E22: Amy Johnson - "A Snapshot At A Time"

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, or oh, well, that's a great one, if you get a chance to do that kind of a shot again, go for it, so I think that's the beginnings of the education peaks, you know, I really enjoyed that mentoring process, and she now shoots…I mean, our styles are very similar, and so it makes it really easy to have her in the booth or as a photographer because the experience for the customer is that's a Great Dane photoist's photo, not that's Amy's, and that's so and so's, and oh, that's another person. It's all very cohesive and that's really important to me that the experience is one of I can go in any ring and get a good photo, not oh, shoot, I'm not in that ring today, so I'm not sure what I'm going to get, so yeah.

Melissa Breau: So I'd imagine that there are probably more than a handful of unique challenges that come with photographing dogs, especially sorts dogs, compared to people, or other common photography subjects. Do you mind just talking about what some of those challenges are and how you guys deal with them?

Amy Johnson: Sure. The most unique challenges really do come with the dog sports, especially…it all comes down to speed. You can have an Olympic sprinter in an Olympic stadium doing their race, and I can track that with a camera really easily. Cameras have been tuned to recognize the human form and whatever algorithms are built into their little tiny brains these days. Well, and if you think about it, so many cameras have facial recognition, well, how does it know what a face is and what is a face? Well, it's not looking for dog faces, it's looking for human faces, so there's something about the human from that a camera has been tuned to identify, and prioritize, and its ability to focus. So I'm constantly fighting against some of those things that are engineered into the cameras, so fast, black dogs in bad light are like my nemesis. They are, and the smaller they are, and the fuzzier they are, the worse it gets, but I've taken that on as a challenge. Okay, so that is my hardest subject, fast, tiny, fuzzy, black dogs in bare light, so what I do is make sure that my film and my gear is all prioritizing being able to take a picture of that worst-case dog, and it's nothing against black dogs, believe me, but they are just the hardest thing to photograph, and there's nothing like that in the human sports, or even cars, or you know, whatever.

There's nothing like it out there, and so that's the most unique challenge I think, and so every time a new camera comes out I'm always hoping for some feature that makes my job of photographing a small, fuzzy, black dog in bad light a little bit easier, but even just the typical dog, you know, they do move very fast, they can move in very unexpected directions, they have really good reflexes, and so tracking that motion can be very difficult. They don't speak English, so if you want to tell them hey, pose for me, you got to figure out what that word is, you know, is it treat, or is it go for a ride, or is it are you ready. Figure out what the trigger word is to make their ears go up, and their mouth close, and their eyes kind of get a little brighter and go oh, oh, something's going to happen, and then that's the moment you click, as opposed to a human where you just say okay, look at the camera, and then you say cheese, right, and everybody follows directions. Now, when you get a teenager who's really not into this you might still get some not so great results, but at least you can speak to them in a common language. Well, and the other challenge I'm fighting that is actually fascinating to me is as people work on their relationship with their dog, which is a fabulous thing, and that's one of my favorite things about going to a dog show and seeing those relationships, but as they do that it makes it really hard for me if I'm trying to do a picture of the human, and the dog, and a ribbon, the dog is gazing adoringly at the human, and I can't get them to look at the camera. I don't care what word I throw out. There are times where the dog won't look at me because they are so engaged with their human, and that's a lovely thing, and generally, it's not been a problem, you know, the person is generally okay with that, but still, if you want to get the dog it's kind of a funny, you know, it's a good thing that the dog is so engaged with their person, but it makes my job just a little bit harder, so it's those weird things.

Melissa Breau: You mentioned kind of following gear, and new things coming out, and things like that, so I was curious what equipment you use and you know, you kind of got a little bit into the why there, but if there's more you want to elaborate on?

Amy Johnson: Sure. No, and oh man, I could talk gear for hours. I love gear. I love camera gear, and it's a really good thing I have a job that lets me write it off because otherwise, that would be a problem. So I shoot canon, primarily, and I have canon's top of the line sports camera. It's called the 1D X Mark II. It is their latest and greatest and it shoots 14 frames a second. It has a really high ISO rating or can shoot at a really high ISO, which is the piece that's critical in shooting in the really bad lighting, and actually, my definition of bad lighting is somewhat different than the average Joe Shmoe on the street, you know, a camera needs a descent amount of light to shoot in, and our eyes are amazing, our eyes can really come in the huge range of lighting conditions, and cameras aren't quite to that point yet, so I need to high ISO so that I can have a high shutter speed so I can stop the motion of my small, fuzzy, black dog in bad light. A Canon Body is the best that money can buy, at least in terms of an SLR. I use what's called fast glass, and that means that it's a lens with a really big opening for the light, it's a big aperture, and so my favorite lens for shooting agility is a 400mm F2.8, as my husband says, it just means is has a really big light bucket so it can collect a lot of light, and make sure I'm getting enough light to again, get that fast shutter speed so that I can stop motion.

