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FEBRUARY 2023
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THE OFFICIAL JOURNAL OF PROFESSIONAL PHOTOGRAPHERS OF AMERICA
Director of Publications Jane Gaboury, jgaboury@ppa.com

Senior Editor Joan Sherwood, jsherwood@ppa.com
Senior Editor Amanda Arnold, aarnold@ppa.com
Art Director / Production Manager Debbie Todd, dtodd@ppa.com
Editor-at-Large Jeff Kent, jkent@ppa.com
Contributing Editor Ellis Vener
Director of Sales & Strategic Alliances Kalia Bonner, kbonner@ppa.com, (404) 522-8600 x248
Western Region Sales Brian Sisco, bsisco@ppa.com, (404) 522-8600 x230
Eastern & Central Region Sales Francine Osora, fosora@ppa.com, (404) 522-8600 x211
Advertising Sales Specialist Curistan Neal, cneal@ppa.com, (404) 522-8600 x223
PROFESSIONAL PHOTOGRAPHERS OF AMERICA

BOARD OF DIRECTORS
President Jeffrey Dachowski, M.Photog.Cr., CPP, jdachowski@ppa.com
Vice President Kira Derryberry, M.Photog.Cr., CPP, kderryberry@ppa.com
Treasurer Mark Campbell, M.Photog.Cr., CPP, API, mcampbell@ppa.com
Chairman of the Board Mary Fisk-Taylor, M.Photog.Hon.M.Photog.M.Wed.Photog.Cr., CPP, ABI, API, EA-ASP, mfisktaylor@ppa.com
Allison English Watkins, M.Photog.Cr., CPP, awatkins@ppa.com
Pete Rezac, M.Photog.Cr., CPP, prezac@ppa.com
Makayla Jade Harris, CPP, mharris@ppa.com
Trish Gilmore, M.Wed.Photog.Cr., CPP, tgilmore@ppa.com
George Joell III, Cr.Photog., gjoell@ppa.com
Larry Lourcey, M.Photog.M.Artist.Cr., CPP, llourcey@ppa.com
Kesha Lambert, klambert@ppa.com
Ronan Ryle, rryle@ppa.com
Phaneendra Gudapati, M.Photog.Cr., CPP, pgudapati@ppa.com
Chief Executive Officer David Trust, CAE, trustd@ppa.com

Chief Financial Officer / Chief Operating Officer Scott Kurkian, CAE, skurkian@ppa.com
Director of Credentialing Rich Newell, M.Photog.Cr., rnewell@ppa.com
Director of Education Michael Darough, mdarough@ppa.com
Director of Events Melissa Thompson, CMP, mthompson@ppa.com
Director of Human Resources & Company Culture Shaniqua Cole, SHRM-CP, scole@ppa.com
Director of Information Technology & Administration Scott Morgan, smorgan@ppa.com
Director of Marketing & Communications Andrea Taylor, ataylor@ppa.com
Director of Membership Value & Experience Gerard Wright-Bullard, gwright@ppa.com
Director of Publications Jane Gaboury, jgaboury@ppa.com
Director of Sales & Strategic Alliances Kalia Bonner, kbonner@ppa.com
Executive Assistant Leanne Bradley, lbradley@ppa.com
PPA MEMBER SERVICES

Professional Photographers of America, csc@ppa.com, ppa.com, (800) 786-6277
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Professional Photographer, official journal of Professional Photographers of America Inc., is the oldest exclusively professional photographic publication in the
Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial
Photographer, The National Photographer, and Professional Photographer Storytellers.
Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers of America Inc. Acceptance of
advertising does not carry with it endorsement by the publisher.
Professional Photographer (ISSN 1528-5286) is published monthly by PPA Publications and Events Inc., 229 Peachtree Street, NE, Ste. 2300, Atlanta, GA 30303-1608. Periodi-
cals postage paid at Atlanta, Ga., and additional mailing offices.
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ties to learn from our members, and cultivate inclusive communication and multicultural skills for the betterment of the photography community.
POSTMASTER: Send address changes to Professional Photographer, 229 Peachtree Street, NE., Suite 2300, Atlanta, GA 30303-1608.
Copyright 2023, PPA Publications & Events, Inc. Printed in U.S.A.
4 PROFESSIONAL PHOTOGRAPHER
CONTENTS February 2023
©JAMIE PROCTOR-BRASSARD
COURTESY ROGUE
©JOHN HARTMAN
36 16
In Every Issue
10 Editor’s Note
18 President’s Message
20 On the Cover
80 Perspective
82 Photo Fragment
Foreground
13 Cosmetics Cosmos:
Shimmering lipwear
14 Beautiful Magnetism:
Fun with color
16 Team USA 2023 Announced

for World Photographic Cup:
Winners to be named in March
Success
Feature 25 Be Prepared:
3-2-1 for secure protection
44 Slay 26 Runaway Niche: A passion

for elopement photography
2023 Diamond Photographers of the Year By Jeff Kent
By Amanda Arnold
30 Link Up and Soar:
Use LinkedIn to grow your business
By Jeff Kent
The Goods
35 Single-handed Access:
Think Tank SpeedTop Crossbody
36 Magnetic Attraction:
Rogue Round Flash Magnetic Modifiers
By Ellis Vener
38 Long-lasting Compact Power:

Elinchrom Five review
By Betsy Finn
Exclusive info and images

©MEGHAN ROLFE
you won’t find in this issue

ppa.com/ppmag
26
PPA.COM/PPMAG FEBRUARY 2023 7

E D I TO R ’ S N OT E
MIR Is Here
THE EVOLUTION OF THE EXHIBITION MERIT
Unlike people in many other professions, photographers most often come to

their work without a diploma or other scholarly credential in the art and business
of image making. And unlike people who work in many other creative endeavors,
photographers typically haven’t had structured tutelage by a mentor or an extended
apprenticeship under a master prior to striking out on their own. Many photogra-
phers owe much of their early education to books, videos, and online sources.
And that’s a fine way to learn the basics. But these routes don’t provide personal
feedback and live interaction. PPA’s degree program is important for this very
reason. It’s a way for photographers to build their skills by getting feedback
from more experienced peers, by taking in-person classes, and by reciprocating
the education they’re receiving by eventually instructing others. Degrees are
earned by accumulating merits for image making, instruction, and service.
For decades, PPA’s International Photographic Competition was the most
reliable method for members to get feedback on their work from experienced
peers. Despite its name, it was never a competition. It was a way for people to
understand how their images stacked up to a common measure of quality—the
©EDDIE TAPP
12 Elements of a Merit Image.

IPC has always made use of the processes, technologies, and tools of the
time. For many years, that meant members had to ship photographic prints in
large, heavy cases to PPA headquarters once a year, which was expensive and
editors@ppa.com time consuming. Jurors would travel from around the country to convene for
several days of judging, which was expensive and time consuming. Under-
@OurPPA standably, due to the cost and logistics involved, the opportunity for photogra-
phers to earn merits through image making was feasible just once a year.
@ourppa
As electronic imaging became the default photographic method, PPA embraced
@OurPPA
that technology and made provisions for members to forgo the expense and trouble
of shipping prints and instead submit digital files. There was further change
Exclusive info and images you won’t find in this issue when COVID-19 lockdowns meant jurors couldn’t gather in person to share their
ppa.com/ppmag insights, so the show went on with jurors collaborating remotely by computer.
You’ve no doubt heard about the Merit Image Review program that’s become
Hover your phone camera over
the code for unique content that
the next iteration of IPC. It’s the new process by which members can get feed-
didn’t make it into this issue. back on the quality of their images and earn exhibition merits toward degrees.
The image standards remain the same 12 Elements, so there’s no question that
ppa.com/ppmag
the integrity of the merit endures. But instead of one annual judging, technol-
ogy makes it possible for image evaluation to take place throughout the year
using electronic images and remote judging. There’s no need for photogra-
phers to wait 12 months for a single shot at learning from seasoned colleagues,
no reason to earn those image-related merits just once a year.
MIR is a big change, but it’s also simply part of the evolution of the degree pro-
gram that has helped photographers elevate their profession since 1939. This
month marks the first time that exhibition merits will be given through MIR
rather than IPC. It’s surely not the last change you’ll see in the program over the
years as PPA continues to address member needs with evolving technology. •
Jane Gaboury
Director of Publications
Show Clients
the Difference
a Professional Photographer Makes.
Set the right

expectations.
Go beyond good
customer service.
Who you are matters.
Create what only you can.
Know your value.
Start Here:
PPA.com/SeeTheDifference
FOREGROUND
By Amanda Arnold
Cosmetics
Cosmos
SHIMMERING LIPWEAR
Simple makeup is transformed
into what commercial photog-
rapher Rich Begany calls anom-
alous landscapes.
“Coming in very tight and using

carefully shaped, focused light
reveals an amazing amount of
detail,” Begany says. For this
photograph, small imperfections
in the background became dis-
tracting, so he cropped to allow
the textures to compose the
entire image. He used a spotlight
to send a narrow beam down
into the center of the frame,
allowing the negative space to
recede and fade to dark.
Begany used a Phase One XF

IQ3 100MP camera system
with a Schneider Kreuznach
120mm LS f/4 macro lens and
exposed for 1/1,600 second at
f/11, ISO 50. To ensure focus
was maintained throughout the
frame, he stacked 15 captures
using Helicon software.
©RICH BEGANY / richbeganyphoto.com

“The photos speak to the color
and finish of the makeup products
featured but are also meant
to be enjoyed in an abstract,
purely visual way,” he says. •

FOREGROUND
Beautiful Magnetism
FUN WITH COLOR
IMAGES ©ZAC HENDERSON / zachenderson.com

