Film → Digital → AI: How Accessibility Changed the Industry If this is something you’ve seen in your own work—or in ads you’ve come across—share this episode or pass it along to someone in the industry. Subscribe The post 34: Field Notes – Stallion & Sale Ads: Why “Pretty” Isn’t the Same as Effective (Part 3) appeared first on Equine Photographers Podcast.

33: Field Notes – Photoshop vs AI: Where the Line is in Equine Photography (Part 2) 07.05.2026 7min

Field Notes | Equine Photographers Podcast EPISODE SUMMARY Editing has always been part of professional photography, especially in equine work where environments are often unpredictable. But as AI tools become more common, the line between refining an image and altering the horse itself is becoming less clear. In this Field Notes episode, I break down the difference between traditional editing tools like Photoshop and AI-driven processes. While both can improve an image, they do not work the same way—and that difference matters. We get into where normal editing belongs, what AI is actually doing when it regenerates parts of an image, and why that becomes a much bigger issue when the subject is a horse. Because in equine photography, especially in sale horse and stallion marketing, even subtle inaccuracies can change perception. This is not really a Photoshop vs AI conversation. It is a conversation about whether the horse is being preserved—or changed. In this episode: what editing is supposed to do the difference between cleaning up an image and changing the horse how Photoshop works differently from AI why AI regeneration is not the same as traditional editing where the ethical line sits in equine photography why this matters more in sale horse and stallion marketing KEY TAKEAWAY The tool is not the issue. The outcome is. CONNECTED CONTENT This episode is part of a larger series on equine photography and marketing standards. Related article:Photoshop vs AI: Where the Line Is in Equine Photography FINAL NOTE This conversation is just getting started. COMING NEXT NEXT Coming up in this series: Stallion & Sale Ads: Why “Pretty” Isn’t the Same as Effective If this topic is relevant to your work, share this episode or send it to someone who’s part of this conversation. Subscribe The post 33: Field Notes – Photoshop vs AI: Where the Line is in Equine Photography (Part 2) appeared first on Equine Photographers Podcast.

32: Field Notes – The Changing Standard: How Technology is Reshaping Equine Photography, Design and Marketing (Part 1) 30.04.2026 7min

Field Notes | Equine Photographers Podcast EPISODE SUMMARY The equine photography industry is changing—but not in the way most people think. A lot of the current conversation is focused on AI. But this shift didn’t start with AI, and it won’t end there. It’s part of a pattern the industry has already gone through before. In this Field Notes episode, we step back and look at what’s actually happening. From the transition from film to digital to the current rise of AI tools, the same cycle keeps showing up: increased access, more participation, and growing pressure on pricing and standards. The real question isn’t whether the tools are changing. It’s whether the standard is. IN THIS EPISODE We cover: why the current AI conversation feels new—but isn’t what changed when photography moved from film to digital how accessibility reshapes the industry over time where graphic design followed a similar path how AI is affecting editing and marketing—not just image capture why the conversation around tools is missing the bigger issue where the real divide is forming in the industry KEY TAKEAWAY Every shift in technology increases access. It does not increase understanding at the same rate. And that gap is where the separation happens. WHY THIS MATTERS In equine photography and marketing, images are not just content. They are representations of real horses. Used in: sale horse marketing stallion promotion client decision-making When accuracy slips—even slightly—it affects trust. And once trust starts to erode, everything built on it becomes less stable. THE BIGGER CONVERSATION This isn’t about resisting new tools. The tools will continue to evolve. They always have. But the expectation should remain the same: present the horse clearly present it accurately present it as it is CONNECTED CONTENT This episode is part of a larger series on equine photography and marketing standards. Read the full article:The Changing Standard: How Technology Is Reshaping Equine Photography, Design, and Marketing FINAL NOTE This conversation is just getting started. Because the question isn’t what the tools can do. It’s whether what’s being created still works. NEXT IN THE SERIES Coming up in this series: Photoshop vs AI: Where the Line Is in Equine Photography (part 2) If this topic is relevant to your work, share this episode or send it to someone who’s part of this conversation. Subscribe The post 32: Field Notes – The Changing Standard: How Technology is Reshaping Equine Photography, Design and Marketing (Part 1) appeared first on Equine Photographers Podcast.

