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THE PSA JOURNAL IS THE OFFICIAL PUBLICATION OF THE PHOTOGRAPHIC SOCIETY OF AMERICA WORLDWIDE 4 On My Mind 5 New ROPA Disctinction Awards 40 Star Ratings 41 Passing 42 Chapter News 43 Division News, Activities, Announcements 47 PAA News and Updates V O L U M E 9 2 , N O . 6 J U N E 2 0 2 6 Features 6 12 14 20 24 34 Columns Traveling Light: Can Your Phone's Camera Replace Your Traditional Camera? By Rad Drew One Hub, All Your Shots By Rad Drew 1000 Miles of Scotland By R Gary Butler, PPSA At the Edge of Wilderness: Pollinators in Olympic National Park By Gerald Fleury, QPSA, BPSA Distinctive Image Featuring Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Stalking the Devil Birds By Caroline Peppiatt, GPSA PSA Journal (U.S. ISSN 0030-8277, USPS Pub #448540) is published monthly by the Photographic Society of America Worldwide, Inc. (PSA), 706 N. Broadway Ave., Oklahoma City, OK 73102. Subscriptions are included in membership dues. Founded in 1934, the society is for casual shutterbugs, serious amateurs, and professional photographers. As a member of PSA, you are eligible to participate in a multitude of services to help you improve your photography and increase your enjoyment of it. To join PSA, email hq@psa-photo.org; write to PSA Headquarters at 706 N. Broadway Ave., Oklahoma City, OK 73102. Submissions: PSA Journal welcomes editorial submissions on all aspects of photography. Most of the feature articles published are between 800 and 1,200 words. All material must be original. Note if previously published. Manuscripts must be submitted electronically. While all possible care will be taken, we cannot assume responsibility for lost or damaged submissions. Payment is in copies plus points toward PSA Bronze, Silver, and Gold Star Medallions. Back Issues: To order extra copies or back issues of the PSA Journal, please contact PSA Headquarters. Permissions: All content © 2026 by the Photographic Society of America Worldwide. Reproduction in any form is prohibited without written permission. To request a copy of the PSA Journal’s reproduction policy, please contact PSA Headquarters. Postmaster: Send address changes to PSA Journal, 706 N. Broadway Ave., Oklahoma City, OK 73102. Periodicals postage is paid at Oklahoma City, OK. The cover photo is entitled It's Snowing and is from the Distinctive Image article featuring Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3. 6 24 14 34 20
PHOTOGRAPHIC SOCIETY of AMERICA BOARD OF DIRECTORS 2025-2026 Executive Committee President & Chief Executive Officer (CEO): John Andrew Hughes, FPSA, PPSA, AFIAP president@psaphotoworldwide.org Executive Vice President & Chief Operating Officer (COO): Fred Doerfler, QPSA, AFIAP executivevp@psaphotoworldwide.org Secretary: Heide Stover, APSA, QPSA secretary@psaphotoworldwide.org Treasurer & Chief Financial Officer (CFO): Lucie DiPronio, CPA, MPSA treasurer@psaphotoworldwide.org Member-at-Large: Jim Bodkin, APSA, PPSA, BPSA, AFIAP Vice Presidents Chapters, Clubs & Councils: Jim Bodkin, APSA, PPSA, BPSA, AFIAP clubs.chapters.councilsvp@psaphotoworldwide.org Divisions: Ralph Durham, APSA, QPSA, BPSA divisionsvp@psaphotoworldwide.org Education: Stephanie Sioras educationvp@psaphotoworldwide.org Exhibition Services: Subrata Bysack, GMPSA/P exhibitionvp@psaphotoworldwide.org International Relationships: Agatha Anne Bunanta, HonPSA, GMPSA, GPSA, EFIAP/p internationalrelationsvp@psaphotoworldwide.org Membership: Lewis Choi, FPSA, GMPSA/P, EFIAP/p, HonEFIAP membershipVP@psa-photo.org Publications: Buket Ozatay, APSA, EPSA, EFIAP/d2, publicationsvp@psaphotoworldwide.org PSA Headquarters 706 N. 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The PSA logo is a registered trademark of the Photographic Society of America Worldwide (PSA) PSA Journal • June 2026 • www.psaphotoworldwide.org • 54 • PSA Journal • June 2026 • www.psaphotoworldwide.org On My Mind Jim Bodkin, APSA, PPSA, BPSA, AFIAP Chapters, Clubs & Councils Vice President clubs.chapters.councilsvp@psaphotoworldwide.org Within the photographic world, a club is the fundamental organization for an individual. The club’s members share a common geography, similar interests and goals, and thus feel part of a group. Within PSA’s Chapters, Clubs, Councils (CCC), we recognize this value and we strive to support clubs, as most PSA members are affiliated with at least one club, and many with two or three clubs. We presently have 415 PSA clubs worldwide, with 310 of those In the United States and the remaining spread among eight other countries around the world. CCC assists clubs in many ways, supporting their activities by: • providing judging for club competitions by supplying 50 judges, from one to twelve times per year. • offering presentation speakers via zoom with 96 different program subjects available at no cost, when a program is needed by a club. • offering a website competition (with a full critique by the judges) against other clubs, chapters and councils to compare their website’s effectiveness and with PSA-wide awards recognition. • offering a newsletter publication competition (with a written critique) against other clubs, chapters and councils to compare their newsletter completeness and effectiveness with PSA-wide award recognition. • offering Councils where club members can compete against members of other clubs for recognition and skill building. Starting this year, CCC is expanding club support in two areas, offering activities to assist with club finances and offering a new direction for clubs through community outreach. We realize that clubs are always looking for new methods to increase income to support their programs and keep their members’ fees low. One method of accomplishing this goal is through running an international exhibition. Historically, the effort for an General Operating Fund Elena McTighe, HonPSA, MPSA, ESFIAP, USA PSA and its Board of Directors thank all donors for their generous contributions to the organization. Donations to PSA for the month of March 2026 individual club to think of researching and running of an exhibition was enough to discourage any serious consideration. We are now offering a simplified information packet on how to plan and conduct an international exhibition, with PSA headquarters supplying communication, administration and mailing support to ease the club’s personnel resources. An exhibition can be a real moneymaker for a club. Additionally, we also provide a Club Matching Service to identify three or more interested clubs who could work together to design a three or four circuit international exhibition with shared responsibilities and greater financial gains. While US-based exhibitions have declined over the years, the demand has only grown. So, this new offering represents a
PSA Journal • June 2026 • www.psaphotoworldwide.org • 76 • PSA Journal • June 2026 • www.psaphotoworldwide.org A photographer friend preparing for upcoming trips wrote to ask me about what gear he should bring. Specifically, he wanted to know whether to pack a full camera kit — or rely on the iPhone camera in his pocket. As the iPhone evolves and matures into a camera that is taken more seriously, it’s a question I hear more and more often, and the answer isn’t as simple as “yes” or “no.” The real question isn’t about the device. It’s about expectations, subject matter, and how the final images will be used. iPhone landscape pano demonstrating quality potential; 7-Image Stitch of Snake River in The Palouse, Native Camera and BimoStitch © Rad Drew The Real Trade-Off Travel photography has always involved compromise — but often we create that compromise ourselves by trying to be ready for everything. We tend to pack gear based on what we might encounter. A long lens in case something is far away. A macro lens in case something small catches our attention. We prepare for every possibility, just in case — and often end up carrying far more than we actually use. What I’ve come to appreciate about the iPhone is that it shifts that mindset entirely. We bring one device — and with it, a remarkable range of creative possibilities. Wide, telephoto, By Rad A. Drew Traveling Light: Can Your Phone’s Camera Replace Your Traditional Camera?