I also have a Nikon camera, and I bought that about six months ago, primarily, because I felt like I needed to learn Nikon camera bodies for my students. I am able to give really specific advice and troubleshooting information about Canons, and I was not able to give that same level of troubleshooting advice for Nikons, so I got a Nikon D500, which is not quite the top of the line, but it's a really good performance camera for wildlife, and I got a big lens for it, and I use that for a lot of my bird photography these days. So learning the other major brand of camera has been a really good experience for me. It's given me a new appreciation for oh, yeah, this is what it's like to open up a camera that you've never had your hands on before, and be a little overwhelmed by all those buttons, and dials, and menu items, and all that, but yeah. So my equipment, I tend to get the best I can, which is easier for me to justify, again, because it's a business, as opposed to just a hobby, you know, you got to be a little more careful about how you spend that money, but I do love gear. You know, there's also of course, all these accessories. There's monopods and tripods, you know, there's more lenses than just that 400mm, and that could be a whole other podcast episode.

Melissa Breau: It's really kind of awesome that you are able to provide that kind of support in a class or to a student when you're talking about a Nikon versus a Canon. I would love to dive a little more into what you cover in your classes at FDSA. What are some of the skills you teach? I know right now I think there are two classes... Are there more than that on the calendar?

Amy Johnson: Right now, what's coming up in August are two classes. One of them is my foundation class called Shoot the Dog, and in that class, we really just start from assuming people are starting from ground zero. We learn the basics of exposure, we talk about shutter speed, we talk about aperture, we talk about ISO, we talk about the effects that each of those has on the way a photo looks, as well as just the technical details of, what does it mean to have a fast shutter speed, or what does it mean to have a wide open aperture versus a closed down aperture, and then what does ISO mean? We don't delve too deeply into the uber techie stuff, but we do talk about that a bit, but really, it comes down to if I change the shutter speed how does that change how my photo looks? If I change the aperture how does that change how my photo looks? When should I care most about aperture, and when should I care the most about shutter speed, and we really work on kind of creating photos that communicate to a broader audience than just you yourself.

So one of my students used the phrase that she had read somewhere, and I don't where, but the difference in doing an emotional portrait and a photograph, and we kind of laughed about it at first, but the more I think about it I think that's an important distinction. If I take a quick snapshot of my dog and it's not really in focus, and the light's really not that great, but there is something in that expression that just screams oh, that's my dog, that's like the essence of my dog. It doesn't matter about the technical bits. It doesn't matter if it's not quite as sharp as I would want it to be. It's an emotional portrait. I have an emotional connection to that. Now, if I post that online my friends are probably going to say oh, that's great, yes, that looks like Costner, that is so Costner, that's wonderful, but if I post it to a photography site in general, they're going to think I'm crazy because they can't see that emotion, they don't know my dog, they don't understand that, that is his quick, essential, expression. They think I can't really see what's going on in his face because the photo's a little dark, and I can't see his eyes all that well because it's really not that in focus, so what I really want students to do is to be able to conquer those technical bits, the sharpness, and the exposure so that they can make the soul of the photo really come through, and be obvious to anybody, rather than have all the technical stuff be in the way and mask the true soul of that photo, the true meaning of that photo. So that's a hard thing for people to do because it takes stepping back and really applying a critical eye to your photos and saying oh, yeah, I see how I can see the dog's expression, but I can see how someone else wouldn't be able to see it and read it as clearly as I can, because they don't have the emotional connection to the dog, to the subject that I do. So that's something that really has started to be a common thread in all of my classes. We want to move beyond the emotional portraits, and believe me, they have their place, you know, I don't have any beef with them, but in my classes I want to move beyond that and into something that can speak to a broader audience, and get that emotional connection across.

Melissa Breau: So in August you're teaching a foundational class, and what's the other class that you're offering?