31: Field Notes – Who Owns Photo Rights Photographer vs Client vs Social Manager 23.04.2026 9min

Field Notes | Equine Photographers Podcast This episode breaks down one of the most misunderstood topics in photography right now: who actually owns a photo—and who has the right to use it. As the demand for content has increased across the equine industry, more people are handling images daily without fully understanding how ownership and licensing work. That misunderstanding is leading to misuse, confusion, and lost income for photographers. This is not a gray area. It just hasn’t been explained clearly. In this Field Note, we walk through the structure of photo ownership in straightforward terms—without legal jargon or overcomplication. In This Episode Why photo rights confusion has increased in recent years Who owns the copyright (and when that ownership begins) What clients are actually paying for when they hire a photographer The difference between ownership and licensing What a license allows—and what it doesn’t How image usage applies to trainers, brands, and businesses Where social media managers fit into image usage When usage crosses into a separate business purpose Why “having the file” does not equal having the rights Key Takeaway The photographer owns the copyright. Clients receive a license to use the images—within defined terms. That license does not automatically extend to other businesses, including social media managers using images for their own promotion. Access to an image is not the same as permission to use it. Practical Framework Before using any image for business purposes, ask: Do I own this image? Do I have a license? Does that license cover my specific use? Do I have permission from the photographer? If the answer isn’t clearly yes, the image shouldn’t be used. Related Resource A full written breakdown of this topic is available on The Horse In Focus, covering licensing structure, real-world scenarios, and how to handle usage correctly across different roles in the industry. View the article. Subscribe The post 31: Field Notes – Who Owns Photo Rights Photographer vs Client vs Social Manager appeared first on Equine Photographers Podcast.

30: Field Notes – Can Social Media Managers Use Client Photos? Photo Rights Explained 17.04.2026 7min

Can Social Media Managers Use Client Photos? Episode Summary Can social media managers use client photos? This question is coming up more and more—and it’s where a lot of misunderstanding starts. In this Field Notes episode, we walk through what’s actually happening when images are passed from a client to a third party, and where that use can cross the line. This isn’t about bad intent. In most cases, it’s a lack of understanding around how photo rights and licensing actually work. In This Episode We cover: why this issue is becoming more common in the industry what happens when images are passed from client to social media manager the difference between managing content and using content who actually owns the rights to a photo how licensing works in real-world scenarios where social media managers can unintentionally cross the line the difference between access and ownership how to approach image use correctly in a business setting Key Takeaway If you’re using an image for your client, you are likely within scope. If you’re using that same image for your business, you need permission. Access does not equal ownership. Related Reading If you want the full breakdown of how photo rights actually work, these articles on The Horse In Focus walk through it in detail: Stop Using Your Client’s Photos to Promote Your Social Media Business Who Owns Photo Rights? Photographer vs Client vs Social Media Manager Listener Prompt If you work with images in any capacity: Take a minute and ask yourself— Do I actually have the rights to use the images I’m working with? Subscribe The post 30: Field Notes – Can Social Media Managers Use Client Photos? Photo Rights Explained appeared first on Equine Photographers Podcast.

29: Field Notes – Why Can’t Multiple Photographers Just Shoot The Same Show 12.04.2026 7min

Why Can’t Multiple Photographers Just Shoot the Same Horse Show? Horse show photography isn’t built around competition. It’s built around coverage. This question comes up all the time: Why can’t multiple photographers just shoot the same horse show? On the surface, it sounds like a competition issue. It’s not. It comes down to how horse shows are actually run, and where photography fits into that system. Horse show photography isn’t just about getting a good shot. It’s about consistent coverage for every exhibitor that walks into the arena. That’s the part most people don’t see. This episode walks through what that actually looks like. In This Episode why horse shows aren’t open shooting environments what the official photographer is actually responsible for how larger shows are covered by coordinated teams what happens when photographers work independently at the same event why consistency matters more than people think Key Takeaway Horse show photography is built around coverage. Not competition. The goal is simple. Every exhibitor who goes in the pen should be able to find their ride documented. Not just the big runs. Not just the top riders. Everyone. Related Article Read the full article:Why Horse Shows Use an Official Photographer (And Not Multiple Photographers) Connect The Horse In Focus Equine Photographers Podcast Final Thought Understanding how horse shows operate helps photographers approach the industry with more clarity and professionalism. And that benefits everyone involved — the photographers, the riders, and the events themselves. Subscribe The post 29: Field Notes – Why Can’t Multiple Photographers Just Shoot The Same Show appeared first on Equine Photographers Podcast.

