The sheer volume of digital photographs captured by pet owners is a testament to the profound emotional connections formed with their animal companions. For Brandi Saxton, the founder and former editor of "It’s a Rat’s World" (IARW) magazine, this phenomenon reached an extraordinary scale, with an estimated 11,288 photos of her pet rats stored on her current devices alone. This staggering number, not accounting for lost digital archives or pre-digital photographic memories, underscores a lifelong dedication to documenting the lives of these often-misunderstood creatures. Saxton’s photographic journey was not merely a personal hobby; it was intrinsically linked to the professional operation of IARW, a monthly magazine that ran for 13 years, requiring a constant influx of high-quality imagery for its pages and social media presence.
The Genesis of "It’s a Rat’s World" and Its Visual Identity
Launched with the primary objective of celebrating and educating the public about pet rats, IARW quickly established a unique visual identity, heavily reliant on Saxton’s photographic efforts. The magazine’s cover and its popular "PapRATzi Page(s)," a section dedicated to reader-submitted photographs, adopted a monthly themed approach. These themes ranged from practical subjects like grooming, sleeping, and eating, to more whimsical prompts such as yawning, showcasing rat tails, or depicting rats interacting with their human families and other pets. This thematic strategy not only encouraged reader engagement but also provided a structured framework for Saxton’s photographic endeavors. While acknowledging her non-professional background in early years, Saxton expresses pride in the evolution of her cover photography, noting significant improvement over time. This article delves into a curated selection of these cherished images, offering a glimpse into the creative process and the endearing personalities of the rats who graced the pages of IARW.
The Art of Capturing Dormancy: Sleeping Rats in Focus
The seemingly simple act of a rat sleeping provided a recurring and universally appealing theme for IARW. Saxton highlights the inherent preciousness of a curled-up, sleeping rat, a sentiment echoed in numerous photographs.
One particularly poignant image features Preacher, a rat captured in a deep slumber on his back during the challenging COVID-19 pandemic in 2020. This candid moment, shared on Saxton’s birthday, offered a much-needed respite from the isolation and uncertainty of the era. "Wanting to lift my spirits (at least this is what I tell myself), Preacher gifted me with a moment so irresistibly darling that it took everything in me not to disturb him with kisses all over his sweet face," Saxton recalls. The image depicts Preacher with his eyelids fluttering and nose twitching, seemingly lost in dreams, embodying a sense of peace and trust that resonated deeply with Saxton during a chaotic period. This image, along with others, has been shared on social media platforms, including Instagram, drawing a significant amount of positive engagement from the IARW community.
Another notable subject is Brinley, a young rat adopted alongside his brother, Moffett. Brinley and Moffett were known for their unusual habit of sleeping on their backs, a characteristic Saxton has frequently documented. This particular sleeping pose, once a recurring feature on her iPhone’s home screen, highlights the unique behaviors that made these rats so captivating. Saxton humorously notes the irony that while capturing sleeping rats was generally easy, attempts to photograph them in this state for an official cover often resulted in them becoming unexpectedly alert and uncooperative.
Brockton, a senior rat and a "heart rat" for Saxton, was the subject of a May 2012 cover. For this issue, themed around sleeping rats, Saxton chose to focus on the older rat, using a blanket to discreetly conceal his arthritic legs and thinning fur. The photo shoot took place on Saxton’s bed, and it required little effort to coax Brockton into a nap. This photograph remains a personal favorite, embodying the gentle dignity of a beloved pet in its twilight years. The article implicitly touches upon a broader phenomenon observed in pet ownership: the contrast between a pet’s natural inclination to rest when unobserved and their tendency to become active when their owner desires a photograph.
Castiel, another young rat, found a unique sleeping spot amidst pink feathers intended for a Valentine’s Day shoot. While this image was not ultimately chosen for the February 2016 cover, which featured Castiel’s brothers, Winchester and Crowley, it demonstrates the serendipitous moments that often arise during pet photography. A video capturing all three brothers playing in the feathers was also shared, showcasing their playful interactions.
The Creative Endeavor of Rat Dress-Up
Beyond capturing natural behaviors, Saxton embraced the challenge of dressing up her rats for themed photoshoots, a process that demanded significant creativity and resourcefulness. These efforts ranged from intricate hand-sewing to repurposing everyday items.
