Don’t Just Sell Images—Sell an Experience

by Wesley F. Tharp, M. Photog., CPP / Website: https://www.pixalongtheway.com/ 

I’ve always been naturally interactive with my senior clients—outgoing, conversational, and eager to connect. But it didn’t really hit me that this was something special until I was photographing a high school senior football player on his home field. We were well into the session—laughing, making jokes, and moving from the weight room to the field—when I noticed another player standing quietly in the end zone, getting his portraits taken by another local photographer. Out of respect, we quieted down to avoid being a distraction. But when our chatter stopped, I realized something: there was no sound at all coming from the other session. Just the photographer saying, “Turn this way… okay, now look over there…”

No laughter. No real interaction. The player’s body language said it all—bored, stiff, checked out. I can’t be sure, but I’d bet good money his demeanor wouldn’t have changed much if he were headed in for a root canal over spring break.

Here’s the thing: photography isn’t exactly thrilling for many high school seniors—especially the guys. Many don’t know what they want from the shoot, and frankly, a lot of them don’t care. They’re just there because Mom wants pictures.

That’s where we as photographers come in.

As photographers, our job isn’t just to deliver great images that tell their story-it’s to give them a great experience. I always say, twenty years from now, when they’re dusting off those prints, they should remember what a great day it was.They may not remember you, but they should remember how it felt.

Why the Experience Matters

I’m passionate about this because sometimes, we’re it. We might be the only safe, positive, one-on-one interaction a teen gets during a stressful time. Let's be real: face-to-face communication is declining in the smartphone age, and rates of depression and anxiety among teens are climbing.I once read a powerful reminder:

"Kids have everyone talking to them—parents, teachers, coaches, counselors, bosses, friends. But we, as photographers, can actually listen to them."

That stuck with me. On more than one occasion, a parent has reached out afterward to say the photo session was exactly what their child needed during a difficult time.

So how do we create that kind of experience? Here are a few things we do to enhance the experience:

Ideas for Upping the Experience

1. Make the Studio Feel Like Home

When clients arrive, tell them to make themselves at home—and mean it. Our studio isn’t a museum. Let them drop their bag wherever, chill in the dressing room like it’s their bedroom, and check out props and furniture. Let them feel like the space is theirs.

2. Partnership Over Dictatorship

Make it clear from the start that their ideas matter just as much as yours. If they have a creative idea—even a silly one—encourage it! Tweak and guide as needed, but let them own part of the process. Don’t pressure them for ideas, but always be open to them.

3. Don’t Talk About Yourself—Make Them the Star

This is their day. Save your “back in my day” stories for your buddies. These kids don’t care if you were first-chair saxophone or threw a football over the mountains in ’82. Be relatable, be real—but remember: the spotlight is theirs.

4. Ask About Their Favorite Snacks and Drinks

A small gesture that makes a big impact. When they walk in and see their favorite snack or drink waiting, it instantly sets the tone. It says, I see you. I thought about you before you got here.

5. Ask About Their Music

Music has power. Ask what they like ahead of time and create a playlist. Play it during the session to help them loosen up and be themselves. (Tip: Ask for a few artists in case some of it’s not family-friendly.)

6. One Session a Day

Don’t stack clients back-to-back. Each senior should feel like they’re the priority, not just one in a long line of appointments. In addition to this, your energy will be up and fresh for each client. If you are worn out from a long day, it will impact their experience.

7. Show the Back of the Camera

Let them see how awesome they look early in the shoot. It builds trust and excitement—for both the teen and the parents.

8. Show Up for Their Events

This one’s big and may not be practical for all photographers. I go to their games, concerts, matches—whenever I can. Itshows them (and their parents) that you see them as more than a client or a job. I’ve captured moments at events—milestones, big wins, even a dad getting tossed from a basketball game— that are priceless and totally unrepeatable. That’s how you build relationships that last.

So ask yourself:

• What will your senior clients remember when they pull out those photos twenty years from now?
  
• Will it just be a portrait?
  
• Or will it be the day they felt seen, celebrated, and worth it?
  
• Don’t just sell images.
  

Sell the experience.

-Wesley F. Tharp, M. Photog., CPP

What if we merged the impact of live-action sports photography with the emotional depth and premium value of fine-art portraiture?

