Author Archives: camilla

like a painting

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Filed under Arts, culture, Fashion

While fashion magazines are fading, fashion photography continues to thrive  in museums and art galleries.

By Camilla Alfthan, Weekendavisen, May 2018

voices of reason

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Filed under Arts, culture

“Education is the key to a better world,” tells legendary singer, Barbara Hendricks who divides her time between the stage and her humanitarian work.

By Camilla Alfthan, Berlingske, January 2018

to be – or #nottobe

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Filed under Fashion

In a business where seduction is a part of the game the trick is knowing how not to be #Metoo’ed.

By Camilla Alfthan, Berlingske, January 2018

finn facts

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Filed under Arts, culture, Design

As Finland celebrates a centenary, the lights are on art, architecture and design – and a super size library designed by a new generation of architects.

By Camilla Alfthan, Weeekendavisen, December 2017

the making of kingsland

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Filed under Equestrian

While competing with the elite of show jumping, Lin Kingsrød also found the time to create the coolest brand of the sport.

By Camilla Alfthan, kk, February 2019

king for two months

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Filed under Arts, culture

After the declaration of independence Finland elected it’s first – and last – monarch. His great-grandson, prince Philip von Hesse, visited the country which could have been his Kingdom, if history had taken a different turn.

By Camilla Alfthan, Weekendavisen, January 2018

handbags and horses

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Filed under Equestrian

Legendary artist, Jean-Francois Pignon puts on a show during fashion week in Paris.

By Camilla Alfthan

interiors made-to-measure

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Filed under Design

In an 18th century building in Paris designers, Humbert & Poyet has created an arresting showcase for couturier, Alexis Mabille.

By Camilla Alfthan, March 2019

Easy riders

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Filed under Notebook

Photo Richard Juilliard

Athletes are always fascinating to interview as they push their limits to achieve their goals. Not least the show jumpers who literally fly over the highest fence. 

By Camilla Alfthan

 

AS A MEMBER of the national, French équipe for over 20 years, Roger-Yves Bost is one of the most popular characters of the show jumping caravan who grew up at Haras du Bruly near the Fontainebleau, where his family has run an equestrian centre for decades.

What singles you out is that you have a style apart.. That’s what’s good; that I’m different from the others.
We all ask the same thing of the horse when we ride, and I acquired a style when I was a child competing on poneys. I had to win and I rode all sorts of poneys, so I tried hard to win. And before that I tried to emulate many different riders. That means that I have a style that is mixed.

And different.. My style depends on the horses. I try to have a large assortment of different techniques that I can change if I need to. The horses are very important, they are the ones who have to jump, so I must not annoy them, I must do my best so the result is the best.

2016 Rio Olympics Roger-Yves Bost (FRA) of France riding Sydney Un Prince. REUTERS/Damir Sagol

You’re always very concentrated on the course..Yes, I walk the piste for quite a while. I’m concentrating on the objective and each obstacle, one by one, and that makes all the difference. I’m very focused and that’s very important in the ring, to concentrate on each obstacle and not touch the bar. To ride well so the horse will give more. I have a lot of technique. It’s like a pianist who is all alone and who has a lot of experience. My repertoire comes all by itself when it is needed and I can concentrate on the ride and the strides.

“It’s like a pianist who is all alone and who has a lot of experience. My repertoire comes all by itself when it is needed and I can concentrate on the ride and the strides.”

How important is the horse compared to the rider? That is difficult to say. There are highs and lows to an extent that is different from any other sport. If you have a good horse it is easier, perhaps you can say the horse is 70 per cent of the performance and on a bad day it is fifty-fifty.

Who influenced you the most? I had many different trainers, Robert Breul who taught me the basics and Jean d’Orgeix who had a lot of technique and who taught me a lot about the turns, Nick Skelton I watched a lot. My favorite is Nick Skelton with the mind of Ludger Beerbaum. There’s Rodrigo who is also exceptional.

