A HISTORY OF THE P P A OF MARYLAND

 At the beginning of 1959, there was no representative group in Maryland for pro­fessional photographers. It is a fact that there was a small group of photographers in Baltimore County, consisting of seven mem­bers, who met for the first time on April 23, 1957 and who, by November i9 1957, had become incorporated and were officially known as the Professional Photographers As­sociation of Baltimore County. The members who were listed were all residents of this County, and there is no indication that any other “outsiders’ were considered or that other “outsiders” were even aware of the existence of this group.

 From the very beginning of this group, their main objectives were three-fold, namely:

 (1) improvement of business techniques and income, (2) improvement of the standards of professional ~photographers, and (3) promo­tion of professional photography.

 During 1958, 1959 and 1960, this small group gathered information on out-of-state asso­ciations, studied legislation on photography, met with neighboring photography groups and associations, and attempted to present some legislation to their own County Council. All of this was accomplished with the pur­poses of the above that have been mention­ed.

 It was soon realized by the members that a larger geographical area was needed in which to work. Also it was apparent almost from the beginning that there must be a larger membership. With these in mind, the Board of Directors on April 20, 1959 voted to change the organization’s name to the Pro­fessional Photographers Association of Mary­land. This was officially approved on June 26, 1959 and is so recorded. The first slate of officers was:

      Henry Patton      President

      Gill Wiseman      Vice-President

      Paul Feder  Secretary

      Red DeAngelis     Treasurer

For the next six years, these names, along with Herb Sorandes, will continuously appear, for these men were the early guiding light and driving force behind this professional group Their objectives, goals, ideals and philosophy are still the foundation of this group and are the main objectives to this day. These men realized from the inception of the organization that professional photo­graphy, if it was to be successful, must be publicized and well known; must separate it­self from fly-by-nighters, kidnappers and coupon dealers; and must give the customer a worthwhile, desirable and beautiful prod­uct. How to achieve these objectives became the full-time interest of the officers. Many methods were discussed, examined, explored and, in some cases, tried -— so that this group of photographers could truly call themselves professional by having high stan­dards and by creating and producing a very acceptable and very appropriate photograph. The means by which this group could hope to achieve the status of professional are still applicable today as they were back in the embryo stages. These few men realized that the goals to be achieved had to be clarified and condensed, so that’ ~all members could see and understand what the objectives were. These men realized that definite goals must be set -- for, if not, then interest would lag, meetings would become scattered, a loss in a sense of accomplishment would occur, membership would drop, and then there would be no organization. From the very beginning of the organization, there were very definite goals established, and the methods of how to achieve these goals. It is interesting to note’ that dues were considered important, and studio owners were charged $25.00, associates $10.00, and an initiation fee of $5.00 that was paid only once, upon being accepted into the group. In 1959 the organization asked that members should follow these prices:

      5x7   $14.00

      6x10  $6.00 - 2 heads

      7x10  $6.00 — 2 heads

      8x10  $8.00 - full length

Is it not strange that these quoted prices do not indicate whether they are for color or black-and-white? Also, no indication that sizes can be larger than 8x10. As can be seen, pricing and the resulting prices were considered important. Coupled with fair and competitive pricing, fair business practices were considered important. Be­tween 1958 and 1965, the Better Business Bureau was consulted frequently for advice on business matters. Also various members of that bureau lectured to the members on re­lated business practices. In conjunction with working with this bureau, there was a constant effort on the part of the organiza­tion to adopt a Code of Ethics acceptable to all members and types of studios. Note should be taken that most of the offic­ers held various positions, and that power stayed concentrated in the hands of a very few members. Members rotated from posi­tion to position, with little or no change in philosophy, policy, goals or objectives.

