Show notes
Summary: Amy is the owner of Great Dane Photos and teaches the dog photography classes offered through FDSA. She is the also official show photographer for many of the premier agility events in the United States, including the AKC National Agility Championships, AKC Agility Invitational, USDAA Cynosport World Games, and NADAC Championships, as well as numerous local trials, regional events, and breed national specialties. She has photographed a wide variety of dog sports, including agility, obedience, rally, and conformation, and dog events, including FDSA camp. Her start in professional photography came by taking pictures of her friends' dogs at conformation shows, and quickly grew to outpace her interest in showing her own dog -- and today she's here to talk to us about the reason a great number of people use the internet each day -- dog photos! Links mentioned: Great Dane Photos Next Episode: To be released 8/11/2017, featuring Kamal Fernandez talking about FCI heeling and balancing motivation and control. TRANSCRIPTION: Melissa Breau: This is Melissa Breau and you're listening to the Fenzi Dog Sports Academy Podcast brought to you by the Fenzi Dog Sports Academy, an online school dedicated to providing high quality instruction for competitive dog sport using only the most current and progressive training methods. Today we'll be talking to Amy Johnson. Amy is the owner of Great Dane Photos and teaches the dog photography classes offered through FDSA. She is also the official show photographer for many of the premiere agility events in the United States including the AKC National Agility Championships, the AKC Agility Invitational, the USDAA Cynosports World Games, and the NADAC Championships, as well as numerous local tryouts, regional events, and breed national specialties. She has photographed a wide variety of dog sport including agility, obedience, rally and conformation, and dog events including the FDSA's Camp. Her start in professional photography came by taking pictures of her friend's dogs at conformation shows, and it quickly grew to outpace her interest in showing her on dog, and today she's here to talk to us about the reason a great number of people use the internet each day, dog photos. Hi, Amy, welcome to the podcast. Amy Johnson: Hi, Melissa. Thanks so much for having me on. Melissa Breau: I'm excited to chat. Amy Johnson: I am too. Melissa Breau: So to kind of start us out, do you want to just tell us a little bit about the dogs you have, who they are, and what you're working on with them? Amy Johnson: Sure. I have two dogs and one of them is here in my office with me, and well, if he makes any noise, but his name is Costner, as in Kevin, and so he is a Great Dane, a Fawn Great Dane, if anybody is interested in those details. He's about 39 inches at the shoulder, about 190 pounds, and that is ribs still visible kind of. That's just how big he is. so he's kind of a goof. We joke that he just has 3 neurons, he can eat, sleep and poop, and you know, he's just a really good hang out around the house dog. And then our other dog is a 60-pound Yellow Lab mix and her name is Dora. We don't do a lot with our dogs. They are companions, they like to go on walks, they like to go for hikes in the woods, they like to just be near us, and so they don't have any real special skills. Melissa Breau: I assume they can pose. Amy Johnson: They can pose. Although Costner is…if I try and put a camera in his face he generally kind of backs off and is like, what's that? So his actual special skill is that he is an AKC Breed Champion, and I cannot take any credit for that because we got him after his championship was finished from a friend of ours who were involved in the breeding of him, so he can look really pretty, so that's his special skill. He just doesn't really enjoy looking pretty, so what gets posted online of him are funny things where he's got drool or his lips are spread out on the floor where he's lying down, or you know, he's massive, and he takes up huge amounts of space, and so the pictures that I take are the ones that are just trying to show that and communicate that. We joke that he's a house pony, you know, he's not even really a dog, he's horse size, and then Dora…it's funny because she's the small dog in the house that people look at me and suddenly say we have a 60-pound dog that's considered the small dog, and then they, you know, okay, but she's got a few more brain cells in there. I do joke that I have to have dogs in my house that are dumber than me, so to call Costner not that smart is really, in our house, it's not an insult. That's just my reality. I admire the people who have the Border Collies, and the Jack Russells, and the Shih Tzus, and all those really, really smart dogs. That is not who I am and what I want to live with, so we have just dogs that are really good dog citizens and they know the routines. Costner knows that he has to sit before he gets his food. Sometimes he just stays sitting, even after I put his food down, but so we have our routines, but basically, we just want our dogs to be good citizens, and I think we've kind of got a good balance of