PSA Journal • June 2026 • www.psaphotoworldwide.org • 98 • PSA Journal • June 2026 • www.psaphotoworldwide.org close-up, low light, long exposure, and more — all available instantly, without the need to anticipate every scenario in advance. I saw this in a powerful way at the end of an iPhone workshop I led on Cape Cod. On our final day at the seashore, one participant was recording a long exposure of waves washing over rocks. Another was photographing small flowers along the edge of the beach. Another was creating abstracts using intentional camera movement. One even had her iPhone in a plastic bag, photographing a crab in a tide pool! And it struck me: everyone was using the same device — yet each person was exploring a completely different kind of photography. That experience reinforced something I’ve come to believe strongly. We need to move beyond the idea that our traditional camera is our “real” camera, and that an image made with an iPhone is somehow less meaningful. It isn’t. The value of a photograph isn’t determined by the device used to record it, but by the vision, awareness, and intent of the photographer. The iPhone isn’t a lesser camera — it’s a different kind of camera, with strengths that invite a more flexible, responsive, and creative way of working. Understanding Capability and Limits Beginning with the iPhone 13 Pro series in 2021, Apple standardized its high-end camera systems across both Pro models. Prior to that, the Pro Max often received camera advantages not found in the smaller Pro version. From the iPhone 13 Pro forward, however, the Pro and Pro Max models have shared the same camera systems, differing primarily in physical size, battery life, and screen dimensions. For photographers, this means image quality and lens performance are effectively identical between the two models in a given generation. That said, not all lenses within these models offer the same resolution. While Apple introduced a 48MP sensor with the iPhone 14 Pro, subsequent models expanded that capability across additional lenses. The table below summarizes which lenses can produce full-resolution 48MP ProRAW files when properly configured. iPhone Pro Models: 48MP ProRAW Capability by Lens iPhone Ultra-Wide Main Telephoto Notes Model (0.5x) (1x) 14 Pro / No Yes No (3x is First iPhone with Pro Max (48MP) 12MP) 48MP main sensor 15 Pro / No Yes No (3x/5x is 15 Pro Max has 5x Pro Max (48MP) 12MP) tetraprism lens (12MP only) 16 Pro / Yes Yes No (5x is Ultra-wide Pro Max (48MP) (48MP) 12MP) upgraded to 48MP 17 Pro / Yes Yes Yes (4x is First model with Pro Max (48MP) (48MP) 48MP 48MP across all three lenses Understanding this progression helps set realistic expectations. Even with the most advanced models, not every lens delivers the same level of detail. Choosing the right lens — and working within its strengths — remains one of the most important decisions you make in the field.Vertical pano of fall tree canopy with the ultra-wide angle lens, iPhon 11 Pro Max © Rad Drew Macro detail image made with iPhone 13 Pro Max – colored pencils © Rad Drew Long exposure using Live mode – Nauset Light Beach, iPhone 14 Pro Max © Rad Drew Infrared photograph made with iPhone 15 Pro Max and 720mm Infrared Filter – Palouse Grain Elevator © Rad Drew “What I’ve come to appreciate about the iPhone is that we bring one device — and with it, a remarkable range of creative possibilities. Wide, telephoto, close-up, low light, long exposure, and more — all available instantly, without the need to anticipate every scenario in advance.” “The best camera for travel is the one that allows us to move freely, stay present, and still return home with images we’re proud to share.”
PSA Journal • June 2026 • www.psaphotoworldwide.org • 1110 • PSA Journal • June 2026 • www.psaphotoworldwide.org At the same time, iPhones continue to have practical limitations. They are not well suited for distant subjects, wildlife, or situations that require significant cropping. These are areas where a traditional camera still offers clear advantages. For many travel photographers, however, these limitations are less restrictive than they might seem. When your subjects align with what the iPhone does well — landscapes, architecture, details, and creative interpretations — it becomes an exceptionally capable and liberating tool. Practical Tip: Choose a Pro model. Standard and “Plus” iPhones are often less expensive, but they use a simpler camera system. The Pro models offer the features and flexibility photographers appreciate. I’ve seen many people experience buyer’s remorse after choosing a non-Pro phone without realizing the difference. Technique Matters More Than Gear It’s worth remembering that the most important parts of a photograph don’t come from the camera at all. Composition, perspective, light, and the ability to recognize a compelling moment matter far more than the device you’re using. The iPhone is simply a tool — an increasingly capable one — but it’s your eye, your curiosity, your unique take, and your willingness to engage with a scene that ultimately determine the strength of the image. I’ve found that using the iPhone has sharpened my awareness and my decision-making as a photographer. Bridging the Gap with Software Another important shift is happening not in the camera — but in the software we use to process our images. iPhone apps, including Lightroom Mobile, Apple Photos, Snapseed, and TouchRetouch, now incorporate AI-based masking, healing, and removal tools that are both powerful and rapidly improving. And we can use other techniques like combining a low-resolution image from a painterly app, like AI Gahaku, with the original image in the app, Image Blender. In this way we can increase an image of less than a megapixel to multiple megapixels creating an image we can do more with than post on social media. The upscaling tool, Gigapixel AI from Topaz Labs, long available on the desktop, is now available for our mobile devices as well. Increasingly, these tools are influencing not just the technical quality of our images, but their final aesthetic — allowing us to refine detail, simplify compositions, and more fully realize our creative intent, using the darkroom in the palm of our hands. I’ll admit—I can be a bit skeptical when it comes to iPhone accessories. There was a time when I used them more regularly. Earlier iPhones lacked features we now take for granted, such as a true macro capability or longer focal lengths. During that period, I found some third-party lenses — particularly those from Reeflex and ShiftCam — to be well made, with high-quality optics that meaningfully extended what the phone could do. Today, however, I rarely use them. With current iPhone models offering built-in macro, 48mp ultra-wide, and longer telephoto options — up to 100mm and beyond — the need for external lenses has diminished significantly. That said, I’m not opposed to accessories. I’m simply selective. For me, they need to offer something the phone cannot do on its own — or do it meaningfully better. Infrared photography is a perfect example. With a filter mount (I prefer the Neewer mount which can be found for any iPhone) and an infrared filter, it’s possible to create images that would otherwise be impossible with the iPhone alone. The other consideration is practicality. Many accessories require proprietary cases, don’t work with the case I prefer, or require using the phone without a case altogether. For a device I carry and use throughout the day, that added complexity often outweighs the benefit. For many photographers, the appeal of the iPhone is its simplicity and portability. Accessories can expand capability — but they can also work against those very advantages. A Different Way to Think About Our iPhones My late friend and extraordinary photographer and teacher, Kevin Raber, often described the iPhone as “a camera that could make calls.” Today, it’s fair to say the iPhone is first and foremost a camera. Ultimately, the goal isn’t to replace our traditional cameras. It’s to understand the strengths of the tool we have with us — and use it well. The best camera for travel is the one that allows us to move freely, stay present, and still return home with images we’re proud to share. Low-res AI Gahaku painterly image blended with original, photo in Image Blender; increases resolution from 0.8mp to 25.3mp © Rad Drew Using Gigapixel AI to upscale an AI Gahaku image from 0.8mp to 9.1mp © Rad Drew Learn about a simple and reliable way to back up travel photographs on the following pages. Rad Drew is a photographer, educator, and speaker based in Indianapolis, Indiana. He is widely known for
PSA Journal • June 2026 • www.psaphotoworldwide.org • 13 12 • PSA Journal • June 2026 • www.psaphotoworldwide.org When we travel, we tend to focus on what we might miss. • Do we have the right equipment? • Battery chargers and cables? • Lenses? • Accessories? • Enough socks and underwear?! There is, however, another question worth asking: What is the simplest way to protect the photographs we make — without interfering with the enjoyment of the trip? This approach — which works for both iPhone and traditional cameras — also aligns naturally with a travel-light philosophy, keeping both our gear and our workflow simple and intentional. One Hub, All Your ShotsA Simple and Reliable Way to Back Up Travel Photographs from iPhone and Traditional Cameras Using the iPhone as a Hub By Rad A. Drew Tuscany, Italy — early morning light © Rad Drew iCloud as a Safety Net – But Not the Whole Story For photographers working with an iPhone, iCloud is often the easiest solution. When enabled, photographs are uploaded automatically in the background whenever a Wi-Fi connection is available. It is an elegant and largely invisible system – well suited to travel. However, iCloud is best understood as a safety net, not a complete backup strategy. It protects your photographs while you are traveling, but it does not replace maintaining your own independent copy of your images. A Note About Airplane Mode When traveling internationally, many iPhone photographers rely on airplane mode to avoid roaming charges. When airplane mode is enabled, iCloud synchronization pauses. Photographs remain on the device, but they are not uploaded until a Wi-Fi connection is restored. Once connected, the process resumes automatically. This means that, during the course of a day, your photographs may exist in only one place — your phone. What’s Changed – and Why This