There are so many now. It changes every two to three months and level goes up all the time.
You really have to be motivated as it changes very quickly and the young riders at 25-30 are very strong, they have a physical shape that makes it easier for them. We who are older have the experience but we have to continue to work to stay on the top.

Why this change? There’s more more money in the sport and everything goes faster. People arrive with horses that are better and everything is prepared in a better way. Their training is better, so generally, everything has gone up. On the other hand, if you were good ten-fifteen years ago you can still be a good rider, age is not a problem. ©

Not competitive like most girls are

The daughter of Michael Bloomberg was put into this world to be around animals – and to stand up for them, she tells.

” AS A KID I loved the freedom to get out and get dirty and run around with my friends. Once I started competing I really loved the competition side of it. If I didn’t compete I wouldn’t ride. I don’t do this for fun, I do this because I want to compete,” told Georgina Bloomberg between classes at the EEM Masters in Paris.

You were very young when you started..

I was four when I started riding and six when I started competing.  My older sister rode a little bit and that’s why I started so early because I wanted to do everything that she did. 

What was it about the sport that seduced you? 

The competition side of it. I think you have to enjoy it to a certain level in order to do it well but for me I loved the competition, and I fell in love with that, and wanted to ride more and more. I’ve always been competitive when it comes to sports. I’m not competitive in the ways most girls are, but for sports I am. I love all sports. To be able to work hard at something and then go in the ring and have a pay off.

“I love all sports. To be able to work hard at something and then go in the ring and have a pay off.”

Are you a bad loser?

(Laughs) Honestly, I think in this sport you can’t be a bad loser because you are going to lose so many more classes that you will win. And I think that is one thing that the sport has actually taught me – to become a very gracious winner and loser. I think it is so much harder to be a gracious loser but I’ve gotten a lot of practise in the last few years. I think that you have to appreciate the good days, but really not let the bad days get to you so much.

What is your first memory ? 

A walk trot class. And I could not get my pony to trot. I was six. I remember being so angry about it. I could only go on from there. I only did hunters when until I was 18. And then I decided that I wanted to start jumpers. It was the challenge of something new, and I thought there was more potential in it. My first major competition was the Young Rider competition – that’s what made me fall in love with show jumping. I wanted to make the US team and come to Europe and show.

How many Grand Prix have you since won? 

I don’t know. But I’ve kept most of my trophies and I have no shame in displaying them in my home because I’m very proud of them.

You’ve had some really bad falls, and yet you came back. 

Yeah, the last couple of years I’ve had a lot of injuries and bad luck, horses going lame. The last couple of years have been a bit of a struggle. But I decided to do back surgery which was a very important decision for me – to say that I want to come back stronger and give this sport one more shot.  I’ve had a lot of bad falls, but you know; it’s something I’ve never been scared of, and I always wanted to come back.

That’s what’s interesting about horse riding – you always get back in the saddle. 

Yes. It doesn’t always make a lot of sense. But we do. It’s a risk that we know is there when we get on a horse. If you start getting scared then it is time to do something else. But I never let it get to me too much. I’m not done in this sport yet and I want to give it another shot. It’s gonna take more than a few broken bones to keep me out of it.

“It’s gonna take more than a few broken bones to keep me out of this sport.”

You’re father always supported you. 

We’re always very supportive of each other though we do different things. He’s obviously not a horse show person and he doesn’t quite understand the sport. Hopefully, if we bring the show to New York he’ll come and see it at this level, which I think he hasn’t before.

It could also be great for the city. 

I’d love to get people who usually don’t get a chance to see show jumping to see our sport so they’ll understand it is not an elitist sport. It is a real sport. It’s gonna get us a lot of exposure, and show people how hard we work and how exiting this sport can be. You make a lot of sacrifices.  You’re around six days a week and it is very time consuming when you travel a lot.

You ride mostly in the States. 

Yes, but before that I went to Germany in the summers and that was a great expercience. I enjoy riding in Europe, even if it is a small show, to see how well run they are, and also to be able to ride against people who’m I’ve admired.

Do you have a favourite? 

