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Winners of DIVE Magazine’s Big Shot Portraits Photo Competition

Winner – ‘Blenny With Attitude’ by Ralph Paprzycki: A sarcastic fringehead (Neoclinus blanchardi) on a night dive at Veterans Park, Redondo Beach, California (Canon EOS R5, Canon RF 14-35mm f/4 lens at 35mm, Ikelite housing, Sea&Sea YS-D3 strobe with snoot; f/8, 1/125s, ISO 500)

DIVE magazine has unveiled the winners of its latest Big Shot underwater photography competition, which had “portraits” as its theme. Ralph Paprzycki was crowned the overall winner for a fierce-looking sarcastic fringehead captured off Redondo Beach, California. Ralph beat 200 or so other entries to claim the top spot.

The runners-up were equally compelling: Marcia Riederer’s eye of a dwarf minke whale came in second, Rowan Dear’s arresting leafy seadragon was third, and JillAnne McCarty’s charismatic American saltwater crocodile scored fourth. Moreover, the impressive collection of Highly Commended images demonstrated the high quality of the contest’s entries overall.

Check out all the winners below and head over to DIVE’s website for more on their Big Shot competition.

Second Place – ‘Eye to Eye’ by Marcia Riederer: This encounter happened during a trip to the Great Barrier Reef, in Australia. This curious dwarf minke whale came so close that I could only see her eye, even through my wide-angle lens (Sony A7RV, 16-35mm, Isotta housing; f/6.3, 1/250s, ISO 1000)

Third Place – ‘Portrait of a Dragon’ by Rowan Dear: Having spent several days shooting the leafy sea dragons and their habitat, I decided to switch to the Sony 90mm macro lens for a night dive. While shy at first, this male leafy – who was also carrying eggs – eventually became more comfortable in my presence (Sony A7IV; 90mm macro lens, Red Video Focus Light, INON Z330 strobes; f/18, 1/80s, ISO 320)

Fourth Place – ‘Toothy Grin’ by JillAnne McCarty: This large American saltwater crocodile, in Cuba’s Jardines de la Reina, swam over to see our boat. I slipped into the water and waited with my eye in the viewfinder. As the crocodile came towards me, he suddenly jerked his head and snapped his jaw. I captured the image with his teeth nearly on my camera’s dome port (Nikon D850, Nikon 16-35 mm lens, 240 mm dome port, Nauticam housing, ambient light; f/20, 1/200s, ISO 800)

Highly Commended – ‘Playtime’ by Rowan Dear: Taken at Montague Island, Narooma, Australia. This playful sea lion was zipping through the seagrass. It made for a perfect image of contrasting colours showing these playful animals in their environment (Sony A7IV 16-35mm 2.8 lens, INON Z330 strobes; f/8, 1/200s, ISO 320)

Highly Commended – ‘‘Seacow’ by Romeo Bodolai: This dugong was feeding on seagrass at Marsa Shagra in the Egyptian Red Sea (Sony a7R4, Canon 8-15mm fisheye, Nauticam housing, Ikelite strobes; f/10, 1/250s, ISO 100)

Highly Commended – ‘Trigger Happy’ by Michael Gallagher: Titan triggerfish are notoriously aggressive around their nests during breeding season, and this one was no exception! I snapped this photograph while hurriedly retreating, and it was not until after the dive that I realised that I had captured the potent beauty of this special fish and its formidable teeth (Canon 5D3, Canon 50mm macro lens, Hugyfot housing, dual Inon Z240 strobes; f/11, 1/125s, ISO 400)

Highly Commended – ‘Spotted’ by Michael Gallagher: I encountered this magnificent male parrotfish dozing on the reef during a night dive in Lhaviyani Atoll in the Maldives (Canon 20D; Canon 60mm macro lens, Ikelite housing, Ikelite DS-125 strobe x1; f/16, 1/100s, ISO 100)

Highly Commended – ‘‘Hair Ball’ by Michael Gallagher: Frogfish must be one of my favourite fish of all time, and this hairy frogfish must be one of my personal favourite underwater sightings (Canon 50D, Tokina 35mm macro lens, Hugyfot housing, Inon Z240 strobe with snoot; f/22, 1/200, ISO 200)

Highly Commended – ‘Nobility’ by Imogen Manins: I regularly visited this individual during freediving sessions at Ricketts Point Marine Sanctuary, Port Philipps Bay, Australia. The rocky reef was covered in a lush carpet of green seaweeds of the Caulerpa genus, providing rich feeding rounds for the bigbelly seahorse (Olympus TG6, Backscatter Air Lens, Olympus housing, video light MW4300; f/3.2, 1/160s, ISO 100)