28: Field Notes – Private Client Photography at Horse Shows 07.04.2026 7min

Horse shows are structured, fast-paced environments where multiple professionals are working at the same time—trainers, riders, show staff, veterinarians, vendors, and photographers. Within that environment, it’s not uncommon for riders to hire their own photographer to document their experience at a show. But when a horse show already has an official photographer, the question naturally comes up: Where does private client photography fit? Understanding the difference between official event coverage and private client work is key to answering that question. While both types of photography exist at the same event, they serve very different purposes—and recognizing that distinction helps photographers operate professionally within the structure of a horse show. Episode Summary Can riders hire their own photographer at a horse show? In this Field Notes episode, we break down what private client photography is, how it differs from official event coverage, and how photographers can approach it professionally. From understanding show policies to working alongside official photographers, this episode explores how private client work fits within the broader structure of horse show photography. Subscribe What You’ll Learn What private client photography at horse shows actually means How private client work differs from official event coverage What a typical day looks like for both roles Why horse shows have photography and media policies How photographers can work professionally within the show environment Key Takeaways Private client photography is not a replacement for official event coverage—it’s a different service entirely. Understanding that distinction allows photographers to provide value to their clients while still respecting the structure of the event and the role of the official photographer. When approached with professionalism and awareness, private client work can complement the overall coverage of a horse show rather than conflict with it. Topics Covered Defining private client photography Event coverage vs. client-focused coverage What private photography looks like during a show day Show policies and media guidelines Professional awareness and working alongside others Why riders value private photography Resources & Related Reading – Read the companion article on The Horse In Focus:Private Client Photography at Horse Shows – Explore more episodes from Equine Photographers Podcast Field Notes About Field Notes Field Notes is a short-form series from the Equine Photographers Podcast focused on real-world topics, industry insights, and conversations that working photographers are having every day. Suscribe The post 28: Field Notes – Private Client Photography at Horse Shows appeared first on Equine Photographers Podcast.

27: Field Notes — The Ethics of Photographing Horse Shows: Can You Just Show Up With a Camera? 18.03.2026 11min

Horse shows are busy, fast-moving environments where trainers, exhibitors, and organizers work together to keep everything running smoothly. Along the rail, it’s common to see someone with a camera—but not every photographer is there in an official capacity. The ethics of photographing horse shows becomes an important conversation when someone simply shows up and begins shooting without permission. Understanding the role of the official photographer, the expectations of show management, and the impact on the industry helps clarify why this situation is more complex than it might first appear. Episode Summary Can you photograph a horse show without permission? In this Field Notes episode, we break down the ethics of photographing horse shows and why simply showing up with a camera isn’t as straightforward as it might seem. From the role of the official photographer to the expectations of show management, this conversation explores the professional standards that keep the industry functioning smoothly. Subscribe What You’ll Learn What the official horse show photographer is responsible for Why photographing horse shows without permission creates conflict The difference between spectators, hobbyists, and professionals How unauthorized photography impacts working photographers and event organizers What professional etiquette looks like at horse shows Key Takeaways Horse show photography isn’t just about capturing images — it’s about understanding the structure of the event, respecting professional roles, and contributing to an ecosystem that supports photographers, exhibitors, and organizers alike. What might feel harmless in the moment can have real consequences for the people hired to do the job. Topics Covered The role of the official photographer Permission vs. access at horse shows Industry expectations and professional conduct Common misconceptions about photographing events Why this topic continues to come up in the equine photography industry Resources & Related Reading – Read the companion article on The Horse In Focus:Just Showing Up With a Camera: The Ethics of Photographing Horse Shows -Explore more episodes from Equine Photographers Podcast Field Notes About Field Notes Field Notes is a short-form series from the Equine Photographers Podcast focused on real-world topics, industry insights, and conversations that working photographers are having every day. Subscribe The post 27: Field Notes — The Ethics of Photographing Horse Shows: Can You Just Show Up With a Camera? appeared first on Equine Photographers Podcast.