I think Marcus Ehning is an amazing rider, I love his style, and he’s a great fighter. He’s very quiet on the horse and let’s it jump. You don’t notice his body or hand, he’s very elegant.  I have to be a little careful with the horses I choose. I have to be able to get along with them, and they can’t weigh a ton, because I’m on the smaller side. I go to the gym so that I can be as strong as possible.

So bonding is also a part of it? 

Yes, I get very attached and I form a relationship with them.  And I always think I don’t have a lot of natural talent. I have to work very hard at it. So for me, I really have to forge a relation with the horses. Then, unfortunately, you get attached and if you’re supposed to sell a horse it is hard. I always have troubles letting go.

Does it happen a lot? 

Yes, we have to sell a little bit in this business and I have to make some sort of money so we’ve sold a few. But some that I should have sold I did not. 

You’ve said you’d never spend a fortune on a horse. 

I like buying horses and do all the work myself.  A lot of people think,  ‘You can afford to go out and buy an expensive horse, why don’t you?’ For me, morally, I’d never want to do that. Just because you can afford something it doesn’t mean you have to go out and buy it. I want to work my way to the top in this sport, and not buy it.  I’m also doing a lot charity work to know what that kind of money could do for something else. So I can’t ever justify spending that on a horse.

“Just because you can afford something it doesn’t mean you have to go out and buy it.”

Your father’s position (in politics) also makes it difficult. 

Exactly. And just for myself I morally can’t do it. And if that will keep me from the top of the sport; so be it. I’d rather feel good about myself as a person than reaching the top as a rider. 

You also love dogs..

I have five rescue dogs and I also just rescued a pig. (Laughs) He’s very smart, and he’s house clean. He was at a compound in New Jersey and needed a home so I adopted him last week.

Tell me about the books that you wrote. 

There’s a little bit of me in every one of them. The Tommy character most people find is me, and I’m honoured because she is the most down to earth, hard working and kindest person.  But it is about a general experience of things that have happened to me or friends.

What were your reasons for writing them? 

When I was approached about this, I first said no, because I never really enjoyed writing. But when I thought about it, I realised it was the first time I’d have the opportunity to write about something I know so well and love. And when you’re doing something that you love it’s actually fun. I did it with a co writer, and the first book was the hardest. But then we came up with the characters, and after that, it all came very naturally. I knew where they’d go from there and what would happen to them. Every book gets easier and easier. We’re in talks about making a television series.  There’s a little bit of romance, and a little bit of everything.  It’s about teenagers in the horse show world and the things and the drama that happens there…The horses have given me so much, so it is my duty to stand up for them. I work for the USPCA,  doing a lot about horse slaughter. 

Which is a big problem. 

Most people don’t even know that it is a problem. People don’t assume that it exists. They’re taken to abattoirs Canada and Mexico. We treat these horses so well and people don’t always see the other side. Even these horses here can end up in slaughter. So it is our duty to follow a horse once you sell it to keep up with where it is going, and who is going to get their hands on it. For me, the work I do with animals is the only thing I know I’ll do for the rest of my life. It’s my biggest passion. I know the reason I was put on this earth is to do this. ” ©

Georgina Bloomberg on her favourite mare, Juvina. “In competitions, there’s no space for bad losers. Because you always lose more classes than you win,”she says.

Ludger’s Many Likes

IT IS the horses who helped the German super star, Ludger Beerbaum secure his numerous trophies – three Olympic team gold medals (1988, 1996 and 2000) an individual Olympic gold from Barcelona in 1992 and two team gold medals from the World Equestrian Games to name just a few.

You say you don’t have a favorite horse – but which are in the top ranking? Ratina, Classic Touch, Gold Fever…..these are for sure my peaks. But then I also had Priamos, who was a really nice horse that I only had for two and a half years. Even a horse that was a bit a second rate; Figaro’s Boy, was nice and competitive. I don’t know how many horses I’ve had during the years. 250-300 when it’s just the ones I’ve been on to international competitions.
I’ve been lucky to have many good ones. If I just see all the horses I won championship medals with, even Glady’s, Champion de Lys, they were all very different. If a horse has courage and character, and it’s competitive you can live with different types of horses and blood. In the end; if they have a good heart and a good will, then that’s what is important.