About me: Hi! I’m Ragu, an international award winner and live-action sports photographer.I have an engineering background and spent a decade in disruptive tech startups before discovering photography’s impact on our communities. I tried portraits, weddings, and events… then found my calling: crafting legacy artwork for youth athletes.

For years, live-action youth sports photography has carried a reputation: high volume, low reward. Dozens of athletes, thousands of images, and a sales model built on low-cost digitals. But I began wondering—could that model be rebuilt? Could we take the documentary truth of real games, keep the energy and authenticity of peak moments, and then present those images with the same care, curation, and storytelling we use for portraits and weddings?

If that were possible, we could disrupt the entire sports photography industry.

I’ve spent the last year running that experiment with youth athletes, refining the process, and watching families react in ways I’ve never seen before. See it for yourself: https://youtu.be/boSo1xgJBfw

What I learned reshaped how I see this genre—and it might do the same for you. Here are five reasons I believe this is worth exploring:

1) The Numbers Are Too Big to Ignore

• Massive spending: Parents of youth athletes invest $40B annually—double the NFL’s revenue (Project Play, 2025; Aspen Institute, 2025).

• Premium segment:Over 60 million U.S. children play organized sports and elite families spend $12,000+ per child annually (American Academy of Pediatrics, 2024. USA Today, 2025).

• Time-sensitive market: 70% of youth athletes quit by age 13—urgency drives demand. Only 6% continue to college and less than 1% go pro (American Academy of Pediatrics, 2024).

2) The Field Is Wide Open

Few photographers specialize in live-action youth sports, and formal education on the craft is scarce. At many events, there’s no photographer at all—just parents on the sidelines trying to capture memories while also watching the game.

• Minimal competition: Fewer than 10% of photographers specialize in sports, making it easier to stand out and command premium pricing (Aftershoot, 2024).

• Educational gap: Only 5 of 142 Imaging USA 2026 classes mention sports—none on live-action. Virtually no education exists for live-action among mainstream professional channels. Photographers who invest in these skills can own this niche and become go-to experts.

Entering now lets us pioneer new standards and deliver experiences clients didn’t know were possible. Watch these parents share their experience when receiving fine art products and express their hunger for more https://www.youtube.com/shorts/nkoVMxS0jDc

3) The Economics Actually Work

Most photography genres serve one client at a time. Sports flips that. A single match can put us in front of dozens of families in under two hours—more during multi-day tournaments. When we capture decisive moments efficiently and present them well, our revenue per hour (and the number of people we serve) can outpace typical one-to-one sessions.

PLUS it’s contagious! When one athlete gets artwork that turns heads, word spreads—to teammates, friends in other sports, and even neighboring schools. Demand spreads like wildfire.

This niche allows us to serve more families, maximize shooting hours, and create greater impact—for clients and our businesses.

4) Families Want Art, Not Digital Dumps

The industry trained parents to expect instant digitals and massive galleries, but that approach rarely leads to the emotional connection—or the long-term value—these moments deserve. When we present a carefully curated, athlete-focused set and guide families through what’s possible, everything changes. Families who lead by asking for digitals often find themselves drawn to wall art, albums, and tangible pieces once they feel the story.

This is where In Person Sales (IPS) becomes a natural fit. IPS is about more than simplyshowing images—it’s a white-glove service built on expertise, vision, and collaboration. We bring their memories to life through room visualizations, sample designs, and mock layouts that reveal how these moments would look in their homes. We ask thoughtful questions to uncover what matters most to them, help them choose the images that tell the strongest story, and guide them toward pieces that are both beautiful and deeply personal. 

Families often thank us for making the process easy and inspiring, turning what could be an overwhelming decision into an experience that’s exciting, meaningful, and unforgettable. 

5) The Meaning Is Real (and Rare)

This work validates kids in a way they remember. Seeing yourself mid-air—sharp and fearless—changes how you hold that season, and yourself. For parents, it condenses years of early mornings and quiet grit into a piece that speaks up from the wall.

In a culture where hero treatment is usually reserved for professionals, giving everyday families that same dignity feels radical (and rewarding).

Watch Steven’s first look at his art book—it plays like a comic where he’s the hero: https://www.youtube.com/watch?v=xG_D_7hCy1I

Next Steps — Turning Inspiration Into Action

The beauty of dabbling in something new is that it doesn’t require abandoning our current work. We can photograph a single game, build a small curated set, and share it with the families involved. From there, relationships grow, referrals spread, and opportunities multiply across teams, clubs, and schools.