that, so. Melissa Breau: Fair enough. So I mentioned in your bio that you got your start taking photos at conformation events. Was that kind of where your interest in photography started? Where did kind of you get started just in photography in general? Amy Johnson: In general, I got started back in junior high. My dad had a Minolta film camera, SLR camera, manual focus, and he taught me the basics of photography, the basics of exposures. So he taught me about shutter speed, and aperture, and at that point it was called film speed, now it's called ISO, but he taught me the basics of the exposure triangle, as it's called, and how to focus a manual focus camera, and how to set my exposure so that I expose the film properly. I never did any dark room work. It was always take the 35mm film canister to the WalMart, or wherever, and get it developed, so I'm not quite that much of a purist, but my beginnings definitely were in film, and with my dad, and we would vacation on the North Shore of Lake Superior here in Minnesota, and so he would take pictures, and then he would show me how to take pictures, and so kind of that father-daughter bond was really enhanced by our experience with him teaching me how to use a camera, and how to take pictures, so I kind of babbled with it throughout the years as I was growing up. I was given by my brother and my parents one year for my birthday they gave me a film Sor of my own, and this was a little more advanced. It was a Canon EOS Elan II, I think, and it had autofocus, so I didn't have to do the manual focus thing anymore, which you know, there's a little skill involved in manual focus, and I admired the photographers who could do it, and do it well. It's not my thing, but I understand the appeal of it. It kind of forces you to slow down and really takes things in, but so I had a film Sor that I, again, just kind of kept babbling, and various things, and then I got into dog shows, and that's a whole long story that we could talk about some other time, but I was showing my second Great Dane, her name was McKenzie, I was showing her in conformation. I was terrible, awful. She didn't have the temperament for it. I didn't have the skills for it. We tried for about a year and didn't really get anywhere other than I made a lot of friends, and really enjoyed learning about the conformation world, and understanding even just the rhythm of a conformation show, and understanding okay, these dogs are going in the ring, and then they're coming out, and then they're going back in, and so you know, it's very confusing at first, and then you kind of figure out oh, okay, I know what's going on, those dogs aren't going back in, and yeah. So I learned a lot about dog shows, and I learned a lot about the people who breed dogs, and that was fascinating to me. I was taking a camera to most shows that I went to and just taking pictures of my friends, and then one time, and this was actually with a digital camera, one of the very, very early digital cameras that actually use the three and a quarter inch floppy disks in it, so not even memory cards. These were, you know, not the five and a quarter, but I think they're three and a half inch floppy disks, and that was your memory card, so and that didn't respond very fast to a dog moving across the ring, you know, you'd hit the shutter button and about two seconds later it would actually take the picture. Well, there's no more dog left in the frame if it takes that long to take the picture, so one time I brought my film camera with me and really enjoyed the success I had with getting dogs moving in the ring, rather than just the ones where they were stacked. So then my vet invited me to photograph her club's agility trial, and that's where it really kind of took off for me, so I really enjoyed the different games, I think it was a USDAA trial, but I'm not 100 percent sure, but the different games were, you know, some were all jumps, and some where you didn't know where the dog was going to go, which I know now are gamblers, and again, that camaraderie around the ring, of all the people and their dogs, was really intriguing to me, and just was very welcoming and fun, and there was a market for the photos there. There was nearly no market back in '99, 2000 for candid photos ringside at conformation shows. Nobody was doing them, nobody knew what those were, you know, but agility trials, on the other hand, there was a market for that, people understood what that was, people likes pictures of their dog doing agility, so there was a market there for it being a business, not just a, you know, I'm going to show up and have fun. So I did one agility trial with a film camera, and then quickly realized that I would go broke on film and processing, and then digital SLR's were just coming out, so this was in 2000, and I convinced my poor husband to let me buy a digital SLR, the Canon D30, and as he's hitting submit order on B&H's website he's looking at me saying, "just promise me you'll try and make some money from this," and the camera paid for itself in I think two shows. We realized we had kind of a winning formula there, and so I never have even thought