is Easier Now Recent iPhone models equipped with USB-C have made a simple and practical backup option possible. A compact portable solid-state drive (SSD) can be connected directly to the phone, allowing photographs to be copied using the iPhone’s Files app. It's a simple two-layer approach that allows a practical work flow to be created around two complememtary steps: • Allow iCloud to run quietly in the background • Create a second, manual backup at the end of each day This second layer becomes especially important when traveling in regions where reliable Wi-Fi is limited or unavailable. On trips such as those I have made to Cuba, where connectivity can be inconsistent, a manual backup is not just helpful — it is essential. What You Need A small amount of additional equipment supports this workflow: • A compact USB-C portable solid-state drive (SSD) • A reliable data cable (typically included with the drive) • A USB-C SD card reader (if working with a traditional camera) In my own work, I have had good results using a more economical portable SSD. At the same time, based on my own research and conversations with trusted photographer friends, I would feel confident choosing portable SSDs from manufacturers such as Samsung, Crucial, or SanDisk. These are well-regarded options with strong performance and reliability. There are also lower-cost options available, and I have found that these can work well for this type of backup, provided they are tested and used thoughtfully in the field. A Note About Cables Most portable drives include a cable designed for both power and data transfer. Some USB-C cables are designed only for charging and will not transfer files. To include images from a traditional camera, a USB-C SD card reader allows images to be transferred to the iPhone and then copied to the portable SSD. A Simple End-of Day Routine • Review the day’s photographs • Copy iPhone images to the SSD • Transfer images from any camera used • Confirm successful transfer • Allow iCloud to sync when Wi-Fi is available A Simple, Reliable Approach We want our photographs to be safe, but we do not want to spend our time thinking about whether they are safe. This approach is reliable, lightweight, and easy to maintain while traveling. Tuscany, Italy – Ancient Olive Trees, iPhone Infrared © Rad Drew
14 • PSA Journal • June 2026 • www.psaphotoworldwide.org PSA Journal • June 2026 • www.psaphotoworldwide.org • 15 began planning my trip in the fall of 2024. There were several things that were important to consider. First, of course, the sites that I wanted to see in order to better understand the country and its culture. I wanted to see the city of Edinburgh for its royal history. The cliffs and natural features were also of interest. And of course, I wanted to see some of the older castles that played a key role in Scotland’s history. My planning process began in a familiar way—by searching online for the most significant attractions to visit in Scotland. This research revealed a wealth of opportunities to explore the country’s renowned museums, historic cathedrals, majestic castles, striking lighthouses, and other notable landmarks scattered throughout Scotland. In addition to these cultural and architectural highlights, I started compiling a list of Scotland’s distinctive natural features. The country is rich in scenic landscapes, and these unique natural sites promised to add depth and variety to my travel itinerary. My second consideration was finding the ideal season for capturing high quality photographs. I knew that while the summer months would provide the best and warmest weather, that it would also be the busiest time throughout the country. Checking the weather throughout the year it became quite clear that the probability of rain and colder temperatures increases significantly after the end of September. With these considerations in mind, I decided to spend the second and part of the third weeks of September in Scotland. In September Scotland has average highs of 60°F and lows of 47°F. By mid-October these drop to 53°F and 42° F, respectively. Rainfall also increases by 30% and daylight is three hours shorter. The third consideration was the method of travel through Scotland to see the sites of interest. There are various methods of transportation available. While backpacking is a viable option for those who are young and able, it was not the best choice for me. Large buses, and smaller tours, are available and cost-effective but would give me only limited access to rural roads in out of the way places. I considered leasing a vehicle and driving, but in the end self- driving, and hiring a private driver seemed to be the best option. It accomplished all my goals. By coordinating with Brennan Travel and a local travel agent, I secured an experienced guide and a comfortable vehicle. This arrangement made my experience more pleasant and memorable. Local guides also possess invaluable knowledge of destinations that may not be easily discovered through online research. The result of these three considerations yielded the trip itinerary that I have shown in the picture at left. 1000 Miles of Scotland My working career provided many opportunities to visit England, but I never had the chance to visit Scotland or Ireland. This year through careful planning I was able to visit both. Each deserves its own story, but I will concentrate on Scotland for this article. I By R Gary Butler, PPSA Trip Itinerary © R Gary Butler, PPSA The Royal Mile © R Gary Butler, PPSA
16 • PSA Journal • June 2026 • www.psaphotoworldwide.org Departing Edinburgh I headed through backroads to see first the King’s Scottish home at Balmoral. Tours can be booked when the royal family is not in attendance. After Balmoral I headed to Dunnottar Castle just south of Aberdeen. This castle was first built on the 440-Million-year-old rock in about 400 AD. The climb up to the castle is 160 feet. The pathway of stone steps plus small stone and grass walkways should be carefully navigated. The castle was largely destroyed by the invading Vikings in about 900 AD. The castle and its restored main hall are certainly worth the walk. Bow Fiddle Rock located just outside of Portknockie is another excellent photographic opportunity. Quality images can be made from either the top of the cliff on the very-near-by point or from the rock beach at sea level. Here, as at Dunnottor, the wide-angle lenses perform superbly. I also gave much thought to the equipment I would take. I elected to take two cameras but used predominantly my Canon R5 mirrorless. While I mostly used my 16-35 mm and 24-105mm lenses, there were times when a 70-200 mm lens was needed. I ascertained (correctly) that given the crowds and/or the spontaneity of the moment to photograph, that a tripod would be of little use. I began the trip by flying into Edinburgh, Scotland, and spending two days in the old city. There are plenty of accommodations in and around the “Royal Mile.“ That mile is a combination of a walk street nearest the castle and the traffic street extending down to the Royal Palace at the bottom of the hill. (See photo on page 15). The very affordable local guided tours in Edinburgh provide much information about the history of the Scottish kings, the religious problems of the times as well as my favorite “Outlander” filming locations. The Scottish National Museum, just one or two blocks off the Royal Mile is a must-see stop for the architectural photographer. Traveling westward beyond Inverness and Loch Ness, the journey continued through the central and western highlands of Scotland, arriving next at the eye-catching Eilean Donan Castle. Recognized as a prominent tourist destination, advance reservations for visits are highly recommended due to its popularity. The castle is strategically situated at the intersection of three lochs: Loch Long, Loch Duich, and Loch Alsh. Originally constructed in the 13th century and subsequently expanded several times, the fortified structure was destroyed in 1719 by three British Navy frigates during concerns over a potential Scottish uprising. After lying in ruins for nearly two centuries, the island was purchased by Lt. Colonel John Macrae- Gilstrap in 1911. With the assistance of Farquhar Macrae, restoration efforts brought the castle back to its historical form by 1932. Today, Eilean Donan Castle, alongside its surrounding lochs and landscape, represents an exceptional opportunity for visitors and photographers alike. (Source: eileandonancastle.com) Though not part of the original itinerary, the guide led me to the ruins of two brochs. Brochs were built about 2,000 years ago in northern and western Scotland. These structures served as both dwellings and defensive fortifications. Archaeologists estimate that over 500 brochs once existed. Resembling modern power plant cooling towers, a broch could stand up to 44 feet tall. The multi-level design allowed livestock to be kept on the lower floor, with living and sleeping quarters above. Dun Telve, shown in ruins here, was likely dismantled in the early 18th century to construct barracks for British troops. (Sources: historicenvironment.scot and Wikipedia) Scottish National Museum © R Gary Butler, PPSA Dunnottar Castle © R Gary Butler, PPSA Bow Fiddle Rock © R Gary Butler, PPSA Eilean Donan Castle © R Gary Butler, PPSA Dun Telve broch © R Gary Butler, PPSA