The important part is to step onto the field—literally. There is a vast, underserved market waiting for photographers who can see these moments for what they are: once-in-a-lifetime chapters of a young athlete’s story. The market is ready. The families are ready. Are we?

RAGU

Step Into the Spotlight: Why Photographers Need Brand Photography, Too

by Osiris Cote | osiriscote.com

You know the drill: clients want to see themselves in the best light. That’s why they hire you, not just for beautiful photos, but for how you help them feel during the process. 

So here’s the question: when’s the last time you stepped into that spotlight yourself?

As photographers, we’re used to being behind the scenes. But in today’s market, your clients are booking you, not just your work. They crave authenticity and that’s where brand photography comes in. 

This article, by Chicago Brand Photographer Osiris Cote, is your permission slip (and gentle nudge) to make yourself visible and start marketing your business with the same intention you bring to every client session.

You’re Part of What People Are Buying

Let’s be honest: in a saturated market, pretty pictures aren’t cutting it anymore. 

Personality is. People want to know who they’re hiring. Are you fun and bubbly? Calm and directive? The kind of photographer who brings coffee to a session? Or climbs a ladder to get the shot? 

Your website and Instagram can only tell part of that story. Brand photography brings the rest of it to life. 

When your audience can see you–your face, your expressions, your style–it builds trust before they ever hit “inquire.”

Brand Photos Are More Than Headshots

Let’s bust the myth: brand photography isn’t just a studio headshot and a nice blazer. 

Great brand photos show you in action, whether that’s you photographing clients, setting up lighting, editing in a coffee shop, or laughing with your team. They tell the story of what it feels like to work with you. 

And when you’re intentional with them, these photos become the cornerstone of your entire marketing strategy: 

• Website hero banners
  
• Instagram posts and reels
  
• About page visuals
  
• Proposals and pricing guides
  
• Press feature and speaking gigs
  

It's not about having “nice” photos. It’s about showing up like the pro you are. 

Want More Bookings? Build More Trust

Clients are looking for someone they connect with. When you’re visible, you feel familiar. 

And when you feel familiar, you become easier to trust…and easier to hire. 

This doesn’t just apply to personal brand photographers. Wedding, senior, newborn, family—all of us are marketing to people who are ultimately choosing a person, not just a portfolio.

And here’s the kicker: being in front of the camera makes you a better photographer. You’ll better understand how clients feel, empathize more, pose more naturally, and lead with more confidence.

How to Know It’s Time for a Brand Sesh

It might be time to book your own session if: 

• Your current photos don’t reflect your vibe or growth
  
• You’ve shifted your services, audience, or prices
  
• You avoid posting because you don’t love your visuals
  

If any of that hits, a brand session could be the fresh start your business needs.

You Are the Brand, So Show Up Like It

Here’s the truth: the most successful photographers aren’t just sharing their work. They’re sharing themselves.

Brand photography is an investment in your reputation, your client relationships, and your visibility. It’s not about vanity, it’s about showing up like a business owner.

If you’ve been waiting for a sign to step in front of the camera…this is it.

Pro Tip: Connect with a fellow PPANI member and swap sessions. It’s a great way to build your brand AND your community.

Osiris Cote

Why Every Professional Photographer Needs Both Equipment and Liability Insurance

…and a story about what happens when you don’t have it

by Laura Meyer

As photographers, we invest so much more than just time—we pour our hearts, energy, and savings into our craft. We plan our sessions meticulously, invest in quality gear, and do everything we can to give our clients an unforgettable experience. But sometimes, even when we do everything “right,” life throws us a curveball.

If you’re running a photography business, having both equipment insurance and liability insurance isn’t just a good idea—it’s essential.

I learned that the hard way.

My Story: The Day I Almost Gave It All Up 

It was my second official year in business, and I was finally gaining traction. After a session, I valet parked my car to meet up with another photographer for what I thought would be a great networking opportunity. But when I returned to my car, my heart sank: my entire camera bag had been stolen from the trunk. My car windows were smashed, and though my gear wasn’t fancy at the time it was everything I had.

I didn’t have insurance.

I remember sitting in my car, stunned. Not only was my gear gone, but so were the memory cards holding all the images from that day’s engagement session. I felt sick. I thought about quitting—walking away from photography and going back to my day job.