about going back to film, of course, and digital cameras have gotten amazingly good, and amazingly fast, and responsive, and make my job easier with every new camera that I get, so. Melissa Breau: Can you show a little more about how you went kind of from that stage of your business to where you are now, because now you do really, really, big shows, and I mean, just kind of interesting evolution. Amy Johnson: Right. Yeah. It started out as me and the camera, and sometimes my husband would come. My first national event was actually in 2001, and you know, I look back on this and I really had no business doing it, but I was invited, again, so the social aspect of it, I had made friends, and they said will you come, and I said okay, sure. So 2001 they'd have championships and it was in Minnesota, it was in Mankato, which is about, I think, five hours south of me, and so it wasn't like going out of state, and I made the leap. Now, the only really interesting part of this was I had a five-week-old baby at that point, so it was me, and a camera, and Ben, my husband, and Mika, our five-week-old baby, who made the trip down to Mankato, and I had told my friends who were in charge of the show, I had said if this isn't working for me with having a baby here we're going to just have to cut and run at some point, and they were like, that's fine, you know, you do what you need to do, but it all worked, and we had an amazing time, and I got an exposure to what a national events was, and there's a lot of adrenaline that comes with that. In 2007, I was invited to AKC Agility Nationals, so from 2001 to 2007 I was just mostly doing weekend stuff, 07 was AKC Nationals, and again, it was still just me and Ben. Ben was in the booth running the sales side of things, I was taking pictures. Gradually, over the years, I've added photographers, and over the past two years, maybe two and a half, when I go to a national event I've really tried to make sure I had a photographer in every ring, and then also increase the size of my booth staff so that if someone comes through the booth and wants to look at pictures they don't have to wait to get some help to do that. So the whole business has been a very gradual…well, let's try this now, and let's add this now, and what if we do this, or what if we change this. I've never taken out huge loans for the business. It's always just kind of grown under its own as it can support more, you know, I'll put a little more money out, and then it's just been a very gradual, making sure everything still feels as comfortable as it can be when you're running your own business. Melissa Breau: You started to talk for a minute there just about having a photographer on each ring and things like that. What's that process, like you mentioned, you know, having a booth, and then having people shooting photos. I mean, how do you get from one to the other and handle all of that in the midst of a big show going on? Amy Johnson: A lot of deep breaths and a lot of screaming in my head that I don't let come out of my mouth. No, it's all good. I think if I had tried to go from me, and a camera, and my husband to covering six rings, and having six staff in the booth, you know, and the funny thing, I would have probably decided it was crazy and I was never going to do that again, but it went from…so one of the early AKC Nationals that I did probably in 08 or 09, there was me that was there, Great Dane photos was there, plus another photography vendor was there, so we just very amicably divided it. Well, okay, I'll take these rings on these days, and you take those rings on those days, and so there were two photographers there, and each of us had, I think, at least two photographers that we could cover all the rings, but it was between two different companies, and so that's okay. I can manage a few people in the booth and a few people out shooting for me, and then it's just gradually shifted to where AKC and these different agility organizations have said, you know, I mean, if you can cover the whole thing we're happy to allow you to do that, and so if It was a sudden transition I would've probably not managed it, but just gradually adding more and more. It's like anything, once you are comfortable at one level of participation you kind of go oh, let's see, how else could I get involved, or what more can I add onto my plate, and you know, at some point you may go oh, that's too much, but adding photographers has been kind of just word of mouth, and knowing people from other events. One photographer who had shot for me I had seen his work from a previous special event, and he did a really nice job, and so I invited him to come and work for me, and that's actually happened a couple of times. One of my photographers is someone who approached me at a trial here in Minnesota, and said you know, I'm really interested in this, do you want to just take a peek at what I've done, and she lived close enough to me that she could come to a lot of my different local shows, and I could mentor her, and well, okay, that shot didn't work so well, so what could we do differently,…
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