American Society of Photographers MAGAZINE...was a member of Wedding and Portrait Photographers International (WPPI), and a member of The Triangle Institute of Photography. Terry joined

Volume 4, Winter 2019

MAGAZINE“the next level”

American Society of Photographers

©Ella Putney Carlson

P.3DON RAUPP

WHO YOU GONNA CALL?

P.5DENNIS HAMMON

WHAT DOESIT TAKE?

P.8ELLA PUTNEY CARLSON

A UNIVERSE OFPOSSIBILITIES

P.17 PHOTOGRAPH GREECE

CHECK IT OFFYOUR BUCKET LIST

2 American Society of Photographers

800.638.9609 ASofP.com 3

In MemoriamNancy Holowitz 1939 - 2019Nancy (Terrien) Holowitz, 80, beloved wife of 61 years of Jack Holowitz. Nancy along with her husband, Jack, together for over 55 years have owned and operated Holowitz Photography in Springfield. She received the ASP Honorary Educational Associate in 2007 and was a life member in ASP.

Arthur Wendt 1928 - 2019Arthur Wendt, 91, and his wife, Eileen operated a photographic portrait studio in Stoughton, Wisconsin for 40 years. He was well renown in portrait photography and had received nearly every award possible. He was an avid china collector and historian. A life member in ASP, he earned the ASP Fellowship in 1982 and the ASP Educational Associate degree in 1983.

President’s MessageASP Announces Another Member Benefit

“The ASP Advisor Program”

“We were born to share knowledge. That’s how we all acquired it in the first place”

Rolling into this festive season, I’d like to wish everyone a Merry Christmas and Happy

Holidays. I can’t wait to see everyone in Nashville to welcome our first-time degree recipients and share in the fun at the ASP Saturday Night Shindig and Monday Night Gala.

At this time of the year in our industry, we like to take a deep breath after the busy fall season and evaluate the progress made on

this year’s goals and start to plan for the coming year.

One of the things that has benefited me the most was to seek out advisors in the key areas of my business where I felt I needed help or wanted to grow.

We can’t be strong in every area, so it is key to find an advisor or mentor to help you improve your skills and reach your goals.

We are photographers, so I’m guessing most of our strengths lie in the creative process. But, we all know that it takes much more than that to have a successful photography business.

If you take a serious look at your business, you should be able to identify areas that could use improvement as well as new areas for growth and personal achievement.

Maybe you need guidance with selling, pricing, print competiton, lighting, posing, managing staff, equipment, telephone techniques, Photoshop shortcuts, or any other thing you can think of. Seek out

advisors in areas were you don’t excel.

Another thing to think about is your exit strategy. As photographers, we find it hard to ever imagine putting the camera down and retiring. Age 65 is not the time to start planning. Seek out a qualified financial planner so you can enjoy the fruits of your labor.

The members of ASP are some of the most talented and giving people

in our profession. One key to our growth is our willingness to help each other. The more you know, the more you grow.

Each of us possess unique talents and skills that we can share. One of the reasons ASP was formed was to inspire each other facilitate the sharing of ideas.

Your Board of Governors has formalized an Advisors program. Much like the “Give a penny, Take a penny” you see at store checkouts, the Advisor program gives us all a chance to share our strengths and benefit from the expertise of others.

To participate in the program, simply fill out the forms on the ASP website. The committee will pair you based upon your specific needs.

http://ASofP.com/special-projects/asp-advisor-program/

This and other progams are announced via email. So please read your ASP messages to stay informed.

See you all next month at ImagingUSA. And, don’t forget your cowboy boots. h

Don Raupp, M.Photog.,Cr.,CPP

“The more you know, the more you grow”




Board of GovernorsPRESIDENT — Don Raupp

CHAIRMAN OF THE BOARD — Gabriel Alonzo

GOVERNOR — Dennis Hammon

VICE PRESIDENT — Steve Clark

GOVERNOR — Tony Corbell

GOVERNOR — Richard W. Trummer

PRESIDENT-ELECT — Leslie Kitten

GOVERNOR — Ella Carlson

GOVERNOR — Karen Nakamura

SECRETARY/TREASURER — Sabina Cavalli

GOVERNOR — Kevin Floyd

EXECUTIVE DIRECTOR — Jon Allyn

The ASP Magazine is the official publication of the American

Society of Photographers, Inc., published four times a year for members, advertisers, sponsors and others in the photographic industry to inspire, educate, and share information of industry matters, personal achievements, and news and events of this and other associations.