Searching to find his voice in SUBJECT MATTER: To create PROCESS: The images were CHALLENGES: Though the
photography, editorial and fine his “sculptures,” Henderson made in his home studio, and magnets are strong, they some-
art photographer Zac Henderson suspends ceramic magnets on since each sculpture is about times were overcome by the
turned to his love of science. fishing line then exposes them eight inches tall, the images weight of the iron, toppling the
“I was intrigued by the idea to iron fillings. The iron takes require focus stacking of as sculpture. When the shape of a
of a fundamental force that shape based on its surrounding many as 30 to 40 images. sculpture wasn’t quite right even
is completely invisible to us magnetic field and can also be after reshaping it, Henderson
except through its gravitational manipulated by hand to alter EQUIPMENT: Henderson used would go back to the drawing
effects and wondered if I could the sculpture. Once he’s satis- a Phase One XF 150MP with a board and start over.
pay homage to that fascination fied with the magnetic art, he Blue Ring Schneider Kreuznach
with my work,” he explains. He starts making photographs. 120mm LS f/4.0 macro lens, SUCCESSES: “I love the tex-
settled on magnetism, calling which is excellent at captur- ture of these images,” he says.
his photo series “Dark Matter.” COLOR FORWARD: For the ing texture and fine detail, “Each grain of iron reflects
most recent iteration of his he says. “The focus stacking light slightly differently. When
“Dark Matter” series, Hender- tool the XF provides makes I look at these photos, I can
son wanted to incorporate col- placing depth of field extremely almost feel the iron on my finger-
or, so he used color changing simple.” tips and the magnetism affect-
lightbulbs. They were effective ing the iron through my hands
but dim compared to most at a distance. Conceptually I
studio lights, so he used long think they’re an appropriate
exposure times—20 seconds or manifestation of the awe of
so, depending on the color and the natural world that inspired
intensity he wanted to capture. them in the first place.” •
FOREGROUND
Team USA 2023 Announced

WORLD PHOTOGRAPHIC CUP WINNERS TO BE NAMED IN MARCH
Twenty-two photographers will represent in each of eight categories: Commercial, at an awards ceremony in Singapore on
the United States in the 2023 World Pho- llustrative, Illustrative Portrait, Landscape, March 17.
tographic Cup. The goal of the interna- Natural Portrait, Reportage, Wedding, and Founded in 2013, WPC is administered
tional competition is to unite photogra- Wildlife. by Professional Photographers of America
phers in a spirit of friendship and coop- Finalists were announced at Imaging and the Federation of European Photogra-
eration via a one-of-a-kind battle for the USA 2023 in Nashville, Tennessee. World phers with support from additional inter-
top prize. Teams enter up to three images Photographic Cup winners will be named national photographic organizations. •
©ANDREW GLOGOWER
©MARK MELNICK
TEAM USA 2023
COMMERCIAL
• Karissa Blunck, M.Photog.
• Randy McNeilly, M.Photog.MEI.Cr.,
CPP, API, F-ASP
©KENNETH MARTIN
• John Hartman, M.Photog.M.Artist.Cr.,
CPP, A-ASP, EA-ASP
ILLUSTRATIVE
• Kimberly J. Smith, M.Photog.M.Artist.Cr.,
CPP
• Ben Shirk, M.Photog.M.Artist.Cr.
• Karen McCall, M.Photog.M.Artist.Cr., CPP
ILLUSTRATIVE PORTRAIT
• Rachel Owen
• Ben Shirk, M.Photog.M.Artist.Cr.
• Shannon Squires-Toews,
M.Photog.M.Artist.Cr., CPP
LANDSCAPE
• John Grusd, M.Photog.
• Kenneth Martin, M.Photog.Cr., CPP
• Laura Bennett, M.Photog.Cr., F-ASP
NATURAL PORTRAIT
• Mark Melnick
• Megan Drane, M.Photog.M.Artist.
• Shannon Squires-Toews,
REPORTAGE
©KARISSA BLUNCK
• Robert Near, M.Photog.Cr.

• Erin Clark, M.Photog., CPP
• David Soldano, M.Photog.
WEDDING
• Johnathan Fusco, M.Wed.Photog.
• Mario Muñoz, M.Photog.M.Wed.Photog.Cr.
• Tomas Muñoz, M.Photog.M.Wed.Photog.Cr.
WILDLIFE
• Cheryl Moore, M.Photog.M.Artist., CPP
• Andrew Glogower
• Kenneth Bovat, M.Photog.M.Artist.Cr., CPP
©BEN SHIRK

