aroque
Issue 8
Jasper 366
world famous friesian stallion
Lipizzan feature
The Warlander Part 2
BHM visits Juan Manuel at the famous Yeguada Cárdenas
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Issue 8
contents inside 06. The Campino 10. Mangalargo Marchador 18. Manolo Mendez 24. Juan Manuel & Fuego de Cárdenas
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24 64 32 The Warlander 38. The Lipizzaner 43. SRS (Spanish Riding School)
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47. Australia Lipizzan Registry 52. The 3C’s of Dressage ~ Barrie Stratton 58. Jenny Rolfe 60. Phorographer ~ Marianne Antensteiner
87. Just 4 Fun
64. Jasper 366 Sport
90. Photographic Tutorial
68. BHM visits far north QLD
96 Riz’s Rant
76. Anthony Pelling ~ Aussie Abroad 4.
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©Baraque Horse Magazine AU. 2011 All Rigths Reserved. No part of this publication, editorial or advertisement, may be reproduced without the written consent of the publisher. The content of the advertisements within this publication is the responsibility of the advertiser. Although due care is taken in the preparation and publication for all advertising material, the publisher cannot be held responsible for any errors or for any consequential effects. Opinions and statements made by others in submitted text may not be the same as those held by either the publisher or the editor.
LETTER FROM
THE EDITOR Issue 8 - of Baroque Horse Magazine. For baroque horse people, by baroque horse people. Editor-In-Chief Danielle Skerman It’s really lovely to see people from all over the world enjoying and embracing baroque horses and BHM (Baroque Horse Magazine). My goal with BHM is not only for pleasure reading for those who already love and/or own one (or several) themselves, however to also build awareness of these magnificent breeds world-wide. The BHM team is incredibly biased and we just want to tell the world how wonderful these breeds are. We tend to think that they are pretty special! People get into these breeds (primarily outside of the breeds origins) for many different reasons or influences. One thing is for sure, that everyone that I know say that these breeds have that something special about them that really touch their hearts. I’d love to hear from you the reader to tell me your special story to how you got into these breeds. For me, being a very visual person and a photographer by trade, it was only natural that I’d be drawn into them. I have always had a soft spot for both the Andalusian and the Friesian. However, like many I believed that I had to have a Warmblood to do dressage (little did I know that you can do so and more with a Baroque horse!! ). Many years later I finally decided to just do what I wanted, and started to learn about classical equitation and purchased my boy - an Iberian stallion. Well, I have to say the obsession was born! Seems I can have my cake and eat it to - Beauty, intelligence, temperament and ability. I have this saying to people who I know that aren’t horsey.. that my horses (in particular my boy) are my ocean. In that they do for me in relaxation, enjoyment and great stress relief as the ocean does for others. To me, nothing is like a beautiful afternoon light that breaks through the gaps of trees, a crisp breeze and that moment where your heart smiles and says it’s all worth it! At times our lives can get very busy and we can find ourselves full of excuses and reasons why we do or don’t do things and when you have those moments with your horse you can feel joy and pleasure and know why we do what we do! I say, let’s enjoy our beautiful breeds and everything about them that make them so special to us all. Join us in our journey and ... go for BAROQUE!
an m r e k S e l l e i Dan Editor in Chief
www.baroquehorsemagazine.com Publisher: Baroque Horse PTY LTD ACN: 159 279 848 PO Box 18002 Clifford Gardens, Toowoomba QLD, Australia 4350 Editor In Chief: Danielle Skerman editor@baroquehorse.com.au +61 404 843 636 Advertising: Patty Taylor advertising@baroquehorse.com.au +61 419 363 635
On The cover:
Advertising/Maketeting Assistants: Allison Sable advertising2@baroquehorse.com.au
Karen Koher karen@baroquehorse.com.au Photographers: Cátia Castro, Antonio Mendonca, Christiane Slawik, April Visel, Danielle Skerman, Dalibor Gregor Contributors: Antonio Mendonca .Cátia Castro, Danielle Skerman, Caroline Larrouilh, Manolo Mendez, Riz Ilyas, Jenny Rolfe, Kate Hodges, Lynn Kelley
Photo by Danielle Skerman of BHM. Photo of Ruby Goodsell riding “Alegria Serio” from Cristogracia at Paronella Park in north Qeensland, Australia. w w w. bar o q u e hors e m ag az i nE.com
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THE CAMPINO
A PORTUGUESE SYMBOL Article and photos by Antonio Mendonca www.acmendonca.net
RIBATEJO: This is one of the regions of Portugal located on both sides of the Tagus River near the city of Lisbon, the Portuguese capital.