Acceptance of advertising, or publishing of press releases does not imply endorsement of any product or service by this association, publisher, or editor.

Permission is granted to similar publications of the photographic industry to reprint contents of this publication, provided that the author and the ASP Magazine are credited as the source.

Articles, with or without photographs, are welcome for review for inclusion in this publication. Please understand, the editor reserves the right to refuse publication, or if accepted, the right to edit and use on a space available basis. Send all communications, articles and advertising to the editor.

Jon Allyn3120 N. Argonne DriveMilwaukee, WI 53222

414.871.6600

[email protected]

M.Photog.,Cr.,CPP1170 Pontiac Avenue, Cranston, RI 02892

401.340.9144 [email protected]

M.Photog.,Cr.,CPP.,F-ASP1323 Clover Lane, Ft. Worth, TX 76107


M.Photog.,Cr.,CPP.,F-ASPP.O. Box 51918, Idaho Falls, ID 83405


Cr.Photog.,CPP.,EA-ASP8640 Guilford Road, Suite 208, Columbia, MD 21046


Cr.Photog.,Hon.EA-ASP180 N. 3 Mile Road, Fort Gibson, OK 74434


M.Photog.,Cr.,CPP.,EA-ASP5194 Sassafras Drive, #101 Fitchburg, WI 54711


M.Photog.,Cr.,CPP3212 Woodrow Road, Lubbock, TX 79423


M.Photog.,M.Artist,Cr.,CPP.,F-ASP.,EA-ASP175 Lowell Street, Dunstable, MA 01827


M.Photog.,M.Artist,Cr.18114 Dalton Avenue, Gardena, CA 90248


M.Photog.,Cr.,CPP104 Putney Bridge Lane, Simpsonville, SC 29681630.699.2072 [email protected]

M.Photog.,Cr.,CPP1658 Pebble Beach Blvd., Green Cove Springs, FL 32043


M.Photog.,M.Artist,Cr.,CPP.,F-ASP3120 N. Argonne Drive, Milwaukee, WI 53222



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ASP Fellowship In Memoriam

Terry Deglau, 1940 - 2019

Terry and his wife Gretchen, both graduates of RIT, returned to Latrobe, PA to join his father Henry, a professional photographer, at Deglau Studio. Terry was very active in photographic organizations. He was the youngest President of the Professional Photographers of PA and a charter member of CameraCraftsmen of America. He was a life member of the American Society of Photographers and received the Honorary Fellow of Photography. He was a member of Wedding and Portrait Photographers International (WPPI), and a member of The Triangle Institute of Photography. Terry joined The Eastman Kodak Co., in Rochester, N.Y. He traveled the world, teaching photographers in 17 countries better ways to create photographs using Kodak film and paper. His career was filled with many notable experiences, including creating a group photo of world leaders at the United Nations and photographing four U.S. presidents. He exemplified the statement “If you find a job you love, you’ll never work a day in your life.” h

The goal of American Society of Photographers (ASP) is to “promote education, foster fellowship, and perpetuate the ideals of photography as a science and an art.”

In keeping with its dedication to the pursuit of the ultimate in creativity and excellence, the ASP instituted the Fellowship in 1970.

The ASP Fellowship is not only one of the most prestigious honors in

photography, but it is one of the most self-satisfying to attain.

We asked some ASP Fellows about their thoughts prior to pursuing the degree. The vast majority had felt they were “unworthy” or not ready for the challenge. For a long time, Ella Carlson (2019) didn’t believe that the fellowship was an obtainable goal for her and that only the “Legends of Photography” were able to achieve it. Both William Branson III (2012) and Kristi Elias (2019) shared that “to be the best” the next logical step after receiving the PPA Master’s degree was the pursuit of the fellowship. ASP Fellow, Michael Thompson’s (1997) goal was to be the best creative artist he was capable of becoming. He saw the ASP Fellowship as the “ultimate achievement”. Helen Yancy (2004) said it best, “It’s not about any kind of validation. It’s about reaching higher and within, to find the best there is and the real artist in you.”

When asked how long it took to prepare their submission, the answers ranged from several months to several years. Cheri Hammon (2018) stated there is a mental process to go through. It requires deep reflection and soul searching to realize your true passion and the path you took to become the photographic artist you are today. For most, writing the personal paper became an emotional roller-coaster as they relived their journey.