 Upon examining the roster of members, a fact becomes apparent; and that is that the members were all owners of small studios, depending upon wedding and portraiture pho­tography for their livelihood. To date, each year saw new members joining, but these members were established studio owners who sought business improvement guide­lines; searching for help in combating the fly—by-nighters; asking for help in in­creasing their technical knowledge, and de­sirous of enhancing their creative powers of perception. New members who were that in name and real­ity were few and far between. At this time there must certainly have been photograph­ers who were new to the business, or who were just starting to take the big plunge, or who were working in wedding photography with a limited budget -— but this group re­flects very few of this status. The major reason for this is that the group was de­signed to function as a group of studio own­ers, and others were outright rejected or at least discouraged. The programs for the year showed interest in two areas, business improvement means and methods, and the technicalities of color photographing, printing and retouch­ing. Interest in displaying photographic work was noted at the meeting held in October. At this meeting, the members were asked to submit their best work, so that a display could be assembled and exhibited at the Fort ~1eade Craft Shop. All present seemed to be enthused, and prints were promised. A few names appeared as officials for the 1962 year, although these photographers had been active from the very beginning of the organization:

      Dolly Rouse President

      Ted Morrow  Vice-President

      Beeatrice Head     Secretary

      Bernard Roche     Treasurer

 The roster listing for April 1962 showed 24 active members, and the treasurer’s report at the end of the year shows a total income of $977.43, but with cash on hand balance of $14.57.The only changes of officers for the years 1963, 1964, 19~5, 1966 were in the offices of President and Vice—President. Total in­come for each of these years showed a de­crease of approximately $125.00 per year, and a decrease by 3 to 6 members each year. This loss of membership and resulting loss of income was of major concern for all active members. These losses, plus the pre­sentation at monthly meetings of essential­ly the same type of programs, which concen­trated heavily on business improvement and control of unprofessional, unorthodox and unscrupulous photographers, showed that a drastic change had to take place if the organization were to continue operating as a viable force for professional photographers. A special meeting was held on April 25, 1966. At this meeting, various techniques were discussed that could be tried in an attempt to increase membership by enticing back the old members and bringing in new members. It was realized that old members were leav­ing because of a lack of interest in the As­sociation. This, in part, was due to very little new material being presented at the meetings. As for so few new members join­ing, the officers knew that these people had been discouraged from entering by restrict­ing the membership exclusively to studio owners. A major decision was made that new talent must be presented to the members at the monthly meetings. New not only in subject materials, but new in personality. New people; new subjects were the new theme for future meetings.

 If these new methods (inaugurated to entice membership) failed, it was suggested that the~ Association cease existence. Sc seri­ous was this cessation taken into consider­ation, and since so many members present felt that the Association was about to fail, a vote was taken to determine if this was to be the final meeting. This suggestion was voted down, but the members present felt so unsure in their association, and were so unsure of the continuation of the Association, that new officers were not elected, although. a very experienced group had been working for the Association for a number of years. An energetic and ambi­tious president as needed, and these traits were found in John Vennes who was backed Tom. Scilipoti, with the treas­urer and secretary the same as on the pre­vious slate of officers. In 1966 The president John Vennes, his Vice—President: Tom Scilipoti, and members such as Lou Spears, Herb Goldberg, Herb Sorandes and Spieldock, immediately set about changes in the membership and procuring talent for the monthly meetings. One of the firs: changes was in member -ship rating. three types or three classifications of membership were into effect, as follows -- (I) active, (2) associate, and (3) journeyman.

 Another new concept was the holding of a state convention, with a Ms. Folly Frye, the Virginia P.P.A. President, talking to the officers about the planning and preparation of such a convention.

 On January 9, 1967, another very energet­ic and very devoted photographer took over the reins of the Association, and he continued to devote his entire energies to strengthening the organization. Herb Sorandes continued to follow the plan previously placed forth by his predecessor, and also added many ideas of his own. A state convention was finally firmed up, with the location to be held in the sub­urban area of Baltimore, preferably on the west side so as to entice those close to Washington to attend. The convention was planned not only as a trade show but, more importantly, as a learning session, with emphasis placed on the instruction aspect with sessions planned on various areas of lighting, poses, and color pho­tography. Print judging rules were clearly defined, and prints were asked to be brought to the meetings for judging. Outstanding photographers, photo finishers. retouchers and photographic business personnel were sought selected and asked to teach at a Maryland meeting. Such luminaries as Joe Zeltsman, Herman For­rond, a business management consultant, John McClimont, a frontal projection representative, and a rising star of photo­graphy, one Monte Zucker, all lectured to the members of the Association. In June of this year 1967, the officers decided that Board meetings should be held separately from the monthly meetings because these meetings were becoming too lengthy. Also, the Association’s income was on the rise, with $729.98 reported as ~cash on hand” for June 21 of that year.