Amy Johnson: The other class is called Chase the Dog, and this is kind of my wheelhouse, and that is dogs motion, so we'll talk about…I kind of break it down into two different kinds of motion. There's motion that's predictable, and motion that's unpredictable, so the prime example of motion that's predictable is agility, and you know, in general, there are always exceptions, but in general, the dog will go where it's supposed to go. There's a pre-established path, their obstacles are numbered. You do this one, and then you do that one, and then so I know when I can anticipate where the dog is going to be at any point in that run, so I can do things differently with that than if I'm just photographing a dog that is having a good romp in the field for play time, so that would be the unpredictable motion. So you let your dog out and you want to take pictures of it just playing around. Well, unless you set up some sort of fencing it just portions the dog's path, you know, you have no idea where that dog's going to go, so tracking that…camera's, you know, there's a limit to how fast they can track that motion, and then there's a limit of how fast I physically can track that motion, and this is where our fast dogs…you know, this is tough, there's a lot of skills, and a lot of practice that just has to happen of getting that muscle memory in you, and once you can track your own dog really well that doesn't necessarily mean you can track another dog, because all the dogs have a different rhythm, they all have their own unique characteristics about how they move.

So the class is really about offering some skills for how to do both predictable and unpredictable motion, but it's also about setting some realistic expectations of what can I expect to get out of, you know, a 10 minute photo session with a dog just running and playing in the field? Well, you're not going to end of with every photo being perfectly in sharp, or perfectly in focus, and you know, a true winner. You're going to get a lot of junk, and that's okay, and that process of being okay with the junk is really hard, and take someone like me saying it's okay, I have those too, and what students in the class are going to see are a lot of my…you know, rather than just the edited versions, here are the ones that I kept, they're going to see well, here was a whole series that I shot, and notice how many of those were actually good photos, and notice how many of those were not so great. Here's my junk. They're going to get to see my junk photos. Okay, well, I better be a little more careful here. They're going to get to see my junk photos, and I think that's a really important process to understand that there's no camera in the world good enough to capture everything, so let's talk about what's realistic, let's talk about what you can expect, let's talk about ways to increase the percentage of those keepers, but let's also become comfortable with the idea that you're going to have some clunkers in there.

Melissa Breau: Now I wanted to ask if there's one piece of advice that you can give listeners, something they can start working on today or tomorrow, to help them take better photos of their dogs, what would that be?

Amy Johnson: The first piece of advice I give everyone who asks me that question is to get down to the dog's level, and it's really easy, and it's really basic, and it does not matter what kind of camera you have, but if you change your perspective instead of shooting the photo from your standing height and looking down on the dog, get down to their level. You know, if you've got a tiny little dog it may mean that you are on your belly in the grass taking a picture of that dog, but you will be amazed at how much of a difference that makes in the photo of your dog. If you don't want to get down to their level then bring them up to your level, so if you have a grooming table throw a nice tablecloth over it and put the dog up on the grooming table. Bring the dog up to your level. Just be on the same level as the dog that you're trying to take a picture of and it transforms the whole thing, so that's my go to piece of advice for anybody.

Melissa Breau: That's great because that's something that people can really just go do.

Amy Johnson: Yeah. Exactly.

Melissa Breau: I know that we're talking about kind of a little bit of a different subject than we usually do here on the podcast, but I still wanted to ask you those key questions that I always ask at the end of an episode, because I'm going to let you go into photography related stuff if you so choose. So to start, what's the dog or photography related accomplishment that you are proudest of?

Amy Johnson: There's the experience of going to the national and that's huge, that's great, and there's a feeling of kind of I've arrived with that, but the most recent thing that I'm proudest of is actually my experience at camp. I had five of my students that came and were my minions, as I called them, and they were the ones who actually did all of the photography for the events at camp, and being able to stand back and watch them in action I was really proud of them, and that was a more of a feeling of accomplishment than going to a national. Don't get me wrong, I love going to nationals, I love interacting with people, I love watching a great run, and then being able to find them later and say I saw that run and that was phenomenal, and it was beautiful, and I was so happy I was able to capture that for you, but working with students and then watching them take the skills they've learned in my classes and do that for others, you know, capture those moments, that was cool, that was really hard to beat. And now to extend on that, one of my sons is showing interest in photography, and he was able to shoot the jumpers courses at AKC trial that I had shot last weekend, and so again, when I had a break I went over to his ring and just stood back and watched, and seeing the next generation whether it's, you know, the literal next generation or just a new group of photographers that have come through my courses, being able to pass that information on has been really an amazing experience.

Melissa Breau: That's really cool because it's something that you managed to learn from your father and now you're passing it on to others.

Amy Johnson: Exactly. Yeah.