Thankfully, my family stepped in and lent me enough money to buy a new bag, a camera body, a mid-range 24-70 lens, and a speedlight. I rented what I couldn’t afford to replace, just to keep going. And the couple—bless them—they were kind, understanding, and agreed to reshoot. Miraculously, the second session turned out even better than the first.

But I will never forget that feeling of powerlessness, embarrassment, and fear. And I never want to feel it again. That was the moment I promised myself I would never go uninsured again.

Why You Need Equipment Insurance

Camera bodies, lenses, lights, and accessories add up quickly—and most homeowners or renters insurance won’t cover them if they’re used for business.

Equipment insurance:

·  Covers theft (like what happened to me)

·  Helps with accidental damage during sessions

·  Can cover loss during travel or natural disasters

Whether your gear gets knocked into a lake or disappears during a wedding, this coverage can help you recover without going into debt or pausing your business.

Why You Need Liability Insurance

Even when we do everything right, accidents happen. A client trips over your light stand. A child gets hurt on a prop. A venue requires proof of insurance to let you shoot there.

Liability insurance:

·  Covers injuries or property damage that happen during a session

·  Pays for legal and medical expenses if needed

·  Helps protect your reputation and keep you working confidently

Some policies also offer Errors & Omissions Insurance, which can help in situations where client expectations aren’t met or files are lost. (That kind of coverage might have helped with those stolen images.)

Don’t Learn the Hard Way

Whether you're just starting or several years in, I cannot stress enough how important it is to be protected. That one experience could have ended my career—but instead, it became the push I needed to run my business like a business.

Having insurance doesn’t just protect your gear. It protects your peace of mind, your clients, and your future. It tells the world—and yourself—that you're serious about what you do.

And trust me, if you're in this for the long haul, insurance is one investment you will never regret.

Getting Started with Photography: The Fundamentals Every New Photographer Should Know

By: Carrie White | Carrie White Photography LLC

If you're just getting into photography, welcome to one of the most rewarding creative journeys you can take. Photography is a powerful way to tell stories, capture memories, and express your unique perspective of the world. But with all the settings, terms, and techniques, it can feel overwhelming at first. This guide from Carrie White Photography will walk you through the essential photography concepts to help you begin shooting with confidence and creativity.

Understanding Exposure: The Exposure Triangle

At the core of every great photograph is exposure—how much light reaches your camera sensor. The exposure triangle is made up of three key settings: ISO, aperture, and shutter speed. Together, they work in harmony to control the brightness and visual style of your images.

ISO - refers to your camera sensor's sensitivity to light. A lower ISO, like 100 or 200, is ideal for bright conditions and produces the cleanest images or images with low pixel grain, often called “noise”. Higher ISO settings, such as 800 or above, are better for low-light environments, though they can introduce grain or that pesky "noise" into your images.

Aperture - controls how much light enters through your lens and also affects depth of field, or how much of your image is in focus. A wide aperture (such as f/2.8) allows more light in and creates a soft, blurred background—perfect for portraits. A narrower aperture (like f/11 or f/16) lets in less light but keeps more of the scene in focus, making it ideal for landscapes.

Shutter speed - determines how long your sensor is exposed to light. A fast shutter speed, like 1/500 of a second, freezes action—great for sports or wildlife. A slow shutter speed, like 1/10 of a second or longer, can capture motion blur or light trails and is useful for night photography or creative effects.

  

Balancing these three settings is essential to achieving a properly exposed and visually interesting photo. As you gain experience, adjusting them will become second nature and open a smorgasbord of creativity in your pictures.

Getting Familiar with Your Camera Settings

Modern cameras offer a variety of shooting modes designed to give photographers more or less control depending on their skill level and shooting conditions. Understanding these modes will help you gradually transition from fully automatic shooting to manual control – manual control is where you can start adding your “taste” to what you create.

The Auto mode lets the camera make all the decisions for you—aperture, shutter speed, ISO, and even flash. It’s convenient for quick snapshots, but it limits your creative control. Program mode, often marked as "P," allows you to set some options like ISO and white balance while the camera handles the exposure. It’s a nice step up from Auto without being overwhelming.

Shutter Priority mode, labeled "S" or "Tv" on some cameras, lets you control the shutter speed while the camera selects the appropriate aperture. This mode is especially helpful when photographing movement. Aperture Priority mode, marked as "A" or "Av," gives you control over the aperture while the camera picks the correct shutter speed, which is perfect when depth of field is your priority. Finally, Manual mode, or "M," allows you to control every setting—ISO, aperture, and shutter speed. This mode offers the most creative freedom and is favored by advanced photographers.