PRESIDENT’S MESSAGE
Questions Are Golden

ANSWERS ARE OPPORTUNITIES
By Jeffrey Dachowski, M.Photog.Cr., CPP
It’s been an exceptional year for me and 3. How do you have time to be PPA
my family as I’ve represented the Board president? I spoke to my family about this
of Directors and the membership of PPA. opportunity to serve our industry. It would
I’m grateful for the hospitality that’s been be a time commitment that might affect
extended to me during my travels and love our ability to make a living. Being on the
the questions I get, many of which focus Board has been one of the most rewarding
on three topics. professional endeavors I’ve ever undertak-
1. What’s been your favorite experience en. I have learned to be part of a team. As
©CAROLLE DACHOWSKI / dachowskiphotography.com
while traveling for PPA? Because I’m an entrepreneurs, we are often robbed of out-
extrovert, meeting people and learning side input that might improve our decision
about their path is rewarding. I enjoy making. On the Board, there are 13 opin-
seeing how other business owners handle ions on any given topic, and I’ve learned to
issues that arise and how they pivoted seek differing thoughts. This is important
during the pandemic. not only for PPA but will also help my stu-
2. What’s happening with IPC? Staff and dio grow and become more effective.
the Board of Directors have long lauded the And now, a few notes of appreciation.
benefits of the International Photographic • Thanks to my wife, Carolle Dachowski,
Competition, but most members haven’t M.Photog.Cr., who helps hold me, our studio,
made use of this resource. We believe that and the household together. My daughters,
many more photographers could benefit Audra and Lauren, have also been constant
from the learning that comes from earning supporters on this journey and made sac-
exhibition merits. Increased technical ability rifices to enable my service to PPA.
Learn about PPA’s new Merit Image Review and artistic excellence nearly always lead to • Thank you PPA members, Council, and
ppa.com/mir more confidence in the camera and sales the Board of Directors. Without your sup-
rooms, which are essential to having a sus- port, I would not have all these wonderful
tainable studio. The PPA Board worked on a experiences to reflect on.
reboot of this member benefit to meet more • Thank you PPA leadership and staff.
photographers where they are and to remove You make PPA work and thrive even in
some of the process-driven barriers to earn- uncertain times.
ing exhibition merits. PPA continues to up- • Congratulations PPA Chairman of the
hold the high standards of the merit in the Board Mary Fisk-Taylor, M.Photog.Hon.M.
new Merit Image Review process, and entries Photog.M.Wed.Photog.Cr., CPP, ABI, API,
are still judged against the 12 Elements of EA-ASP, on a successful tenure. Thank you
a Merit Image. But timing and quantity con- for your years of service to our profession.
straints have been addressed. A member • My hope for incoming president Kira
can submit one to four images at a time Derryberry, M.Photog.Cr., CPP, is that
throughout the year and have them evalu- you have a million great moments during
ated during one of 10 review periods. They your term.
can enter on their own schedule and gain One final thought: What we do as photog-
the benefits of evaluation throughout the raphers is meaningful. You are important
year. It’s a more member-friendly process for to the legacy of family life. You are a his-
people to work toward their PPA degrees. torian. Enjoy what you do, and never shy
As for what’s ahead with the new Interna- away from feeling valuable. You are. •
tional Photographic Competition, you’ll
have to wait for the announcement, but Jeffrey Dachowski operates a photography studio
I’m very excited and think you will be, too. in Bedford, New Hampshire, with his wife, Carolle.
Tell Your
Friends
They
Belong
Here
PPA’s Member
Referral Program
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$
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PPA.com/Mem2Mem
MERITED
ON THE COVER
Winter Roundup
David Soldano, M.Photog.
Dave Soldano Images
Colorado Springs, Colorado
CAMERA & LENS: Sony a9, Sony FE 24-105mm f/4 G OSS lens
EXPOSURE: 1/1,000 second at f/9, ISO 400
LIGHTING: Natural light
POST-CAPTURE: The image was post-processed in Adobe Camera Raw and
Adobe Photoshop. David Soldano used the Nik Color Efex plug-in Viveza 3 to
lighten and darken areas of the image as needed.
©DAVID SOLDANO / davesoldanoimages.com
ABOUT THE IMAGING EXCELLENCE COLLECTION: The current Imaging Excellence Collection comprises more than 1,000 photographs chosen
by trained PPA jurors. The compositions are considered the best of the best in contemporary professional photography, having been awarded the Imaging
Excellence distinction based on their success in meeting the 12 elements of a merit image. ppa.com/ipc-gallery
NOTE: Lighting diagrams shown here are not to scale.
CONGRATULATIONS TO THE NEW 2022
CERTIFIED PROFESSIONAL PHOTOGRAPHERS!
Chrystalain Jolene Abbett, CPP Trish Cook, CPP Timothy Heard, CPP
Daniel Adaclog, CPP Ashley Cooke, CPP Donald Ray Henninger, CPP
Charles Clifford Alston Jr., CPP Annette Y. Coronado, CPP Mariel Lauren Hensley, CPP
Summer Shawqi Ameen, CPP Richard F. Cox, CPP James Hill, CPP
Laura Kontes Ames, CPP Joan Curry, CPP Christopher K. Hilton, CPP
Karen Ammerman Mitcheltree, Leah Custer, CPP Esmeralda Hinojosa, CPP
CPP Laura Dark, CPP Krystal Hise, CPP
Charity Anderson, CPP David Davies, M.Photog.Cr., CPP Aaron B. Hockley,
Eric Arnold, CPP Shayla Davis, CPP M.Photog.Cr., CPP
Jeffrey Kaiser Auricchio, CPP Gillian Deak, CPP Johnny G. Holland,
Melody Michelle Averett, CPP Adrian DeJesus, CPP M.Photog.Cr., CPP
Kay V. Bagwell, CPP Tiam Jowkar Deris, CPP Anne Holzem, CPP
Robert S. Becker, CPP Charles J. Di Bartolo, CPP Robert S. Horvath, CPP
Stacey Beilman, CPP Franklin Diaz, CPP David W. Huffman, CPP
Ralph Benabides, CPP Fran Russ Dickenson, CPP Jill Huisken, CPP
Katharine Bentley, CPP Tim Donar, CPP Teresa Helen Hunt, CPP
Robert D. Betka Jr., CPP Leigh M. Doran, CPP Richard Edwin Hyatt, CPP
Jennifer M. Bishop, CPP Alexander Drost, CPP Anna Ilieva-Alikaj, CPP
Naresh BK, CPP Cheryl Drury, CPP Jeff Jackson, CPP
Jill Blanchar, CPP Emily M. Dukat, CPP Steven M. Jacobs, CPP
Javier Borrero, CPP Minvi Duncan, CPP Ryan Jenkins, CPP
Sherri Bramlett, CPP Lynette Eason, CPP Kelly Johnson, CPP
Nicole J. Brecht, CPP Salma Elabdouni, CPP Rich Johnson, CPP
Nora Xiomara Brizuela, CPP Joycelyn Elaiho, CPP Gary D. Jones, CPP
Peter D. Brown, CPP Lauren Emerson, CPP Aleen Karakashian, CPP
Kimberly Freeman Bryant, CPP Sally Faddoul, CPP Katherine Katsenis, CPP
Michael Thanh Bui, CPP Christopher James Firmin, CPP Michael P. Kerouac, CPP
Kory A. Bumgardner, Christopher Edward Frost, CPP Deborah R. Kesecker, CPP
M.Photog., CPP Noemi C. Gamez, CPP Andrew Alexander Ketchum, CPP
John R. Burgess, CPP Katharine Gann, CPP Todd Edward Key, CPP
Terry Byerly, CPP Dana Garrett, CPP Nancy E. Kieffer, CPP
Joey Campbell, CPP John Daniel Garrido, CPP Marcus Jay King, CPP
John Cannon, CPP Kris D. Giacobbe, CPP MaRiane Vincent Kooistra, CPP
Lea Rhea Capote, CPP Adam Gibson, CPP Ray Kriegbaum, CPP
Armin Caratao, CPP Ellen Goddard-Jacques, CPP Caroline Alysse Krueger, CPP
Katie Carmickle, CPP Ira Goldberg, CPP Jared Krupa, CPP
Ronald T. Carson, CPP Domiano Chirwatsi Gomba, CPP Shyqeri Kuqi, CPP
Debora Ann Cartwright, CPP Eleanor M. Gray, CPP Greg Lamb, CPP
Sara Beth Case, CPP Ana Marija Gremes, CPP David Lane, CPP
Kevin Jay Cashman, CPP Joan Maria Grippo, CPP David T. Lang, CPP
Michael Cerizo, Rosalind Guder, M.Photog., CPP Brice Langston, CPP
M.Photog.Cr., CPP Brian J. Gurr, CPP Suzie Lee, CPP
Brandon Ross Chaney, CPP Bryn Hafemeister, CPP Gil Lee, CPP
Ernest Neal Charlesworth, M.D., Srinivas R. Halaharvi, CPP Chere M. Leonard, CPP
CPP Michael Carlos Halbig, CPP Lance Levesque, CPP
Kenneth C. Childress, Sharvon Paula Hales, CPP Maurice Lewis, CPP
M.Photog., CPP Wayne V. Hall, CPP Changwei Lin, CPP
Nelly Cirminello, CPP Barry Hanlon, CPP Adelle Lines, CPP
Ray Clark, CPP Samantha Hardcastle, CPP Kermit Llaurador, CPP
Katelyn Nan Coker, CPP Georgianna Hatch, CPP Rich Logan, CPP
Alvaro H. Lopez, CPP Jerry D. Omo Jr., CPP Ashley Schenck, CPP
John Emmett Lowry, CPP Luis Paez, CPP Kaori Schrank, CPP
Craig Steven Luchin, CPP Jason Paige, CPP Katie Scott, CPP
Lawrence B. Luk, CPP Debra Cline Parks, CPP Jason Shadden, CPP
Christian MacCourtney, CPP Christy Parrott, CPP Scott A. Smith, CPP
Melinda Macey, M.Photog., CPP Nathan Roy Payne, CPP Stephanie Smith, CPP
Doug Mall, CPP Tim Payne, CPP Charles Edward Smith, CPP
Erica Dawn Manning, CPP Antonio Peoples, CPP Jordan Solomon, CPP
Grace Margritz, CPP Rebecca F. Peterman, CPP Steven Somers, CPP
Robert Mathewson, CPP Charlie Peterman, CPP Andreas Stahl, CPP
Stacey A. Matranga, CPP Anne Reid Peterson, CPP Tori Stauffer, CPP
Sheri L. McAninch, CPP Mark A. Phillips, CPP Jamie S. Steeno, M.Photog., CPP
Peggy McCartha, CPP Sylvia Phipps, CPP Rachel A. Stewart, CPP
Mette McConnell, CPP Jay Pifer, CPP Robert Neill Stewart, CPP
Steven Melamed, CPP Lori Prater, CPP Melissa M. Stynski, CPP
Odin Mena, CPP Denise Pressman, CPP Carly A. Sullens, CPP
Anne-Marie Mettus, CPP Michael Pucciarelli, Dariusz Terepka, CPP
Maureen T. Miller, CPP Cr.Photog., CPP Bryce Adam Thompson, CPP
Rhonda R. Miller, CPP Sergio Queiroz Santos, CPP Christopher Thumm, CPP
Dawn M. Miller, CPP Shauna Lee Raduske, CPP Kendal Viola Tjugum, CPP
Roger M. Monahan, CPP Mauricio Ramirez, CPP Crystal Tseng, CPP
Kimberly F. Moore, CPP Sheree A. Rayford, CPP Alejandro Vargas, CPP
Judah Morales, CPP Nicole N. Reynolds, CPP Vincent A. Vassall, CPP
Jessica Murrah, CPP Paul Reynolds, CPP Rachael Venema, CPP
Peter John Mutschler, CPP David Stanely Roberts, CPP Ryan Christopher Wade, CPP
Nelson J. Navarro-Zayas, CPP Rafael Rojas, CPP Dennis Webber, CPP
William Earl Neikirk, CPP Kristina Rose, CPP Kathy Wetherholt, CPP
Karina Neill, CPP David Roth, CPP Jason Wheeler, CPP
Carrie A. Nelson, CPP Michael N. Ryno, CPP Laura White, CPP
Deborah Newsom, CPP Jeffrey Franklin Salmore, CPP Bill Whitworth, CPP
Thomas Trung-Nghia Nguyen, Clarence Saunders, CPP Mary Theresa Willia, CPP
CPP Michael W. Saxon, CPP Lanna M. Wing, CPP
James Arthur Novaes, CPP Keely Mackenzie Sayers, CPP Mary Lynne Wolfe, CPP
Marie Nuchols, CPP Gemma Anne Schaefer, CPP Stacey Zaiger, CPP
Stephen Bryn Nyanga, CPP Carrie-Ann Marie Schamberger, Donna M. Zolkowski, CPP
Christina Obligar, CPP CPP
PPA DEGREES
Where technique, art, and service
come together.
Join the exceptional community of © ALEX THE PHOTO GUY
PPA degree-holders.
Show them what you’re made of.

PPA.com/Degrees
SUCCESS
Be Prepared
If you woke up tomorrow and everything on your main hard drive it can happen to you. At the bare minimum, follow the 3-2-1
had been corrupted, how prepared would you be to handle that formula for backing up and preserving your data. Set a standard
situation? If the thought of this scenario makes your chest seize operating procedure to consistently store and back up multiple
up, it’s time you do something about it. Things happen. Hard copies of your digital archive and working files, and you’ll never
drives fail. Lightning strikes. Hurricane, tornado, fire, flood … have to wonder if you’re prepared. •
Keep on at least with at least

three two one
current copies different storage backup offsite
of your data ... devices or and away from
platforms ... the others.

SUCCESS
Runaway Niche
A PASSION FOR ELOPEMENT PHOTOGRAPHY
By Jeff Kent
IMAGES ©MEGHAN ROLFE / elopeoutdoors.com

Meghan Rolfe started photographing outdoors industry. Gradually, she added
elopements about a decade ago as a side- extra details—flowers from a local farm,
line to her work as a portrait and wedding artisan wedding cake, champagne, even
photographer in Asheville, North Carolina. a picnic set up for the couple after their
She’d picked up a few elopement gigs and ceremony.
enjoyed working with couples in the beau- The elopement business grew. Rolfe
tiful natural settings around Asheville. hired an assistant and added more offici-
This led her to add an elopement pack- ants, photographers, and videographers.
age to her offerings. She started simple— Eventually, she split off elopements into its
just her, an officiant, and a ceremony own sub-business with a separate web-
Meghan Rolfe
composed by a writer who works in the site. She now has five photographers, five
officiants, and a full-time coordinator to
manage scheduling and details. The outfit
covers about 150 elopements a year, and
Rolfe feels there’s still significant room for
growth, not just for her business, but for
photographers throughout the country.
Stay on
@ Tracy Allard
top of it!
ELOPEMENTS VS. WEDDINGS
The primary difference between an elope-
ment and a destination wedding is that an
elopement focuses on the couple, says Rolfe.
While most of her eloping couples come from
out of town to get married in the scenic splen-
dor near Asheville, it’s not the same as a des-
tination wedding because it’s not a major
event for dozens (or hundreds) of people.
It’s designed to address what the couple
wants, not the family, not the guests. It’s a
smaller ceremony that often includes just
the bride and groom and a few attendants.
Rolfe allows up to 10 guests at her elope-
ments, but her favorites are those that are
as small as possible. “In fact, we strongly
encourage couples to keep it to the two of
them,” she says. “Things start to change
when they add guests. It influences the
situation. A true elopement focuses on the
couple, their love, and what getting mar-
ried really means to them. We take care of
the details and make it all about them.”
TYPICAL ELOPEMENT
Rolfe’s typical elopements are simple
events that last a couple of hours. Clients
are usually couples in their early 30s, but
Rolfe also gets plenty of second marriages
with older couples as well as vow renew-
als. For each elopement, she establishes
a location, meets the couple there, and
provides them with flowers and the other
elements of their package. If they want
first-look photos, she coordinates and
captures it. Usually, they hike to a scenic
location for the ceremony. Afterward,
she makes photographs with any guests
in attendance and then takes the couple
to several nearby spots for their wedding
portraits. The photo session usually takes
about an hour, though couples can add
Enter by February 28 for next
month’s Merit Image Review.
PPA.com/MIR
SUCCESS
talking about the experience. Rolfe also beginning in 2020, the elopement option
anticipates client questions and answers became extremely popular. As time wore
them in advance through social media on, inquiries began to tick up steadily.
posts and blogs, which provides more Rolfe found herself helping all kinds of
great SEO material. couples re-envision their weddings in a
Zeroing in on her ideal clients helps Rolfe new, smaller format. In some cases, she
create content that appeals to those people. livestreamed the ceremony for friends and
That content builds awareness of her family members who couldn’t travel due to
services, drawing in like-minded folks who the pandemic.
are looking for simple, intimate elope- In many ways, the popularity of today’s
ments in a beautiful natural setting. “We elopement market emerged from necessity
really want to work with the right people, when people were forced to find creative
and that’s been more of a focus for us,” says ways to move forward with their marriag-
Rolfe. “Every year we fine-tune it more and es rather than putting their lives on hold
more and reset our boundaries. To sup- until the pandemic ended. Now, coming
port that, a lot of what we’ll post online is out of the pandemic, people have discov-
the projects that involve our dream clients, ered the beauty of these events and their
showing what it’s like to work with us, and popularity has endured.
the kinds of people we want to work with. “Before COVID, if I told people that I’m an
When those clients do find us, it’s even eas- elopement photographer, they wouldn’t
ier to support them as a friend. But even understand what that meant,” says Rolfe.
if we’re not the right fit, we want to help “Now so many people have chosen to
them find something that works for them.” elope, and awareness has increased dra-
matically. And with Instagram and Face-
additional photos and locations to their COVID BOOST book, they share the photos and others
package. If the couple opts for a package Rolfe was already busy with elopements have seen them, boosting the popularity of
with cake, champagne, and a picnic, they before the coronavirus pandemic shook these events even more.”
can sit down to enjoy that on a blanket set up the world. When larger, in-person wed- Rolfe has noticed a steady flow of pho-
up by an assistant. dings were being canceled or postponed tographers jumping into elopement pho-
SPREADING THE WORD