Helen Yancy said there was a theme to her images, because she wanted to

present what was meaningful to her as her art and not necessarily what was going to be meaningful to the judges. Most importantly to Helen and other fellows, was that they wanted to do it for them and be true to themselves so that their fellowship would have the integrity that the fellowship deserves.

William Branson III decided to submit a portfolio of all client work, while Ella Carlson wanted to create a new body of work for her. Everyone agreed that the portfolio should make hearts race and offer something for the soul. There is room for all types of photographic expression for the fellowship. The fellowship portfolios have covered the gamut from classical portraits, Alonzo (2018), landscapes, Thornton (2008), food photography, Huang (1996), sports, Rankin (2010), nudes, Hayes (2018), environmental portraits, Whitmire (1976), painterly images, Gray (2009), birds, Campanellie (2010), even aliens Carlson (2019). Without exception, everyone agreed with Helen Yancy (2004) that receiving the ASP Fellow was the greatest accomplishment

Continued on page 7

A Look at the ASP FellowshipDennis Hammon, M.Photog.,Cr.,CPP.,F-ASP






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ASP Saturday Night Shindig

Monday ASP Awards Gala

ASP Membership Certificates

Make plans to attend the ASP Saturday Night Shindig at ImagingUSA. Meet first-time degree recipients and mingle with old friends as we welcome our newest members. Cash bar and live music and door prizes. 8:00PM - 11:30PM. No charge for ASP members and a guest. Please RSVP at ASofP.com>Membership>ASP

at ImagingUSA>Saturday, January 18th>Click Here h

January 20, 2020 is the Annual Awards Gala. Cocktails 7:00 pm with dinner immediately following the PPA Grand Imaging Awards. This black-tie optional event is the place to celebrate with your friends and congratulate the award winners & degree recipients. Meet the man who changed our lives by inventing the digital camera.

Steve Sasson will be receiving the ASP International Award. Purchase tickets at ASofP.com/store/gala

Available upon request Contact: ASP Executive Director, Jon Allyn at [email protected], by phone at 800-638-9609 or through the ASP website.

Remember to take advantage of the Early-bird discount formembership renewal. All renewals done through the website,https://ASofP.com/membership

Sign up for hassle-free auto-renewal and get the Early-birdbilled to your credit card on March 1st.

in their career and the pinnacle of personal achievement.

Many of the fellows are ASP Advisors willing to assist you so you may experience the ultimate challenge.

The Fellowship is a two-step process. The first is a personal paper about your journey. It should share insights to your philosophy of life and photography, how you started, your influences, and challenges you encountered along the way to becoming the photographic artist you are today.

The second step is to assemble a portfolio of 25 exquisite images that are a visual representation of your personal paper. The images should be cohesive in story, look, and design. Whether your portfolio consists of

client work or personal work, it needs to be congruent with your personal paper and reveal your passion. The images are viewed as a collection and individually.

To qualify for application, you must hold one of the PPA Masters degrees, be a member in good standing of ASP and PPA, have completed a minimum of 3 consecutive years of membership in ASP at the time of application, and have earned a minimum of 15 additional exhibition merits during your years of consecutive membership in ASP.

For a complete guide about the ASP Fellow and to access personal papers and portfolios, go to www.ASofP.com/Awards/ASP-Fellows. h

ASP Fellowship (continued from page 5)



A Universe of PossibilitiesASP Fellowship Personal PaperElla Putney Carlson, M.Photog.,M. Artist,Cr.,CPP.,EA-ASP.,F-ASP

Most photographers take photographs to freeze time: to capture a portrait of a child as they grow, to fix in time a gorgeous landscape in

the perfect light, or to create physical memories of a special occasion. For me, photography has become a door that opens into a universe of possibilities.

I am the youngest, by far, of five children. My siblings

grew up a generation apart from me. My status as the family “accident” was underscored by my mother’s commitment to a state mental facility for a nervous breakdown three weeks after my birth.

I had tried to enter this world with my arm over my head; and in his attempt to keep my arm from breaking the doctor tried to push me back into the womb; causing my mother a great deal of additional pain.

During what would be a year and a half stay in the hospital the repeated electroshock treatments she underwent would cost my mother nearly a decade of m e m o r i e s . But as the currents of electricity consumed her memories; one memory, the memory of my traumatic birth was one she would hold on to - one of the few that would remain.