26: Fine Art Equine Photography & Wild Horse Conservation With Carol Walker 08.01.2026 49min

Carol Walker Returns: 10 Years of Growth Carol Walker returns to share what changed in her fine art equine photography business over the last decade—what she’d do differently, how her creative focus evolved, and why wild horse conservation remains at the heart of her work. SUBSCRIBE IN THIS EPISODE: Carol Walker of Living Images by Carol Walker returns to The Equine Photographer’s Podcast for a candid “10 years later” conversation about what changed—creatively and professionally—since her last appearance. We talk about how her fine art equine photography approach evolved, what she would do differently if she were building her business again today, and the practical shifts that helped her stay aligned with her long-term vision. We also dive into photography as visual advocacy and why wild horse conservation continues to shape the stories she chooses to tell. If you’re an equine photographer who wants to refine your artistic voice, build a body of work with meaning, and grow in a way that feels sustainable, this episode will help you think more clearly about the next decade—not just the next booking.     KEY TAKEAWAYS What changed in Carol’s business—and what stayed the same—over 10 years How to evaluate your work as a fine art body of work What Carol would do differently if starting today Using photography as a voice for conservation Building a recognizable artistic style over time Balancing creative integrity with business growth About the Guest: Carol Walker Carol Walker is the artist behind Living Images by Carol Walker. Her fine art equine photography and wild horse work focus on storytelling, conservation, and creating imagery that lasts beyond a single moment in time. Connect with Carol: Website: Living Images by Carol Walker Instagram: @wild_hoofbeats Facebook: Living Images by Carol Walker SUBSCRIBE Enjoyed this episode? Subscribe so you never miss a conversation—and share this one with an equine photographer building meaningful work for the long term. We invite you to subscribe on iTunes so you never miss a new episode of the Equine Photographers Podcast. Subscribing, rating, and leaving a review helps other photographers discover the show and supports the continued growth of the podcast. If you found this episode valuable, we’d appreciate you taking a moment to leave a rating or review. Subscribe on iTunes → The post 26: Fine Art Equine Photography & Wild Horse Conservation With Carol Walker appeared first on Equine Photographers Podcast.

25: Lori McIntosh: Equine Photography Journey from Childhood Passion 22.04.2017 45min

Lori McIntosh: How She Built Her Equine Photography Passion from Childhood to Career In this episode, Lori McIntosh shares how a childhood surrounded by photography and horses became the foundation for her equine photography journey — from early studio experiences to endurance riding and professional work today. Whether you’re building your own equine business or exploring your creative roots, Lori’s story shows how passion and persistence shape a meaningful career. SUBSCRIBE IN THIS EPISODE Lori McIntosh’s equine photography story begins long before she ever picked up a camera professionally. Growing up in a photography studio and spending summers at horse camp, Lori built a lifelong connection to both horses and imagery that shaped her creative path. In this episode, she recalls how early studio work taught her the craft, how endurance riding deepened her understanding of horses, and how those elements continue to influence her photographic vision today. Listeners will hear what it’s like to merge a passion for animals with artistic expression, lessons on building a sustainable photography career, and insights into staying connected to the things you love most. Whether you’re an aspiring equine photographer or a long-time creative professional, Lori’s experiences offer both inspiration and practical takeaways for your own journey.   KEY TAKE AWAYS: How Lori’s early life around photography shaped her artistic voice The role equestrian experiences played in her career focus Lessons on building skill through real-world involvement Why balancing passion and professionalism matters What endurance riding taught her about perseverance and creativity About Our Guest: Lori McIntosh Lori McIntosh is an equine photographer based in Auburn, California, whose passion for photography grew up inside her family’s studio and alongside her love of horses. Her work combines technical skill with an unmistakable understanding of the horse–human connection. Connect with Lori: Website: lorimcintoshphotography.com Facebook: facebook.com/LoriMcIntoshPhotography Pinterest: pinterest.com/lorimc26 Email: Lori@Lorimcphoto.com SUBSCRIBE Ready to deepen your own artistic voice? Follow the podcast and explore related episodes below. We invite you to subscribe on iTunes so you never miss a new episode of the Equine Photographers Podcast. Subscribing, rating, and leaving a review helps other photographers discover the show and supports the continued growth of the podcast. If you found this episode valuable, we’d appreciate you taking a moment to leave a rating or review. Subscribe on iTunes → The post 25: Lori McIntosh: Equine Photography Journey from Childhood Passion appeared first on Equine Photographers Podcast.