Alone and haughty, against the immeasurable landscape and riding an old Lusitano horse which takes proudly the stud farm mark, he observes from a distance the herd of brave cattle that silently grazes. This is the Campino – a unique person of the “Leziria of Ribatejo” since immemorial times, perhaps since the conquest and occupation of the Ibérique Peninsula by the Arabs between 711 and 1492 CE. (Leziria comes from the Arabian word lezirat, which means island or swampy land surrounded by water.) 6.
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Used to a hard Spartan life, this simple and discreet countryman fulfils the duties that were taught by his father and his grandfather. This is a hereditary profession! “We are born and we die in a family of Campinos.” Some years ago when there were no fences in the fields, the Campinos were responsible for controlling the herds of cattle and the Lusitano mares with their foals born that year, moving them through the pastures at the beginning of the first autumn rains and saving them from the very frequent Tagus River inundations that overflowed the so-called low Ribatejo lands. They led great herds of bulls, bullocks and Lusitanos on three to four day journeys, shunning the villages to avoid accidents and returning by the same route at the beginning of spring to profit from the new grasses of these rich lands . These nomadic shepherds of the Ibérique Peninsula took with them what they needed: olive oil, beans, corn, bacon, cheese and bread, all inside a saddlebag covered by bullock fur to give more comfort during the long hours spent riding. Under the saddle was a blanket to protect the horse and also to protect the rider from the freezing, rainy nights when they usually slept uncomfortably on the floor among the animals they watched, only returning to the farms or villages once a week to re-stock and give news. Learning how to be a Campino is a long process spanning an entire
lifetime. In their youth, the boys begin by learning to be an “Anojeiro”, taking care of the “anojos” – the old and sick animals. They directly depend on Maioral Real (the oldest and most responsible Campino – most of the time their father or grandfather) to teach them this difficult job. Once this is mastered, they progress to “Roupeiro”, doing whatever is needed on the land and keeping watch over the cattle. Once the Roupeiro is closely acquainted with the animals, they firstly become a Maioral das Éguas (mayor of the mares) and then a Maioral dos Touros (mayor of the gentle bulls that work the lands); and, with more hard work, Maioral of the “good life bulls” (those bulls destined for the bullfights). At the top of this rigid hierarchy is the Abegão who rules the workers and responds directly to the landlord (the owner of the proprieties). The Campino knows the each bull by name; he knows their origins; he knows their character; he observes the bullocks’ reactions when they are set apart from their mothers and when they are marked with the “house” mark. He nurses the wounds that the bulls sometimes acquire when they struggle for a female. He knows their bravery and he takes some of them to be part of a bullfight in a faraway village. If the bulls are brave it means the agricultural house is held in high regard by others, but it is also a great honour for the Campino.