So there I was, an infant, already trying to do things differently, cast as an outsider and the perceived cause of massive and extended family upheaval. Even though I was too young to immediately comprehend the ramifications of my untimely birth, I’ve always had a strong sense of being unique. Set apart from all of my siblings and their children; I grew up on the edge of all of their life experiences.

As a result of my singular status, I spent a great deal of my childhood as an only child. Being alone much of the time, I often watched old movies, especially science fiction. Watching stories inspired me to create them and I wrote roughly crafted stories. I spent more than a

year writing a novel at the age of 12 or 13, only to tear it into pieces because I wasn’t satisfied with it, but only after completing hundreds of handwritten pages. It would not be my last adventure in creating characters.

Photography played a large role in my life then as well. Beginning as a child of about seven, I spent nearly every cent of my allowance on film and on printing

“I’ve always had a strong sense of being unique.”

“We are part of this universe; we are in this universe, but perhaps more important than both of those facts, is that the universe is in us.”

— Neil Degrasse Tyson

“I could potentially create almost anything I could imagine”


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images from my Kodak Brownie box camera. By the age of eight, I was already playing with scale and trying to create images that resonated with a sense of the unreal. I was trying, albeit without much success, to create magic...something outside of my reality.

As a young adult, I continued on with photography, escaping the tedium of an office job by spending weekends in a makeshift darkroom: developer and fixer on the washing machine; bath and toner in the bathtub, and a safelight casting a surreal red glow over everything. In my

early thirties, I worked for a newspaper photographing everything from public appearances by politicians… to an airplane crash… to babies at local summer fairs. In my mid-thirties, I opened my first p h o t o g r a p h y studio where I did weddings, and events, portraits, and c o m m e r c i a l work. I also taught b e g i n n i n g p h o t o g r a p h y and darkroom techniques.

W h i l e m e a n d e r i n g through the different specialties of photography and “learning the craft,” I worked to support us while my husband attended veterinary college, gave birth to two sons, helped to renovate a massive old farmhouse, helped build a new house, and started four new businesses with my husband. Through it all,

photography was always a constant.

Course Corrections

In my forties, I stepped away from professional photography. In spite of the classes I took, the workshops I attended, I felt like I had reached the limits of what I could do in photography. The sense of magical revelation I’d long felt in the darkroom had given way to a dissatisfaction at not having all the artistic control and individualism I craved. I had tried painting emulsion onto watercolor paper with some nice but limited results. I hand-colored photographs, but it wasn’t enough. I decided to go back to college to study graphic design.

ASP Fellowship Personal Paper (continued)

“I could potentially create almost anything I could imagine”



The holy trinity of graphic design was Photoshop®, Illustrator® and a page layout program which, at the time was Quark2. It is important that a designer knows these three programs well. At that point, in the mid-nineties, Photoshop was in its toddler stage, as was digital photography. Even using that early version of Photoshop, it didn’t take long for me to realize that Photoshop was the answer to so much that frustrated me about film photography. Finally, I could accomplish dramatic photo editing and so much more! I could potentially create almost anything I could imagine. A whole new world of imaging possibilities opened up to me. While getting my certificate in graphic design, I spent considerable time pouring through Photoshop books in order to get closer to that unrealized potential in my

own work.

A few m o n t h s a f t e r graduating in 1999, I earned my “Certified A d o b e E x p e r t ” credentials f o r Photoshop and that o p e n e d the door for me to get a t e a c h i n g

job at the university where I s t u d i e d g r a p h i c design. I w o r k e d part-time teaching, and full- time as a g r a p h i c des igner for several y e a r s . E v e n though at that point, I defined m y s e l f as a graphic designer, I continued to do personal photographic work. In addition, I would often bring my camera to work and shoot images for the publications we were designing. In my work as an instructor, photographic principles went hand in hand with teaching Photoshop since many of my students were either professional or serious hobbyist photographers, so photography was still a very important element of

my life.

As I experimented in Photoshop, I was especially drawn to the fantasy and surrealistic imagery. Escher is a particular favorite with his mind-bending, non-sensical illustrations. Other artists whose work I found inspirational were Jerry Uelsmann, Adam Martinakis, and Thom Rouse. I spent evenings and weekends


“I was especially drawn to fantasy and surrealistic imagery ”


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obsessively going through any available Photoshop book or tutorial to figure out how to turn someone into

a metal sculpture or add realistic tattoos. I learned how to use displacement maps to mold images to faces and how to make my subjects look like they were flying. When I couldn’t find tutorials about how create

the desired effects, I spent hours trying to dissect the methods myself. Working in Photoshop had become an addiction.