24 : Equine Life, Photography & Teaching with Pam Gabriel 11.02.2017 30min

From Horse Passion to Photography: Exploring Pam Gabriel’s Creative Journey In this episode, Pam Gabriel shares how a lifelong love of horses turned into a path of wrangling, teaching, and building an equine photography practice rooted in creativity, connection, and community. SUBSCRIBE IN THIS EPISODE: In this conversation with Pam Gabriel, we explore how a love of horses shaped her life and creative pursuits — from wrangling and teaching to discovering the power of photography to connect with equine lovers. Pam reflects on her early experiences with horses, how photography found its way into her work, the joy of capturing horses and their people, and how she continues to grow her craft while supporting her community. Whether you’re an aspiring equine photographer or someone building your own creative path from lifelong passions, this episode reveals how heart, experience, and dedication can guide your career.     KEY TAKE AWAYS How horses have influenced Pam’s life choices from childhood onward Why she pursued both teaching and photography How she uses equine photography to connect with community Creative lessons that shaped her photographic eye Seasonal marketing strategies for slow months About Our Guest: Pam Gabriel Pam Gabriel is a lifelong horse lover, teacher, and equine photographer based in Minnesota. With a passion for keeping horses at the center of her life, Pam has blended her teaching, wrangling, and artistic instincts into a creative path that celebrates the equine bond and community. Her photography captures the spirit of horses and the people who love them, reflecting both her technical skill and her deep connection to the equine world. Connect with Pam: Website: pamgabrielphotography.com Facebook Page: Pam Gabriel Photography Instagram: Pam Gabriel Photography Email: pam@pamgabrielphotography.com SUBSCRIBE Ready to deepen your own artistic voice? Follow the podcast and explore related episodes below. We invite you to subscribe on iTunes so you never miss a new episode of the Equine Photographers Podcast. Subscribing, rating, and leaving a review helps other photographers discover the show and supports the continued growth of the podcast. If you found this episode valuable, we’d appreciate you taking a moment to leave a rating or review. Subscribe on iTunes → The post 24 : Equine Life, Photography & Teaching with Pam Gabriel appeared first on Equine Photographers Podcast.

23 : Matt Cohen: West Coast Rodeo and Sports Photography Behind the Scenes 27.07.2016 39min