Which is more important, your horses or your family? The family is number one, the horse is always second.

“I’m also not in love with my horses. I like them. Some people say, I love, I love, I love….but it is not the German way of interpreting feelings.”

I’m also not in love with my horses. I like them. Some people say, I love, I love, I love….but it is not the German way of interpreting feelings. I really like my horses and I’m a lucky guy to find a way and a job in this sport. But love and families are a little bit different.

Your family and the horses are nevertheless inseparable. My family is a part of the game. We live in the yard, so they are pretty much involved. But the travelling is not easy. I can’t go to all the shows. You have to have priorities and make compromises. The show is a vagabond life. In the end it is the family first, and the horses are a job.

Would you want your children to follow your path? I’m not sure, to be honest, if I want my kids to follow my path. Especially for the girls. It’s a hard life. If they really want to do it I wouldn’t say no. But I would definitely never push them.

How did you get into this sport in the first place? I was always really keen and I loved to go to competitions. When you’re young and you realize that you are becoming successful it’s like a drug; you like what you’re doing. And then once it came to a point where I had to decide whether I wanted to stay as an amateur, so I decided to try riding professionally for a few years. And that was it.
For how long will you go on? I won’t stay in this business forever, like some of these guys who are in their sixties. Because I’d really like to do something else at some point. It will always be something with horses but not riding every week because it gets kind of boring. I have some riders working for me already. I’d like to do a little bit of farming. I have some land in East Germany. I’d like to do some more there. I could do this for another 10-15 years and then it’s time to change. ©

 

Judy Ann & Christian

“We share our horses. Judy is riding a horse for me at this show. I have Taloubet which was her horse before. I have to find out with which rider he has the best results…When you ride in the same class, you walk the course, and you have your way of thinking, you talk about it and try to make a good plan for both of us. If you’re alone it is much more difficult.” Photo C. Alfthan

FOR SHOW jumping’s power couple, Judy Ann Melchior and Christian Ahlmann, the horses are everything. Just as being able to compete in the same shows.

You’re surrounded with some of the world’s best horses. But which horse is your favorite ? 

Christian Ahlmann: The best horse is the one that does best in the competitions. But the best horse for me is Costa, because he brought me up and he was my first successful horse. I rose to an international level thanks to him and he made me a European champion. I’m really thankful for what he did for me and for my whole career. That is why he is my favorite. For the moment I have Taloubet. He is amazing and perhaps even better but Costa will remain my favorite horse for the rest of my life. Today, he’s on the fields at home with the ponies.

Judy Ann Melchior:  My favorite horse is Levisto. I had him now for 15 years so he’s going towards retirement. I think I have one more year with him. I’ve had other succesful horses but for me he’s really a big friend. He’s easy to ride, he fits well in my system and he’s mentally a fighter; so for me he’s really everything.

How long have you been a couple ? 

Christian: We’re now together for five years. We know each other from the shows. I’m ten years older. So we were not always on the same ones. Now we are a family. Our boy was born in August. It was a big step to have a child. Now we have a life together. Generally, I think it’s really important that your partner has something to do with the business or with horses; otherwise its going to be pretty difficult in the end.

Judy Ann: We’re lucky that we can often ride at the same shows and that we can travel as a family together to do the same stuff.

How did you deal with your pregnancy ? 

Judy Ann: I stopped riding immediately because I did not want to take the risk. And I started immediately afterwards. We have a maternity nanny who follows us around. In the daytime, she is at the shows with us and in the evening she goes to our hotel.


Christian and Clintrexo Z, photo LGCT

Has it affected the way you ride? Are you more careful ? 

Christian: I think it is the same. Maybe for Judy it is harder to come back. But in the end you dont think about your children when you are in the ring. You take the same risks and the same horses as before. For me it is for sure like that. And for Judy I think it is the same.