Transition

In 2004 with both of our kids out of school, we moved about twenty miles north to a small town on the border of Massachusetts, just south of Nashua, New Hampshire. It was at this point that one of my former students invited me to visit a New Hampshire Professional Photographers

A s s o c i a t i o n meeting. It was a truly w e l c o m i n g group of p e o p l e . Becoming an active part of PPA and participating in the continuing education as well as the compet i t ions

became a major factor in the evolution of my work. G r a p h i c design work fell by the wayside as photography once again took center stage in my life.

W i t h NHPPA, I became involved in the larger photographic community including image competition. Aside from receiving scores that were disappointing––– and I’ve had plenty of those, it was an enjoyable and very effective way to hone my photographic and observational skills. I soon joined the Professional Photographer Association of Massachusetts as well,

and I am equally attached to both state organizations… once more it seems, finding myself a border dweller.

I have been a perennial student my entire life, always

hungry for new information. In addition to my two college experiences, I have taken many photographic workshops, including week-long workshops with Joyce Tenneson, Mary Ellen Mark, Chris Callas, Charles Traub, and several others at the Maine Photographic Workshops. I was deeply moved by both Tenneson’s and Mark’s work. I continued learning through the many classes and workshops offered by PPA and its affiliates.

Somehow I never felt like I’d found exactly the right path for myself. I just didn’t seem to fit any of the molds. I had a respectable arsenal of digital skills, but no real direction in


“I was especially drawn to fantasy and surrealistic imagery ”



which to take them. I was a vehicle with no steering wheel.

Bringing Things into Focus

In late 2013, I was informed that, due to more stringent federal accreditation requirements, I was

going to lose my teaching position at the university because I didn’t have a master’s degree. There were only two choices: I would have to stop teaching at the college level or go back to school

again. I wrestled a bit with the decision to go back to college at that point in my life. I had harbored a quiet desire to get my master’s degree since graduating from the graphic design program, but I could not justify the expense. Finally, I had my justification.

When I interviewed with the dean of the MFA program, she took a long look at my portfolio and decided that the visual arts program would be a better fit for me than the photography program because my work straddled the border between photography and digital painting with the amount of image manipulation in my work. I was outside of the mainstream of either MFA program, but fortunately, t h e M F A program was small enough that there was a great deal of “cross-poll ination” between the programs. I was able to see what the photography students were doing and talk with them at length. I was also able to

get critiques from the extraordinary photography faculty while fully participating in the visual arts program.

The MFA program was very challenging and, at times, utterly exhausting. I spent many hours studying the work of visual artists as well as photographers. The program included hour upon hour of critiques by a wide variety of artists and their feedback was based more on the meaning of the work and how it was being transmitted rather than the technical aspects. Gradually, I came to understand that my intentions in making the art were very important and my inability to conform to any previously perceived work models was not.

For my MFA thesis project, I created dozens of mirrored images of tea on the theme of “Reconsiderations.4” These images were made from tea in teapots, tea in cups, iced tea and flowering tea. The imagery was highly manipulated. Toward the end of the project, I started to see faces appearing in



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many of the images. This interested me a great deal, so I began pulling those vague details out and enhancing

those that l o o k e d like facial or bodily f e a t u r e s . It was all the more interesting when the r e s u l t s didn’t look quite like h u m a n

features. I was totally captivated by the possibilities. The tea project evolved into the alien project and I began photographing materials other than tea and looking for any hints of facial features as I worked to develop the images.

Over the past couple of years, my aliens have grown into more and more complex creatures. I started to collect sample images of eyes and facial features to use as reference images, and I worked out my own ways to create eyes from the same materials used to make the creatures. With more fully developed features, my creatures started to really come to life for me. I used Photoshop’s vast capabilities to add dimension and expressiveness to the facial features and body parts. As Photoshop’s brush technology improved, I learned how to create hair and fur, and I started making new brushes from my own photographs of smoke and water.