Highly Commended – ‘Prince of the Waterfall’ by Romeo Bodelai: Traunfall is a breathtaking waterfall in Austria with excellent visibility (10-15 m) and underwater rock formations, along with plenty of large pike (Sony a7R4, Canon 8-15mm fisheye, Nauticam housing, Ikelite strobes; f/22, 1/2s, ISO 100)

Highly Commended – ‘Embedded’ by Christian Horras: At the end of a dive around Anilao, I saw this little blenny and decided to try a different take for a picture. I used a slow shutter speed, a snoot and a little camera movement to create the effect in the picture (Nikon Z8, Nikon 60mm macro lens, Seacam housing, Seacam Seaflash 150D strobes; f/16, 1/10s, ISO 64)

Highly Commended – ‘Playful Calf’ by Vanessa Mignon: Every year, humpback whales travel to Tonga, to mate and give birth. During that time it is possible to swim with them. That day we saw a small fin break the surface, and start swimming in circles, a sign that it was a calf coming up for air while its mother was resting below (Canon 5D Mark IV; Canon 16-35 mm lens, Nauticam housing; f/6.3, 1/160s, ISO 320)

Highly Commended – ‘‘The Pinch’ by Fabi Fregonesi: An anemonefish with a shrimp delicately perched on its head with the anemone as a frame, Lembeh Strait, Indonesia (Canon 5D Mark IV; 100mm Canon lens, Nauticam housing, 2 Inon Z330 strobes; f/18, 1/250s, ISO 100)

Highly Commended – ‘‘Orange Beauty’ by Miguel Ramirez: While diving in Wakatobi, Indonesia, I was lucky enough to see this beautiful and rarely spotted spinecheek anemonefish (Premnas biaculeatus) (Nikon D500; Nikon 85mm lens, Hugyfot housing, Inon Z330 x2; f/25, 1/200s, ISO 100)

Highly Commended – ‘‘Shining Seahorse’ by Stefano Colombo: I had my buddy backlighting while I used a snoot for filling in the front of the seahorse during a muck dive in Tulamen, Bali (Canon EF 5DMKIV; Canon 100mm macro lens, Isotta housing. Inon Z330 strobes, Snooty Snoot; f/13, 1/200s, ISO 320)

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11/06/2025
Processing Portraits – A New Toy…

I’m working on a new people-based photography project and decided I’d give Skylum’s Portrait Editor a try. New toys are always fun. Here’s one of the early results. Very pleased with the look given the demanding desert conditions that the tool had to deal with! More soon… and if you want to check out Aperty you can do so here.

The post Processing Portraits – A New Toy… appeared first on Stuck in Customs.

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04/06/2025
Business Owner Portraits For A Beverage Brand – A Photo Editor

By Craig Oppenheimer, Wonderful Machine

Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Pricing & Negotiating services on the Consulting Services page of our website.

Concept: Portraits of business owners, and images of them interacting with products at a manufacturing facility
Licensing: Unlimited use of up to 30 images for five years from first use
Photographer: Portraiture specialist
Client: Beverage brand

Summary

I recently helped a portrait photographer create an estimate and negotiate a project for a beverage brand. The client was launching a new product within a larger portfolio of beverage companies and wanted to capture portraits of business owners interacting with their products at a manufacturing facility. The images would help tell the story of the product’s origins and the people behind it.

The shoot took place over a single day and focused on five main setups with variations on the same themes. The photographer and crew worked to capture 30 final images. Although the client initially requested unlimited use across all media, based on the creative brief and our discussions, the images were primarily intended for use on their website and social media. While they were not willing to restrict media use, we did convince them to limit the duration of use to five years.

Fees

Traditionally, photographers in this market have undervalued usage, and local clients, such as this one, were accustomed to more conservative rates compared to other major markets. I priced each of the five main setups at $1,500, totaling $7,500, and added a creative fee of $2,500, bringing the total fee to $10,000.

Crew

We kept the crew lean, including a first assistant for both the scout and shoot days and a Digitech for the shoot day, all at rates appropriate for this market.

Styling

After a call with the agency, they asked that we include light prop styling in our bid, with a dictated prop budget of $750. We factored in a prop stylist for both prep and return time, in addition to the shoot day, and detailed the prop budget as instructed, while noting that the final amount would depend on the creative direction. We also added a hair and makeup stylist and noted in the “client provisions” section at the top of the estimate that the client would be handling their own wardrobe.