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MangalargaMarchador
Mangalarga Marchador
By Lynn Kelley
One of the largest breeds in the world is the Mangalarga Marchador. Say what? For simplicity, you can say just Marchador (pronounced MARSCH A DOOR) as the whole name seems to trip on the tongue for many people. Yes, the Mangalarga Marchador is one of the largest horse breeds in the world. It is Brazil’s national horse. There is a Marchador song and a Marchador Museum. In 2013, the Marchador will be featured and celebrated during Carnaval in Rio de Janeiro! But the Marchador doesn’t receive a mention on the “most popular horse breeds” lists. For many years, the breed didn’t even get into most horse breed books. But, I am here to fix all that! Let me tell you about this wonderful horse, bred solely for riding pleasure for over 200 years in Brazil. A breed without frontiers! In its native country, the Brazilian Association of Breeders of Mangalarga Marchador, the ABCCMM, currently has 6,000 members and 400,000 registered horses that live in approximately 22,000 farms! In Brazil, Marchador horses break records in agribusiness, selling over $60 million (U.S.$) a year in only 75 auctions across the country. Their National Exposition, held every year in July for 11 days, is one of the biggest equestrian events in Latin America with 1500 purebred MM horses competing. (I have heard that it may be the largest single breed show in the world, but could not verify that.) Recently, exportation of this national treasure began and now there are populations of Marchadors in 15 countries! After Brasil, Europe has the most Marchadors. Here in the U.S., we have more than tripled the numbers in ten years time, from an initial importation of 60-plus horses to over 220! How the breed started The Brazilian Mangalarga Marchador appeared over 200 years in the County of Rio das Mortes (River of Death), in southern Minas
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Gerais (General Mines) state, when horses of the Alter Real breed, brought from Alter do Chão, Portugal, were crossed with other local horses selected by breeders of that region. The result of the breeding efforts resulted in a large, elegant animal, with aesthetic beauty, docile and excellent for riding. Alter Real horses first arrived in Brazil in 1808, with D. Joao VI, who moved to his colony with the royal family. The horses of this breed were highly valued in Portugal and without peer in the Royal Riding School. The Alter Stud Farm was established in 1748 by D. Joao V and reached moments of glory during the 18th century when their horses were sought after by princes and nobles of Europe. Back then, no distinction was made between Spanish and Portuguese horses (Andalusian and Lusitano today), and the political border was of no consequence regarding the breeding of horses. Most breeders took their mares to stallions in Alter do Chao. Minas Gerais was known as an important and creative equine center during the 18th century. The arrival of the Alter Real horses further enhanced their farms. The County of Rio das Mortes had no gold, but drew the attention of settlers because of its good conditions for animal husbandry. There was plenty of water, forests and grasses, suitable for forage. The Mangalarga Marchador birthplace was Fazenda Campo Alegre, owned by Gabriel Francisco Junqueira, the Baron of Alfenas, who is credited with the creation of the breed. A prized Alter Real stallion named “Sublime” was a gift from the King to the Baron. The “foundation farms” were often sons or nephews of the Baron. He created the breed, and also the breeders too! The new breeders branded their horses with their initials and thus, the bloodlines of the Marchador began (JB, JF (Favacho) etc. Many of their foundation bloodlines are still around today. The original breeders were gentlemen, often noblemen. They became ranchers, but they were also sportsmen, expert deer hunters who valued the Marchador as a mount that was tough, agile and able to carry them on long journeys.
Brazil Brazil! It’s probably where your granite countertop came from, or perhaps the hardwood flooring in your house. Did anyone mention that? The sixth largest country and economy in the world, Brazil grabs the world stage when it hosts the 2014 World Cup in Soccer and the 2016 Olympic Games. Brazil grabbed my attention when I discovered their horses! Now I share their passion!
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Manolo Mendez
BEYOND LATERAL WORK
In this photo, Manolo is working with Dinamico on Spanish Walk, an exercise that requires balance and free shoulders as well as engagement, to be correct and beneficial. Like an artist, we are constantly refining our aids, refining our balance and that of our horse. We want his carriage to stem from within. It is a slow process, only time will build the right muscles and the right understanding, and the horse’s desire. This exercise will benefit his extended work. 1 8.
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Beyond Lateral Work: What comes after Lateral work?