Rolfe finds new clients primarily through
online marketing, including blogging,
search engine optimization, and social me-
dia. “Sometimes people don’t even know
they want this until they come across my
site,” she says. “You have to think creatively
about search terms, using terminology
like ‘small weddings’ or ‘outdoor wedding
photography’ versus just ‘elopements.’”
Instagram is an ideal platform to showcase
images along with comments from clients
tography, which has increased the compe-
tition but also provided consumers with
more options. She sees this as a good thing
for photographers like her who are looking
for a very specific type of client.
“With so many more people doing elope-
ments, we have a better chance of getting
our ideal clients because people are able to
seek out the best photographer for them
instead of just hiring the only photographer
around who does elopements,” she says.
FIND YOUR PASSION

Rolfe believes the current wedding market
offers an ideal opportunity for photogra-
phers to create something unique that fits
their style and approach.
“If you’re drawn to this kind of work and
have a passion for working with couples,
then there is a tremendous opportunity
to make this part of your business,” she
says. Rolfe notes that while her aesthetic
involves simplicity and nature, there are
abundant options to offer elopement
packages with a range of different styles.
You could offer all-inclusive packages
with lodging and excursions. You could go
adventurous, or you could make it quaint
like a country B&B weekend. Vineyards,
beaches, national landmarks—the options
abound. “You can really make it your
own,” says Rolfe.
The idea of charting her own course is
incredibly appealing to Rolfe and some-
thing she finds relatively unique about
elopement photography. “When you’re a
photographer, people are always asking
you to do what they want,” she says. “This
is one way to have an offering that attracts
a niche group that’s interested in what you
love doing. So instead of just capturing
what’s happening, you get to create a situ-
ation that’s inspiring and then you capture
it. That can bring so much passion back
into your photography. And when your
passion is in it, it fulfills you as well.” •
SUCCESS
Link Up and Soar

USE LINKEDIN TO GROW YOUR BUSINESS
By Jeff Kent
LinkedIn is still the professional social net-

work. It’s a place where the audience com-
prises colleagues, customers, and business
partners. It’s a place for professional dis-
cussions where you can network and build
rapport at a level that’s comfortable.
Unfortunately, most people aren’t taking
advantage of the unique characteristics of
LinkedIn. Too often, they get on the plat-
form only when they’re looking for a job
or trying to sell something. They copy and
paste their resume into LinkedIn’s About
fields and expect work to find them.
Instead, says Donna Serdula, use LinkedIn
strategically to expand your network and
tell your stories to potential clients. LinkedIn
can serve as a forum for you to share more
about yourself, your inspirations, and
your professional journey. “For photogra-
phers in particular, this is important,”
says Serdula, who runs LinkedIn training
platforms Vision Board Media and LinkedIn-
makeover.com. “Most photographers have
a story about what inspires them to be a
photographer. That story needs to be
told on LinkedIn. It’s what makes people
want to work with you because they see
a more soulful inspiration that helps them
connect with you and begin to understand
why you are the right photographer for
them.”
So don’t copy and paste something that
could be found anywhere. Instead, open up
and talk about who you are and what you
do—and why you do what you do. To do
this effectively, Serdula, who runs LinkedIn
training platforms Vision Board Media and
LinkedIn-Makeover.com, recommends
a four-part process she’s dubbed SOAR:
strategize, optimize, amplify, and relate.
STRATEGIZE. What are you hoping to
accomplish? Get clear and deliberate about
your intentions on LinkedIn. Understand-
ing your audience on the platform is im-
portant so you can align your messaging.
For example, a person looking for a job as are, how you help them, what you do a big enough audience. Shoot for 500 or
a photographer is going to say one thing differently, what you stand for, and what more, which should be a good indication
versus a person running a photography your passion is. People want to know these that your online network mirrors your
business who’s looking to find clients. Is things, and such details offer an ideal offline network. This doesn’t mean you
your audience executives, small business starting place for an opening conversation. should connect with anyone and everyone,
owners, wedding planners, individual AMPLIFY. Expand your network. If but as you meet people in the real world,
consumers? The messaging will be differ- you have fewer than 300 connections on connect with them on LinkedIn. LinkedIn
ent for each group. Very few people think LinkedIn, you’re probably not reaching even allows you to create a QR code you
about these factors, but those who do have
an inherent advantage on the platform.
OPTIMIZE. Starting with your profile,
make your LinkedIn presence the best it
can be. On your profile, at the very top,
there’s the background graphic, which is a
fabulous place for photographers to show-
case a featured image.
The headline in your profile follows you
all over LinkedIn. The terms you use in
your headline show up when people use
LinkedIn’s internal search feature. Spend
time looking at that headline and make
sure it encapsulates who you are and what
you do. For example, instead of listing
your title as “Photographer,” try something
like “Master photographer specializing in
destination weddings.” Just don’t make it
salesy. This is an intro, not a place to sell.
Moving down your profile, turn on the
Featured section. It’s a relatively new area and
a fabulous place to link to your website, your
portfolio, and other examples of your work.
Your activity on LinkedIn shows up at the
top of your profile as well, and it’s where
people will see you’re engaged in your
community.
The About section of your profile is where
you’ll put your manifesto. Don’t duplicate
the description that’s on your resume.
Make it unique, something you post only
in this place that tells who you are and
why you do what you do. Very few people
use the About section this way, but those
who do have a great opportunity to share
their inspiration and help people make a
connection. Think about who your clients

SUCCESS
can share with people in person so they doesn’t show posts by chronology; it shows
can connect with you quickly and easily. them by popularity. LinkedIn wants users
For people on LinkedIn who you haven’t to come back, so they’re catering to peo-
met in person—maybe a potential part- ple’s interests and what’s relevant to them.
ner or valuable contact you’ve identified Prioritize quality. Think about the kinds
through research—follow them first. When of posts that will foster a conversation. If
you follow someone, you can see the you can create something once a week that
content they post without inviting them generates good engagement, you’ll be in
to connect. Like their posts, comment on great shape.
them and share them with your audience. Those posts don’t need to be elaborate.
Once there’s some interaction, some en- You could post something simple such as
gagement, then send a connection request. a picture of your studio with a comment
At that point, yours won’t be a random about a rewarding interaction you had
virtual invitation; you’ll be recognized as a with a client. You could recommend a
person who engages with their content. book that had an impact on you, share
“It’s really about being there, being a tip about personal branding through
part of people’s networks, adding value, photography, or pull back the curtain on
inspiring,” says Serdula. “Look at LinkedIn your client interactions with some behind-
as a place where you show up and make a the-scenes photographs that show your
human connection. Be someone who gives creative process at work.
as opposed to takes. That’s the real way to “Think about your content as a way
use LinkedIn—not just logging in because to add value, just like you’re having a
you’re trying to find a job or make a sale. conversation,” says Serdula. “It goes back
Get on LinkedIn because you want to add to understanding your target audience. If
value, inspire, and help others. Those ef- you know what they care about, what they
forts come back to you in profound ways.” want to know, then you can speak to their
At the same time, be clear about who interests and concerns when you post.”
you are, what you do, and why you do it. Most of all, LinkedIn should be viewed
That way people will remember you and as a resource as well as a tool to help you
associate you with those services. Then form better business connections. Serdula
when they need you or know someone says she thinks of LinkedIn almost like
who needs you, they’ll make the connec- reading the morning newspaper, only with
tion. That’s the sale. When someone needs an interactive component. Log on in the
you, they remember you and reach out not morning, scroll through your feed, read a
Learn more from Donna Serdula
linkedin-makeover.com
because you asked them to but because few interesting pieces, comment on posts
you were demonstrating your knowledge, relevant to your work, share some inter-
willingness to offer something of value, esting insights, then move on with your
and passion for what you do. day. It’s really that simple.
RELATE. Relate to people by engaging, “Look at LinkedIn as a tool,” she says.
creating content, sharing posts, and being “It’s not just about prospecting, selling,
active on the platform. Being active doesn’t getting something. It’s a place to go where
mean you need to post something new ev- you can truly connect with other people.
ery day. The LinkedIn algorithm lets posts You can forge those relationships. And
live for days on the feed as long as people from those relationships good opportuni-
are engaging with them. And LinkedIn ties will arise.” •
Photography by: Amy Dawnelle
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THE GOODS
Single-handed Access
The two bags in the new Think Tank SpeedTop Crossbody series with a crossbody strap, and a Think Tank Modular Belt can be
give photographers quick access to gear by incorporating a mag- added for additional stability.
netic lid that opens quietly and with just one hand. The design
includes a tuck-away security latch for situations such as crowd- The flat-bottom design allows the bag to stand upright on its
ed public places to ensure there are no unwanted intrusions. own, and in addition to expandable side pockets, hidden inner
pockets can secure small items. A top handle on the lid and
The shoulder bag comes in two sizes—SpeedTop 10 and 15— another tucked into the cushioned back give users extra
geared to fit ungripped camera bodies with up to a 24-70mm maneuverability. The SpeedTop 10 is $129.75; the SpeedTop 15
lens, flash, extra lens, and small accessories. The bag is carried is $149.75. •
COURTESY THINK TANK / thinktankphoto.com