At the July meeting, Frank Galeone, Tom Scilipoti, Bruno Leikus and Paul Jordan reported on Joe Zeltsman, stating that his style is completely unique and quite in­teresting. These photographers all a-greed that this man was truly an artist that all photographers should go hear, and with whom they should study. Also, all a-greed that the Association should make a1. attempts to have him come and lecture the Maryland Association. Also, this year saw a great change take place in the style and manner of instruction for the members, because Jack Classon held a one-day seminar from 9 a.m. to 10 p.m. at the Quality Court Motel. His sem­inar, of course, was on print finishing and retouching, which he had learned from Homer ­English.

Another innovative technique was not only a monthly print competition, but a monthly award given to the winners.

 At the end of the year, the Professional Photographers Association of Maryland had completed a radical turn, so the organiza­tion might have a complete change and com­plete rejuvenation. As the saying goes, a fresh new air to sweep through the halls. At the end of this momentous year, and with the beginning of the new year, the Maryland Association could be said to be recovering from certain collapse and death, and was well on its way to total recovery. All of this is due in large measure to dosages of innovative, imaginative and creative help from its leaders. All indications pointed to a full recovery of the Association, and if one examined the group closely, there were all the ingredients that go into mak­ing this Association a national leader, an innovative organization and a promulgator of future guidelines for other photography groups throughout the United States. In 1967 the Maryland Photographers group was almost disbanded. There was enormous talk and much action undertaken to disband this group, for both membership and money had fallen to the point where few members really believed their group was still viable In 1967 the Maryland Photographers group was almost disbanded. There was~ enormous talk and much action undertaken to dis­band this group, for both ‘membership and money had fallen to the point where few members really believed that their group was still viable. Most members felt that the group was no longer performing its objectives. General feeling was that the group had outlived its purpose and usefulness, and that either a vast re­vamping of the organization must be accom­plished or that it just be totally for­gotten, disbanded. Most members were for the latter, but there was new blood in the organization who knew that destroying the organization was not the way to solve the many problems of the group. These men knew that a vast revamping of all phases of the organization was due, and these men had an excellent overall know­ledge of what must be done to preserve the organization. People whose names ap­peared frequently were those of Monte Zucker, Norton Apple, Ronald Schaeffer, Ruth Apple, and Sandy Zucker.

On September 10, 1967, after the conven­tion, it was agreed upon that at future conventions three (3) things must be ac­complished to make future conventions a success, as follows:

(1) There must be a published list of names of trade show exhibitors and a list of program speakers; (2) Each guest speaker must be assigned a host; and (3) The con­vention dates must not coincide with any other conventions or major local events.