By Manolo Mendez, Specialist of In-hand and Classical Equitation with Caroline Larrouilh
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hat comes after lateral work? Once we have taught the horse all the different lateral movements, we should not think we are finished and our lateral training is over. On the contrary, through optimal diagonal training, working on two and three tracks, the lateral work together with the progressive development of the horse’s natural collection into self-carriage is what will allow us to continue developing a more even, regular, symmetric horse. A horse that is balanced and fit, and will be able one day to meet the physical demands of pirouettes, piaffe and passage with even tempo, confidence and ease. Why? Because working in correct flexion and developing even and regular diagonal pairing strengthen the horse while lateral work keeps him straight and supple.
of a green horse, and so does his mind. He needs a careful and considerate warmup and to be ridden in different postures that allow him to stretch his body frequently after more demanding collected movements. Keeping a horse in one posture, especially a collected posture is like putting him in a straight jacket, it builds a rigid frame and then the rider is constantly trying to fix what he, himself, is creating.
flexion and it is time to get everything together, to purify the movements, to refine the work.
We have established the basic foundation of straightness and correct
We should think of our horse as an unfinished work of art.
Think of carving a wood sculpture. The artist must first build a solid foundation so that his work is stable, balanced and enduring; then he can go back and refine his piece. Same for a portrait painter, he will first do the rough outline of a face and only later start to add colors, shading, details.
By now, we have developed solid basics and a stable training foundation, and we can begin to introduce more refinements. Always making sure that our foundation is solid and able to support the more demanding work we are adding to the training, so that the work is progressive and the horse is never overwhelmed physically or mentally. We do not relegate the basics to the past thinking that we are now “advanced” and that our horse does not need basic work anymore. Sometimes, I will see a rider work its horse for an hour in a collected frame, or in a working frame, repeating the same exercises over and over, not allowing the horse any change of posture from the moment the rider sits in the saddle to when they dismount. The rider thinks the horse is advanced and so should be ready for the more demanding work immediately; but the horse does not know he is PSG or I1 or GP. His body, muscles, tendons and ligaments have the same need as those Manolo Mendez was the first Head Rider, and one of six founding members of the Royal Andalusian School of Equestrian Art. Based in Jerez, Spain, the school is one of the four classical schools which also include the Cadre Noir in Saumur, the Spanish Riding School in Vienna and the Portuguese School of Equestrian Art in Lisbon. A master horseman with over forty years of experience spanning classical dressage, doma vaquera and jumping, Manolo is dedicated to a soft, sympathetic and thorough training method which prepares horses physically and psychologically for each stage of training from training to Grand Prix and Haute Ecole. For more information and more articles visit: www.manolomendezdressage.com
We start with the horse as he is born and through thoughtful training we enhance what nature has gifted him with, using lateral work to make him more balanced, suppler and stronger. Once our training objectives are clear, and our basics are confirmed, we work in the saddle and in-hand towards our goal. Working at the pace of our horse’s physical and mental abilities. We play, we reward, we encourage movement that will lead to more powerful, more fluid and more artistic expression.
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Ar ticle & Photos by
Cátia Castro
www.cmcequinephoto.com
Juan Manuel Muñoz Díaz & Fuego de Cárdenas
S Juan Manuel Muñoz Díaz athlete, coach and horse trainer...
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tanding ovations of the public while performing and many more exciting moments, Juan Manuel Muñoz Díaz and Fuego de Cárdenas: a memorable pair and a relationship of two best friends
Juan Manuel was working only a few months in the Cárdenas Stud Farm, when the owner D. Miguel Angel de Cárdenas, took him to Sicab (International hall of the PRE breed in Spain) to see a horse which revealed himself as an exceptional horse, that horse was... Fuego.
Juan Manuel Muñoz Díaz athlete, coach and horse trainer started to work at the PRE stud Yeguada Cárdenas 10 years ago and is one of the most accomplished riders of PRE horses. Yeguada Cárdenas is not only one of the oldest farms in Spain but also one of the most traditional PRE stud and is located in the lovely village of Écija. Ecija is a city in the province of Seville and is known as the Andalusian countryside. Ecija is situated in a valley of low hills and home to many beautiful baroque churches.
Fuego de Cárdenas is a PRE qualified stallion with extraordinary movements and it is an absolute pleasure to watch these two in the arena and their results speak for themselves. The hard work and dedication of Juan has produced a world ranking horse and rider.