The first alien for which I really started to combine more extensive digital painting with the manipulated photography was an owl-like creature called “Whoo’s Got the Key.” It took a lot of experimentation and digital hand-painting to transform a photograph of the top of a tea pot into an alien bird, but I really enjoyed the process and “Whoo’s Got the Key” became part of my third diamond photographer of the year case and a part of a solo exhibition of alien art pieces at a New

Hampshire gallery in November and December of 2017. I also began experimenting with printing my images on different media. Many of the prints for the alien gallery exhibit were printed on metal or acrylic because I felt it created a more visceral sense of dimension.

These alien creatures make me smile or even laugh out loud at times. To me, they all have distinct personalities and I can’t help but imagine backstories for them. I try to find new technical challenges to keep things interesting as well. For example, in the case of “Crown Royal on the Rocks,” I decided to try to make a creature that looked as though it were constructed completely out of water, including the arms, fingers and clothing. I’ve made one-eyed creatures, and I’ve made creatures with many eyes. I’ve made aliens that look robotic, and others that are reminiscent of household pets. I’ve made my creatures out of everything from the soap suds on my windshield at the car wash to the Dupont

Circle subway escalator in Washington, DC.

In these creatures, I see echoes of the old science fiction movies I watched as a child, and the extensions of the tricks of scale I tried with my Kodak Brownie. There is, most certainly, also evidence of the hours I spent creating characters with my early writing. Composing them uses the whole range of skills that I’ve learned over my lifetime including every nuance of what I’ve learned in all the many lighting and photography




classes I’ve attended.

Part of what draws me to creating the aliens is the continuing challenge: the challenge of finding new ways

to exploit the potential of digital tools; the challenge of making more lifelike creatures and of engaging not just my imagination, but the viewer’s as well. There seems to be no limit, apart from my own skill set, to making new and more complex creatures.

The insurmountability of the art of photography is another aspect that keeps me involved and engaged.

I can never know everything about this art form, photography, in which we all participate, especially as digital tools develop further and become ever

more sophisticated. There is always another hurdle to conquer. And because I let each creature evolve as I work, my results are never predictable. Each one is a short story whose ending is unknown until I put in the work.

Above all, I believe the main thing that attracts me to this work is that I identify with them: their eccen t r i c i t y , their quirkiness, and their humor. My aliens, like me, are border dwellers. They all start with p h o t o g r a p h s but end up as something utterly transformed. Their genesis is in ordinary objects and yet they gradually develop into something quite exotic. They are sometimes weird, but engaging, and very often they feel familiar, yet distinctly foreign at the same time.

I have found a way to work and flourish in the field of photography that fits completely with my sense of always being on the border of things... of so often finding myself dancing a bit outside of the dance floor. It seems that everything in my artistic life has brought me to this point, and I’m finding it a delightful universe of possibilities in which to live. h

“I see echoes of the old science fiction movies I watched as a kid”



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Ella Putney CarlsonM.Photog., M.Artist, Cr.,CPP.,EA-ASP.,F-ASP

Ella Putney Carlson has a master of fine arts degree from the New Hampshire Institute of Art and has earned professional photography degrees including Master Photographer, Master Artist, Craftsman, Certified Professional Photographer and ASP Educational Associate. Her fine art composites and photography have won multiple Kodak Gallery Awards and Fuji Masterpiece Awards as well as the Diamond Photographer of the Year award in international competition each of the past three years. In 2018, she placed first in both the Photographic Open and Artist categories of the Northeast District competitions and had the first place entry nationally in the artist category of IPC district competitions. She has been teaching photographic imaging at the University of Mass, Lowell since the late 1990’s.

Ella serves on the board of the Professional Photographers Association of New England as vice president and image chairperson. She also serves as on the ASP Board of Governors. Her art has been exhibited widely including the Danforth Museum, Vermont Center for Photography, and DeCordova Museum. Her work has been published in several books as well as the Professional Photographers of America Loan Book, the Showcase Book, and Professional Photographer Magazine, and her book “Fine Art Photoshop” published in May of 2017.

www.ellaprints.com

Randolph “Randy” Bowen Bradford, 1921-2019

A U.S. Army Air Forces Sergeant, World War II veteran, Mr. Bradford was the First President/co-founder of the SC Professional Photographers Association, Chairman of the Board SC Professional Photographers Association, President of the Southeastern