THE GOODS
Magnetic Attraction
REVIEW: ROGUE ROUND FLASH MAGNETIC MODIFIERS
By Ellis Vener
Rogue light modifier systems the Rogue PF adapter. If you PF and Rogue Flash adapters. flat, making it easy to carry. In
from Expo Imaging have been use rectangular-faced hot shoe This approach eliminates the use it looks like a mushroom
around long enough to provide a mount flashes, you’ll need the need for clunky mounts, rub- cap, radiating light in a hemi-
comprehensive array of options Rogue Flash standard adapter ber bands, or gaffer tape. The spheric pattern. Real estate
to small-flash users. Soft boxes, for lights like Nikon SB-910 magnets also allow you to stack photographers will find this
snoots, grids, gels—if you want Speedlight, Canon Speedlites modifiers. useful for lighting small rooms.
to color or shape the quality of 580EX and 600EX, Sony HVF- For this review, I used the The gel lens is available separ-
your light, the systems provide F45 and F60, and Godox TT350. modifiers on Adorama Flash- ately as well. While you can use it
an adventurous photographer Likewise, you’ll need the Rogue point versions of the Godox V1 with the other modifiers, it isn’t
with a wide-ranging set of prac- Flash small adapter for smaller flash and a pair of AD200Pro needed with the dome and snoot.
tical, easy-to-deploy tools. flashes such as the Canon Speed- monolights with Godox HR200 There are two options for
The Round Flash Magnetic lite 430EX, Sony HVM-F32M, heads. narrowing a beam of light:
Modifiers are designed for 3.5- and Nikon SB-600 Speedlight. There are two sets of compo- snoot and grid. Like the diffu-
inch flash models such as the What makes the new system nents in this Rogue system: sion dome, the snoot is made
Godox V1 or AD100 Pro mono- valuable is not just the range of hardware and gels. The hard- of flexible silicone; however,
light (with round adapter), modifiers or that they are well ware components are a diffuser it’s opaque black instead of
the Godox Wistro HR200 head made but how they attach to dome, a flash gel lens, a collap- translucent white. The snoot
for the AD200 Pro, and the the lights and adapters. Four sible silicone snoot with four weighs a scant 2.8 ounces and
Westcott FJ80. For the Profoto neodymium magnets embed- positions, and a 45-degree grid. is only 1.5 inches tall when
A1, A1X, or A10 flashes, which ded in the solid polycarbonate The diffusion dome is collap- collapsed. It pops out into
have a slightly smaller diam- frames connect directly to the sible and made of translucent four positions, progressively
eter front end, you will need magnets in the lights and the white silicone. It packs nearly narrowing the beam. A single
The components of the Rogue

Round Flash Magnetic Modifi-
ers fit on a large assortment
of flash brands and
models, some requir-
ing an adapter.
COURTESY ROGUE / rogueflash.com
grid reduces the beam angle trait Collection and the Color like Silky Lilac, Electric Grape, gels (from 1/8 to full strength)
to 45 degrees, a stack of two Correction Collection. Each Blue Steel, and Olallieberry so you can balance your flash
grids reduces the beam angle contains 20 durable polyester Purple Pie. Lee Filters mea- to ambient tungsten lighting.
to 25 degrees, and a stack of film gels. All are manufactured sures the gels for light trans- There are also pairs of neutral
three drops the beam angle to for Expo Imaging by Lee Filters mission value, giving you the density and white diffusion gels.
16 degrees. In theory, you can UK, a venerable British company baseline technical information What I like about the system
stack as many grids as you like, that has been making lighting needed when planning a shot. is a quartet of assets: ease of
but there’s a practical limit. gels and camera filters for cine- The Color Correction set con- use, comprehensive scope, a
Because each grid reduces the ma, television, and theatrical tains paired sets of gels: two pairs modular design that lets you
amount of light transmitted, productions for over half a cen- (half and full strength) of Plus build the system you want,
by the time you have a stack tury. The gels are thin enough Green (for balancing a flash’s and an affordable price. The
of three or more grids, the to be combined to produce native daylight color balance Rogue Round Flash Kit is
amount of light produced may unique colors if desired. with ambient fluorescent light), $99.95, $129.95 with a standard
not be enough for your desired The Ultimate Portrait Collec- two pairs (half and full strength) or small flash adapter. The gel
aperture and ISO combination. tion colors range from subtle of CTB to raise the effective kit collections are $34.95 each,
When it comes to gels, there to deeply saturated. These gels color temperature of the light, and the dome, snoot, and grids
are two sets: the Ultimate Por- have funky, evocative names and four pairs of warming range from $29.95 to $39.95. •
The Ultimate Portrait Collection (top three rows) and Color

Correction Collection (bottom three rows) of gels are
manufactured by Lee Filters UK for Expo Imaging.

THE GOODS
Long-lasting Compact Power

REVIEW: ELINCHROM FIVE
By Betsy Finn, M.Photog.Cr.

M.Photog Cr.
©BETSY FINN / betsysphotography.com

COURTESY ELINCHROM
Finding a portable monolight that works

as well as AC-powered studio strobes is
tough. Power and battery durability aside,
there is also consistency to consider; plus,
color temperature and power output can’t
Pros vary when every frame matters.
The Elinchrom Five is a well-thought-
• Portable studio power out workhorse that’s intended to work
• Consistent power and color temperature alongside the company’s other monolights.
• Long lasting batteries With multiple options for charging the
• Works with other Elinchrom units batteries, individual battery power indica-
tors, easy-to-use buttons, a large display,
• Charge batteries while using unit
and a well-designed light modifier mount,
Cons the Five holds its own.
Whether I used the Five on location or
• Price at my studio, the monolights performed
• Weight and size wonderfully. After they were initially
charged, I was able to use the units for
• Not weather-sealed
multiple sessions before a recharge was
needed. When used in my studio with a
soft box and multiple modifiers, the units
produced a lovely quality of light that
provided consistent color temperature
and flash output from frame to frame.
When working outdoors at midday, I had
no trouble creating senior portraits with
the sun as a rim light for a natural look. For
a tennis photo shoot, I wanted a feeling of
movement, so I didn’t use the HSS mode to
entirely freeze the subject, although this is
well within the Five’s capability. The mono-
lights did a great job of capturing the mo-
ment. You can even see the puff of debris
where the tennis ball had been. Since there
IMAGES ©BETSY FINN / betsysphotography.com

was a high wind warning, we opted for
bare bulb strobes, and this melded nicely
with the sunlight to provide a harsh direct
sun look for the middle of the day.
The Five has a seven f/stop range (7 to
522 watt-seconds) with power increments
of one-tenth stop in Standard mode and
three-tenths in Action mode; it can be
adjusted -3.0 to +3.0. The power range dis-
play is 1/1 to 1/64. At minimum power for
Action mode, the shortest flash duration is
1/8,080 second; at full power, the flash du- The units did a great job of capturing the moment. You can even see the puff of debris where
ration is 1/250 second. The modeling lamp the tennis ball had been just a moment prior.
is a continuous running 26W LED (2,700-
6,500K) with an output of 4,000 Lumens The flash is balanced so that
the sun’s rim light doesn’t
with a CRI 91-94. At full power, the light’s overpower the strobe.
recycling time is just 1.6 seconds. The Five
has three modes: Standard, Action, and
HSS. The color temperature is optimized
over the entire range in Standard mode
(5,600K). In Action mode priority is given
to speed: 5,900K (Action) and 5,500K
(HSS).
The Five is compatible with other mono-
lights, though it’s designed to be a sibling
to the AC-powered Elinchrom ELC 500. It
has built-in Bluetooth, so you can control
the Five and other Elinchrom monoli-
ghts from your camera (with a required
Elinchrom Transmitter Pro). The big ques-
tion current Elinchrom users may have is
how the Five compares to Elinchrom’s
other portable monolight, the One. The
main differences are power, weather-
proofing, and size. The Five has 522Ws; the
One (a smaller, more compact battery-
powered unit), has 131Ws. The One delivers
more flashes at less power and recycles a
little faster, but the Five is more powerful.

THE GOODS
Because of the Five’s swappable battery

and fan-cooled system, it’s not weather-
proofed, unlike the One, which is a sealed
unit.
That brings me to the main feature of the
Five—portable power with swappable bat-
teries. The Five battery takes about 90 min-
utes to charge when plugged into the unit
via USB-C; you can also charge the battery
directly (via USB-C), although this takes an
hour longer due to the proprietary speed
charging nature of the head. Since both
charging options use USB-C, you’ll never be
without a proprietary charging cord again.
You can simultaneously charge the battery
and use the unit while the Five is plugged
in. Each battery lasts for 450 full-powered
shots, which is more than sufficient for a
This image was created in studio using the Elinchrom Five unit family portrait session. For full-day jobs, I
as the main. Fabric was draped all over the studio to minimize
reflections in the instrument. can see this being a lifesaver.
There are some minor downsides. The
Five isn’t the lightest monolight out there
at 6.6 pounds. Although it boasts Smart
Pro Active cooling, the fan noise may be an
issue if you’re capturing video. If you need
a light that’s sealed against the elements,
you’ll want to consider the smaller One
instead. And finally, the price tag. The Five
isn’t an entry-line monolight. If you’re in
the market for Elinchrom lights, you’re
making a long-term investment. You get
what you pay for, and Elinchrom is defi-
nitely dedicated to quality and consistency.
If you’re already an Elinchrom user, this
is a no-brainer. You’ll be able to use your
existing lights and modifiers in conjunc-
tion with the Five. As an owner of non-
Elinchrom studio strobes, I would consider
switching systems down the road. I loved
the adaptability of the Five and will think
about the Elinchrom when the time comes
to update my studio lighting gear.
While not the smallest light offered by Elinchrom, this unit can be
taken almost anywhere. My subject wanted a photograph in a tree,
The Elinchrom Five comes as a single-
so we took the light in close to avoid leaf shadows on the face. The ($1,849.99) or dual-head kit ($3,649.99).
sun was used as a rim light. Additional batteries are $389.99 each. •
Betsy Finn is a portrait artist in Michigan.
THANK
YOU!
A huge thank you to the attendees, exhibitors, speakers,
sponsors, and volunteers who supply Imaging USA
with a steady stream of inspiration and unforgettable
experiences, year after year.
2022 SPONSORS
PLATINUM SPONSORS GOLD SPONSORS SILVER SPONSORS
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THE DATE
JANUARY 28–30
©ROSALIND GUDER / rosalindguder.com
2023 DIAMOND
PHOTOGRAPHERS OF THE YEAR
BY AMANDA ARNOLD

photographers slayed the dragon, so to speak, in 2022—achieving Diamond Photog-
rapher of the Year status for 2023. Three of these photography wizards earned
Diamond status twice, in both the Photographic Open and Artist categories. Dia-
mond status is earned when all four images a photographer enters in a PPA Interna-
tional Photographic Competition category—Photographic Open, Artist, and Wedding—
earn a spot in the Imaging Excellence Collection (formerly the Loan Collection). The 2022
edition of the International Photographic Competition marks a historic transition. For
decades IPC was the method for members to earn exhibition merits. Beginning this year,
members will instead earn those merits through the Merit Image Review process, with
the first judging taking place this month. Merits are used toward earning PPA degrees:
master photographer, master wedding photographer, master artist, and craftsman photog-
rapher. Here, we reveal a representative image from each Diamond photographer’s case.
(Previous page)
Mistress of the Dragon