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Juan and Fuego had the crowd cheering and clapping at the Word Equestrian Games In Kentucky in 2010 with his Grand Prix Freestyle. At this years’ Olympics in London this pair showed the crowd once again their skill and talent to result in being 10th overall. This is their second Olympics as also competed at the 2008
A memorable pair with a relationship of two best friends..
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Hummer - owned and bred by Vaquero Ranch USA
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TheWarlander The Logical Breed (Part Two) By Kate Hodges
Continued from Issue7 where we investigated the inception of the Warlander breed and their achievements in the sporting arena. In this issue we look at their use in movies, extreme sport, the world’s first approved stallion and breeding ideals.
Movie Horses Horses that are used for movie and commercial work need to not only be beautiful and possess presence, but require a willing and calm nature in order to deal with the various exposures they will have on set - wind machines, the noise of guns and explosions, and crowds, as well as the inexperience of the actors who work with them. The Warlander horse is showing they are up for this task on the large and small screen. Vaquero Ranch’s Warlander stallion Hummer is the new face for Guerlain’s men’s fragrance ‘Habit Rouge’ and has also appeared in the Lord of the Rings movies, a Chevy commercial, and various other film and print works in the US.
Shepherds Hill’s Larry has also been making a name for himself in 2012, with his debut on the USA pilot movie ‘Frontier,’ which was filmed in Australia (with Australian Movie Livestock supplying the animal actors.) “Everyone wants to work with him [Larry]. On the movie set they want to ride him and when I am out competing everyone wants to drive him - he just has such a lovely nature,” says Jodie McKeone of Shepherds Hill Farm. “We recently took him to a show in Victoria (Australia) that had a big line up of events. We had not ridden him for six months and on the day he performed successfully under saddle as well as driven, which really shows how calm, accepting and versatile this breed is. This makes them perfect for commercial work and we will be using more
The Warlander horse is showing they are up for this task on the large and small screen
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The Lipizzaner Photos by Christiane Slawik
www.slawik.com
The Lipizzaner is a baroque horse. Its good-naturedness and intelligence make it ideal for learning the High School. The expressive and noble head which often features a Roman nose, the large bold and intelligent eyes as well as the short and well-set ears are characteristic for Lipizzaner horses. Their movements look gracious thanks to their compact, elegant body and they are especially underlined by their springy gait with high knee action
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The 3C’s of Dressage………… Calm, Confidence and Connection A simple formula used to school and assess horses, as well as coach riders.
by Barrie Stratton Barrie Stratton…a successful trainer and coach of horses and riders from novice to grand prix, a National ‘A’ level judge, Judge Educator and Mentor. This article is part one of a series, and covers a broad overview of my approach to dressage riding and schooling. www.academyofdressage.com.au
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The 3C’s of Dressage…………
I always try to put myself in a position of being an advocate for the horse. To look after its best interest and well-being. The horses is a domesticated animal and relies upon us For its quality of life.