Professional Photographers Association, Chairman of the Board Southeastern Professional Photographers Association, Photographic Exhibition Chairman (SEPPA) 1975-1987, SC Portrait Representative to Council of the Professional Photographers of America 1969-1995, a juror for photographic competitions in all SE states and member of Photographic Exhibitions Committee for the Professional Photographers of America (1986-1988). Mr. Bradford’s employment included Staff Photographer/Reporter Spartanburg Herald-Journal (1941-1943), Aerial Photographer, Army Air Forces (1943-1946), Chief Photographer Spartanburg Herald-Journal (1946- 1949), organized, President and General Manger B & B Studio (1949-1962), organized and owner Bradford Photography (1962-1991), Executive Director Southeastern Photographers Association (1985-1997), and Executive Director American Society of Photographers (1987-1997). He was a former member of the Spartanburg Lions Club, Spartanburg Sertoma Club, Alumni Council, Spartanburg Methodist College, Spartanburg Chamber of Commerce and Sales and Marketing Club. Mr. Bradford was awarded the Photographic Craftsman, Professional Photographers of American 1979, Fellow of Photography, SC Professional Photographers Association 1980, National Award, SC Professional Photographers Association 1963, National Award, SC Professional Photographers Association 1977, National Award, American Society of Photographers 1997, Honorary Master of Photography, Professional Photographers of American 1989, and Honorary Associate of American Society of Photographers 1997. Mr. Bradford was a member of First Baptist Spartanburg where he was an ordained Deacon, teacher/Department Director for the Youth Department for 20 years, Associate Director of Church Training for two years, Director of televised worship services over WSPA-TV for six years, and retired teacher of Adult Sunday School. h

In Memoriam

In MemoriamRoland Laramie, 1927 - 2019M.Photog. Cr. Hon.M.Photog.

Hon.F-ASP, of Willimantic, CT. Roland served as President of the American Society of Photographers in 1977, and the Executive Director of ASP in the 1990’s and was an Honorary life member. In addition, he was a Past President of the PPA, the Connecticut PPA. He also served as Past President and Executive Director of Professional Photographers Association of New England. He was one of a very few people to have received the coveted National Award from three different photography associations. h






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ASP Board NominationsNewly Nominated by the ASP Board of Governors

John Herrel, M.Photog.,CPPHis careers have included chemical engineering, corporate business management, software solutions entrepreneur, insurance sales, financial planning and professional photographer.

For the last 4-5 years he has been the PPSC Photographic Competition Chairman, the Director of the Lamarr School, the PPA Affiliate School in South Carolina and a PPA Councilor from SC. His goal is to get his Craftsman degree in 2021 and then work on a Master Artist degree.

Actively retired for the second time and devoting his time and energy to creating artistic landscape, nature and wildlife images, he enjoys creating images in well traveled and remote and exotic locations. He is focused on creating more creative/artistic images including hand-crafted mixed media prints.

Jenni Knezovich, M.Photog.,CPPJenni Knezovich is a full time portrait photographer that specializes in Seniors and volume sports. Her store front studio has been open full time for 15 years. Jenni has served on the Wyoming PPA Board for 5 years as the membership director, secretary, and currently as the print chair. A single mom, she achieved her CPP, Master of Photography, and Master Craftsman, Wyoming Fellow, Wyoming Service degree, and 25+ bar. She loves speaking, and is passionate about print competition, and serving the industry that has given her so much.

Warren Motts,M.Photog.,Cr.,Hon.M.Photog.,EA-ASP,Hon.EA-ASP,Hon.F-ASPWarren Motts is a Past President of PPA and served as President of ASP in 1983. The same year, he became the first recipient of the Honorary Educational Associate. In 1984, he earned the Educational Associate. ASP recognized Warren with the PPA National Award in 1996 the same year the ASP Gold Medallion was awarded to Dave Swoboda in honor of Warren Motts. His list of accomplishments spans 7 pages. He is always appreciated for his historical tales and leading the ASP Gala attendees in the Pledge of Allegiance.

Warren E. Motts and Daisy Motts formed Motts Military Museum opening it to the public in 1988 at their home in Groveport, Ohio as a 501(c) (3) tax-exempt Educational Organization. Mr. Motts got the idea to open a museum as he traveled throughout America as the Official Photographer on the Bicentennial America Freedom Train.

Mr. Motts speaks to groups all over the country, talking on Military History and sharing the Museum’s goal of honoring the courageous men and women that have served and continue to serve to preserve and protect our freedom.

Check your email for instructions on how to review proposed changes to the ASP Constitution and Bylaws.