Equipment

We allocated $1,000 for the rental of the photographer’s own gear as part of the production.

Misc.

We allocated $750 to cover mileage, parking, meals, and any other unforeseen expenses on the shoot day.

Post-Production

We allocated a few hundred dollars for the photographer’s time to create a web gallery for the client and set a rate of $100 per image for retouching, allowing up to one hour per image for each of the 30 images they would select.

Feedback

The estimate was received well, but they asked if we’d be willing to reconsider the time limitation and grant perpetual usage. I suggested that we at least double the photographer’s fee, but we ultimately included an extra $5,000, bringing the total creative/licensing fee to $15,000. While I would have preferred a higher fee, I think the shelf life of these images would likely have been around three years.

Results

The photographer was awarded the project.

Follow our Consultants @wonderful_at_work.

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24/05/2025
Portraits And Still Life Images For Cosmetics Brand – A Photo Editor

Concept: Portraiture and Still Life Images for Cosmetics Brand
Licensing: Unlimited use of all images captured for one year
Photographer: Beauty and Still Life specialist
Client: Cosmetics brand

Summary

I recently worked with a photographer to help them develop an estimate for a campaign promoting a cosmetic brand’s new product. The brand wanted still life images as well as images of the product in use by professional talent in a studio setting. The creative brief called for a mix of minimal setups against a white background, along with a few scenarios that involved prop styling and set design.

Fees

The client initially presented a shot list that included eight main shots. One of the shots was identified as a key visual while the others were considered supplemental. Although they requested unlimited use of all images, they were willing to limit the duration to one year.

I felt the key visual was worth $5,000, images 2-3 were worth $2,500 each, and the others worth $1,000, totaling $15,000. I had wanted to include an additional few thousand dollars as a creative fee. We understood, however, that we might be pushing the limits on the fee as it was. Ultimately, my goal was to keep the bottom line in check and stay under $50k total.

The agency, surprisingly, asked us to include a licensing option specifically for 110% of the one-year rate to include a pre-negotiated rate for a second year. In most cases, when pre-negotiating a duration extension, I’m accustomed to a request for a reduced rate compared to the original fee. I clarified this request on a call with the agency art producer. Sure enough, they explained that they’d be willing to pay 110% for an additional year, so I included that cost for the licensing and for the talent.

In addition, the client requested we present a firm bid, rather than an estimate. I noted this at the top of the document. In this scenario, the photographer keeps any unused funds if the cost of the production is less than anticipated. This also means, however, that they would need to cover any overages if expenses were higher than anticipated. Overall, we were very confident in these fees/expenses based on the working relationships with the specific crew members, styling team, casting director, talent agents, and locations we anticipated working with.

Crew

Although the production was rather straightforward, we included a strong team to help quickly execute the vision. To that end, we added a producer, first assistant, second assistant, digital tech, and production assistant, all at rates appropriate for the specific market.

Styling

The creative brief definitively called for a prop stylist to create a few background elements and manage the products. The photographer already had a local stylist they wanted to work with. We included rates we received from them, which included their prep, shoot and wrap time. There was a need for very minor wardrobe styling, and this prop stylist was able to take on both roles. Separately, we detailed the anticipated prop and wardrobe costs, along with their kit fees and miscellaneous expenses potentially incurred in the process of acquiring all of the necessary items. We included a hair/makeup stylist and, as there were a few shots that involved close-ups of the talent’s hands holding the products, we also included a manicurist.

Casting and Talent

I included a rate received from a casting agent to help us find one subject based on the talent specs provided by the agency. The agency planned to pay the talent directly, but I discussed an appropriate talent fee with the agency producer. I noted this in the line item without having that line item impact our bottom line since the billings would go through the agency.

Locations

We included $2,500, which would allow us to afford a generously sized studio in this particular market.

Equipment

We included appropriate rates for the rentals the photographer would need in order to execute the creative vision. In addition, we also included fees for the digitech’s workstation as well as production supplies to make everyone comfortable on set.

Meals

I based this on $80 per person for 19 people, which included breakfast and lunch.

Misc.

I added $500 to cover any unforeseen expenses. We also noted a fee for insurance, which the agency specifically asked that we include. I often calculate insurance fees based on 1-2% of the bottom line.

Post-production

We just included a fee for the photographer to perform an initial edit of the photos and help make selects because the agency would handle retouching. As a separate fee, we included a line for hard drives, delivery, and archiving.