So when a horse displays resistance when being worked and opens its mouth or acts in a stressed or tense manner, rather than resorting to tightening the nose band or riding the horse in a position of hyper flexion (extreme flexing or bending of the horse’s neck), I look at other options. Through analysis of the horse’s actions of resistance or self preservation, I prefer to work on the cause of the problem as opposed to treating the effect. By working effectively in this manner we will arrive at both horse and rider working happily in harmony together and realise the development of the 3C’s. Calmness, confidence in the horse’s mind and connection through the horse. After 36 years of schooling, judging and helping riders achieve their goals from novice to grand prix level, I have arrived at this formula which benefits both horse and rider. So now I will examine the 3C characteristics and how they can benefit the horse and its schooling…………. •
Calmness
Basic definition: The horse is not tense but is trusting and respectful, and is therefore trainable. Calmness is a mental state which leads to the horse being physically relaxed or unconstrained. Without tense muscles we can ride and educate our dressage horse effectively. The end result is a willing horse, who in harmony with their rider, displays a keen attitude to perform movements with apparent ease. Without the stiffness of muscular tension, the horse can engage their hindquarters well and maintain a suppleness through their back, neck, poll and general top line, transmitting that feeling of hindquarter engagement to their accepting mouth. The rider is then able to receive and control that engaged energy though sensitive and feeling hands on the reins. This is supported by the rider’s supple and controlled swing of their lower back. These half halts or balancing aids given by the rider result in rider and horse working in a synchronised and harmonious manner. •
Confidence
Basic definition: The horse is not over challenged and becomes confident in its own ability as well as in their rider. Then we have a horse that learns to keenly perform dressage movements through systematic training. As with calmness, confidence is again a mental state of the horse. A horse’s mental acceptance of its schooling program and rider, is the biggest step towards having a trainable horse. During the early stages of training our dressage horse, we cannot expect them to know what is wanted of them, even if we give very clear and accurate aids. It’s all about educating them in an unhurried, yet clear and positive way. The horse assesses its trainer very quickly and draws an opinion of their worth. Looking at it from that perspective, we can say horses are indeed very smart. So we as trainers need a certain skill level to do a horse justice in its schooling. Rather than just relying on some ideas gained from books and DVD’s, we need the tact and knowledge gained from our own personal learned experiences, of how to
best help the horse to understand what it is we want. Most horses will challenge us from time to time, and question whether they should listen to us or instead, do what is comfortable for them. We need to be able to recognise the difference between a horse’s poor work ethic or its genuine fear or discomfort of placing its body in a given way. For example, the ability and willingness of the horse to take increased weight on an inside hind leg during the schooling of a canter pirouette. By employing systematic and appropriate training exercises we can help most horses through these schooling issues. w w w. bar o q u e hors e m ag azi nE.com
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Photographer Profile
www.schwarzenbergaraber.eu
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MarianneAntensteiner
www.schwarzenbergaraber.eu Baroque Horse Magazine (BHM) talks to featured Austrian Equine Photographer Marianne Antensteiner (MA). Marianne is a professional equine photographer in Austria where she grew up with a love for horses. Marianne has previous had photos in BHM in issue 6 of Austrian Theo Blacknier. BHM: How did you get started into photography? Why horses? MA: I discovered my enthusiasm for horses in my childhood. My parents started breeding purebred Arabians in the 1980s. Therefore I was always in contact with these elegant animals. Meanwhile I breed my own Arabians in a small scale. Beautiful pictures also always fascinated me and because of that I wanted to combine both my passions. BHM: How long have you been a photographer for? MA: About three years ago I bought my first reflex camera and started to seriously pursue photography. BHM: What do you love most about being a photographer? MA: I like to catch unique moments with my camera and keep them as precious memories. BHM: What has been your favourite/proudest moment when doing a shoot or in your photographic career? MA: The best moments are after a shoot at home in front of my PC. When I click through the pictures and there is a special one, which could only be described with a WOW. There are just too few of them.
press the shutter button. It doesn’t matter what glum you before or stresses you on the next day. It helps to relax. BHM: What inspires you with your work? MA: Animals and nature inspire me. There arise the best ideas. BHM: Do you have a photographic dream/goal? MA: Yes. I would like to do more artwork. BHM: What advise do you have for someone wanting to be a photographer? MA: Practice a lot and compare older pictures with newer ones. So you can check your progress best. BHM: Got any tips to share with our keen photographer readers? MA: Check if there are any disturbing objects that you don’t want on your picture. Otherwise you will be annoyed when you do the finishing. a
BHM: What does photography mean to you? MA: You have to focus on that very moment when you
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photo by Dalibor Gregor Fotogregor www.foto-gregor.com 6 4.
