Furries are people too.
“What is a fursona and why do people make them?” were the questions I set out to answer in taking my camera gear to Anthrocon this year. I have always wanted to do a photo-essay that explored both aspects of furries, their self and their fursona, in the same image. I’ve always assumed the best way to do this is multiple exposure photography.
So I asked more than 80 fursuiters the strangest request they’ve probably ever received at a convention: for me to photograph them without their fursuit on. Many were reluctant, some refused, and a few were outright hostile to the idea. But the vast majority of suiters, when the project was explained to them, were fascinated by the idea. I suspect my idea deeply resonated with many fursuiters because the fursona and the self are inextricably linked. Any photograph that doesn’t capture both is an incomplete picture.
I learned many things from the brief exchanges I had with my participants. I have deep respect for everyone who helped me realize my vision. In each person I saw not just a suit or a subject, but a thinking and feeling human being. Every person I photographed was overflowing with kindness, generosity, joy, desires, aversions, and fears. Through the viewfinder of my camera I witnessed the full circle of humanity, and furries were the compass that drew the circumference.
After explaining the project, I gave my participants only two instructions: 1) try to make the same pose for both pictures and 2) make a pose that, you think, best expresses who you are. In the resulting images was convergence and juxtaposition. Some fursonas highly resemble the people behind them, others do not. This was often revealed through facial expressions, which were not limited by the “same pose” instruction I gave people.
So what is a fursona and why do people make them? The answer to those questions is unique to every individual furry. The truth of the matter is that a fursona can be an ideal, an actual, or an ought; a fursona can be an own or an other. Some furries are running from themselves, others are running toward themselves, while others want another self they can have at the same time. The fursona is a central aspect of any (and more) of these processes of self-discovery and self-construction in furries. It is created to help us understand who we are, who we aren’t, and who we would like to be.
My only regrets in doing this project are that I did not have cards printed up with my contact information to give to my participants, and I didn’t catch all of their names. For the people I have not been able to identify I kindly ask that, if you know them, please tell me who they are.
A practical suggestion on how to enjoy these images: Multiple exposure photographs can be very confusing to look at upon first glance. My advice is try to focus your attention on the person first, then their fursuit, then both together as a single composite. What you discover about who you are looking at, and yourself, may come as a surprise!
“What is a fursona and why do people make them?” were the questions I set out to answer in taking my camera gear to Anthrocon this year. I have always wanted to do a photo-essay that explored both aspects of furries, their self and their fursona, in the same image. I’ve always assumed the best way to do this is multiple exposure photography.
So I asked more than 80 fursuiters the strangest request they’ve probably ever received at a convention: for me to photograph them without their fursuit on. Many were reluctant, some refused, and a few were outright hostile to the idea. But the vast majority of suiters, when the project was explained to them, were fascinated by the idea. I suspect my idea deeply resonated with many fursuiters because the fursona and the self are inextricably linked. Any photograph that doesn’t capture both is an incomplete picture.
I learned many things from the brief exchanges I had with my participants. I have deep respect for everyone who helped me realize my vision. In each person I saw not just a suit or a subject, but a thinking and feeling human being. Every person I photographed was overflowing with kindness, generosity, joy, desires, aversions, and fears. Through the viewfinder of my camera I witnessed the full circle of humanity, and furries were the compass that drew the circumference.
After explaining the project, I gave my participants only two instructions: 1) try to make the same pose for both pictures and 2) make a pose that, you think, best expresses who you are. In the resulting images was convergence and juxtaposition. Some fursonas highly resemble the people behind them, others do not. This was often revealed through facial expressions, which were not limited by the “same pose” instruction I gave people.
So what is a fursona and why do people make them? The answer to those questions is unique to every individual furry. The truth of the matter is that a fursona can be an ideal, an actual, or an ought; a fursona can be an own or an other. Some furries are running from themselves, others are running toward themselves, while others want another self they can have at the same time. The fursona is a central aspect of any (and more) of these processes of self-discovery and self-construction in furries. It is created to help us understand who we are, who we aren’t, and who we would like to be.
My only regrets in doing this project are that I did not have cards printed up with my contact information to give to my participants, and I didn’t catch all of their names. For the people I have not been able to identify I kindly ask that, if you know them, please tell me who they are.
A practical suggestion on how to enjoy these images: Multiple exposure photographs can be very confusing to look at upon first glance. My advice is try to focus your attention on the person first, then their fursuit, then both together as a single composite. What you discover about who you are looking at, and yourself, may come as a surprise!
Category Photography / Fursuit
Species Unspecified / Any
Size 973 x 850px
File Size 503.5 kB
This is a cool concept.
However i feel on some it is hard to see the visit. I think the issue is the background mangling the view.
In Photoshop you may want to make for each pic a mask to cutout the subject from the background and use that to adjust opacity of each layer so that the subject takes over the background when it overlaps it.
Of course fursuits are not fursonas but it is a good vector to explain that to people. You worded very well the aspects of escapism and self redefinition, and diversity of motives, bravo.
Cheers!
However i feel on some it is hard to see the visit. I think the issue is the background mangling the view.
In Photoshop you may want to make for each pic a mask to cutout the subject from the background and use that to adjust opacity of each layer so that the subject takes over the background when it overlaps it.
Of course fursuits are not fursonas but it is a good vector to explain that to people. You worded very well the aspects of escapism and self redefinition, and diversity of motives, bravo.
Cheers!
Thank you!
All of the exposures were done in-camera. To get the best results, though, would have involved taking each picture individually as a single still, then using Photoshop in post-processing to combine them. The problem with this is that it wouldn’t yield immediate results that I could show people, which I’m sure would have been disappointing. At the expensive of control I found doing everything in-camera lead to a creative process that had more of a spontaneous and playful quality to it. It also gave me some limitations that turned into some aesthetics of the series: many of the photos emphasize one element over the other, and some line up perfectly while others are more discordant. As an artist that lets me turn around after the fact and claim that I was really going for that all along as a means of expressing different personality dynamics in my subjects
I still did a little post processing in Lightroom. I had to boost the contrast and clarity on almost every picture, because double exposing tends to wash things out.
All of the exposures were done in-camera. To get the best results, though, would have involved taking each picture individually as a single still, then using Photoshop in post-processing to combine them. The problem with this is that it wouldn’t yield immediate results that I could show people, which I’m sure would have been disappointing. At the expensive of control I found doing everything in-camera lead to a creative process that had more of a spontaneous and playful quality to it. It also gave me some limitations that turned into some aesthetics of the series: many of the photos emphasize one element over the other, and some line up perfectly while others are more discordant. As an artist that lets me turn around after the fact and claim that I was really going for that all along as a means of expressing different personality dynamics in my subjects
I still did a little post processing in Lightroom. I had to boost the contrast and clarity on almost every picture, because double exposing tends to wash things out.
FA+

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