A classic such moment came
when Lupa entered a stable one
day and saw the devotion ex-
uded by three figures assisting
a weak foal. There they were,
framed in glowing light amidst
the dark stable, and Lupa caught
her breath. Here, unmistakably,
was a momentary but defining
tableau in the ever-changing,
transient flux of life with horses.
"The foal was a bit weak, wasn't
suckling, and they had to give
colostrum by a tube," she re-
members. "It was in one of those
English boxes, and the way the
light came in made it really spe-
cial. The key is to be a good ob-
server. It's the same with pho-
tographing people, of course.
Often it's good to use a zoom, so
that you aren't noticed so much.
You want to be as invisible as
possible, and that's not always
easy when people are getting
stressed round horses. But it's
like Cartier-Bresson believed.
There's an exact moment, a de-
cisive moment, and you have to
try to recognise it."