PSA Journal • June 2026 • www.psaphotoworldwide.org • 1918 • PSA Journal • June 2026 • www.psaphotoworldwide.org The Isle of Skye is renowned as a destination for photographers, offering some of the most impressive landscapes in the United Kingdom. As the northernmost island of the Inner Hebrides, its peninsulas extend from striking mountain ranges, providing varied photographic opportunities (Source: Wikipedia). The island's name is believed to originate from Old Norse, possibly meaning “Misty’s Isle,” a characteristic frequently observed during visits. Numerous picturesque villages are found across the island; during one visit, a sign caused brief confusion until it was clarified at the local town hall that only the craft show, not public facilities, operated exclusively on Tuesdays. Neist Point lighthouse presents exceptional possibilities for both wide-angle and telephoto photography, capturing the dramatic cliffs of the peninsula. Visitors can choose to ascend from the parking area for panoramic views or follow a path downhill, then up over a rise roughly a mile each way, affording closer perspectives of the cliff formations and the lighthouse itself. Additionally, the Isle of Skye offers unique opportunities for spontaneous photography seldom available to those on structured tours. For example, encountering a farmer herding his cattle with an ATV against a sweeping valley backdrop yielded a limited window for photography, but the resulting images captured the essence of the locale. Large ferries run daily from the Isle to the mainland and to the Outer Hebrides. The smallest ferry, holding only four cars and operating only in the warmer months is the Glenelg ferry. This operates across one of the narrowest gaps between the mainland and the Isle. The Quirig offers the visitor glimpses of huge rock formations, stunning waterfalls and wide-open landscapes extending for miles. The town of Portree offers a quite different photo opportunity with its multi-colored buildings and streets of small shops. The last major portion of the adventure took me Loch Eli to Ft. William and to the Ben Nevis Distiller. A stop and an opportunity to see the Glencoe Viaduct, better known as the “Harry Potter” bridge, completed my photographic journey. I departed Scotland from Glasgow having driven 1054 miles through this beautiful country. I will forever fondly remember the sites that I saw and the people I met through this amazing trip. R Gary Butler, PPSA I worked for the Eastman Kodak Co. for 34 years and had the good fortune early in my professional career to be taught B&W and Color photography as part of my job. I also had access to the largest “Camera Club” in the U.S. for capture, processing and enlargement equipment. I am retired now and enjoy landscape, wildlife and architectural photography. I use the Canon 5D Mark IV and the R5 cameras. I primarily use the EF 16-35mm, EF 24-105mm, EF 24mm Tilt/Shift, and RF 100-500mm lenses. I joined PSA in 2016 and began participating in and then administering Digital Dialogue Groups. I am currently the admin for DD4. I began entering Exhibitions in 2017 and achieved my QPSA in 2021 and then my PPSA recognition in July 2024. I am also the Chairperson for the PSA Scholarship Committee. . Highlands Farmer © R Gary Butler, PPSA Local sign © R Gary Butler, PPSA Neist Point Lighthouse © R Gary Butler, PPSA Glenelg Ferry © R Gary Butler, PPSA Harry Potter Bridge/Glencoe Viaduct © R Gary Butler, PPSA
PSA Journal • June 2026 • www.psaphotoworldwide.org • 2120 • PSA Journal • June 2026 • www.psaphotoworldwide.org Introduction: Why National Parks and Pollinators Matter America’s National Parks serve as sanctuaries of beauty, biodiversity, and reflection. These protected landscapes offer more than just scenic vistas—they safeguard fragile ecosystems, preserve cultural heritage, and provide space for creative exploration. Olympic National Park, where mountains, coastline, and rainforest converge, exemplifies this richness. Its astonishing ecological diversity—from salt-sprayed tidepools to wind-swept alpine ridges—makes it not only a haven for wildlife but also a vibrant canvas for photographers. One of the most valuable yet lesser-known aspects of our national parks is their commitment to fostering creativity through Artist-in-Residence (AiR) programs. These opportunities allow photographers and other artists to engage deeply with place, translate experience into expressive work, and offer new perspectives to park visitors. As the 2025 Artist-in-Residence at Olympic National Park, my goal was to honor and document a subject often overlooked but vital to the park’s health: pollinators. Through documentary photography, I set out to capture their quiet labor and ecological importance—bees, butterflies, beetles, and moths in the act of sustaining life across the park’s varied terrain. The Residency Experience: Collaborations and Encounters What made this residency so transformative was not only the access to the park’s landscapes but also the opportunity to work closely with the people who know it best. My time in the park was shaped by generous collaborations with staff whose knowledge, passion, and commitment to stewardship deeply enriched my work. I spent three unforgettable days in the backcountry with CJ, a park naturalist whose insight into native plants and animal behavior guided where and how I photographed. CJ’s quiet observations helped me tune into subtle cues—where pollinators might appear, when flowers opened, and how temperature shifts affected insect movement. I also had the privilege of spending a morning with Maria, the park’s Tribal Liaison, whose thoughtful reflections grounded my understanding of Olympic’s deeper cultural context. She helped me appreciate the land not only as habitat but as heritage, with stories and responsibilities that long predate the park’s founding. Matt, the park’s archivist, offered a completely different but equally meaningful perspective. Our conversation about the park’s archival system—ranging from administrative memos to ethnographic artifacts—helped me see my images as part of a longer historical thread, contributing to how we record, remember, and interpret the land. Finally, none of this would have been possible without the wholehearted support of Leah and Heather, the residency coordinators. Their encouragement, flexibility, and enthusiasm helped bring my vision to life—and made every logistical challenge seem like just another bend in the trail. These human connections became the backbone of my experience, expanding my awareness of Olympic’s layered ecology and history. Their voices echoed through my images, reminding me that art made in a national park is never created in isolation—it is shaped by place, people, and shared purpose. Scope of Work: Photographing Pollinators in Action The heart of my residency centered on photographing pollinators in their natural habitats—bees suspended mid-flight, butterflies sipping nectar, beetles nestled among stamens. My aim was to capture not just the visual beauty of these creatures, but their essential ecological role. This work demanded patience, silence, and close observation. Each image was the result of waiting, sometimes for long stretches, until a bloom stirred or a shadow shifted. The rhythms of pollinator activity were tied intimately to light, temperature, and time of day— variables that taught me to move slowly and attune my process to the pace of the land. Pollinators revealed themselves in a wide range of environments. I found them in alpine meadows bursting with lupine and Indian paintbrush, along forest edges where wildflowers took advantage of filtered light, in subalpine fields buzzing with activity, and even in cultivated gardens near park buildings—microhabitats no less important than wilderness zones. At the Edge of Wildness: Pollinators in Olympic National Park By Gerald Fleury, QPSA, BPSA Hairstreak butterfly (Lycaenidae) rests on foliage, displaying iridescent wing tones and quiet grace. © Gerald Fleury, QPSA, BPSA Bumble bee (Bombus sp.) approaches a Salvia blossom, carrying vibrant pollen loads mid-flight. © Gerald Fleury, QPSA, BPSA Bumble bee (Bombus sp.) gathers pollen on a vibrant nasturtium (Tropaeolum majus), highlighting classic plant-pollinator symmetry. © Gerald Fleury, QPSA, BPSA Hoverfly (Syrphidae sp.) mimics a bee as it approaches a purple pea flower (Fabaceae) in precise flight.
PSA Journal • June 2026 • www.psaphotoworldwide.org • 2322 • PSA Journal • June 2026 • www.psaphotoworldwide.org The resulting images are more than portraits of insects. They are glimpses into a system of interdependence, where each flutter, hover, and crawl contributes to the renewal of life. In an era of pollinator decline, I hope these photographs serve not only as documentation, but as quiet advocacy for the preservation of what is small, wild, and essential. Technical Process: Gear, Setup, and Field Methods To capture the agility and detail of pollinators in motion, I relied on a precise but flexible technical setup. My primary gear included a Canon EOS 5D Mark IV paired with a Canon 100mm f/2.8L macro lens, which provided a perfect working distance for insects while preserving shallow depth of field and critical sharpness. I used a Canon 580EX II flash in high-speed sync mode, paired with a Godox PB960 battery pack for shorter cycle and extended shooting times. A small diffuser softened the flash, ensuring natural illumination without harsh highlights or insect blowout. Most of my images were created using handheld macro techniques. I typically shot at an aperture opening of f/11 and maintained a shutter speed of 1/3000 of a second to freeze wing motion. I let the ISO float depending on ambient light. Autofocus was used selectively—often switching to manual to pre-focus at a preferred distance and then adjusting position slightly by rocking back and forth. Early mornings were most productive—low-angle light, cooler temperatures, and dew-laden blooms slowed insect movement, giving me an edge. I rarely used a tripod due to the unpredictability of pollinator behavior and the uneven terrain. Before arriving at Olympic, I fine-tuned this setup during weeks of practice at the South Coast Botanic Garden in Palos Verdes, CA. This pre-residency phase was crucial for mastering technique, anticipating field conditions, and developing the patience required to let the work unfold organically. The process balanced technical precision with creative spontaneity. Every image was the result of a choreography between subject, light, and presence. While my settings were dialed in, success often came from being still long enough to be forgotten. Reflections: What the Experience Meant This residency changed how I photograph—and how I see. I arrived focused on image-making but left with a deeper awareness of how attention itself is an artistic act. By slowing down and spending extended time immersed in nature, I became not just a photographer, but an observer, a listener, and a participant in the rhythms of place. The emotional impact of working so intimately with pollinators surprised me. These small beings—so vital and so vulnerable—embody the quiet persistence of life. Each encounter felt like a gift, and each image became a gesture of gratitude. Programs like the Artist-in-Residence at Olympic National Park are essential. They provide space for deep creative inquiry and allow artists to engage with Apollo butterfly (Parnassius sp.) on a fading wildflower, embodying quiet beauty in a woodland setting. © Gerald Fleury, QPSA, BPSA White-faced bumble bee (Bombus