Lighting Fundamentals

Light is one of the most important aspects of photography, and learning how to work with it will significantly improve your images. There are two primary types of light: natural and artificial.

Natural light includes sunlight, shade, and ambient daylight, and it often results in beautiful, authentic-looking photos. The quality of natural light changes throughout the day; many photographers prefer shooting during the “golden hour,” shortly after sunrise or before sunset, when the light is soft and warm. On the other hand, artificial light comes from sources like flash units, LED panels, or studio lights. It provides consistency and control, making it especially useful for indoor or product photography.

You can also enhance your photos by using available light creatively. For example, ambient light from street lamps or candles can add mood and atmosphere. Reflected light, such as bouncing sunlight off a white wall, concrete sidewalk or using a reflector, can fill in shadows and create balanced illumination. Learning to observe and shape light is a fundamental skill that will elevate your photography.

Composition and Framing

Beyond technical settings, how you frame and compose your image plays a huge role in how compelling your photo will be. One of the most well-known composition techniques is the rule of thirds. Imagine dividing your image into a 3x3 grid; placing key elements along these lines or their intersections often creates a more balanced and visually appealing photo.

 

Leading lines are another effective way to guide the viewer’s eye toward your subject. Roads, fences, or even shadows can act as visual pathways. Symmetry, where both sides of an image mirror each other, can create a strong sense of harmony and order, often found in architecture and reflections.

There are many other composition techniques worth exploring. Filling the frame with your subject can eliminate distractions and draw attention to details. Balancing elements within the frame helps to prevent one side from feeling too heavy or cluttered. Repeating patterns can create rhythm and visual interest, while using negative space—leaving part of the frame empty—can isolate and emphasize your subject. Framing your subject with natural or architectural elements, like windows or tree branches, can add depth and focus to your composition.

Final Thoughts

Photography is both an art and a science. While mastering camera settings and lighting is important, don’t be afraid to experiment, make mistakes, and develop your own style. As you practice, these foundational skills will become second nature, and your ability to capture meaningful, eye-catching images will grow. So, grab your camera, explore your surroundings, and start capturing the world as only you can see it.

If you’re unsure where to start, you can schedule a beginner’s mentoring session with a member of PPANI to get hands-on help with your gear and settings. 

As professional photographers, we spend our days crafting images for clients. We create images we love and enjoy making, but ones that are also designed to satisfy our clients' needs and desires. It's rewarding work. But while building businesses, meeting deadlines, and delivering finished work, it's easy to lose touch with the pure creative drive that brought us to photography in the first place.

That's where personal projects come in.

From an ongoing iPhone project

Exercise for your creative eye

A personal project is photography without rules. No client. No brief. No expectations beyond your own curiosity and vision. It's a space to play with your creative ideas, experiment, explore, and even fail. It's a workout for your creative muscle. Remember, it's not about marketability. It's keeping it authentic to you.

Large Format Paper Negative Portrait Project

Why it matters

You might think, "I'm already shooting all the time. Why bother?" But here's the truth: a personal project isn't a burden—it's creative fuel.

Here's Why:

• Fosters Inspiration: Routine can dull your inspiration. Your project work can remind you why you fell in love with making images in the first place.
• Develop Your Vision: Outside the structure of client work, you start to notice recurring themes, preferences, and instincts. You start discovering (or sharpening) your unique visual voice.  
• Improves Your Skills: When you're in full control, from concept to completed image, you push your boundaries and exercise your creative muscles.
• Add Depth To Your Portfolio: Your personal work can show depth and creative courage. It often leads to unexpected opportunities and communicates your commitment as an artist.
• Builds Resilience: Having a space just for you protects your joy. We can hit a lull or a down period at some point in our careers. Personal projects can be a lifeline to pull you through.
• 
  

No time like the present

Here are some ideas to get you started. But, like the project, no rules. Follow your bliss and be authentic. The first number of images may be disappointing when starting a new project. Don't give up! Work through the creative challenge. Trust the process.