Thanks Kirstie Marie for a great introduction for Matt Cohen. Matt Cohen Rodeo Photography Website: http://www.mattcohenphoto.com Blog: http://www.mattcohenphoto.com/blog/ Flickr: https://www.flickr.com/photos/1115/ Twitter: https://twitter.com/mattcohenphoto Instagram: https://www.instagram.com/mattcohenphoto/ Facebook: https://www.facebook.com/jmatthewcohen Cody Snow, Red Bluff 2016 SHOW NOTES: Matt describes himself as a city boy. He didn’t really have any exposure to horses at all until he was sent by a local paper to cover a rodeo for one evening. He started his career as a photographer shooting high school sports for several local papers. On that first night at the rodeo, he decided to come back for all three days of the event and was hooked. With high school sports you are just shooting one thing. For example with football, you have about 10 minutes of shooting time spread out over an hour. But, with rodeo you have constant action and there are 4-5 completely different events to shoot. Each event although it involves horses is completely different from the other. This is how Matt describes what intrigued him with rodeo shooting. Bobby Marriott / 926 Sundown of Flying U, Reno 2016 The other thing that makes it a whole lot more fun is that you can get right in there. Between events you can chat with the riders and you have access. With other professional sports you are nowhere near the participants. Even when you are on the side lines, you are 10 to 20 feet from the players. You certainly are not allowed on the field. Everything has horses. Even with the bull riding there are the pick up riders that go in to rope the bulls and get them back in the pens. Social media Matt is on pretty much everything. When he started, he just figured he would put the best pictures out there and figure out how to make some money with it. Facebook seemed to be the key to that as riders were tagged, then their sponsors would see the images and I would make connections with them for additional work. He has 56,000 followers on Instagram, but it does not lead to a lot of business for him. He tends to spend more time on Instagram because he likes the format better. You see more images on Instagram and less “other stuff”. But, Facebook has been the social media that has performed in terms of helping him make the connections. Making money in Rodeo Photography He does not use the old model of shooting with the hopes of the riders wanting images of their rides. He works directly with the rider sponsors and only does a very little bit of selling to riders. Sponsors are looking for outstanding images for promotional purposes. Autograph prints, trailer wraps, bill boards, and other promotional materials. He does nothing on spec. He won’t travel great distances to a rodeo unless he knows that he has several sponsored riders at that event and the pictures are already spoken for. He questions whether the old model is very workable any more. The better riders have been there and done that already and they don’t buy 8 x 10s. It took him a long time to get to where he is today. As editorial diminished, he moved more and more of his business to commercial. It used to be that Sport Illustrated, a cover for example or a two page spread, was a real payday. Now instead of a couple thousand dollars, you are looking at a couple hundred bucks. Now they have laid off all their photographers and they get whatever pictures they can find. Matt said he has seen covers that were out of focus. It’s sad, he said, when he first started there was more in editorial. Blake Hirdes, Marysville 2016 Why a great shot is important Matt explains that in editorial, you are a cost to them. They look for the cheapest solution to their need that they can find. Advertisers, however, need the best possible images and are willing to pay to get those. Getting as close to the end-user, the people who are selling products, is where the you can make a living. JR Vezain / 631 Lil Josey of Flying U, Reno 2016 A sponsor might have 15 guys that ride for them. Another might have three. Each contract is tailored to their needs. He is basically on a retainer with these sponsors and this is what funds his income, his travels, his equipment, hotels and so on. NO FREE PICTURES warning on his website Before someone can click on the contact photographer form, they have to agree that they are NOT GOING TO CALL FOR A FREE IMAGE. This is a waste of time and spending 20 minutes explaining that he is a professional photographer and he gets paid for his work. If someone still calls him and asks for FREE IMAGES for their small publication or whatever they want it for, Matt will tweet out that such and such publication asked for free image and embarrass them. He has a bit of a reputation. He explains that getting a tag line for free images does nothing for you as a photographer. Negotiating from FREE is very difficult to do. Sarah Rose McDonald, Clovis 2016 He shoots rodeo March through September. In the winter he shoots other sports. He spends more time working on his rodeo image sales than he does on the other sports. There is much more action to shoot in rodeo so he spends more time on the images as well. Big Lens Fast Shutter Podcast Him and a partner help people learn sports photography. He has been working on that for about 5 years. He enjoys helping others to improve their work which is gratifying and there is some income stream from it. SUBSCRIBE, Rate and Review: The Equine Photographers Podcast We also encourage your to SUBSCRIBE on iTunes so you never miss an episode. This is also where you can leave a RATING or COMMENT about the episode or the podcast. More comments and ratings helps others find our podcast on iTunes. If you enjoyed the podcast consider leaving a rating and review: Subscribe on iTunes Click HERE Also, please use the SHARE buttons at the bottom of the page to share The Equine Photographers Podcast with other equine photographers that you may know. The post 23 : Matt Cohen: West Coast Rodeo and Sports Photography Behind the Scenes appeared first on Equine Photographers Podcast.