Results

The photographer won the project. Shortly after, however, the shoot was postponed, and then quickly brought back to life with an increased scope that included two talent. This increased the shot list in addition to production expenses. As a result, we increased the creative/licensing fees by 50%, added a producer pre-production day to handle the changes, increased wardrobe, added another manicurist, added a hair/makeup stylist assistant, and increased casting and talent. We also were asked to include some extra equipment to help facilitate remote viewing by a few clients who would be unable to attend the shoot in person. Here is the final estimate, which was approved:

Follow our Consultants @wonderful_at_work.

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13/05/2025
Leadership Headshots And Environmental Portraits For A Grocery Retailer – A Photo Editor
Andrew Souders. Wonderful Machine

Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Building Estimates service on the Consulting Services page of our website.

Concept: Executive Headshots and Environmental Portraits
Licensing: Perpetual Publicity and Collateral use of 7 images
Photographer: Portrait and Lifestyle Specialist
Client: National Grocery Store Chain

Summary

I recently collaborated with a photographer to develop an estimate for a corporate portraiture photoshoot for a US-based grocery retailer. The project’s goal was to capture the authenticity, approachability, and leadership of the company’s Chairman/CEO and President/Vice-CEO.

We planned for the shoot to take place in a single day at a store location in the Southwestern US. The client would plan to coordinate the schedule to minimize disruption to store operations and, at the same time, allow the photographer to accomplish everything they needed to.

Deliverables included 4 high-resolution headshots and 3 environmental portraits, all licensed for perpetual publicity and collateral use. They intended for these visuals to enhance the company’s marketing materials, reinforce its brand ethos, and connect with its customer base on a more personal level.

Fees

The client’s brief outlined a need for Publicity and Collateral use for the imagery, which informed the pricing structure. We determined that perpetual usage rights were appropriate for this particular project.
- Perpetual usage relates to the duration the client can use the images. Perpetual usage means the client can use the images indefinitely. But, the usage is still confined to the agreed-upon media (in this case, publicity and collateral).
- Unlimited usage, on the other hand, implies no restrictions on the type of media placement, often making it broader usage for things like paid advertising.
Why Perpetual Usage?
- Leadership portraits don’t stay relevant forever. Executives update their photos every few years, so setting a time limit on usage would likely expire after the images are already outdated.
- It simplifies things for both the client and the photographer. No need to track expiration dates or negotiate renewals for images that won’t be used long-term anyway.
- It encourages repeat business. Even with perpetual rights, occasional leadership changes (just in the age and look of the person, or who’s in the actual role itself) mean new photos will be needed. Making the process easy builds goodwill and increases the chance they’ll return to the same photographer.
- The intended use is long-term but not commercial. Since these images are for PR and internal branding (not paid advertising), perpetual licensing makes sense — it’s a one-time cost for the client, with not much downside for the photographer.
The creative and licensing fee was set at $3,500, a rate reflecting the project’s somewhat smaller scope balanced with the longevity of the usage rights. We also included a tech/scout day, priced at $500, to allow the photographer to familiarize themselves with the location and refine logistical details.

Crew

We included a first assistant at $500/day, with an added 25% payroll fee, bringing the total to $625 for the shoot day. Given the shoot needs, the inclusion of the photographer’s trusted first assistant to handle equipment setup, lighting adjustments, and management of digital workflows was of great importance.

Styling

We allocated $875 for a men’s groomer/hair and makeup stylist to be present on shoot day. This role would also include light wardrobe adjustments, providing the professional polish necessary for high-quality headshots and portraits.

Equipment

We allocated a conservative budget of $250 to cover any supplemental equipment needs. The photographer owned most of the required equipment, but additional backdrops were necessary to achieve the desired aesthetic for the headshots.

Misc.

To cover incidental costs such as meals, parking, and mileage, we included a budget of $200. We noted these expenses were to be billed at cost to provide flexibility while maintaining transparency.

Post-Production

We budgeted $300 for the initial edit and client review, hosted on a web gallery. We allocated an additional $700 for retouching seven selected images, priced at $100 per image to include up to one hour of retouching work each. This process ensured each image met the client’s expectations and upheld the brand’s standards.

Results

The photographer was awarded the project, and the shoot was scheduled to take place within the following weeks!

Follow our Consultants @wonderful_at_work.
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10/05/2025
Best Sports Photo Background Ideas for Stunning Athlete Portraits
One way to improve your sports photos is to get the right background. Choosing the right background can make or break a sports photo. Whether you’re capturing individual headshots, team portraits, or promotional images, the backdrop plays a crucial role in setting the tone, reinforcing branding, and making the subject stand out.