• Choose a Theme or Idea That Intrigues You: Follow your curiosity. What are your interests?
• Commit to a Timeline (Even a Loose One): Are you going to take one photo per day for a year? Once a week, Once a Month. Does the project have an end date?
• Keep It Separate: For now... Let this be sacred. No pressure to monetize or perfect. This is where you get to play. Some projects may yield images for your portfolio, while other projects may be personal and never shared.
• Share It (If You Want To): Or don't. It's entirely up to you! But if you do, you may find others resonating with your work in powerful ways.

After all that I have said above, It's essential to stress that your personal project does not have to be photographic. If your interests are in other areas like painting, watercolor, writing, etc, by all means, start with what you are most interested in.

Early in my career, I attended a workshop taught by a talented and creative West Coast photographer who taught us to "commit a creative act every day." He had us all collage in our art books, which is one of my "acts of art" I still do. I love the physicality of the medium, and I can play with ideas more freely than with photography. In exchange, this play impacts how I see and what I notice when I photograph. The projects I have pursued over the years have helped me define my vision and style for my portrait and commercial portfolios.

As professional photographers, our creativity is our currency, but it's also our lifeline. Personal projects are not indulgent. They're essential. They help us discover ourselves andour artistry and make us more valuable to our clients.

Here are a few links to PPA articles on photographers who do projects.

Sandro Miller, a Chicago-based photographer:

https://www.ppa.com/ppmag/articles/its-personal-creative-side-projects-fuel-sandro-millers-success

Michael Taylor, on his project "Roadwork"  

https://www.ppa.com/ppmag/articles/bountiful-environments

Motivation and Independent Critique

I’m sure like most of us I have a pretty extensive library of books on photography. I have the usual truckload of books on technique and instruction on composition, lighting, posing, etc. You’ll also find a number of monographs from famous photographers that I look to for inspiration. But I picked up one book a couple of years ago that is unique in my collection, and it changed the way I do things.

Dawn at Rushmore : Dave Fulghum 2024

The book is “The Heart of the Photograph” by David DuChemin. Of the innumerable books out there on HOW to take a photograph, this is the only book I have ever found that explores the question of WHY we take a photograph. Why do we do what we do?

The answer to the question on motivation behind the lens is as varied as there are photographers. Some of us seek a creative outlet. Many are seeking acceptance among peers. Some enjoy the physical aspect of manipulating the gear (guilty). In most cases it’s a combination of those factors plus many, many more.

The biggest point made in the book though, the point that changed my perspective, was in regard to building an audience. In our case, being professional photographers, it relates directly to building a stable client base. How many of us, in the early days, when we received feedback from clients, would alter the way we approached our subjects to accommodate the client? In doing so, we vastly alter our processes to meet the client’s unrealistic expectations. I know I did. Yes, I made the sale, but I did not enjoy my work, and it showed in the final product. I made that sale, I gave them what they asked for, but I never saw them again as a return client.

Much of what we do flows from our creative core, from our heart. When we step away from that, in subtle ways, it shows in the final print. The point driven home in “The Heart of the Photograph” is to never let go of your creative core. Do what you do and allow your audience (or clients) to find you. Never compromise your process or vision to accommodate a client. They have seen your work, reviewed your portfolio, they hired you because they liked what they saw. Politely listen to their input and accommodate what request they have while maintaining your creative integrity.

Taking Criticism

Now, does maintaining your creative integrity mean that we can just kick back and do whatever we like. Any responsible professional knows the answer is … absolutely not!

I have been an active photographer for 50 years. I have a large photographic library, am a member of PPA and PPANI, attend conferences and meetings, serve on the PPANI board for the same reason, education. I continue to learn more and more about my craft daily. The day that dawns where I cannot learn something new, pick up a tip or tidbit that may change things for the better, is the day I need to hang up my cameras and move over for someone else.

Grand Falls : Dave Fulghum 2024

I have found that some of the hardest lessons to be learned, and some of the most beneficial for my images, come through the Image Competitions. Getting feedback from other independent professionals that work to a codified set of standards is invaluable. The judges bring a detached view to our work, unencumbered by our personal biases and experiences. They were not there when the shutter button was pressed and could not smell the fresh spring flowers, could not hear the breeze rustling the fall leaves, did not experience the laughter of the four-year-old. They only look to the technical precision you brought to the image (or didn’t). They do seek storytelling, as they should, but at this level that should be part and parcel of what we do every day. Many times, the feedback stings, but I have found that if I let that soak in for a day or two, take the messages to heart, and apply the information, my work gets better.