22 : Shawn Hamilton: Editorial and Stock Equine Photography Behind the Work 15.06.2016 30min

In a changing market with changes in photography and changes in the economy their have been publications that have ceased to exist and others have cut back on photography budgets. Stock photography has also changed over the years. Throughout all this change, Shawn Hamilton has been able to run a successful editorial, commercial and stock photography business focused exclusively on equine photography. My wife an I have been to the Rolex Three Day Event at the Kentucky Horse Park in Lexington Kentucky for the cross-country jumping portion of the event many times over the past many years. One year I had the pleasure of introducing myself to Shawn as she photographed at the water jumps. She had a very large lens which I think was a 300mm prime lens. I’m not sure where this picture (below) was taken, but this is pretty much how I remember her on that day 4 or 5 years ago. For me it is just a 2 hour drive from Dayton, Ohio, however Shawn comes from Canada to shoot the event each year rain or shine. But, as the interview progresses, you’ll hear from Shawn how she morphs her business to meet the needs of the day and now may also create some offerings that give her a chance to “give back”. Website: http://clixphoto.com Facebook Page: https://www.facebook.com/CLiXphotocom Email: clixphoto7@gmail.com SHOW NOTES: As with every episode we start out talking about the origins of interest in both photography and especially horses. She got her first 35mm camera from a rich ante when she was about 10 years old. She started riding lessons when her mom traded fabric for riding lessons. She started her business in the mid 80s. She picked up The Photographers Market and entered all the magazines she had an interest in into a data base. She was working with a data base management company at the time. After a pregnancy leave of several months when she came back to work she realized that she wanted to go full-time with photography, so she quite her job and dove in. It took about a year of shooting horse shows and three-day events before she would say that she was actually making money as a business. She started out as a show photographer. In order to make it as an editorial and commercial equine photographer in Canada, you must have clients in the USA. With the down turn in the economy she went back to school to learn more about writing and she has refocused on travel photography and writing, but still focused on equine vacation opportunities. National Geographic Traveller Magazine UK version Her recent accolade was her photography in National Geographic Traveller Magazine UK version. Shawn had taken a 7 day trip crossing the Andes Mountains from Chile to Argentina. A National Geographic writer had taken the same trip, but the photographer she had did not work out for whatever reason and they were able to use Shawn’s photography instead. It’s been in the works for some time and was just published recently. She is still looking for a copy of the magazine. 30 years photographing the Rolex Three Day Event She has only missed two over those thirty years. Once because she was pregnant and another because she was living overseas. It used to be as an assignment photographer for several publications, but now she does the photography there for stock. She still shoots for several clients, but not like she used to. There are so many photographers at the event these days so the competition and the availability of good images is much greater. In any case Canada is still gray from winter and coming down to the Rolex where it is already spring, inspires her and gets her stock photography Fine Art Equine Photography Fine art is something that she has been working on for a year or so. We discussed pricing a little bit. How to Photograph Your Horse She was invited to do a presentation at an event. She presented about how to photography your horse. Afterwards, she had people coming up to her booth with lots of questions and asking if she would do a workshop. She scheduled a teaching workshop about how to photograph three day events. That is happening in mid June 2016. She is ready to give back and feels that this will be a great opportunity to do so. A Book About Horse Back Riding Vacations If she writes a book, the name will be “From the Saddle” because she does a lot of her travel photography from the saddle of the horse. We discuss how to have cameras while riding a horse. She has Lowe Pro bags and belt attachments for the cameras and lenses. The HOW-to of Editorial and stock photography Find magazines that resonate with you as a photographer. Send emails to the photo editors or call them on the phone to get an idea of what new types of work they are looking for. Go to the media center of the events. Don’t be afraid of the phone. Don’t be afraid to talk at the events with publications and show them some of what you have. She works with “want lists” and sends out emails with links to her images. She discusses where her income comes from today. It comes from stock, editorial, fine art, travel photography, and now perhaps workshops. The below photo is from her website and the list goes on and on. SUBSCRIBE, Rate and Review: The Equine Photographers Podcast We also encourage your to SUBSCRIBE on iTunes so you never miss an episode. This is also where you can leave a RATING or COMMENT about the episode or the podcast. More comments and ratings helps others find our podcast on iTunes. If you enjoyed the podcast consider leaving a rating and review: Subscribe on iTunes Click HERE Also, please use the SHARE buttons at the bottom of the page to share The Equine Photographers Podcast with other equine photographers that you may know.   The post 22 : Shawn Hamilton: Editorial and Stock Equine Photography Behind the Work appeared first on Equine Photographers Podcast.