“In the end you don’t think about your children when you are in the ring. You take the same risks and the same horses as before.”

Judy Ann : We don’t ride because we think it is dangerous. For us it is something natural. But I did stop for nine months which interrupted the show rythm. After one month I was doing shows again and I’ve been quite successful. Maybe not competing for the first place but I’ve been placed well in the big classes. But you do loose a lot of rythm in nine months. So it is something you have to build up again. It’s only natural. For every job you have to rebuild after such a break.

Christian: For horses and riders it is the same. If you’re out for a while you’re not a hundred percent on. It takes time to get back.

Will you have another one ? 

Judy Ann: We’ll have a bigger family but right now it is perfect to just be the three of us. The bigger your family gets the more difficult it gets.

Do you ever fight over your results? 

Christian : We compete against each other all the time. It doesn’t make us fight, for sure not. I think it is the only sport where women and men compete together.

Judy Ann: When we’re both at the shows you have much more chance that at least one of us was good. So when Christian was riding alone for nine months his results were terrible. But when we’re together there’s alsways more chance that one will win.

“The sport has changed a lot in the past few years. Normally, our base is Belgium or Germany, and we travelled around shows in that area. Now we go to Brazil, to America, to Asia…it is a big difference from a few years ago.”

Christian : We share our horses. Judy is riding a horse for me at this show. I have Taloubet which was her horse before. I have to find out with which rider he has the best results. Sometimes with her, sometimes with me. It’s not really clear from the beginning. Judy has a different way of riding. I ride with much more pressure and my body has much more weight. For some horses it is good, for some horses it’s less good. When you ride in the same class, you walk the course, and you have your way of thinking, you talk about it and try to make a good plan for both of us. If you’re alone it is much more difficult to do it.

Judy Ann : We always talk about the sport and we always train our horses together and the whole logistic side is one. We both know each others situation really well and we know each others horses. Christian has been teaching me.

Christian : I train her more than she trains me but it doesn’t mean that we don’t always talk about it; she asks me and I ask her, it goes both ways. It is really good for both of us.

What do you think about the boys against girls class that was created for this show? Does it help popularize the sport? 

Christian : It really makes it clear for everybody that we have a sport where it is boys against girls all the time. This is something really special in our sport. We have the same classes and the same competitions.

Judy Ann : For the riders that particular class does not make any difference. But for the audience it is fun. They were very successful at making an elegant show. They have created a lot of interest in the public. It’s a good place for Gucci to come out with its image.

Christian : The sport has changed a lot in the past few years. Normally, our base is Belgium or Germany, and we travelled around shows in that area. Now we go to Brazil, to America, to Asia…it is a big difference from a few years ago. I think the horses can handle the trip really well, they don’t need two-three days to be back to normal. If they don’t know what it is it can be really difficult. If you have a 7-8 year old who tries it for the first time they can get travel illness –  you have to be really careful. The Grand Prix horses have a certain age, they know the circuit and they can handle it well. ©

Interviews at the Longines Masters, Paris

                Judy Ann aboard Clintrexo Z, photo Stefano Grasso

 


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Closing in

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When the London based photographer, Tim Flach, came out with his lavish tome, ‘Equus’, he was compared to some of the greatest equine painters of our times. Modest and unassuming, horses are just a chapter in Flach’s career, though they were always a part of his life.

By Camilla Alfthan

”BOTH MY PARENTS were passionate about horses. My father played polo, just as my brother, and my mother used to hunt. It was very much part of my growing up,” tells Tim Flach during our conversation about horses and photography. Famous for his arresting images of animals Flach’s studio is far from the Noah’s Ark that one might expect. He only has two cats and he never really went riding.

“I was just a child trying to do things told by my step mother, mucking out and cleaning the stables, strewing them the hay; that physical kind of connection.  I was that kind of generation where the kids weren’t given too much opportunity, I was just there to help out. I wasn’t given riding lessons or any of that sort but I always enjoyed being around the horses. I think they are very sensitive to the energy around them and I think that I’m fairly quiet and fairly neutral and I have great respect for them.