In some cases, a transparent background gives you max flexibility, while other scenarios call for a bold team-branded backdrop, a dynamic stadium setting, or a clean, neutral tone. Check out some of the best background options for sports photography—including field and court settings, team logos, dramatic lighting effects, and templates—to help you create impactful images every time.

Sports photo background ideas

The “field”

Using a real sports environment helps establish context and energy in your shots. Some great location choices include:
- Stadiums: A stadium backdrop can emphasize the grandeur of the sport, making it ideal for professional headshots or team portraits. Be mindful of the composition—an empty stadium creates a different feel than one filled with fans.
- Tracks: A running track or cross-country trail provides a sense of movement and purpose. Position the athlete at a starting line for an action-driven portrait.
- Beach: Perfect for sports like beach volleyball, surfing, or running, the ocean and sand can create a lively, high-energy image. Plan your shoot during golden hour for the best lighting.
- Indoor arenas: Basketball courts, hockey rinks, or even boxing gyms provide an enclosed environment with controlled lighting. Use a wide aperture to blur out distracting elements while keeping the athlete as the focal point.
- Sports fields: Soccer fields, cricket pitches, or rugby grounds offer a natural, open space that works well for solo and group shots. If the field is in use, position your subject in an area with minimal distractions.
Gyms and locker rooms

For an intense, gritty look, gyms and locker rooms can provide a compelling backdrop. Weight rooms, benches, and training spaces add authenticity, making the athlete’s preparation a key part of the story.

Use directional lighting to highlight muscle definition and create dramatic shadows. If shooting in a locker room, frame the shot to include elements like jerseys, team logos, or open lockers for added storytelling. Pay attention to the composition. You can avoid cluttered backgrounds by positioning your subject in front of an open locker with a neatly arranged jersey and equipment, for example.

How One Sports Photographer Uses Path to Edit Photos for 16 Teams Every Season

Urban settings

Cityscapes, iconic landmarks, or industrial settings can be excellent backdrops for sports photography, especially for athletes who train outdoors. This option works particularly well for individual portraits of runners, cyclists, or street athletes.

Again, be mindful of busy backgrounds—use a shallow depth of field to keep the focus on the athlete. Early morning or evening shoots often provide softer light and less foot traffic.

Smoke or lighting effects

If you want to add drama, using colored lights, LED strips, or smoke effects can create a bold, high-impact background. This is a great option for marketing shots, posters, and social media content.

Smoke and lighting effects can create a variety of looks, so the possibilities are truly endless. In the examples above, you can see how smoke and fog add dama to photos of a dirt biker, soccer players, and a football player.

In some cases, you may shoot with the smoke, lighting, and fog on location—in others, you may add it in during the editing process. Find out how to add smoke and fog to photos in this tutorial.

Branding

Showcasing team identity is always a smart choice. You can use the team logo or colors, or a sponsor’s logo and colors. Solid or gradient backgrounds in team colors can create a consistent, polished look.

Image source

Blur

A blurred background helps isolate the subject and remove distractions. This technique is useful when shooting in a busy location, like a crowded gym or an active playing field.

There are a few ways to get a blurred background:
- Shoot with a shallow depth of field: Use a wide aperture (e.g., f/2.8 or lower) to blur the background while keeping the athlete sharp.
- Use motion blur: Works well for dynamic shots where slight movement is captured.
- Edit the background in post-production: If you can’t get it in-camera, you can add the blur effect during the editing process. Find out how to blur the background in this tutorial.
Neutral

A clean, neutral backdrop—like gray, white, or black—keeps the focus on the athlete. This is a solid choice for profile shots, media use, and professional headshots.

Use a softbox or ring lights to help maintain even lighting without harsh shadows. Seamless paper or collapsible fabric backdrops work best for the backdrop materials.

Transparent

For maximum flexibility, a transparent background allows you to place the subject onto any background later. This is especially useful for promotional materials, digital content, and merchandise design. You can find out how to make a transparent background with this tutorial and in the video below:

https://www.youtube.com/watch?v=SXTiQNtoQS0

Editing your sports photo backgrounds

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Sports photo background FAQs

What’s the best background for a team photo?

A stadium, team-branded backdrop, or a solid color with team colors works well for team portraits.

Should I use a green screen for sports photos?

A green screen can work if you plan to replace the background, but good lighting is crucial for a clean result.

What’s the advantage of a transparent background?

The advantage of a transparent background is that it gives you flexibility to place the subject onto different backgrounds later, making it ideal for marketing materials and graphics.
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21/04/2025