The merits are nice, yes, I want to get them as I’m working towards a degree, but in the biggest picture, I want my work to improve, consistently. And it has. In the March Image Comp, I submitted 8 images. Not a single one merited.  But all 8 scored in the above average category. All of my images scored between 76 and 79. I got great feedback on all of them, valuable take aways to help me grow. And the fact that all 8 scored in the same range equals… consistency.

Golden Spike : Dave Fulghum 2024

There is a tremendous amount of truth to the statement that when you score in the above average range (75-79) you are doing professional quality work. Work that is expected of us. 

Do not shy away from the Image Comp. The feedback you will receive will help you grow, help you improve, and help you grow your business.

And to all who entered the March Image Comp, congratulations to all. If you scored a merit, or won your category, Outstanding! If your scores were not what you would have liked, take the feedback and grow from it. But know that I did not see a single image in the Comp that did not belong there, all the work was wonderful. We are part of an incredibly talented community, and I for one am proud to call all of you my colleagues.

Dave Fulghum

PPANI Technology Chair : CPP

How PPANI Transformed My Photography Journey: Community, Education & Competition

Let’s be real—being a solopreneur can feel a little like being on an island. A very busy island, where you wear all the hats (photographer, editor, marketer, admin—you name it). When I left Bella Baby Photography after 12 years to go all-in on my own business, I knew I had the passion, but I had no idea how much I needed a community. Enter: PPANI (Professional Photographers Association of Northern Illinois), and let me tell you—it changed everything.

A Crew of Like-Minded Photographers

From day one, PPANI welcomed me in like an old friend. It’s not just a group—it’s a tight-knit family of photographers who genuinely want to see each other succeed. The monthly education meetings and quarterly meetups? Total game-changers. Whether it’s lighting techniques, business strategies, or just talking shop, I always walk away with something new to level up my work.

Growth Through Education and Networking

PPANI is committed to helping photographers grow—and I’m living proof. The workshops, seminars, and casual chats over coffee have directly impacted my business. I’ve learned how to streamline my workflow, connect with dream clients, and hone my style. And let’s not forget the power of networking—so many of my favorite gigs have come from connections I made right here.

Image Competition: The Best (and Scariest) Thing I Ever Did

Let’s talk about image competition—because wow, has it changed me. Twice a year, PPANI hosts competitions where photographers submit their work to be judged by certified professionals. Sounds terrifying, right? I won’t lie—at first, it was! Putting my heart (and my art) on the line for critique? Yikes.

But here’s what I learned: the judges aren’t emotionally attached to my work like I am. They see technical excellence, storytelling, and impact. And that feedback? It’s gold (even when it stings). Thanks to these competitions, I’ve sharpened my skills, improved my client work, and pushed myself creatively in ways I never thought possible.

And guess what? That dedication paid off BIG—I earned a GOLD award at IPC (Imaging USA 2025)! Would I have gotten there without PPANI’s local image competitions? Nope. Not a chance.

So if you’re a newbie considering entering but you’re scared—DO IT. The first time is nerve-wracking, but I promise it’s worth it. Take the critique, learn from it, and don’t take it personally. It’ll make you a better photographer (and maybe even win you some awards ).

From Member to Speaker at Imaging USA 2024

One of the most surreal moments of my career happened this past year—I became a speaker at Imaging USA 2024! My platform class, Crafting the Perfect Family Photo Experience, was all about family photography and how I create seamless, stress-free sessions.

I still remember when Beth and Maria told me, back when I first joined PPANI, that I’d be on that big stage one day. I laughed. Me? No way! But through the confidence I gained as a PPANI board member and active participant, I got there.

Standing in front of 300+ photographers, sharing my process for 75 minutes, was hands-down the scariest thing I’ve ever done. But also? One of the most rewarding. You can check out my feature in PPA Magazine here where I break down my platform talk, or grab my presentation slides here.

Why You Need a Photography Community

As photographers, we’re usually solo operators, but that doesn’t mean we have to do this alone. PPANI has given me education, friendships, motivation, and accountability. It’s where I’ve found my people—those who get it, who cheer me on, and who push me to be better every single day.

If you’re out here trying to figure it all out on your own—stop. Join a community. Join PPANI. It’ll change your business, your art, and maybe even your life.