sp.) forages on blue lupine (Lupinus sp.), legs packed with pollen. © Gerald Fleury, QPSA, BPSA Dew-covered bumble bee (Bombus sp.) gathers pollen from a yellow wildflower in early morning light. © Gerald Fleury, QPSA, BPSA Tachinid fly and hoverfly converge on a daisy (Asteraceae), capturing a layered pollinator interaction. © Gerald Fleury, QPSA, BPSA the environment not as an outsider, but as part of a living system. My time in the park affirmed the power of art not only to reflect the world but to deepen our connection to it. I hope this work encourages others to slow down, look closely, and see with both clarity and care—whether through a lens or through their own eyes. Closing and Image Note I am deeply grateful to the National Park Service and to the dedicated staff at Olympic National Park for supporting this residency. Their knowledge and encouragement made every aspect of the project possible. The images submitted alongside this article are visual companions to the story—moments frozen in flight, captured with care, and presented in the hope that they evoke wonder and respect for the fragile beauty of the pollinating world. In an age where speed and distraction dominate, pollinators remind us of the importance of small things done quietly, persistently, and with purpose. May these images serve as a reminder that what flutters at the edge of wildness matters profoundly. Jerry Fleury, QPSA, BPSA, is a Southern California photographer, visual storyteller, and author whose work explores the intersection of nature, human emotion, and place. A lifelong student of light, atmosphere, and narrative, his photography ranges from dramatic black-and-white urban imagery to intimate studies of wild landscapes and pollinators. His work often combines documentary realism w
24 • PSA Journal • June 2026 • www.psaphotoworldwide.org PSA Journal • June 2026 • www.psaphotoworldwide.org • 25 D I S T I N C T I V E I M A G E F E A T U R I N G Vicki Moritz Coastline Tasmania © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3
26 • PSA Journal • June 2026 • www.psaphotoworldwide.org PSA Journal • June 2026 • www.psaphotoworldwide.org • 27 M Y P H O T O G R A P H I C J O U R N E Y Vicki Moritz, GMPSA/G , GPSA, EFIAP/d3 icki’s first camera was given to her many years ago by her father. It was the Pentax Zoom 105 Super with an inbuilt 28-105 mm zoom. It served her very well in the film era, taking very ordinary pictures of family, travel and dogs- lots of dogs due to being a breeder and exhibitor of Rhodesian Ridgebacks. After a career as a scientist in a microbiology laboratory, she moved to manager of the cardiothoracic unit at a major Melbourne hospital and then to clinical IT project management. In 2008 she took the opportunity of early retirement. Her plan was to work through her “bucket list” of things she had been meaning to explore more thoroughly - photography, yoga, and travel. Then maybe take a part time job to pay for the travel and photography equipment. She had made a good start on the photography by buying her first digital camera - a Canon 500D (Digital Rebel XTi in the USA). She joined the Australian Photographic Society (APS) in 2008 and her local camera club, the Waverley Camera Club, early in 2009. However, some plans go astray. On the 7th February 2009 she was in Marysville, Victoria at her holiday home when the town burnt to the ground. This event was known as Black Saturday. 173 people died in the fires, including her neighbors – 39 total in her small town. She sometimes reflects on how this event rewired her brain to a more right-brained world view, very different from her paid working life in science, management and clinical informatics. In Mid 2009 she attended a Photoshop workshop run by Dr Les Walkling. The combination of the post- processing effects and camera capture aspects of photography excited her, and she enrolled part time at the Photographic Studies College (PSC) in Melbourne. She graduated in 2016 with the Advanced Diploma in Photography (Fine Arts), plus some new friends with common interests. The choice of the arts stream was somewhat a turning point as she had little background in the arts space. The course was heavily portfolio-based and she has carried this approach into her photography work since. As part of her course requirements, she joined the Australian V By Melissa Cramer Sonnen, APSA, QPSA, AFIAP Wairepo Arm Abstract © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Morning Pipe © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3
28 • PSA Journal • June 2026 • www.psaphotoworldwide.org Institute of Professional Photographers (AIPP) and received their yearly award for “Conceptual Excellence and Photographic Innovation” as she graduated. She remains a member of this organization gaining the Associate level by achieving enough awarded images in the yearly print competitions. She has also judged at the state level for the AIPP. In 2013 she started entering international exhibitions auspiced by bodies such as the PSA, Artiste Federation Internationale De L'Art Photographique (FIAP), GPU etc. Her initial objective was to improve her photography by entering higher levels of competition than those at the camera club. By examining the catalogues of accepted and awarded images, her own images improved and she entered Internationals actively until 2024. She holds a significant number of honors from various organizations, and she also judges at the international level. She undertook judging training through the AIPP and is also a member of the Australian Photographic Judges Association where she assists by giving presentations when asked. She particularly enjoys printing her images and judging prints, as she regards this as the final output of the photographic process. Although having an understanding of studio work from her course, her preferred place is outdoors making “fine art” landscapes, and doing travel and street photography. She initially struggled with the “Fine Art” concept but one of her mentors – Tony Hewitt – once described it as “making something out of nothing” i.e. taking a photo and working with it to make it a work of art. She embraced this for her “Solitary Survivors” portfolio, taking images of lone trees in cleared paddocks and using textures and other Photoshop techniques to make them into objects of beauty. Taking and developing images into something new has remained part of her practice. She enjoys sharing her knowledge and developing other photographers as a judge at local camera clubs in addition to judging the Internationals. As a photography judge she feels it is important to understand all aspects of photography and to continue learning. Her experimentation has ranged from using 120 films in a Diana Plastic camera (the classic method for creating dreamlike, soft-focus images) through various Photoshop techniques, to alternative systems such as photogravure, and cyanotypes. One of her studio portfolios was “Anthropomorphism”. She balanced her lack of interest in the studio with a love of dogs and set up a temporary home studio. With the assistance of friends, she produced a body of work with dogs' heads on human bodies (mainly those of the owners). This BPSA portfolio was awarded the PSA Dan Charbonnet Portfolio award in 2022- much to her surprise. It then took three attempts to obtain the SPSA with 15 images of small structures by Fjords in Arctic Norway during winter. She enjoys photography in the snow and fog. They both minimize background distractions to draw attention to the subject matter. She achieved the GPSA portfolio award (one attempt this time) in 2025. The series was called “Backroads” with 20 images of various buildings, windmills, haybales and livestock in the Central Victorian farming area – shot mainly in the fog. She used textural overlays and Photoshop to bring this series 1334 Off to Work © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Junior Gum © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Acheron Entry © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Claret Ash Botanical © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3
30 • PSA Journal • June 2026 • www.psaphotoworldwide.org PSA Journal • June 2026 • www.psaphotoworldwide.org • 31 together, with thanks to Joanne Stolte for assistance with fine tuning of this portfolio. As her photography journey took her to various genres, she tried different camera systems. After starting with Canon (too heavy) then trying Leica (she needs autofocus) she moved to the Sony system starting with the A7RII. She now has the A7RV with a lot of E-mount lenses. As she has moved more into creative “in camera” techniques, she also invested in Fuji cameras. These allow fun things like film simulations for jpg images and multiple in- camera exposures. She currently has an XT-5 and most recently the GFX 100RF. There is a photographic syndrome that she admits to – Gear Acquisition Syndrome (GAS). She hopes the latest buy will help with this as it is proving to be an excellent street, landscape and travel camera all in one! Honfleur Harbour © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Gog and MaGog 12 Apostles © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Pigeon on Head © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Two Trams Melbourne © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Lake Nillahcootie Layers © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3
