Because of obvious logistics involving livestock and studio photography, Horan brings his equipment to the animals. Not only because it’s easier to transport equipment than goats and sheep, but also because he relies on the animals’ owners to help with the handling of them. “It takes more time than they ever dreamed of,” Horan said about the process.
The aesthetic of “Chattel” is a nod to studio portraiture from back in the day, so Horan shoots them in black and white and gives them a tone reminiscent of an earlier time period.
Horan once drove two hours to take some shots of Sydney – “He’s a star,” Horan laughed – but most of the roughly 32 goats and sheep that have made the final cut have been photographed around Whidbey Island, [Wash.,] although he is starting to get requests from much more distant locations.
See more of Horan’s work here.