I first met Deanna Urs at one of the conventions.   Lots of photographers have the passion for the craft, but few can share it with an audience the way Deanna can.  Most important of all, and this post is a prime example, there’s no place for compromise when she’s working to achieve the ultimate image.  Remember the old Memorex commericials with the tag line of “Is it live or is it Memorex?”  With Deanna, it’s all live – she prefers to control, capture and create real situations not manufacture them – and when she does bring in Photoshop, Painter or any other special effect, it’s to enhance the image, not create it.   Deanna’s been quiet for a little while, but what a kick to have her back and what an incredible image to share in Blog Fest 2009! 

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This is how this portrait came about. I was taking Polo lessons a few years ago (before I blew my shoulder) and at the stable was Bertrand’s book on horses. As I thumbed through it, I was impressed with what appeared to be a simplistic, timeless series of Equine portraits’. Having ridden since I was a child, and quite comfortable around horses, I decided to try Bertrand’s style .Not being satisfied with being a copyist, I set out to define my own style and to infuse my personality with Bertrand’s work. I contacted a client whose daughter was adept in saddle and bareback. This was important because I did not want a potential lawsuit on my hands with what I was going to attempt to do.

I found a location that was suitable for the look I was going for. I wanted this to be a cross between Elizabeth Taylor in National Velvet, running through the fields on her horse, and the richness of a painting from centuries gone by. I think I accomplished this by having the canvas backdrop and the natural landscape with wood stumps for her to jump. It gave me the elements to complete my vision.

Next, styling the client: Lucky for me, I do collect and wear a lot of vintage clothing. The jacket was pulled straight from my closet, what I did not have was a petticoat. I wanted something for her to wear that could move with the breeze. My clients tapped into their creative side and went to a prom store at the mall and found this petticoat. The final stylizing touch, flowers in her hair were pulled straight from a tree on the property. We decided to forgo the shoes.

The backdrop, the danger, and the potential to be introduce to an unwanted new friend if I were not careful, “The lawyer”. Bertrand made it look so simple. This was not to be the case.

My assistants and I set up the Canvas backdrop, taking into consideration the location of the sun, as this was going to be my main source of light. I needed enough sunlight to allow for a fast enough shutter speed to capture the horse running and jumping. I chose the worst time of day, High Noon to shoot. Not wanting it to be directly in her face, I placed the backdrop so the sun would be shinning on Rebecca at an 11 OCLOCK position. Fill light, using a reflector, was not going to be in the cards for me. I wanted to take no extra chances on spooking the horse and causing injury to it or the rider and to my bank account.

I had an assistant on each side to hold onto the backdrop stands. Next, I had Rebecca walk her horse back and forth in front of the back drop. Horses, no matter how calm they are, can be unpredictable.  Her horse seemed assured and did not act flighty with this new imposing surrounding. I asked Rebecca to go ahead and try a few test jumps in front of the backdrop. Going slowly at first, so I could decide on the camera angle that would be best, and to make the horse was comfortable. All seemed fine, so we went to a full run and jump. I fired off about 2 dozen shots when a gust of wind came out of no where. The back drop, at 14 ft high, went toppling over. The horse did spook and rear. Thank goodness for a competent rider on board .My heart came close to a STOP, but not before I got “THE SHOT”. This was the last image taken.

What you see in this image is all real, the horse’s forelock, Mane, petticoat, and client’s hair all flying in the wind, compliments of Mother Nature. The only thing done to this portrait was Corel painter.

The biggest compliment I have ever received was from my good friend Eddie Tapp, I sent him this image and told him how it was done. He, although being a close friend, insisted that I used Photoshop as the main creative component .Not being satisfied with my answer of “NO”, he insisted that I send him RAW images to view. It took not just one or two to satisfy him, it took around Ten. He then asked, “why not just drop a background in by using Photoshop? I prefer knowing I challenged myself and overcame the obstacles to make it happen. And look what stories my clients can tell their friends when asked “is it real? Did you really do that? And the pride when they can reply “Yes, its’ all real”!

Now that’s a compliment!