The people we rented our house from had a large library with images. The lady there was a world renowned botanist, so seeing all these wonderful creatures and the combination of being on an estate that had a lot of forest all affected the outcome of what I did.”

 A race horse at track work before sun rise.

HORSES IN HISTORY

”One thing about photographing horses like the halter horses and the wild horses that I did so many of in Mongolia, is that it’s not necessary to ride them to be observant of them. There’s a difference between riding the horse as a pleasure horse and the history of the horse which is a lot less sympathetic to the animals’ interest.

We think of pleasure horses as extensions of pets. But they were used in situations where people would wear a horse down as they do a car today. So the sentiment we have today is hugely different than a generation back. Horses are so deeply rooted in our culture with the the paleolithic case of Portugal and Spain. If we look to art so much is related to the equine subject because they were hunting the horse for food but they also knew the anatomy of the horse better than we do because they were dismantling it and using every part. Then equitation came about from the Corinthians to the Athenians..

If you’re interested in culture you cannot separate the horse and us. It’s such a deep heritage, so rooted in our history.

Today you don’t see it so much in modern art and that’s a huge change.  And yet our language is still peppered with equestrian references whether we’re talking about horse power, or whatever; we’re constantly using words that are linked to the equestrian universe. We almost forget it as it is such an important part of our language.”

 The horses of the vikings still roam freely in Iceland. 

AUTHENTICITY

”Today, we’ve got more understanding of animals than ever before. We can watch rhinos at night, a hunting sequence of wild dogs until the final kill from some micro light. We know animals better than we virtually ever have before. But, in actuality, we have never been more separated.

We know animals better than we virtually ever have before. But, in actuality, we have never been more separated.

It’s a a conumdrum that may come to haunt us because as we separate ourselves from the horses in our mechanistic lifestyles who knows what it sets up? And because it is all happening so fast we can’t know the consequences of it.
My seven-year old son going to the i-pad and not integrating socially as much as previous generations would have done to go off and play football…We don’t know the consequences of this.

In that sense, the role of the horse is not much different than before. Racing hasn’t changed much. It’s about pleasure that changes the dynamics. There’s the whole thing about the health benefits of owning a dog, or having that sense of freedom that a horse might offer.
There’s a general shift in our understanding of animals in our space.
We’re going through these changes that are unique to our generations. I don’t want to sound moralistic but certainly there are many challenges out there.”

From Tim Flach’s latest book ‘Endangered’.

EQUUS

”When I made my Equus book I decided I’d rather look at the horse than the culture around it, the people elements which are a totally different matter. Though the different breeds of the horse have become cultures in the sense that we shaped them.

We were quite responsible for why we’ve got a chihuahua and a Great Dane and like we speak of genetics, we do shape the form of the horse according to the functions we need them for.

Those who did not suit us like the Przewalskis were pushed away to the Gobi desert. Even the wild mustangs are managed in some way. When they capture them they will release stallions that they want to breed and cull others that are less commercially of interest. When I went to the round ups they put back stallions with nice colour marks.

The dish of the Egyptian halter has become more exaggerated. In the Haflinger story, I went to were the best breeding place. They were quite dark over a hundred years ago and now theyre quite pale because they’re breeding them for aestetics rather than for function. They are still very effective for the mountains, but more to take a tourist up to the mountain than work for a farmer. So my images show how the horse was desired in 2007. In another 50 years it may have moved on again.

I felt the horse was so deeply rooted in our country that I wanted to explore it. Once you start such a journey you trip over things that are interesting. So the question was who would represent the different types of horses and their roles. As a progenitive to a lot of breeds was the Arabs, so I’d start there, and that gave me a lot of opportunities but I also wanted a general overview and represent certain areas.
I was playing it by inquiery of what people would tell me and some of it was led by an overview.
I tried to cover all the areas that I thought would represent the Arabian horse. I wanted to go back to where the horse came from, rather than photograph it in Poland or Sweden, though, ironically, the bloodlines have come back recently from Europe. The way the horse was formed by the desert, its hooves..I wanted to show that and it felt right. I wouldn’t photograph a poor Shetland pony in a hot climate where they have all sorts of challenges given their double coats.”