Melissa Breau: What is the best piece of advice, and this can be either production or photography, that you've ever heard, and bonus points if it applies to both, but it doesn't have to.

Amy Johnson: The best thing that I've learned to do over the years, and I don't know that it's ever been told to me exclusively, but it's the thing that I have learned to do is to slow down, and to think, and to just breath, and so that is the thing that I try and tell my students all the time because there's this urge to…the action in front of me is happening really fast and so that means I have to grab my camera fast, and throw it up to my face, and press the shutter, and get the picture really fast, and it doesn't work that way, or it doesn't work well that way. So taking a moment to make sure your camera is set correctly for the situation you're trying to photograph, making sure that you understand what's going on in front of you, and can maybe anticipate what's going to happen next, and then just breathing because if you get out of breath or find yourself holding your breath because you're just so excited you end up messing it up more often than not. And that advice I think applies to dog training as well. Slow down, think, just breath, and that kind of brings you back to center, and lets you focus on what's important, and focus on what the task at hand is. Block out everything else that is going on around you and just take it one thing at a time, and the results will be much better.

Melissa Breau: Bonus points earned. So our last question, who is someone else in the dog world that you look up to?

Amy Johnson: There are two people that come to mind immediately, and it's not because of their dog training skills, it's because of the way they handle pressure in running their dog businesses, and so the first one is Denise. Who isn't amazed by Denise and the way she handles FDSA really, and not trying to get brownie points from her, but as a business owner myself it's really important to find those people who are running their own business, and who I admire how they handle that business. You know, Denise has the pressure of thousands of students. She has the pressure of all of the instructors who…meeting some of them at camp was an eye-opening experience, and I love them all, but I admire Denise even more for her ability to handle all of us and our quirks, but to watch her handle that pressure of both the negative and the positive has become important to me. I know one of her things is people won't remember what you say, but they'll remember how you made them feel, and that is a phrase that runs through my mind constantly as I am dealing with customers, or if I'm dealing with students, and even with my family. It's changed the way I interact with everybody, including my family, and to say in my mind, you know, yes, I really want to make that snarky comment, but that's probably not the best way to handle it because it's going to make me feel better, but it's not going to do anything for our relationship, and it's not going to do anything for them and the way they feel, so that's been a really good thing for me.

The other person that I look up to for similar reasons is Carrie DeYoung, who is the head of AKC agility, and I work with her a lot because I do both of AKC's big agility events for the year, so I watch her and how she interacts with her staff, and then watch how she interacts with the exhibitors at those national events, and her calmness, and her…I have never seen her flustered. I'm sure inside there are probably moments of, you know, face palm, or screaming, or whatever, because we all have those, but she does a really good job of on the outside she holds it all together, and that's something that I don't always feel like I do very well, but watching her has helped me do that better, so she's another person I really admire in the way that she…granted, she doesn't own AKC, but she is the queen bee of the agility piece, and I just really admire the way she handles all of the…I mean, if you think about any agility organization there are things that people want to tell them to do differently, things they like, things they don't like, and to be able to handle all of that constantly takes some real talent and skill. I mean, I admire anybody who trains dogs because I don't have that talent, and I don't have the patience to develop it. I know that I could, but it kind of goes back to the whole I live with dogs that are dumber than me, and so I mean, I love watching good trainers, I loved coming to camp and watching all of these amazing instructors that I get to call my colleagues. I loved watching them work with people, and with dogs, and that kind of level of discipline fascinates me, so there's lots to admire about the training side in the dog world in that respect, but for me what's been most important is to find those people, and specifically, women that are at the top of their game and dealing with those pressures that come with being at the top of their game.

Melissa Breau: Awesome. Well, thank you so much for coming on the podcast, Amy.

Amy Johnson: You're welcome. It was a pleasure.

Melissa Breau: It was. It was a lot of fun to chat. And thanks to all of our listeners for tuning in. We'll be back next week with Kamal Fernandez to discuss what it's like to be a man, in a female dominated job. Just kidding. We'll be chatting at FCI style of heeling and more. If you haven't already subscribed to the podcast in iTunes or the podcast app of your choice to have our next episode automatically downloaded to your phone as soon as it becomes available.

CREDITS:

Today's show is brought to you by the Fenzi Dog Sports Academy. Special thanks to Denise Fenzi for supporting this podcast. Music provided royalty-free by BenSound.com; the track featured here is called "Buddy." Audio editing provided by Chris Lang and transcription written by CLK Transcription Services.