The release of the final "Star Wars" film in December 2015 spurred a themed issue in January 2016. Saxton, inspired by the resemblance of hairless rats to Yoda, dressed her rat Sterling in a handmade cloak and posed him with Yoda figurines from her son’s collection. The dedication to the theme extended to her son’s room, with "Star Wars"-themed bedding and a headboard designed by Saxton.
A festive winter theme was brought to life with Crowley, another of Castiel’s brothers, modeling a knit hat and scarf. These items were originally part of a small snowman plushie, meticulously repurposed by Saxton. Crowley, known for his natural modeling abilities, featured prominently on numerous covers, including the January 2018 issue where he sported this winter ensemble.
Crowley also donned traditional Scottish attire for the October 2017 cover. Inspired by a miniature tam o’ shanter atop a whisky liqueur bottle purchased at Stirling Castle during a family trip, Saxton crafted a matching kilt and even a set of non-functional bagpipes from flannel fabric. This dedication to detail reflects the deep level of commitment involved in producing IARW’s visual content.
For the September 2012 cover, Saxton collaborated with Natasha Matherly, a regular columnist for IARW, to create an artist’s smock and beret for Wolfgang, a rat affectionately nicknamed "Pablo Racasso." Saxton herself contributed a miniature "Picassoesque" rat painting for the scene, demonstrating a multi-faceted approach to content creation.
Celebrating Holidays with Rat-tastic Flair
The annual challenge of conceptualizing fresh holiday themes for IARW covers was met with Saxton’s characteristic ingenuity. The goal was to avoid repetition while maintaining a festive and engaging aesthetic.
Wolfgang, a highly photogenic rat, proved to be an ideal subject for the February 2013 Valentine’s Day cover. Posed amidst pink feathers, an element that would reappear years later with Castiel, this image is considered one of Saxton’s top ten favorite rat photographs. The creative use of props and themes, like the reuse of the pink feathers, highlights a sustainable and iterative approach to her work.
For the April 2019 Easter issue, Custer, Preacher’s brother, was transformed into the "Easter Ratty" with a pair of handmade bunny ears that had graced several previous covers. The choice of this image was a collaborative one, with Saxton’s husband selecting it from a multitude of favorite Easter pictures.
Sirius was the star of the October 2014 Halloween cover, depicted within a metal pumpkin adorned with candy corn. This image was meticulously planned and executed to match Saxton’s vision. The article reveals several fascinating behind-the-scenes details: Saxton created the candy corn hat, even publishing a DIY guide in a 2017 issue. The image’s enduring popularity is evidenced by a follower who later got a large tattoo of it, leading to an online friendship with the tattoo artist. Saxton also notes that Sirius was not allowed to consume the candy corn, a crucial safety measure.
The December covers often presented the greatest creative hurdles. For the December 2018 cover, Saxton moved away from traditional red and green palettes, opting for a softer, pink-centric theme. She discovered a large, clear glass ornament that could comfortably house a rat, leading to a visually striking image of Preacher that many online mistook for a plush toy due to his serene expression. This cover was a departure from the norm, reflecting Saxton’s desire to explore different aesthetics.
The final Christmas cover for IARW in December 2019 marked the end of an era before the magazine ceased publication in July 2020. For this cover, Saxton created a "sugary, pastel wonderland" set, meticulously arranging props like candy and cookies. This elaborate setup was used to photograph newly adopted baby rats, and remarkably, almost every shot proved usable, a rare occurrence. Ultimately, Gatwick, a nervous but ultimately photogenic rat, was chosen for the coveted cover spot.
The Legacy of "It’s a Rat’s World" Photography
The extensive collection of rat photographs compiled by Brandi Saxton for "It’s a Rat’s World" magazine represents more than just a personal archive; it is a valuable historical record of a niche publication and a testament to the dedication of its creator. The photographs offer insights into the personalities of individual rats, the creative strategies employed in pet-themed media, and the evolving landscape of digital photography. Saxton’s commitment to her craft, even without formal training, resulted in visually compelling content that resonated with a dedicated readership. The enduring appeal of these images is further evidenced by their availability on merchandise in her Zazzle shop, allowing fans to continue celebrating the charm and character of pet rats through her lens. This extensive body of work serves as a powerful reminder of the unique bonds shared between humans and their animal companions, and the creative ways these relationships can be documented and celebrated. The challenges of digital preservation, as alluded to by Saxton’s lost older photos, also highlight the importance of actively curating and backing up digital memories in an increasingly data-driven world. The success of IARW’s photographic content underscores the potential for niche publications to thrive by delivering high-quality, engaging, and emotionally resonant material to a specific audience.
