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Horses and Hope: Calendar from Sarah K. Andrew

Horses & Hope the 2012 Calendar from Sarah K. Andrew. 100 % of the profits will be donated to One Horse at a Time. What a great way to donate to a good cause and enjoy Sarah's amazing photography every month.

Sarah K. Andrew and HoofPrints have teamed up to create a 2012 calendar, titled Horses and Hope: My Year at the Auction. If you aren’t already aware, Sarah takes photos every week of horses that are at the Camelot auctions. Her photos do an incredible job of capturing the personalities and conformation of the horses and the quality of her images I’m sure goes a long way toward helping them find a safe landing.

The calendars cost $14.95 each and 100% of the profit from the sales of the calendars will be donated to One Horse at a Time, a 501(c)(3) organization. Sarah especially likes the fact that OHAAT writes “gelding grants” to help stallions find homes. Her hope is that a good part of the funds from the calendar can help with gelding grants and clinics. So far, the calendar sales have brought in $26,000! Make sure you buy one — they make great gifts and they are for a well-deserved cause.

Sarah wrote:
The calendar contains over 100 photos of horses, and represents almost two years of volunteer work. Since the Camelot Auction volunteer effort began, over 2,800 horses have been given another opportunity at new homes through a massive social networking effort.Every week, I photograph all of the horses who have been sold to the feedlot, and the photos in the calendar were many of my favorites. The purpose of the calendar is to inspire people to look at horses in need in a different light. Although the photos were all taken at Camelot Auction, my hope is that it encourages other people to think about their own local efforts to help horses. In addition to photography, the calendar contains some positive quotes and information about how to help in your local equine community. We worked very hard to give the calendar a “can-do” theme, instead of a gloomy one.
You can click here to order the calendar: http://www.hoofprints.com/organizers.html
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A kiss on the head.

Photo by pamela leigh richards, 12/08

I had a mare once who loved all baby creatures. She would lean down and snuffle my daughter’s head just like this.

One day I found her in the paddock with a gosling. She followed it around gently brushing it with her muzzle and breathing into his feathers. It looked like she was trying to soothe it (although I’m not sure the gosling got the message).

More cute photos and videos like this at Fly With Me Productions. Check it out!

Equine photography: Who owns that photo of your horse?

Thanksgiving Day Hunt

I took this photo for the Hunt's blog at our Thanksgiving Day Hunt.

At many horse shows and events, equine photographers are present to help immortalize your experience. Unlike your parent, friend or spouse, these folks are trained to catch your horse at the height of its jump, not right before you take off or right after you land.

We all wait with bated breath to receive the proofs, hoping to find the photo that captures the excitement of the moment, the glory of our horse, and hopefully our at least acceptable equitation.

It’s at this point that confusion arises. When a photographer posts proofs on his or her website or sends them to you in the mail, they do not belong to you. They belong to the photographer who has used his or her equipment and expertise to obtain the shot. You are not supposed to download them, post them on your Website, or print them out. Either this is widely misunderstood or  frequently flaunted because I see photos with PROOF written clearly across the image every where — on websites showing horses for sale, in people’s Webshots albums, Facebook accounts, and on-line where riders ask for critiques. Some photographers no longer post proofs, as evidenced by this statement:

Due to the issues faced in past years with images being removed from this site unlawfully and uploaded to other sites like Facebook and due to other copyright infringements, proofs are no longer available for public viewing.

So, you say, I never post proofs. I buy the image and own it! But do you?

When you purchase a print from a photographer in the U.S. you do just that: you buy that particular print of that particular photograph. It is now yours to frame or put in an album. And that’s it. You may not copy it, scan it, post it on your website or use it for an advertisement unless you have negotiated those rights with the photographer who took the image.

It’s a question of copyright. And keep in mind, copyright laws are not the same in every country so it’s important to understand how they apply to your situation. While in the U.S. the photographer retains the copyright for the photographs they take unless they sell those rights, in Canada, the person who commissioned and paid for the photograph to be taken owns the copyright.