PSA Journal • June 2026 • www.psaphotoworldwide.org • 3332 • PSA Journal • June 2026 • www.psaphotoworldwide.org More of Vicki's work can be seen on her website www.marysvillephotography.au/ Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 ARTISTS STATEMENT Photography is something I always wanted to explore more thoroughly, and I’m privileged to now have the opportunity to do so. I enjoy street photography in my home town of Melbourne. After years of more documentary photography, I try to come home with something that presents the city in a different way - such as multiple exposure or Intentional Camera movement (ICM) images in our famous laneways. Driving into the countryside of central Victoria and capturing the landscape has been a passion of mine for many years. I began this as a form of therapy after the Black Saturday bushfires in Victoria, predominantly shooting the landscapes and trees. This then morphed to old buildings in the landscape. I find one portfolio will often develop into another, although there are some that are ongoing. Photography has taken me to places in the world I would never have otherwise considered. I like attending good photography workshops to spend time with like-minded people in interesting places. I enjoy the mountains and my favorite places are probably the South Island of New Zealand and the Fjords of Arctic Norway - spectacular vistas! I recommend both attending workshops and belonging to a good camera club. The former provides travel opportunities and learning and the latter the friendship of people from all walks of life who share a photographic passion. Joining bodies such as the APS and the PSA has helped me broaden my horizons. I have been a PSA Star Director and currently still verify honors locally for the APS and Artiste Federation Internationale De L'Art Photographique FIAP. In recent years my photography has shifted to more interpretative forms of photography. I enjoy the impressionistic effect provided by using ICM and also the outcome obtained by multiple exposures in camera, and sometimes both effects together. This last year I have been exploring cyanotypes – particularly wet cyanotypes. I find this wet cyanotype technique provides a greater depth to the image than the traditional approach and it’s a lot of fun playing with soap bubbles, turmeric, salt and other items to make one-off pieces. Photography has given me so much and I hope to continue enjoying it for many years to come. In conclusion, thank you to the PSA for the honor of sharing my history in the Distinctive Image section of the magazine. ICM Princes Bridge © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Derrick © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Urban Canyons 7 © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Red Car Cuba © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Bamburgh Abstract 3 © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Tree with Birds © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3 Zen 3 © Vicki Moritz, GMPSA/G, GPSA, EFIAP/d3
34 • PSA Journal • June 2026 • www.psaphotoworldwide.org PSA Journal • June 2026 • www.psaphotoworldwide.org • 35 nhingas are the clumsy, ugly ducklings of the mixed wading bird rookery, only they never morph into anything remotely resembling a swan, or egret, or even a duck. Yet, I have developed a great love and respect for these ungainly devil birds. In the Southeastern US you see them wherever there is a freshwater pond, creek, or drainage ditch. Perched on a low branch, boulder or log, they spend much of their day with their full, three-foot wingspan wide open, air drying their feathers. Unlike most wading birds, Anhinga feathers are not waterproof, so when they surface from spearing fish, their plumage is completely waterlogged, in hopeless disarray and useless for flight. The best they can do is use their stubby little legs and thick yellow-webbed feet to hoist their two pounds of rotund torso onto a low branch or stump to dry off. While long-legged wading birds maintain their feathers in permanent flying condition, their porous, lightweight skeletons bring them airborne in a flash when threatened by a predator. Anhinga skeletons, however, are dense and heavy, requiring much greater time and effort to achieve lift- off. Therefore, they slip underwater for safety. Anhinga can travel fifty feet underwater in a matter of seconds. While down under, they outswim everything, even the fish which they spear with their sharp beaks. Then their heads surface, showing off their catch. They flip their prey into the air a few times until it falls down, headfirst, into the bird’s gullet. It is a thrilling performance. Getting an “Anhinga-fish-tossed-in-beak” shot is not easy and requires a lot of luck. I stand at the shoreline, my camera at a high shutter speed to catch the fast action. The bird dives under, leaving no ripples or air bubbles, and can pop up in any direction within a fifty foot radius. I must spot it the moment it resurfaces because the bird will swallow the fish in just a few seconds, during which only the bird’s thin head and neck are visible, making for a very small, fast moving focal point. All too soon it dives under again and emerges on the distant shore, out of camera range, where it hoists its full, water-logged body onto a low branch to dry off and digests its food. Sometimes I suspect the bird is aware of my frustration and is having a good laugh at my expense. These frequent drying-off periods leave the heavy- boned Anhinga vulnerable to all manner of predators, from gators to raptors to cats. Yet, they thrive by the millions throughout the temperate areas of the earth. Their secret of survival is species social cohesion. Unlike egrets who simply look the other way when another egret’s nest on the same tree branch is being attacked, Anhingas will fly in from all directions at the first sign or trouble, wielding their dagger-sharp beaks. Juvenile Anhinga are guarded by the parent with a fanatical intensity, even against a frog or turtle. They are also fearless in protecting their rookery nesting territory against the larger egrets. I once felt Anhinga wrath when I was shooting at the edge of a pond, stalking a female as she swam and dove back and forth about twenty feet parallel to shore. Suddenly, I heard a piercing CRAK-CRAK- CRAK! Looking up, I saw the yellow beak of a big, black, avian beast coming straight for my face. He Stalking the Devil BirdsBy Caroline Peppiatt, GPSA A Red Hot Hunger © Caroline Peppiatt, GPSA Carnival Masks © Caroline Peppiatt, GPSA
36 • PSA Journal • June 2026 • www.psaphotoworldwide.org PSA Journal • June 2026 • www.psaphotoworldwide.org • 37 ruffled the hair atop my head before he swooped away and settled into a tree branch just above me, where he continued CRACK-CRACK-CRACKING to let me know he wasn’t finished with me yet. I was too shaken to get any keeper shots that day. No wonder the indigenous people of Brazil call them “devil birds”. Like all the waterbirds, Anhinga arrive at the rookery in early spring, dressed in their finest mating plumage. They are also wearing a splendid mask, worthy of a grand prize at the Carnival in Rio – a thick turquoise ridge encircling large, round, glistening red eyes, and pristine, rapier beaks of school bus yellow. A gold and silver brush bristles along the top of the male's black head and down his nape. The female’s red eyes are also ringed in turquoise, but her head and neck are plumed in golden brown brush and the base of her formidable beak is ringed in black. They pair up quickly and spend a day, or two, standing chest-to- chest with their long necks and wide wings entwined in a fervent embrace. Soon, the male flies off to gather leafy twigs for the female to fashion into a nest. The hatchlings have sparse, light down which thickens and darkens to beige in a week, or two. Like many bird species, Anhinga nestlings feed out of their parent’s mouths but they do it by diving, beak first, into the mother’s bill and all the way down to the base of her neck! The ensuing throat damage probably accounts for the alarming raspiness of Anhinga CRAK-CRAK-CRAKING. The pink membrane of the nestlings’ lower jaws is their iconic feature. When the early morning sun hits this opaque tissue it glows a bright red. Pink jaws are the last juvenile characteristic to disappear upon reaching full maturity at age three or four. For a few years now a mutant female has appeared at the spring rookery. Her wings look as though they were fashioned out of delicate copper strips. Aside from her stunning appearance she seems to go about her life normally. Black plumage, especially that of the mature Anhinga male, presents a challenge to the photographer. Even in the studio, a full head of black hair requires careful lighting adjustments and tweaks in order to bring out definition and detail. Out in nature, it’s catch as catch can. I have found that a foggy atmosphere often makes black plumage pop. If you shoot the bird in bright sunlight, the plumage might look like smooth, black enamel. This lack of definition causes the viewer’s eye to lose interest in the photo. But you can bring out feather definition in Photoshop by playing with the sliders in the Camera Raw Light Panel – pulling the Black, then the Shadow, then the Exposure to the right in various combinations until some detail appears. The best combination will differ with each image. Now that you have defined plumage, it may be riddled with little white specks, or noise. Bring the noisy image into Photoshop, click on Lasso Tool and select the noisy area. Then click on the Burn Tool. In the Taskbar up top set the Range on Highlights and the Exposure on 10%. If the noise persists, reset the Exposure upwards in small increments until the noise is gone, but the plumage is still visible. If the noise is not white, but colorful, try setting the Burn Tool Range on Midtones. Sometimes, if there are detailed black feathers in another part of the raw image, I will Fresh Catch © Caroline Peppiatt, GPSA So in Love! © Caroline Peppiatt, GPSA Devil Bird © Caroline Peppiatt, GPSA Foggy Winter Swamp © Caroline Peppiatt, GPSA
38 • PSA Journal • June 2026 • www.psaphotoworldwide.org PSA Journal • June 2026 • www.psaphotoworldwide.org • 39 try cloning the detailed feathers into the undefined area, using the Clone Tool at low Exposure. The manipulations suggested above may result in a beautiful, arresting image, but may disqualify it from the strictures of “Nature Photography” which limit most “outside-the-camera” adjustments. Granted, these somewhat nebulous strictures make for a level playing field in competitions, but they can also take some of the fun out of a nature shoot. I take my camera out to record natural wonders, not as an ornithologist on a scientific expedition, or a contestant in some competition. When I look through a machine made of metal and glass at the spectacular beauty, excitement and poignancy of bird life I am constantly amazed at how much this mechanical recording device manages to pick up and convey my love and awe. It is the miracle of photography. To paraphrase the great Ansel Adams, “I don’t just take photographs, I make photographs.” Caroline Peppiatt, GPSA One of my grandchildren gave me a little point-and-shoot camera about 15 years ago. I took some classes at my nearest college, joined a camera club and practiced, practiced, practiced. Then I bought a canoe with Jack Stephens who knew way more about photography (and canoeing) than I did. We canoe the swamps and creeks of Florida, photographing the beauty we find there. Mr. Anhinga Universe © Caroline Peppiatt, GPSA Full Throated Feeding Frenzy © Caroline Peppiatt, GPSA Hypervigilant Mother © Caroline Peppiatt, GPSA Juvenile Beauty Queen © Caroline Peppiatt, GPSA