 

FRAGMENTS OF TIME

”One of the roles of photography should be to extend the experiences around the subject matter. That could be several different respects. It could just be geographical. Who would go to Shetland to see the pony, or who would go to Norway and see a fjord horse? So that is one thing; to show evidence of the landscape that molded the shape of those breeds.
The other thing is sometimes to show details that you couldn’t normally observe – catch a movement to suspend a moment in time. It might be looking at a horse shaking and the way the hair moves. It could be a horse jump – or in the case of the Arab going down the track, you can observe the way the bit is in the mouth. Certain details because it is captured.
But it is also the idea of the stylization. I’m not trying to compete with event photography but to shift the experience which, ironically, because it is shifting away from the familiar, engages you.
So photography’s role should be to engage the viewer by fragmenting a moment of the time or simply the detail that can be brought through.”

Dogs followed Flach’s equestrian tome.

GOING OUT AND SHOOTING IT

”I normally pick my subjects and I may have four days to do them, and then I distill it down to a few images so it explains something. So if I go away to India to do the Marwari horse, I want to show its ears and a few other details that explain the uniqueness of that breed. So whether I go to Rajasthan or just outside London I have to limit it in practical terms.

I probably shoot two or three pictures a day that I end up using. Sometimes six pictures a day or just one.
I can’t afford the luxury to not use them at all. There might be occasions where I’d like to go back and revisit to take it further but not often. It’s not like I shoot thousands of pictures and only select a few, I kind of home in on what I want to do.
My advertising background may have influenced me in the sense that I need to come back with something. The fact that I use flash means I can overcome some of the elements that may have stopped me. I could have a grey day and a rather dull white sky and I could light it to make it a moody sky, so I did use my technical skills to make things go somewhere. Surprisingly the horses don’t react much to the flash. I’m more concerned about flapping or something behind them that they cannot see.

In Mongolia it was just myself and a guide. In the fjords I went alone. I’d been there in the winter, picked my routes because it would be difficult to get around. In Iceland we went with Animal Planet and we had to cover quite a lot of ground without any production, so I took quite a few people out there. Usually I’ll go with one assistant on most of the jobs.  But then when we went to a place like the Emirates a lot of people voluntered to try and corral the horses so you end up with a dozen people for the day who help out, who are linked to the yard or friends of friends.”

Rearing in the desert.

CREATING YOUR OWN EXPERIENCES

”Favorite photographs and favorite times don’t usually link. I remember being with one of the cousins of the maharadja in this crumbled down palace having tea. In Iceland looking at the midnight, photographing horses through icebergs. The cowboys in the Rocky’s having breakfast. Walking 50 miles a day in the Hustai National Park chasing the Przewalski horses because there were no roads. I have different memories not always related so much to the actual pictures.

I think you have to be up for the adventure because that’s part of it all. To create your own experiences that you want to have and allow the opportunity to find new things, really. I so enjoyed meeting the people. Once you start aquiring the understanding it’s great sharing that passion and interest with the people that are passionate about what they do. I always found that electric – being around people who have a passion about something in their life. I always found that so exiting and rewarding.
I found myself talking and having a great time with some sheikh who had to go off to rule some other country in the afternoon; or talking to someone about a trotter, it’s just quite surreal, because it gives you an entry to so many different people that you wouldn’t otherwise have a reason to meet.
I love that chance to be able to meet and have a common ground with people from all over the world and to share something. I was accepted because I shared their passion.”

PEOPLE’S PERCEPTIONS

”Instead of differences I found communalities, they all felt their horse was the oldest and purest. Everyone wanted in a sense to claim their right to a uniquess of their breed. They were so proud of it and of the exponents of their virtues.