Rosalind Guder, M.Photog.Cr., CPP
Rosalind Guder Photography
Los Angeles, California
CATEGORY: Photographic Open

CAMERA & LENS: Nikon Z 7, Nikkor Z 85mm f/1.8 S lens
EXPOSURE: 1/125 second at f/11, ISO 100
LIGHTING: A Profoto B1 with a Profoto beauty dish was placed 45 degrees camera left for a face key light. A
Godox QT1200IIM and a 2x3-foot soft box was placed 45 degrees camera left for a body key light. A Godox
QT1200IIM and a 4x6-foot soft box on an axis was used for fill light. Profoto B1 and Profoto small strip boxes
were placed 45 degrees camera left rear and camera right rear as rim lights.
POST-CAPTURE: The subject was photographed in front of a velvet backdrop. In Adobe Photoshop, the subject
was selected, and a new background was created using the elliptical shape tool as well as color and texture
overlays. The tail of the dragon was composited for extra length and shape; each scale and fin was individually
composited and shaped using Liquify and then beveled and embossed. Texture overlays were applied to each
scale. Finally, hair and skin were retouched and density, hue, and saturation were adjusted.
See all the 2023 Diamonds

ppa.com/2023-diamonds
Or hover your phone camera over the code
©DENISE REMFERT
>
Distressed
Denise Remfert, M.Photog.M.Artist.
Remfert Photography

POST-CAPTURE: Fujifilm X-H1, Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens
POST-CAPTURE: The image was processed in Adobe Lightroom and digitally painted in Adobe Photoshop.

©YEDI KOESHENDI / yediportraitartist.com
>
I Brought You Lunch

Yedi Koeshendi, M.Photog.M.Artist.Cr.
Yedi Fine Art Portraits
Nashua, New Hampshire
CATEGORY: Artist
POST-CAPTURE: Using Adobe Photoshop and Topaz Sharpen AI, Yedi Koeshendi
removed the background of the image and began compositing, selecting a
background and texture that would be cohesive with the image’s story. He
painted the birds using a hair brush tool and used the mixer brush to paint the
branches and leaves. He used screen mode for highlights and multiply mode
for shadows. Puppet warp was also used in image creation.
>
First Lady of Springtime
Erin Clemmer, M.Photog.M.Artist.
Erin Clemmer Painted Portraits
Henderson, North Carolina

POST-CAPTURE: Canon EOS 6D, Lensbaby
Velvet 56mm f/1.6 lens
LIGHTING: Window light and a white foam
board reflector
POST-CAPTURE: Erin Clemmer softened
the background, enhanced the tulip colors,
made adjustments to the flower position,
and did general touchups in Adobe
Photoshop.
©ERIN CLEMMER / erinclemmerpaintedportraits.com

©CINDY DOVER / cindydoverphotography.com
>
Snowbirds Gone South

Cindy Dover, M.Photog.M.Wed.Photog.M.Artist.Cr., CPP
Cindy Dover Photography
Corinth, Kentucky
CATEGORY: Artist
PHOTOGRAPHER’S NOTE: Cindy Dover photographed the
birdhouses in her yard and added the bluebirds to the
composition, giving each its own personality.
POST-CAPTURE: In Adobe Photoshop, she used the paint
brush and mixer brush tools.
©GLENDA RITCHICK / glendaritchickphotography.com
>
The Wizard
Glenda Ritchick, M.Photog.M.Artist.Cr., CPP
Glenda Ritchick Photography Studio
Portage, Pennsylvania
CATEGORY: Artist
PHOTOGRAPHER’S NOTE: A headshot of Glenda Ritchick’s cat, plus a
photo of a stick and a stock background formed the basis of the image.
POST-CAPTURE: Ritchick drew the cat’s clothes and hat with the
Adobe Photoshop mixer brush. She adjusted highlights and shadows
to achieve the robe’s folds and hat’s contour.
©ANDREW BOWEN STUDIOS / abowenstudios.com
>
Defying Gravity
Andrew Bowen, M.Photog., CPP
Andrew Bowen Studios
Greensboro, North Carolina

POST-CAPTURE: Nikon D850, AF-S Nikkor 70-200mm f/2.8G ED VR II lens
LIGHTING: Andrew Bowen used a Profoto D2 500, a Profoto 3x4-foot soft box with
a grid, and a white vinyl backdrop from Denny Manufacturing that reflected some of
the light.
POST-CAPTURE: In Adobe Lightroom and Photoshop, he used frequency separation
to clean up skin blemishes and overlaid a second copy of the image with different
raw processing to bring out more of the dark details in the subject’s hair and leotard.

>
A Delicate Moment
Cheryl Moore,
M.Photog.M.Artist, CPP
Cheryl Moore Portrait Studio
Cañon City, Colorado

CAMERA & LENS: Canon EOS-
1D X Mark II, Canon EF 400mm
f/2.8L IS III USM lens
EXPOSURE: 1/2,000 second at
f/2.8, ISO 320
POST-CAPTURE: Cheryl Moore
created the background using
Adobe Photoshop’s mixer brush.
She used painting techniques to
bring out detail in the feathers
and finalized the image with
dodging and burning and a color
overlay for color harmony.
©CHERYL MOORE NATURE IMAGES / cmooreimages.com
©KEVIN DOOLEY IDUBE PHOTO SAFARIS / idubephotosafaris.com
>
The Day of the Locust

Kevin Dooley, M.Photog.Cr.
Idube Photo Safaris
Albuquerque, New Mexico

CAMERA & LENS: Canon EOS-1D X Mark III, Sigma 60-600mm f/4.5-6.3 DG OS HSM lens
POST-CAPTURE: Kevin Dooley used Adobe Photoshop and Skylum Luminar for general highlights and shadows.

©JAMIE PROCTOR-BRASSARD / letter10creative.com
>
Feathered Forms
Jamie Proctor-Brassard, M.Photog.
Letter10 Creative
Hinesburg, Vermont

CAMERA & LENS: Canon EOS 5D Mark III, Canon EF 50mm f/2.5 Compact Macro lens
EXPOSURE: 1/50 second at f/13, f/8, and f/5.6, ISO 1250
LIGHTING: The main was a Canon Speedlite with a MagMod grid, a MagSphere, and
1/4 CTO gel placed below the feather. The rim light was a Canon Speedlite with a
MagMod grid, camera left at 45 degrees and above the feather.
POST-CAPTURE: Basic color correction and cropping were done in Adobe Lightroom.
The three images were blended in Adobe Photoshop for a high dynamic range. Minor
spot removal was done with the clone tool.
Final Season
Corey McDonald, M.Photog.M.Artist.Cr., CPP
Corey McDonald Photography & Portrait Design
Monroeville, Alabama

CAMERA & LENS: Nikon Z 7 II, Tamron SP 70-200mm f/2.8 Di VC USD G2 lens
LIGHTING: Corey McDonald used two strip boxes and a 60-inch octabox with
MoLight Godox QT600IIs. The strips were behind the subject on either side of
the background, and the main light was camera left behind the subject, aimed
to feather off the subject toward the camera.
POST-CAPTURE: In Adobe Photoshop, he used smoke brushes he’d made and
several dodging and burning techniques before starting the painting process.
>
©COREY MCDONALD PHOTOGRAPHY & PORTRAIT DESIGN / coreymcdonaldphotography.com

©JANEL VAISBORT / vaisbortphoto.com
>
Evensong
Janel Vaisbort
Janel Vaisbort Photo
Bigfork, Montana

CAMERA & LENS: Sony Alpha
7R III, Sony FE 24-105mm f/4 G
OSS lens
EXPOSURE: 1/15 second at f/11,
©LISA PERTILE / pawstoshoot.com

ISO 200
POST-CAPTURE: In Adobe
Lightroom and Photoshop, Janel
Vaisbort enhanced the contrast,
bringing up the shadows, dodging
and burning, and dehazing.
>
Son of the Serengeti

Lisa Pertile, CPP
Paws to Shoot Photography
Blaine, Minnesota

CAMERA & LENS: Nikon Z 9, Nikkor Z 70-200mm f/2.8 VR S lens
EXPOSURE: 1/160 second at f/5.6, ISO 100
POST-CAPTURE: Lisa Pertile did minor compositing and digital painting in Adobe Lightroom and Photoshop.
©DANA ROSE / rosedesignsfineart.com
>
Creating Chaos
Dana Rose, M.Photog.M.Artist.
Rose Designs Fine Art Portraiture
Alvord, Iowa

CAMERA & LENS: Nikon Z 7, Nikkor Z 85mm f/1.8 S lens
LIGHTING: The main light was a Godox AD300pro with a Snap60 octabox, and the rim
light was an AlienBees B800 with a 60-inch strip box. A large oval reflector was also used.
POST-CAPTURE: In Adobe Photoshop, Dana Rose composited images of her daughter,
their puppy, and background elements from her home, then applied illustrative painting
techniques to finish the image.