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Jasper 366 A living legend
Written by Grace Lamers
A Preferent Trotting
Miracle Jasper 366 Sport and Preferent Born 20 May 1995 Out of: Olof 315 x Antje ùt’e Mieden Star and performance mare Breeders/owners: The Wijma family KFPS approved breeding stallion - 1998
Since his birth on the 20th of May 1995, Kasper van Panhuys (or Jasper 366 as he is now known) has been an exception amongst Friesian horses. With fans all over the world, he is known to some as the Elvis Presley of Friesians. This article looks at the life of Jasper 366 from his perspective as well as from the perspective of the people who have played an important part in his life. Jasper 366 Although perhaps already showing a little of his trademark dominance, Jasper 366 was a happy and cheery foal who stood out from the crowd almost immediately. Mr Wijma from the Wijma family who own Jasper told me that, despite colts of his era usually being sold as foals after weaning, his family decided to keep this head strong little fellow called Jasper (as he was then known) because they believed that he was something
special. When out in the field with lots of other horses it was easy to spot his outstanding movements – one you could easily recognise was the way he ‘always trotted out as the best’ Mr Wijma told me proudly. Jasper demonstrated his excellence from an early age when was awarded with a second premie at his first Keuring and he sparkled as a foal that year at the descendants test of his father Olof and his lifelong approval on his quality offspring. In January 1998, Jasper got prepared with 177 other stallions for the Stallion Keuring in Leeuwarden. He survived the first and the second round tests and moved through to the third round which he also survived. Eventually, he was selected for and successfully completed the 70-day performance test for him being an approved breeding stallion. The Panhuys stud of Jasper’s owners, the Wijma family, had no facilities to
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Paronella Park
BHM visits Far North Queensland//
Model/Rider: Ruby Goodsell Horses: www.cristogracia.com.au Grey PRE: ‘Alegria Serio’ Bay PRE: ‘Alegria Agraciado’ Paronella Park: www.Paronellapark.com.au Hair by Regan from Hairdressers@work Make-up by Stevie Bridle - www.equessential.com Saddle cloth - www.reiterm.com Horse’s colourful hair: www.sstrands.com.au
Paronella Park Cristogracia Mission Beach Recently I visited my friends at Christogracia in Far North Queensland for 3 amazing days of photographing! One of these days was at the AMAZING Paronella Park. I first saw photos from a friends visit and knew straight away that I had to get a horse there! I contacted Paronella Park and with a bit of organising we were able obtain a ‘one off ’ special Ecotourism permit (as horses are not permitted on the property) for this special occasion (Paronella Park also follows strict eco friendly guidelines). What a location, its just gorgeous. I have to say that it was an absolute treat to be able to have two gorgeous Spanish stallions to photograph there. The beautiful twist about Paronella Park is that it was created by José Paronella who came from Catalonia in Spain. José Paronella’s dream
was to build a castle. He chose a special part of Australia and created Paronella Park. On the five hectares beside Mena Creek Falls he built his castle, a picnic area by the falls, tennis courts, bridges, a tunnel, and wrapped it up in an amazing range of 7,500 tropical plants and trees (now a lush rainforest!). It opened to the public in 1935. So given its past, it was rather special to have these two beautiful Spanish stallions on the property for this shoot. If you are ever up in Far North Queensland you must drop by and experience this relaxing and beautiful place! I have to say a MASSIVE thank you to Bridget Evans and her wonderful team who were so helpful and very friendly!
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at the age of 14 he began his travels by going to Portugal for three months 7 6.