40 • PSA Journal • June 2026 • www.psaphotoworldwide.org PSA Journal • June 2026 • www.psaphotoworldwide.org • 41 Star Ratings AWARDS AND COMPETITIONS n Photojournalism Division Compiled by Barry Wong, PPSA, BPSA Galaxy 7 John Chapman, GMPSA/B, Australia Galaxy 3 Livinus Bleyen, MPSA, Belgium Galaxy 1 Rowshan Akhter, APSA, MPSA2, SPSA, USA Star 5 Angela Poggioni, APSA, GMPSA, USA Star 4 Basabjit Ghosh, PPSA, India Michal Nega, EPSA, Czech Republic Samir Kumar Samanta, PPSA, India Star 3 Basabjit Ghosh, PPSA, India John Andrew Hughes, FPSA, PPSA, USA Samir Kumar Samanta, PPSA, India Star 2 Basabjit Ghosh, PPSA, India John Andrew Hughes, FPSA, PPSA, USA Star 1 Basabjit Ghosh, PPSA, India John Andrew Hughes, FPSA, PPSA, USA n Projected Image Division Color Class (PIDC) Compiled by Asim Kumar Chaudhuri, GMPSA, from reports of Asok Samaddar, MPSA, EFIAP and Jenn Koh, GMPSA. Diamond 6 Donald M DeDonato, GMPSA/S, SPSA, USA Katie Mak, GMPSA/G, Canada Galaxy 10 Herdis Halvas-Nielsen, GMPSA, Germany Galaxy 6 Livinus Bleyen, MPSA, Belgium Peter Chi Ho Lau, MPSA, Canada Somdutt Prasad, MPSA2, BPSA, India Galaxy 5 Gabriele Meyerhoefer, EPSA, Germany Helmut Hermann Witthake, MPSA, Germany Galaxy 4 Hai Nguyen, MPSA, USA Galaxy 2 Roberto Palladini, EPSA, Italy Terri Adcock. EPSA, England Galaxy 1 Basabjit Ghosh, PPSA, India Star 5 Durgesh Nandini Bais, India John Andrew Hughes, FPSA, PPSA, USA Si Thu Ye Myint, PPSA, SPSA Myanmar Star 4 Cristian Dan Paunescu PPSA, Romania Minke Groenewoud, QPSA, BPSA, Netherlands Star 3 Alessandra Pratelli, QPSA, Italy Pei-Fan Mu, Taiwan Star 2 Aleksey Puchkovskiy, Russia Inessa Yurovskikh, Kazakhstan Karpenko Denis, Kazakhstan Pei-Fan Mu, Taiwan Star 1 Dean Campbell, QPSA, USA Inessa Yurovskikh, Kazakhstan Inga Ivanova, Latavia Jan Miller, New Zealand Karpenko Denis, Kazakhstan Pei-Fan Mu, Taiwan Viet Cao Khac, Viet Nam n Projected Image Division Monochrome Class (PIDM) Compiled by Hein Htet, GMPSA, EFIAP; from reports of Graham Harris, EPSA, EFIAP Diamond 6 Kalyan Bhattacharyya, GMPSA, India Galaxy 8 Eva Lambropoulou, GMPSA/B, Greece Galaxy 4 Peter Chi Ho Lau, MPSA, Canada Galaxy 3 Hai Nguyen, MPSA, USA Galaxy 2 Gabriele Meyerhoefer, EPSA, Germany Miсhal Nega, EPSA, Czech Republic Somdutt Prasad, MPSA2, BPSA, India Galaxy 1 Basabjit Ghosh, PPSA, India Gabriele Meyerhoefer, EPSA, Germany Star 4 Durgesh Nandini Bais, India Sanath Kumar, India Subham Banerjee, PPSA, India Star 3 Durgesh Nandini Bais, India Earl Snoga, QPSA, USA Sanath Kumar, India Star 2 Durgesh Nandini Bais, India Inga Ivanova, Latvia Sanath Kumar, India Star 1 Durgesh Nandini Bais, India Paing Htet, Singapore Sanath Kumar, India Thomas E. Stuehmer, Germany Viet Cao Khac, Vietnam n Nature Division Compiled by Jenn Koh, GMPSA/P, EFIAP, from reports of Asim Kumar Chaudhuri, GMPSA Galaxy 9 John Chapman, GMPSA/B, Australia Galaxy 8 Donald DeDonato, GMPSA/S, SPSA, USA Somdutt Prasad, MPSA2, BPSA, India n Photo Travel Documentary Division Compiled by Asim Kumar Chaudhuri, GMPSA; from reports of Chen I Judy Kuo, MPSA2; Jenn Koh, GMPSA, EFIAP Galaxy 10 Dany Chan, APSA, GMPSA/G, Canada n Photo Travel World in Focus Compiled by Asim Kumar Chaudhuri, GMPSA n Pictorial Print Division (Color) Color Prints Large and Small Mixed Compiled by Wolfgang Lin, GMPSA/B, SPSA Star 3 Gordon Watson, PPSA, England n Pictorial Print Division (Mono) Mono Prints Large and Small Mixed Compiled by Wolfgang Lin, GMPSA/B, SPSA Star 3 Gordon Watson, PPSA, England n 3D Division Compiled by Eugene Mitofsky, APSA, PPSA Master 19 Bruno Braun, MPSA, Germany Bob Ginn, APSA, a member since 1974, passed away April 16 at the age of 80 in Arroyo Grande CA after a five-year battle with cancer. He served as Executive Vice President of PSA from 2007 to 2009, was awarded the PSA Service Medal in 2009 and was elected associate of PSA in 2016. He was widely known and appreciated throughout PSA for establishing the legendary Georgia Circuits in 1991, first GASO for slides and NORGA for prints, and then DIGA for digital entries. He continued to manage them for nearly three decades, along with several others that he founded later. The success of that format led to the popular plan to organize PSA- recognized exhibitions into circuits. Photography was both a career and a hobby for Bob. He studied media and mass communications at the University of CA, Berkeley, and was active in the National Press Photographers Association as a working photojournalist covering many high- profile events and war situations, including POW experience. After he retired as chief photographer of the prestigious LA Times, he enjoyed rock climbing, showing Cornish Rex cats and hybridizing daylilies, while also pursuing a second career as a free-lance and stock photographer. His dedication to PSA, and particularly the PJ Division, was significant, and he accepted many invitations to judge exhibitions in person across the US and overseas. With professional photojournalism credentials and experience, he al
42 • PSA Journal • June 2026 • www.psaphotoworldwide.org PSA Journal • June 2026 • www.psaphotoworldwide.org • 43 Division News, Activities and Announcements Elena McTighe, HonFPSA, MPSA, ESFIAP, Editor pid-journal-news-director@psa-photo.org Pictorial Image (PID) If you have an item of national or international interest concerning a PSA activity that you wish to appear in the news, please email a brief article to the appropriate News Editor. General News/ Calendar of Events items can be emailed to the Journal Editor at editor@psa-photo.org. Abbreviations used in these columns (no periods after letters): CC = Camera Club PA = Photographic Association PS = Photo Society PC = Photo Club PG = Photo Guild PGr = Photo Group (All others spelled out) Information about divisions can be found on the PSA Website www.psaphotoworldwide.org Round 1 of Landscape Competition was judged by distinguished Mountain photographer, Thomas Crauwels from Switzerland, at the 7th Landscape Webinar on Image Analysis of the Landscape entries. Thomas showcased his work and emphasized the various parameters required for mountain photography. He announced the competition results during the webinar held on December 6, 2025. The webinar was attended by 74 attendees. The Popular Vote saw strong engagement, with approximately 90% of entrants participating in selecting their preferred image from both classes. For more information, please contact Landscape Competition director, Mohammed Arfan Asif, FPSA, MPSA, EFIAP/d3, pid-ipc-director@psa-photo.org Round 1 of Portrait Competition was judged by a panel of jury comprising Larry Cowles, HonPSA, GMPSA/p, SPSA, EFIAP/d3 (USA), Gabriel Shaughnessy, (Ireland) and Karen Mofatt McLeod, EPSA, BPSA, (New Zealand). The Image Analysis for the Portrait competition was presented by Larry Cowles and Gabriel Shaughnessy. The event also had award winners, Clinton Kemp, (USA) and Catalin Arcu, QPSA, (Romania) presenting the practical workflow for their award-winning images. The event was attended by 55 attendees. The Image Analysis Webinar for Round 2 of the Portrait competition conducted on March 14, 2026, featured Image Analysis by Carol McNiven Young, EFIAP/g from the UK. The Webinar had 77 attendees and apart from the Image Analysis, five entrants shared their insights on their award-winning images. Four of these entrants were from Group C and were new PSA members from Russia. They had translators on site as they talked about their images. During the 60 minutes session, the results were declared. After the webinar the On Saturday, April 18, the PSA Gem State Chapter held a field trip to a large horse ranch located in Baker City, Oregon, approximately two hours from Boise, Idaho, where most chapter members live. The ranch raises cattle and world class quarter horses. This was the season for calves and foals, and the group was allowed to photograph in the ranch pastures with the beautiful Blue Mountains in the background. The photoshoot included a variety of photo opportunities including horses, cattle, tractors, horse tack, and barns at multiple locations. This field trip was arranged by Lisa Hlavinka, Chapter Vice Chair, who made the arrangements through a mutual friend who has a home in Baker City. The chapter agreed to provide photos to the ranch as a thank you and payment for the ranch allowing the chapter to visit. Chapter board members, Lisa Hlavinka and Darin Hlavinka, Treasurer, traveled to the ranch on Friday, April 17, to scope out the area and prepare for the group the following day. Those who attended carpooled that day and photographed from 9am to 4pm. This field trip was open to all Gem State Chapter members. Non- members were asked to pay $15 which gave them Gem State Chapter membership for the rest of the year. CHAPTER NEWS By Joanne Stolte, HonFPSA, MPSA, EFIAP, ESFIAP Gem State Chapter Holds Spring Horse Ranch Field Trip © Gregory Metzler © Gary Taylor © Gregory Metzler In the Tack Barn © Darin Hlavinka PSA Chapter Chairs Attend Quarterly Zoom Meeting On March 27, 2026, Abbas Kapadia, APSA, MPSA, GPSA, EFIAP, chaired the quarterly PSA Chapter Chairs Zoom meeting, where Chairs shared updates on activities since December 2025. Jim Bodkin, APSA, PPSA, BPSA, AFIAP, PSA Chapters, Clubs, & Councils Vice President, reviewed the PSA Chapters Website, Newsletter Contests, and new ads promoting the Student Membership program, along with plans for Student Member and PSA Scout Participation activities. Joanne Stolte, HonFPSA, MPSA, EFIAP, ESFIAP, shared an ad inviting Student Members to submit images for the quarterly FIAP News, and previewed some submissions received. She also updated the group on the Chapter News column in the PSA Journal, highlighting growth in articles over the past 18 months. Roger Crill, Director of the PSA Chapter Showcase, provided a Chapter Showcase update and asked the host Chicago Chapter to submit a non-judged display entry. The next meeting is June 26. Photographing in Ta