©BEN SHIRK/SHIRK PHOTOGRAPHY / shirkphotography.com
>
Free Spirit
Ben Shirk, M.Photog.M.Artist.Cr.
Shirk Photography
Wilton, Iowa

POST-CAPTURE: Sony Alpha 7R IV, Sony FE 24-70mm f/2.8 GM lens
LIGHTING: Ben Shirk used Einstein equipment—a 4x6-inch soft box as the
main, an umbrella for fill, a 12x36-inch strip box with a grid at back right, and a
12x36-inch soft box with a grid as a hair light.
POST-CAPTURE: A green screen was used for the background then extracted
using Game Changers Green Screen Extraction Action. A variety of adjustment
layers were used in Adobe Photoshop to blend daylight-captured elements into
a night scene.
>
Platinum Plumage
Judy Reinford,
Judy Reinford Photography
Bath, Pennsylvania

CAMERA & LENS: Nikon D810,
AF-S Nikkor 80-400mm
f/4.5-5.6G ED VR lens
EXPOSURE: 1/1,000 second at
f/6.3, ISO 400
POST-CAPTURE: The work is a
composite of two images—one
of the head and neck and one
of the body. Adobe Photoshop,
Nik Collection DxO, Topaz, and
Flaming Pear Flood 2 were used.
Judy Reinford removed the back-
ground, added a custom painted
background she’d created, and
painted the bird.
©JUDY REINFORD / judyreinfordphotography.com

©SHANNON SQUIRES / shannonsquiresphotography.com
>
Polar Bear Care

Shannon Squires-Toews, M.Photog.M.Artist.Cr., CPP
Shannon Squires Photography
CATEGORY: Artist
POST-CAPTURE: Using Adobe Photoshop, Shannon Squires-Toews selected the
subjects from their original backgrounds, created a new scene with different
elements, added light and shadows, and digitally painted the image.
>
Blue Dahlia
Karen A. McCall,
M.Photog.M.Artist.Cr., CPP, ASP
Portraits by McCall
Natick, Massachusetts

CAMERA & LENS: Canon EOS 5D Mark IV,
Canon EF 70-200mm f/2.8L IS III USM lens
LIGHTING: The main light was modified
by a Bogen 60-inch octabox at the
2:00 position. The fill light was an Alien-
Bees B800 bounced off a white wall.
AlienBees B400s served as kicker and
hair lights and as a background spot with
grid attached.
POST-CAPTURE: Using Adobe Light-
room and Photoshop, Karen McCall
adjusted levels to balance the skin and
dress and used the color mode to change
the dress, eyes, and flowers from black
to blue. She composited the flower in
the subject’s hair and digitally painted
the wrap using opacity to make it sheer.
She painted the subject’s hair and dress
with the mixer brush and smudge tool to
add depth and dimension. She elected to
have the wrap flow out of the presenta-
tion for a touch of movement.
©KAREN A. MCCALL / karenmccall.com

>
Rainforest Generations
Cheri Hammon,
M.Photog.MEI.M.Artist.Cr., CPP, F-ASP
Art by Cheri
Idaho Falls, Idaho

CAMERA & LENS: Canon EOS 5D Mark III,
Canon 24-105mm f/4L IS II USM lens
POST-CAPTURE: Cheri Hammon processed
and retouched the image in Adobe
Photoshop and adjusted contrast and
details in Nik Collection.
©CHERI HAMMON / artbycheri.net
©CAMPANELLIE’S FINE ART / campanellies.com
>
Lovers Quarrel
Joe Campanellie, M.Photog.Cr., CPP, F-ASP
Campanellie’s Fine Art
Palm Coast, Florida

CAMERA & LENS: Canon EOS 5D Mark IV, Canon EF 100-400mm f/4.5-5.6L IS II lens
POST-CAPTURE: Joe Campanellie tweaked the exposure slightly in Adobe Photoshop,
converted it to a TIFF file, and cleaned up the background. He then added a slight
vignette using Nik Color Efex Pro 4.

>
Unassuming
Shannon Squires-Toews,
Shannon Squires Photography

CAMERA & LENS: Canon EOS
R5, Canon EF 70-200mm f/2.8L
IS USM lens
EXPOSURE: 1/200 second at
f/11, ISO 160
LIGHTING: A main Godox
AD400 was angled 45 degrees
at camera right, and a fill
Godox AD300 was camera
left pointed up from the
ground at a 45-degree angle.
POST-CAPTURE: Skin retouching,
brightening, added the halo, and
light digital painting were done in
Adobe Photoshop.
©SHANNON SQUIRES / shannonsquiresphotography.com
Every Which Way
Mary Jo Allen, M.Photog.Cr.
Allen Photo Art
Lake Forest Park, Washington

CAMERA & LENS: Canon EOS 5DS R, Canon EF 100mm f/2.8L Macro IS USM lens
EXPOSURE: 1/8 second at f/16 to 1/200 second at f/2.8, ISO 100
LIGHTING: Window light
POST-CAPTURE: From the aperture bracketed exposures Mary Jo Allen made, she
selected one that was soft and blurred and another, made at a higher aperture, that
showed more detail—at f/2.8 and f/16. In Adobe Photoshop, she blended the two
images by stacking the soft image on top of the sharper one. She applied a white
mask and used a black brush to bring out the sharpness where needed. “I wanted to
retain the soft glow of the wide-open image while having enough depth of field to
keep the whole petal curl in focus,” she explains.
>
©MARY JO ALLEN / allenphotoart.com

©LEE SKROBOT
>
Sole Flight
Lee Skrobot, M.Photog.
Lee Skrobot Imaging
Cocoa, Florida

CAMERA & LENS: Canon EOS R6, Canon EF 100-400mm f/4.5-5.6 IS II USM lens
EXPOSURE: 1/2,500 second at f/5.6, ISO 2500
POST-CAPTURE: Lee Skrobot used Adobe Camera Raw to correct the exposure,
color balance, contrast, and make minor enhancements. He cropped the image,
enhanced the background, and made minor enhancements on the spoonbill in Adobe
Photoshop to bring out the breeding colors around the head and wings.
©GIGI O’DEA / gigifineartportraits.com
>
The Escape
Gigi O’Dea, M.Photog.M.Artist., CPP
Gigi Fine Art Portraits
Bradenton, Florida

CAMERA & LENS: Sony Alpha 7R IV, Sony FE 24-70mm f/2.8 GM lens
LIGHTING: The main was a Godox AD600 with a 60-inch Photek soft box umbrella at 45 degrees camera left. Two Godox AD300s on each side be-
hind the subjects bounced light off the ceiling for hair and background lights. A 3x5-foot Westcott reflector at 45 degrees camera left provided fill.
POST-CAPTURE: Four images were composited in Adobe Photoshop to create the final work. Gigi O’Dea used Nik Collection filters for tonal
contrast and Topaz for an illustrative look.

©JEFF JOHNSON / jeffjohnsonfineart.com
>
Architectural Illusions
Jeff Johnson, M.Photog.Cr., CPP
Jeff Johnson Fine Art
Longmont, Colorado

CAMERA & LENS: Canon EOS R5, Canon RF 100-500mm f/4.5-7.1 L IS USM lens
POST-CAPTURE: Jeff Johnson balanced the exposure using Adobe Lightroom and
Photoshop, bringing out details in the highlights and shadows. He used Topaz Photo
AI to sharpen and reduce noise, and Nik Silver Efex Pro for black-and-white conver-
sion. “I wanted to show the full 11 zones of the Ansel Adams zone zystem.”
>
Wet Peloton
Robert Near, M.Photog.Cr.
Robert Near Photography
Athens, New York

CAMERA & LENS: Olympus OM-D
E-M1 Mark III, M.Zuiko ED 300mm
f/4 IS Pro lens
©ROB NEAR / rjnearphotographer.com
EXPOSURE: 1/1250 second at f/8,

ISO 5000
POST-CAPTURE: Robert Near ran
the raw file through DxO Pure-
Raw to reduce the noise, Adobe
Lightroom to adjust highlights and
shadows, and Adobe Photoshop
for minor dodging and burning.

>
Who’s Laughing Now
Myra Thiessen, M.Photog.
Myra Thiessen Photography
Tampa, Florida

POST-CAPTURE: Nikon D850, AF-S Nikkor
24-70mm f/2.8 ED lens
LIGHTING: Myra Thiessen used a Profoto
B1X strobe with a zoom reflector with a red
gel and a grid behind the subject for
backlighting. A Profoto extra-large umbrella
with a Profoto D2 strobe behind her served
as fill. She used a Parabolic 45 for the
main light with a Profoto D2 strobe.
POST-CAPTURE: The image was processed
in Adobe Lightroom. She used Adobe
Photoshop to paint the shirt and clown
collar and did skin retouching and
background color grading.
©MYRA THIESSEN / myrathiessenphotography
©RACHEL OWEN / rachelowen.com
>
Deceivers’ Dilemma
Rachel Owen, M.Photog.
Rachel Owen, Photographer & Digital Artist
Lemont, Illinois

PHOTOGRAPHER’S NOTE: Rachel Owen explains that the posing was a nod to
the “Arnolfini Portrait” by Jan van Eyck. Since the hand positioning was crucial, she
chose models with a dance background who could maintain soft hands.
CAMERA & LENS: Canon EOS 5D Mark III, Canon 85mm f/1.2L II USM lens
LIGHTING: She used two Elinchrom lights with soft boxes: a kicker and a main
feathered 45 degrees from the subjects.
POST-CAPTURE: The image was made on a green screen. Owen used Adobe
Photoshop to add a manipulated image she’d made of Chicago’s Holy Name Cathedral.