Who is the author of a photograph determines who owns the copyright in the photograph. Generally, the author is the first owner of the copyright in a work. This is true for photographs with some exceptions. The Copyright Act provides that where a photograph is commissioned the copyright belongs to the person who orders the photograph. Source: Professional Photographers of Canada

Although the photograph was taken of you and/or your horse, the rights to use the image belong to the photographer. You can purchase the right to post the image on your Website, or publish in a sales ad or other venues, but that right does not automatically come along with the 5×7″ print that you ordered. It’s a good idea to always check with the photographer who took the picture how you can use it.

Now, here’s another thing to consider. Say you have a photograph of your horse being shown by a professional at a show. You negotiate with the photographer to use the pic in a sales ad. So, you’re good to go? Nope. Not unless you have permission from the trainer to use it in the form of a model release. In fact, although some states will allow a verbal release, it’s always a good idea to have a release in writing from the rider that allows you to use the photograph in a variety of situations.

But what about the photos that appear to support show results, such as those that appear in The Chronicle of the Horse? That’s different. Photographs taken for editorial content do not require the permission from you or the rider to appear in print.

I know it’s tempting to make copies of the prints or to post the proofs. Just remember: photographers make their living by selling photographs, not from giving them away. If you think your Aunt Sally can take pictures that are “good enough” for what you want, then use the ones she took. Just don’t complain that the photo isn’t sharp or that she didn’t catch your horse at the right moment.

P.S. As a writer, it bothers me when my writing appears under another person’s byline. I know you can’t copyright the words, but they way they go together? Well, that’s another story!

More resources:

Common Questions & Answers about Copyrights

Key requirement for becoming an equine photographer? Fast reflexes!

This photographer at the Winter Equine Festival in Wellington, Fla., learned that the most dangerous place to be during a jumper class was not on the horse, but rather on the ground! Luckily it appears that horse, rider and photographer all escaped unscathed.

Horses of the Old West

The Cowboy by John C.H. Grabill, 1888

The Cowboy by John C.H. Grabill, 1888

When I was looking for images of Comanche, the horse that survived the Battle of Little Big Horn, I came across a fabulous site, the Old Picture Internet site,  with photographs taken from the 1850s to the 1940s.

They offer incredible insights into life at that time, but what particularly interested me was the horses! Some of them are quite magnificent and obviously well loved and cared for.

Two of the most frequently featured photographers were John C. H. Grabill  and Edward S. Curtis. Their photos provide a glimpse into a time and place that otherwise survives only as the stuff of legends. The quality of their photographs is amazing!

Not much is known about John Grabill’s life. His legacy is a collection of 188 photographs that he sent to the Library of Congress between 1887-1892. This collection is considered the premier collection of western frontier photography in the United States today. You can read more about the mysterious Mr. Grabill in this article: The Deadwood Historic Photo Mysteries.

Edward S. Curtis made it his life’s work to record the life style of Native American tribes before their contact with Anglo culture overwhelmed them. It took him 30 years to complete his photographic compilation, “The North American Indian.” There is a facinating overview of his work compiled by the Smithsonian Museum: Frontier Photographer: Edward S. Curtis that includes his writings as well as his photographs.

“I have the ability, strength, and determination to finish . . . but have gone to the end of my means and must ask someone to join me in the undertaking and make it possible for all ages of Americans to see what the American Indian was like.”
~ Edward S. Curtis in a letter to J.P. Morgan, January 23, 1906

Oasis in the Badlands, 1905 by Edward S. Curtis. The picture presents an Oglala Sioux Indian man (Red Hawk) on a horse that is drinking at adesert oasis. The Indian is in full traditional dress and is wearing a war bonnet.

The Cavalier by John C.H. Grabill, 1890. This photo shows a young cavalry officer and his horse at Camp Cheyenne. What a magnificent horse!

Ned Coy, a famous Dakota Cowboy, taken in 1905 by John C.H. Grabill.

Crow Warriors on Horseback, Edward S. Curtis, 1908.

Crow Warriors on Horseback, Edward S. Curtis, 1908. The two warriors are Crow on the Ground and Forked Iron.

Cayeuse woman in decorative attire, Edward S. Curtis.

Cayeuse woman in decorative attire, Edward S. Curtis.