“Your first 10,000 photographs are your worst.” - Henri Cartier-Bresson

Allow yourself to be a beginner.  No one starts off being excellent.  As is probably common within any profession, throughout the early years of my career there were many struggles and failures, and the thought of giving up frequently came to mind - sometimes almost daily.  In the most frustrating and self-loathing moments, I had the urge to head down to the icy waters of Lake Michigan to the very tip of Montrose Harbor and chuck every piece of my gear into the abyss.  Sometimes these moments were inspired by genuine mistakes I made, some were the result of an unhappy client - and yet others were simply due to being human: self-doubt, imposter syndrome, etc.  I’ve earned a few credentials over the years, have enjoyed my share of success, and yet there is still the occasional thought in my mind that PPA will one day realize their mistake and someone from Atlanta is going to knock on my door to ask for their awards back.

The antidote may simply be to pick up and carry on.  One thing that has worked for me is to continually strive to improve the art, craft, and business of my photography.  PPANI has been a perfect place to learn, grow, and become part of a professional community through which I and many others have thrived.  In the years that I’ve been involved with this group, my business has grown exponentially, and my colleagues within PPANI have been a part of that success.  In what can be a highly competitive industry, it’s been a remarkable experience to work and grow with such welcoming, supportive, and talented people.

I hope in the coming year you will make PPANI part of your career development.  We have an amazing lineup of workshops, competitions, and we’re starting off on January 21 with one of our very popular Quarterly Meetups - the theme of which will be setting goals and getting motivated for 2025.  The Quarterly Meetups are free but are for members only - more information about events and membership can be found on our website.

Lastly, consider the story of Ernest Shackleton, who, despite numerous spectacular failures, is considered one of the greatest explorers of the modern age and is still revered for his leadership skills.  He is best known for the 1914 first attempt to cross the Antarctic continent, where his ship, The Endurance, became trapped in pack ice, sank, and he and his team of 28 were stranded for more than two years.  Despite incredible hardship, terrible odds, and a grim outlook, he never gave up hope and eventually was able to get his crew home safely.  Shackleton had a reputation for having a positive mental attitude and an unwavering focus on the task at hand.  He kept a diary during the expedition of The Endurance, and one entry in particular may be helpful to keep in mind: “Perhaps in the quiet hours of the night you will feel the little snakes of doubt twisting in your heart. I have known them. Put them aside.”

- Michael Lee, President, PPANI , M. Photog., Cr., CPP, F-PPANI

Photo Credits: Henri Cartier-Bresson/Magnum Photos; Frank Hurley/Scott Polar Research Institute, University of Cambridge/Getty Images

July 14, 2021      Digital Image Competition

      We had 99 entries from 16 makers. The breakdown is as follows:

56 Portraits

            14 Illustrative

            9 Wedding

            10 Reportage

            1 Creative Open

            9 Artist

            14 B&W from the above categories.

The judges discussed many of the images as Challenges. This was followed by a short critique of all images.

We had 47 that scored 80 or above (President’s Award) 47%.

We had 9 that scored 85 – 89.

I want to thank John Tulipano for running the online session and to Michael Novo for helping with the sorting process.

Thanks to the judges. They were Bob Coates (AZ), Kristi Steeves (OH), and Dan Thornton (IL).

Sincerely,

Bruce Van Pelt, Chairman

 

Awards

Best of Show

“A Sunday Ride” by Megan Drane

 

Best Black & White

“My Fathers End of Life Portrait” by Travis Patenaude

Honorable Mention

“My Three Boys” by Kerri Weiss

“True to Form” by Jerry Alt

Best Artist

“A Sunday Ride” by Megan Drane

Honorable Mention

“Created by Man” by Sarah Johnston

“Snowy Lift Off” by Peggy Sue Seehafer

Best Portrait

“Can't Take My Eyes Off You” by Travis Patenaude

Honorable Mention

“Fallen from Grace” by Scott Detweiler

“I Will Always Be Here For You” by Travis Patenaude

Best Illustrative

“Purple Coneflower’s Attraction” by Peggy Sue Seehafer

Honorable Mention

“Leader of the Pack” by Kerri Weiss

“Perfectly Imperfect” by Sonya Gilbert

“Family Formation” by Sarah Johnston

Best Wedding

“Endearing” by Carrie White

Best Reportage

“A Chinchilla's Best Friend” by John Tulipano

AIM Award

“Can't Take My Eyes Off You” by Travis Patenaude