>
Living on the Water

Bruce J. Bonnett, M.Photog.
Bruce Bonnett Photography
Redlands, California

CAMERA & LENS: Canon EOS R5, Canon RF 24-105mm f/4 L IS USM
lens with a UV filter
POST-CAPTURE: Bruce Bonnett used Adobe Photoshop to convert
the image to monochrome, adjust levels, and remove distractions.
>
Isolation
Kimberly J. Smith, M.Photog.M.Artist.Cr., CPP
Kimberly Smith, Artist
Muskogee, Oklahoma

POST-CAPTURE: Canon EOS 5D Mark IV, Canon EF 100mm f/2.8L Macro IS USM lens
POST-CAPTURE: The bird cage and flowers, photographed separately, were composited in
Adobe Photoshop and painted using the mixer brush, the smudge brush, and Smith’s own strokes.
©KIMBERLY J. SMITH / kimberlysmithartist.com
73
PPA.COM/PPMAG FEBRUARY 2023
©BRUCE J. BONNETT / brucebonnettphotography.com
©KAREN A. MCCALL / karenmccall.com
>
Mother of the Year

Karen A. McCall, M.Photog.M.Artist.Cr., CPP
Portraits by McCall
Natick, Massachusetts
CATEGORY: Artist
PHOTOGRAPHER’S NOTE: Karen A. McCall noticed the hen during a senior portrait session and made its photo-
graph with a Canon EOS 5D Mark IV and a Canon EF 70-200mm f/2.8L IS III USM lens.
POST-CAPTURE: She selected the hen in Adobe Photoshop and digitally painted it using the mixer brush and
smudge tools. The eggs, sign, and shovel were added to complete the story.
©NELSON CHARETTE PHOTOGRAPHY / nelsoncphoto.com
>
The Eyes of March

Nelson Charette, M.Photog.
Nelson Charette Photography
Independence, Kentucky

POST-CAPTURE: iPhone 6s
POST-CAPTURE: After working on the photo with several iPhone apps, Nelson Charette pulled it
into Adobe Photoshop, where he used filters, brushes, and mixer brushes to complete the work.

>
Seaside Strut
David Brian Watt, M.Photog.Cr.
David B. Watt Photography
Palm Coast, Florida

CAMERA & LENS: Fujifilm X-T20, Fujinon XC50-230mmF/4.5-6.7 OIS II lens
POST-CAPTURE: Using Adobe Photoshop, David Brian Watt digitally painted the >
image using the feather brushes for the birds and the cloud brushes for the sky, water,
and beach. He moved the birds closer together and changed the sky through compos- Cinderella Awaits
iting. Minimal color balancing and adjustments were done in Adobe Lightroom. Heather Harvey, M.Photog.M.Artist
Heather Harvey Photography
Arlington, Texas
CATEGORY: Artist
POST-CAPTURE: Using Adobe Camera
Raw and Adobe Photoshop, Heather Harvey
composited her own images as well as stock
images, adjusted the color tone, and digitally
painted with the mixer brush and brush tools.
©DAVID B. WATT
77
PPA.COM/PPMAG FEBRUARY 2023
©HEATHER HARVEY PHOTOGRAPHY / heatherharveyphotography.com
©KIMBERLY J. SMITH / kimberlysmithartist.com
>
Just the Two of Us

Kimberly J. Smith, M.Photog.M.Artist.Cr., CPP
Kimberly Smith, Artist
Muskogee, Oklahoma
CATEGORY: Artist
PHOTOGRAPHER’S NOTE: While teaching Myra Thiessen, M.Photog., a private workshop, Kimberly J. Smith used one of
Thiessen’s images to demonstrate painting techniques. As Smith progressed with her editing, Thiessen suggested that Smith
enter the image into competition.
POST-CAPTURE: In Adobe Photoshop, she changed the subjects’ dresses from black to a rosy brown tone mixed with shades
of pink. She painted the image with the smudge brush and mixer brush, then added her own strokes.
It’s All in the Details

The images from the 2022 International Photographic Competition will be the last to earn exhibition merits toward
PPA degrees. Beginning this month, the new Merit Image Review process is the vehicle for that. Images can be submit-
ted in three categories based on the degree a photographer is working toward.
MASTER OF PHOTOGRAPHY DEGREE: Images are judged against PPA’s 12 Elements of a Merit Image benchmark,
which considers impact, technical excellence, creativity, style, composition, presentation, color balance, center of
interest, lighting, subject matter, technique, and storytelling.
MASTER ARTIST DEGREE: Images have been altered significantly in post-production through digital enhancements,
traditional techniques, or a combination of the two. They are judged not just by the finished work but also by the com-
plexity of the process used to achieve the final outcome.
MASTER OF WEDDING PHOTOGRAPHY DEGREE: Images are evaluated against the 12 Elements of a Merit Image and
must be created in connection with an actual wedding. Images should reflect the personalities of the subjects or the
story of the wedding as well as the personality and skills of the image-maker.
ppa.com/mir
A Moment of Zen
Nancy Erickson, M.Photog.
Nancy Erickson Photography
Pennington, New Jersey

CAMERA & LENS: Canon EOS 5D Mark IV, Canon EF 100-400mm
f/4.5-5.6L IS II USM lens with a Canon EF 1.4X II extender
POST-CAPTURE: Nancy Erickson used a variety of Adobe Photoshop
tools to darken and eliminate distracting background reflections,
brighten the frog, and apply a light oil paint filter. •
>
©NANCY ERICKSON PHOTOGRAPHY / nancyericksonphotography.com

PERSPECTIVE
Show the Difference

SHARE VIDEOS TO EDUCATE CONSUMERS
©SHARON BENTON
Consumers often aren’t as a professional capture. PPA shared via social media, a blog lets members make the most
discerning as they could be has added four new See the post, a website, or even screened of PPA benefits while strength-
when it comes to photographic Difference videos to the library in your studio, highlight the ening your marketing strategy
quality. PPA’s See the Differ- of marketing resources, each quality of photography, the and justifying your value to
ence videos enable them to do representing a specific photo- products, and the experience consumers. •
just that—see the difference graphic specialty. a professional photographer ppa.com/videos
between an amateur snap and The videos, which can be offers. This sharable content
POSE IT RIGHT GET IT IN WRITING

CHECK OUT PPA’S WEBINAR FROM KRISTY STEEVES DOWNLOAD CUSTOMIZABLE CONTRACTS
One of the most popular educational videos in Signed contracts are an important safeguard for any professional. As
PPA’s library of webinars is “It’s All in the a PPA member, you have 24/7 access to a library of contracts and
Details: A Look at Posing Your Clients,” agreements that can be downloaded and customized to serve your
presented by Kristy Steeves, M.Photog. specific needs.
M.Artist.Cr., CPP. In the class, Steeves Customizable contracts include:
teaches the importance of posing clients • Independent contractor agreements
in a way that achieves high visual impact. • Copyright transfers
She demonstrates the do’s and don’ts • Model and print releases
of posing for all ages and body types and • Licensing agreements
illuminates the role body language plays. • • Specialty-specific contracts •
ppa.com/posing-webinar ppa.com/contracts
Earn Merits,
Earn Degrees
LEARN ABOUT THE NEW
MERIT IMAGE REVIEW
February marks the first month PPA

members will receive merits and critiques
for their image submissions to the new
Merit Image Review. Merit Image Review
enables photographers to enter one to four
images each month, 10 months out of the
year, to earn merits toward PPA degrees.
The images are evaluated by a panel of five
trained jurors.
If you opt in for a critique when you sub-
mit your image, you’ll receive expert video
feedback on how to improve your image—
tips that can be applied to future images
you create. If your image doesn’t merit,
don’t sweat it. You can make changes and
©ROBERT BECKER
submit it again another month. •
ppa.com/mir
The Year that Was

WHAT HAPPENED IN PPA IN 2022
Each year, PPA takes a pause to reflect on all that happened in the photography community and compiles the highlights for you to enjoy. For a
taste of all that transpired, watch “2022: Year in Review.”
ppa.com/2022review

PHOTO FRAGMENT
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CAN YOU FIND THE FULL IMAGE IN THIS ISSUE?
Check your answer here

ppa.com/fragment-february23
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Stronger Together
Join Your Local Affiliate
Photographers helping photographers is what PPA Affiliates are all about. These local
creative communities nurture and provide the support and tools to help you grow.
As an Affiliate member, you will:
• Connect with peers and mentors • Get recognized, build credibility,

and set yourself apart
• Sharpen your skills by competing in
your local image competitions • Give back to your photographic
community
• Earn merits towards your PPA
degree by attending or speaking at a • And much more!
PPA Approved Education Workshop
There’s never been a better time to get involved. After all, it’s together that we thrive.
Find a PPA Affiliate near you: PPA.com/Affiliates

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PROFESSIONAL PHOTOGRAPHER • FEBRUARY 2023

P.26 RUNAWAY NICHE

 Add commercial photography

Director of Publications Jane Gaboury, jgaboury@ppa.com

PROFESSIONAL PHOTOGRAPHERS OF AMERICA

Chief Executive Officer David Trust, CAE, trustd@ppa.com

PPA MEMBER SERVICES

16 Team USA 2023 Announced

44 Slay 26 Runaway Niche: A passion

38 Long-lasting Compact Power:

Exclusive info and images

you won’t find in this issue

PPA.COM/PPMAG FEBRUARY 2023 7

Unlike people in many other professions, photographers most often come to

12 Elements of a Merit Image.

Set the right

Who you are matters.

Create what only you can.

Know your value.

“Coming in very tight and using

Begany used a Phase One XF

©RICH BEGANY / richbeganyphoto.com

PPA.COM/PPMAG FEBRUARY 2023 13

IMAGES ©ZAC HENDERSON / zachenderson.com

Team USA 2023 Announced

• Robert Near, M.Photog.Cr.

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Questions Are Golden

By Jeffrey Dachowski, M.Photog.Cr., CPP

©DAVID SOLDANO / davesoldanoimages.com

Join the exceptional community of © ALEX THE PHOTO GUY

Show them what you’re made of.

Keep on at least with at least

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IMAGES ©MEGHAN ROLFE / elopeoutdoors.com

SPREADING THE WORD

FIND YOUR PASSION

Link Up and Soar

LinkedIn is still the professional social net-

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You capture a story. We help it live on.

25% Off Your First Order | bayphoto.com/stick-n-switch

COURTESY THINK TANK / thinktankphoto.com

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The components of the Rogue

The Ultimate Portrait Collection (top three rows) and Color

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Long-lasting Compact Power

By Betsy Finn, M.Photog.Cr.

©BETSY FINN / betsysphotography.com

Finding a portable monolight that works

IMAGES ©BETSY FINN / betsysphotography.com

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Because of the Five’s swappable battery

Betsy Finn is a portrait artist in Michigan.

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Mistress of the Dragon

CATEGORY: Photographic Open

See all the 2023 Diamonds

Or hover your phone camera over the code

CATEGORY: Photographic Open

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I Brought You Lunch

CATEGORY: Photographic Open