Ancient Greece Photographic TourDAY 1, Thursday, April 2, 2020 - Travel day from the

United States. Depart for Greece from New York.DAY 2, Friday, April 3, 2020 - Arrival in AthensArrive in Athens, the classical capital of Greece;

transfer to your hotel. The remainder of the day is at leisure to discover the ancient wonders of this city known as the cradle of Western Civilization and the birthplace of democracy. This evening, enjoy a Welcome Dinner and an orientation meeting with your Tour Manager and fellow travelers. Overnight stay, dinner provided in Athens.

DAY 3, Saturday, April 4, 2020 - Athens City TourThe exploration of Athens begins with a panoramic

drive through the city center. View the Panathenian Stadium and the ruins of the Temple of Zeus and Hadrian’s Arch, built to celebrate the arrival of the Roman Emperor Hadrian. Continue on to visit the Acropolis, the ancient architectural masterpiece built during the Golden Age of Athens and the new Acropolis Museum, a striking modern building built at the base of the monument where many of the original statues from the Acropolis are now displayed. The rest of the day is at leisure. Be sure to walk to Constitution Square, where you might catch a glimpse of the colorfully-costumed Evzone guards, outfitted in the traditional Greek style. Tonight, perhaps walk through the lively Plaka area, the oldest section of Athens, a neighborhood of charming restaurants, shops and sidewalk cafes. Overnight stay, breakfast provided in Athens.

DAY 4, Sunday, April 5, 2020 - Travel Northwest Sightseeing en route to Olympia. Depart Athens via the scenic coastal road to the mighty Corinth Canal, dividing the Peloponnese from mainland Greece. Continue via Nauplion to Mycenae, the heartland of Greek mythology. Visit the Acropolis of Mycenae and the Tomb of Atreus, built around 1250 B.C. From here, drive through the Central Peloponnese Peninsula, whose major cities in classical times were Corinth and Sparta. Continue to Olympia, the birthplace of the first Olympic Games. Overnight stay in Olympia, breakfast and dinner provided.

DAY 5, Monday, April 5, 2020 - OlympiaTour the Olympia Archaeological Site Morning visit

to the archaeological site of Olympia, including the Sanctuary of Olympian Zeus, and the ancient stadium where the Olympic Games were first held in 776 B.C. Then, drive north through the plains of Eliad and Achaia,

crossing the Corinth Strait via a cabled bridge from Rion to Antirion. Pass the town of Nafpactos en route to Delphi, home of the ruins of the Tholos Temple. Overnight stay in Delphi, Breakfast and dinner provided.

DAY 6, Tuesday, April 6, 2020 - Archaeological Tours Archaeological Tour of Delphi, Travel to Kalambaka Tour the excavated site of Delphi and the archaeological Museum, perched on the slopes of Mount Parnassos, declared a UNESCO World Heritage Site. Considered one of the most significant places in Greek history, its stunning setting and ancient ruins are truly inspirational. Walk the Sacred Way to the imposing 4th century Temple of Apollo, site of the most important oracle in the classical world. Then travel over the Pourmaraki Pass towards the small town of Kalambaka, situated amidst smooth sandstone cliffs in the foothills of Meteora. Overnight stay in Kalambaka, Breakfast and dinner provided.

DAY 7, Wednesday, April 7, 2020 - Meteora Sightseeing, Return to Athens

Visit Meteora, meaning “suspended in the air”, with its mystical Eastern Orthodox monasteries incredibly nestled perilously close to the edge of bizarre rock formations. Admire the exquisite specimens of Byzantine art and the panoramic vistas over the Peneios Valley. Afterward, a scenic drive takes you along the coast, past Thermopylae. Arrive in Athens in the early evening. Overnight stay in Athens, Breakfast provided.

DAY 8, Thursday, April 9, 2020 - Depart Greece Transfer to the airport for your departure flight. Breakfast provided.

Price PER PERSON for ASP Members & First Guest (prices per person, based on two adults sharing a room)

Land Only Cost (not including arrival/departure transfers): $2199

Land and Air Cost from New York (includes transfer fees): $3199

Non-Members Welcome — add $200 per person.A Non-Refundable Deposit of $200 per person is due

upon reserving your place. *Gratuity for transportation not included. A suggested

amount of $20 per person is appreciated. h

ASP RetreatApril 2-9, 2020


800.638.9609 ASofP.com 19



Documents

American Society of Photographers MAGAZINE...was a member of Wedding and Portrait Photographers International (WPPI), and a member of The Triangle Institute of Photography. Terry joined