When I work with people I like to hear their thoughts about the pictures I take as it is from there that I start to learn things.
I’ll ask someone; ’Tell me what it is that you look for in your Arabian show horse’ and he’ll say; ’I want to see a kind eye, I want to see a muzzle that will fit in the palm of my hands. I want to see the crested neck.’
I ask the question rather than assuming because I dont have much knowledge. So it’s great to hear it from those people who were passionate.
What they desire and what it is that is special to them. If I’ve got to touch other people I’ve got to be interested in what is it that others will ressonate with when they look at those pictures.”

INTIMACY AND UNUSUAL ANGLES

”As an owner of a dog or a cat you have that proximity, you’re much closer. That intimacy – I hope my abstracts create that ambiguity, that they leave a space as well.

In my book, I tried to show the horse in it’s environment, and also, I didn’t show any tack because I wanted to show the horse without making too much reference back to humans.

The horses that wore masks and helmets after anesthesia were more about showing a history and an investment in the horse. The utilizing of the horse, war fare. They’re also ambiguous. I like the fact that you don’t know what it is, the head protector – it looks like he’s going into a boxing ring.”

DEBATES AND WONDERMENT

”There’s definitely a migration of words to images.
Ironically, we started with images from our experiences, and then word became the abstract symbol to interpret it, and now we’re not of the sensuous side of it anymore, we’re going back to images as a kind of idiom that suits the communication age.
Some territories are breaking down where language might get in the way. Though context sometimes is lost and words are needed.

In my early images there was a neck of a horse which was like a mountain. That resonates with me today. I recently had a series published by Stern, and I reworked an image with the knowledge I have now. My skills have moved on since I did Equus. I’m much more able to manage images in different ways so my images are much improving because of that. I feel like I’ve moved along quite a long way since then. I could reinterpret anything I shot.

The photo of the horse in the window in the stable still works for me. The embryo series still are among the images I find interesting. I think when you see it you know the potential. You don’t know until you find it.

The questions is what we do with our continuous isolation from place and nature, and what that sets out in the future.

Pictures are interesting when they bring up different debates. One thing is the wonderment of the horse, and the fact that embryos follow certain patterns similar to other species. So day 35, the embryo almost looks like a human baby. At another level, it points towards the management of the horses, particularily in Arabians or polo ponies, the fact that most commonly transferable single embryos are horses or humans.

It brought up economic debate as well as ethic and the wonderment of the horse. When you get to that they become more interesting. I think my interest has moved in the years since I was doing Equus.
What I find interesting is those debates about how we manage animals. The perceptual questions about what they understand about us.

The questions is what we do with our continuous isolation from place and nature, and what that sets out in the future.  The relationship we have with animals is continuous and something you cant just change in a few generations. The being around animals.
But we are definitely visiting a new period which is very unusual in our history, where populations are huge and we’re reaping our planet on a scale never seen before.
As humans we’re always a derivative of what we take. We can look at nature wishfully and be inspired by it.
Wonderment is very important. I’d like to make images where I catch a meaning with it for a museum where it can be considered. Voices to bear on people out there who are more knowledgeable about this than I am.”

HORSES AND HERITAGE

”Every country has a horse that is very symbolic of their country. And people are passionate about preserving it as something that represents their heritage, whether it is agricultural or something else.

My interest and structure has become more and more inspired by painters and my compositions have changed quite a lot.
It’s quite an honour to be compared to Stubbs, I appreciate his commitment. He spent a lifetime making his works. But it is nice to know that I’m part of continuing this culture of imagery around horses.

I think I tend to look broadly at this culture. The horse in the window with the chestnut coat – I was very much conscious of George Stubb’s Whistlejacket that was an influential painting.
Initially, I wanted to go out in the open where you have the falcon and the camel, the saluki and that whole historical link, to look at that heritage, but because of some events where the horses were moved around in the royal yards, they didn’t have them.

If I’d done what I wanted to do I could have gone on a few more years. I feel I only touched on it. Equus represented a period of two years when I was doing others things, and there were some images that went back some years. I’d love to have spent more time and done something more serious.”  ©

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