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Anthony Pelling
Photos by
Cátia Castro
www.cmcequinephoto.com
Anthony Pelling// Aussie Abroad Young Australian rider Anthony Pelling born and raised in Theodore, Queensland moved to Spain at the age of 18 years to train and compete on the international dressage stage. He had no knowledge of language and now seven years down the track and he talks with Baroque Horse Magazine about his life in Spain and being a head trainer at a horse stud near Seville and what his future dreams may hold. At he age of 14 he began his travels by going to Portugal for three months to train and the rest is history! How did it come about with you going to Spain ? Mum and Dad have always bred Spanish horses and started their Spanish stud with Rangemore Silverado so I have always ridden. When I went to university I didn’t ride as much and then when Ignacio Candau came and stayed at home and he suggested that I go back to Spain with him for a holiday and I ended up spending three years training. I wanted to compete and to achieve goals as a rider like Grand Prix rider and be good at it! I went through all the paperwork to be able to live in Spain and since then I have never looked back. How did you first settle into Spain... the language, the culture? I was accepted well in Spain as this country has the exposure to the English, Germans etc so is very normal for them to have foreigners there. Initially I felt isolated from home and trying to learn another
language was very hard. I was also young as I was only 18 and having to be independent and if something went wrong there was no life line of someone to help me and this even harder when you can’t speak the language. I assimilate quite well now. I’ve learnt the language and settled into the way of life. Of course though I miss Australia a lot but at the same time now this is home. What is your main goal? My main goal is to be able to continue compete internationally. I stick to myself as it is not other people who are going to get me there it is all up to me. Plus I have about twelve horses in the stables at the moment from about 3 years to 10 years and with some nice young prospects coming on. How is the riding level improving? There are lot better riders in the world today due to more analysing w w w. bar o q u e hors e m ag azi nE.com
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Tutorial by Danielle Skerman Multi Award Winning Professional Photographer
Photographic Tutorial Trutorial sponsored by
www.vertustech.com
TO Getting Artisitic and Mastering Masking!
From THIS
I
n past issues we have looked at masking or in non-photoshop terms - cutting or taking an object out of the background, however this tutorial is different as I’m very excited to be introducing you to my personal favourite masking program - Fluid Mask by Vertus. I’ve used Fluid Mask for quiet a few years now and it has become a must have in my ‘photo editing kit’. In this tutorial we’ll look into how to use Fluid Mask to quickly mask out the fine stands of mane with simple ease! Once we’ve done that we’ll go and have some fun with this image.. and get arty! Black background images are very popular however its technical to do to a realistic level.. so, lets me show you how the pros do it, and so easily! Below: The cropped image Steps 1-4 here are the same for every time I open a new image. I always make sure that I use a new layer on every new edit. These become my routine - just like driving a car, put your seat belt on, check your mirrors etc. Make it the first thing you do before you start to do anything creative. (1) First thing I do when I open a new photo is look at the contrast and correct either by using the ‘levels’ (as shown in previous tutorials) or ‘curves’. (2) Next, I work on the colour in the ‘colour balance’ tab/ adjustments.
of ‘unsharp mask’ to enhance any detail in the image. The image I’m using in this tutorial really didn’t require enough adjustments to make a difference to show you. (4) Cropping - Have a good look at your chosen image and see what you don’t need. Sometimes less is more. For my image, I felt the focus point was the extravagant flick of Serio’s mane, so I cropped in to bring to focus to this. If you find yourself wanting to zoom in on an area as a point of interest, then this might be a clue copping might be the solution.
(3) Lastly, if required I’ll use a bit 9 0.
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Using Fluid Mask - first thing you’ll need to do is follow Fluid Masks installation instructions. To use through photoshop, go to the Filter menu, scroll down till you see Vertus and select Fluid mask .
MASKING - first things first save, and flatten your image. Create a new layer - this layer shall be the one that you use to cut out or ‘mask’ your image (in this case the horse) Now that you have a copy layer, select this layer so it is highlighted and open fluid mask (as explained on left)
To this...
Fluid Mask shall now open. It’ll look similar to the screen shot to the right (except with your photo in it) What Fluid Mask does is finds all the edges, and this is represented by the blue squiggly lines. These lines act like sections. You can colour whole sections at a time or just the area you want to do. These can be adjusted by the brushes. Red = what shall be removed Green = to keep Blue = smart masking Eraser (clear) = removes All colours have 3 brushes Exact = is exact local brush = fills in the
section, that looks like a colour by numbers area. Global = all areas of similar. I tend to just use the first two as I like more control.
There are other brushes and features, we’ll address some through this tutorial, however to learn more go to http://www.vertustech.com/ fluidmask/manual_tutorials. html
By default it should open up on red-local brush. You can start with any brush at any size. I like to look at what is the easiest to start with as you can auto fill the rest. For this image with all the big background I’ll start on the to delete area. So I start with the red-local brush. Brush sizes can be altered on the panel to the right. w w w. bar o q u e hors e m ag azi nE.com
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