44 • PSA Journal • June 2026 • www.psaphotoworldwide.org PSA Journal • June 2026 • www.psaphotoworldwide.org • 45 Lisa Marie Cirincione, PPSA, AFIAP, Editor, lisacphotography@icloud.com Photo Travel (PTD) Image Discussion Groups provided by Isaac Vaisman, APSA, PPSA One of the main purposes of the Photo Travel Division is to attract and encourage the PSA members to join one of the PTD Image Discussion Groups. At present, we have seven groups, each with a maximum of seven members. Unfortunately, interest and participation among some current members are declining, so not all groups have seven participants. As previously expressed by the Chair and other members of the board, this year, a new path in the Photo Travel Division was created to enable participation in both the PSA and FIAP exhibitions. Previously, PSA had only the Photo Travel Division Documentary (PTDD), with very strict guidelines that discouraged FIAP members from participating. FIAP had created a Photo Travel program called World in Focus, in which PSA restrictions did not apply. The new PSA path is called Photo Travel World in Focus (PTDW). The definitions of both star paths were printed in the April Photo Traveler Newsletter on pages 6 and 7. Historically, the PTD IDG only accepted images that matched the PSA definition, but now both PTDD and PTDW images can be submitted for discussion, and the maker will decide whether to participate in the exhibitions with their images. If you are interested in participating in any of the discussion groups, please contact Isaac Vaisman, APSA, PPSA, First Vice-Chair of the PTD Board and PTD-IDG Director, at isy@vaisman.us. If you are curious about the discussion groups, please visit here and have a look! psa-programs.com/ptd-idg/about/. Officer Positions provided by Carolyn Todd- Larson, PPSA, AFIAP The Photo Travel Division announces two positions that are available as of the Fall 2026 Elections: PTD 2nd Vice Chair and PTD Secretary. Interested PSA members should email Carolyn Todd-Larson, PPSA, AFIAP, Division Chair, at ptd-chair@psa-photo.org. In that email, discuss why you are interested in working for the Photo Travel Division, your experience in PSA, and what qualities/skills you will bring to the Division. A Nominating Committee has been appointed to review interested candidates. 2nd Vice Chair Duties: The Photo Travel 2nd Vice Chair shall assume the place and duties of the 1st Vice Chair in the event of a vacancy and shall assume the Chair duties if both the Chair and 1st Vice Chair are not available to serve. The 2nd Vice Chair is a regular participant in executive committee meetings. The 2nd Vice Chair shall also assume such other duties as may be assigned by the Chair, with the approval of the executive committee. Such duties usually involve directing one of the existing Photo Travel programs or starting a new Photo Travel initiative. Secretary Duties: The Photo Travel Secretary is a regular participant in executive committee meetings and shall keep, maintain, and publish minutes of those meetings. The Secretary shall request, assemble, and compile the Semi-Annual and Annual Reports of the Division, which must be submitted in writing to the PSA Divisions VP before each PSA Board meeting. The Secretary handles general correspondence for the Division and assumes such other duties as may be assigned by the Chair, with the approval of the executive committee. Individual Image Evaluation Service provided by Tom Tauber, APSA, MPSA The Individual Image Evaluation Service is for members who want to hone their skills. Members may learn what constitutes an acceptable image in one of the PSA Divisions or may use it to preview images before entering them in a club competition or PSA- recognized exhibition. Evaluators provide an email commentary regarding what was good and what could be improved. Topics covered include: exposure, depth of field, lighting, interest, composition, ways to increase impact, ideas for different techniques, how to better communicate a photographic message, and presentation. You may submit as many as three (3) images and their descriptions at a time to each evaluator. You may not submit another set until one is returned. Images must be in "jpg" format; image size shall be no more than 1920 pixels horizontal nor more than 1200 pixels vertical. The saved file should be no more than 5MB. Please direct questions to the division evaluators. Tom Tauber, APSA, MPSA, is the PTD Image Evaluation Director. Evaluations are conducted via: psaphotoworldwide.org/ page/mo-individual-image-evaluation Havana Street Bookstore © Isaac Vaisman, APSA, PPSA results were placed on the PSA website and sent individually to all entrants of this round with their scores. The Individual Portrait competition now has instructions written in nine different languages and PID is working to extend translations to all the other competitions. The PID webpages continue to evolve, with the addition of four more language ve
By Joanne Stolte, HonFPSA, MPSA, EFIAP, ESFIAP, HonFPAA President, Photographic Alliance of America • FIAP Liaison Officer for the United States of America PAA Website: paausa.org Photographic Alliance of America (PAA) PAA News and Updates ® 46 • PSA Journal • June 2026 • www.psaphotoworldwide.org PAA to Award First PAA Distinctions at 2026 PAA Annual Meeting Beginning in 2026, PAA will recognize its members for their FIAP, PSA, and PAA photographic achievements. The first PAA Distinctions will be presented at the 2026 PAA Annual Meeting during the PSA Festival in Las Vegas, NV. The PAA Distinction application lists the photographic achievements that the candidate may have earned and the point value for each achievement. There are also areas where a photographic achievement may be added and the points for that achievement will be determined by the PAA Distinctions Director and the PAA President. Minimum Requirements: There is a minimum requirement of being a PAA member and earning at least the NFIAP or AFIAP and the QPSA. No minimum time of membership in PAA will be required. Proof of having earned the QPSA and AFIAP is not required. Photographic Achievement Points Awarded for: • Each FIAP Distinction (increasing points for each higher level: NFIAP=2 points, AFIAP=5 points, EFIAP=10 points, EFIAP/ b=15 points, EFIAP/s=20 points, EFIAP/ g=25 points, EFIAP/p=30 points, EFIAP/ d1=40 points, EFIAP/d2=50 points, EFIAP/ d3=60 points, EFIAP/d4=70 points, EFIAP/ d5=80 points, EFIAP/d6=90 points, EFIAP/ d7=100 points, EFIAP/d8=110 points) • Each PSA Distinction (not PSA Star Rating) (increasing points for each higher level: QPSA=5 points, PPSA=10 points, EPSA=15 points, MPSA=25 points, MPSA2=30 points, GMPSA=40 points, GMPSA/B=45 points, GMPSA/S=50 points, GMPSA/G= 55 points, GMPSA/P=60 points) • Earning a FIAP Portfolio Distinction (increasing points for each higher level: PFIAP=5 points, PFIAP/b=10 points, PFIAP/s=20 points, PFIAP/g=40 points, PMFIAP=60 points) • Earning a PSA Portfolio Distinction (Increasing points for each higher level: BPSA=10 points, SPSA=20 points, GPSA=30 points, GPSA2=40 points, PSA Journal • June 2026 • www.psaphotoworldwide.org • 47 GPSA3=50 points, GPSA4=60 points, GPSA5=70 points) • Earning the MFIAP (30 points) • Acceptance in FIAP free salon (e.g., We Stay Home, The year 2020, Wildlife Only) (each acceptance=2 points) • Award (including HMs) in FIAP free salon (e.g., We Stay Home, The year 2020, Wildlife Only) (each Award 3 points) • Award image (including HMs) in any PAA- Patronage Salon, beginning January 2024 (Award=5 points, HM=3 points). • Each image selected for FIAP Cloud from each years PAA applications (first image selected in a year=3 points, second image in a year=4 points, third image in a year=5 points, fourth image in a year=6 points) PAA Distinctions Levels • PAA1 (First Level) – Awarded for first 100 Points • PAA2 (Second Level) – Awarded for additional 100 Points for a total of 200 points • PAA3 (Third Level) – Awarded for additional 200 Points for a total of 400 points • PAA4 (Fourth Level) – Awarded for additional 400 Points for a total of 800 points • PAA5 (Fifth Level) – Awarded for additional 700 Points for a total of 1500 points Application Form Download the application form from the PAA web site >About>PAA Distinctions: paausa.org/paa-distinctions. An application will not be processed until application fee is paid. Fees The fee is $10 for PAA1, $15 for PAA2, $20 for PAA3, $25 for PAA4, and $30 for PAA5. PAA Distinction PayPal Payment: psaphotoworldwide.org/page/paa-distinction- payment Sample Certificate Application Form Enter PJD Photo Stories Now! The closing deadline has been extended to July 15, so plan to enter this 50th annual free competition for stories told with images. Each story, although not each image, must meet the PJ definition. PJ Short Story is a series of six images that tell a story from beginning to end without using any words. The full rules are available at psaphotoworldwide.org/page/mo-pjd-short-story. The PJ Photo Story can use up to 20 images and a maximum of 200 words to tell the story. Optional text explaining specific images must be written either on the image or as a separate text slide preceding that image, and is not counted toward the maximum of 20. The full rules are available at psaphotoworldwide.org/page/mo-pjd-photo-story. Every PSA member is eligible to submit two stories in each competition, and the successful entries will be awarded title and acceptance credits toward PJ star ratings. Winning stories will also be displayed at the festival in Las Vegas, in the PSA Journal and on the PSA website. More Winners from the 2026 Ollie Fife Thematic “Unexpected Moment” Our Request by Yamuni Rashmika Perera, EFIAP (USA),The author, a professional photojournalist, reports that “this picture was taken in Colombo, Sri Lanka, where a Buddhist-led party, which opposed the government of the Sri Lankan president over domestic security con
PHOTOGRAPHIC SOCIETY OF AMERICA 84th Annual Photo Festival September 13-19, 2026 The Photographic Society of America Worldwide is pleased to announce its 2026 Photo Festival in Las Vegas, Nevada. The festival will feature world-class speakers, photo workshops and spectacular tours. The PSA Photo Festival provides many great opportunities to share your photographic interests and improve your photo skills. REGISTER AT: psaphotofestival.org FESTIVAL SCHEDULE Sunday Evening: Murder/Mystery Dinner Theater Monday thru Friday: Daily photo tours, workshops, and speaker sessions Tuesday Evening: Grand Opening of the Print Gallery Wednesday Afternoon: Opening Ceremonies Thursday Evening: Keynote Speaker, Essdras Suarez Friday Evening: Keynote Speaker, Erin Babnik, Canon Explorer of Light Saturday: Festival concludes with the PSA Honors Award Banquet Las Vegas, Nevada