In “A Goat, Two Cows, and a Sheep,” photographer Peter Samuels brings extraordinary intimacy to the ordinary barnyard. Honored with Gold in the 2025 Graphis Photography Awards, this self-initiated portrait series treats each animal not as livestock, but as kin—fictional family members captured with a reverence typically reserved for human lineage. Working with a mobile studio in rustic environments, Samuels conjures long, soulful gazes and finely lit textures that feel as much like classical portraiture as personal mythmaking. The result is a series that’s as endearing as it is monumental—a barnyard reimagined as a gallery of quiet nobility and emotional resonance.

By: Peter Samuels, Photographer, Peter Samuels Photography

1. The Project 

Through this ongoing series of animal portraits, I aim to capture the unique personalities and subtle emotions of animals in a somewhat anthropomorphic way that resonates with my childhood self. My approach challenges conventional portrayals by highlighting their individual spirit and encouraging a deeper connection. 

2. The Process 

My goal is to create a calm environment that enables my subjects to be calm and reveal their zen-like personality for the camera. To that end, I’ve determined over time that bringing my studio to the location proves better for the animals in terms of their comfort overall, making my production trickier–and dirtier, as I’ll end up sitting in the dirt of a ranch or barn. However, these productions are not without risk; the Yak, for example, decided she was done and wanted to leave the set, and my barn-sitting butt was her only obstacle to the exit, triggering an instinctual tuck (my camera) and roll (in my computer’s direction to spare my tether cable) maneuver. Luckily, the ranch wranglers were able to redirect her gently, phew! 

Anyway, risk-taking aside, my approach to lighting, while simple at its core, is designed to bring out the intricate curls and textures of their wool and fur, focusing on features that convey expression—the eyes, the snout, the subtle shifts in posture—making each portrait feel both intimate and monumental. Balancing expectations involves ensuring technical precision while preserving an artistic vision that honors each animal’s unique story. 

3. The Impact 

The portraits seem to evoke empathy and appreciation for these animals’ individuality. Projects like this continually reshape my creative outlook, highlighting the importance of how creating imagery from my mind’s eye, planning, and thoughtful lighting reveals personality and emotion in my subjects. 

4. The Creative Journey 

What brings me great satisfaction is capturing that nuanced, soulful connection—how the curled fleece and expressive eyes tell a story. I enjoy experimenting with lighting that renders the complex textures vividly while maintaining softness. I’m most proud that the resulting portraits seem to evoke an essence of a regal, or perhaps, historical family portrait deserving of respect and empathy.

Originally from Orange County, CA, and currently based out of San Francisco, Peter Samuels was classically trained as a product still-life photographer for a vast array of notable clients, including AT&T, Toyota, and Nissan, among others. Then, in 2007, a tipping point occurred when he got his first dog, Leica. The dog soon became his muse, and then photographs of a friend’s horse won an array of awards and were picked up by Restoration Hardware. It became clear that Peter’s experience lighting for product and high-level production skills actually, albeit oddly, translated well to animals, and the direction of photographing animals for commercial and fine art was realized. Among the many accolades from the APA, Communication Arts, and the IPA, he has also had the honor of being chosen for the cover of the Graphis Photo Annual, 2024.

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