On January 15, 1969, a photographer of Un-boundless talent and energy, whose name was known to all photographers of the Mary­land group, whose presence had been felt and seen in all Maryland photography circles, whose very being was photography, and who was never too busy to help other photo­graphers, was finally elected to the Pres­idency of the Maryland group. His name --Monte Zucker. Not only was Monte known through out local circles, but he was be­ginning to gain fame nation-wide. This was what the organization needed -- a man with visionary talents, practical every­day working knowledge of photography, both business and artistic points of view and prestige, both on a local level and a national level. under the guidance and leadership of these tal­ented photographers and business people that the direction of the Maryland group was to be guided for the next six years. The very first and immediate problem fac­ed by these leaders was to show the older members what kind of changes must take place, while at the same time showing these trusted, tried and true members that their ideas and talents were still needed and were not to be tossed out as unusable or as impractical. As we all know, the year 1968 was a year of tremendous changes for many of us, for this was the year that the riots broke out upon the death of Martin Luther King, Jr., and many of our businesses were greatly changed and affected. Some of us were forced to vacate; others moved, and some might even have quit altogether the photography busi­ness. There is no denying that these riots affect­ed many, many events and businesses, and these adverse effects were felt immediately in the Maryland P P of A, for it is duly noted that the banquet held in April had a $200 loss. Even before this banquet took place, it was fairly agreed among the mem­bers that some more innovative, more entic­ing, more interesting events must be planned to draw more members and to encourage others to become members. One suggestion that was put into practice was that of separating the Board meeting from the regular member­ship meeting. An agreement was reached that the Board meetings would be held on the first Tuesday of each month, and each Board member was to supply the meeting place and whose turn it was, so to speak, it was his responsibility to notify other members. During all of the Board meetings, a large amount of time was devoted to making plans for the convention. It was finally decided that the date should be September 8th, and it should be for two days, and that these days should be devoted to a trade show and the emphasis should be on programs that would instruct and inform the members. Throughout all of the meetings, there was a strong emphasis on the instructional pur­poses of the group, and all programs were geared to this desired purpose, the photo­graphic education of the members. Prints, their selection and display, enhancement and acceptance on a national level, was another main point that was always in the forefront of this group’s major aims Monte possessed not only all these afore­mentioned talents, but he also displayed a charisma that is his and only his. These talents, this charisma and those photo­graphers with whom he surrounded himself and had as his officers, all pointed to a vast change, a new wind that would sweep through this organization; and when things settled down, a new Maryland group was to emerge that would be the best professional photographers’ group in the United States. Monte Zucker’s officers were as follows: Morton Apple Vice President, Morris Shearer and Herb Sorandes Board Members. From the very first meeting, new things were to take place. Talk was about having the meetings at one permanent location; also it was decided that dues must be paid at a definite certain time, and that those dues not received on time be pro-rated at differ­ent amounts. Also it was decided to have Board meetings separate from the regular meetings. Also those. who did not pay dues were not allowed entrance to any meetings, and this was strictly enforced. Also charges were set for print competition en­try, and a set price was established for each monthly meeting.

In summation, monthly meetings and Board meetings were conducted on a very profess­ional, business-like fashion, as would be­fit a medical or lawyer group. Many balked at this, but it cannot be denied that it gained power and prestige, for within the group it engendered a feeling of selectivity, power and importance to its members, in­creased proficiency, and added to the treas­ury. All of which were needed. Right from this new start, a keen sense of competition -- professional, business, social and artistic -- sprung up, forcing each member and, in particular, those in contention to do their very best, to go be­yond their very best efforts, and to con­stantly strive to improve themselves, their talents, their business and their products. Those who were not actively in competition soon felt this power, and either began to improve their talents, their business and their products, realizing that this was the only way to do photography, or else they just slipped by and were very soon no long­er seen at the meetings and continued to do photography as they had for years, with no change and little profit.

This competition increased among those in the. power structure, making them better pho­tographers and better business men. Tal­ents and profits all showed a great increase for these years, compared to the previous years up to 1969. Not only was there a truly professional at­mosphere about the group, but the.)conduct­ing of it₃ affairs and the appearance of its members all bespoke of professionalism. Members were becoming more conscious of their outward appearance, for surely the President and his Board members were always dressed appropriately for the occasion.

 At the January 15th meeting, Ruth Apple pre­sented a set of rules for print judging of prints placed in competition and later during the meeting Morton Apple presented a brochure on his unique method of print mounting and print finishing. These two members were to exert a great influence on the future of this group. Their new innovative techniques presented at this meeting were just the beginning of their innovative styles that were to have such an influence on this group and its future course of print competition, print finishing, and in­structional programs.

 In April, at the meeting, it was adopted from an idea of Morton Apple, to have members wear badges. A most unifying move. All the while it must not be thought that the monthly print competition and judging were suffering. Quite to the contrary. The number of prints entered was increasing and, better still, the quality was far superior to anything previously presented. When you consider that you had such talent as Monte, the Apples, Ron Schaefer, Harry Yen, Paul Jordan, Joseph Clipper and others, it can be easily understood that the talent pre­sented in photographic terms was outstand­ing. Not only this, but Monte was finally successful in having a Candid Wedding sec­tion established that was to be used for presenting and judging candid type of mater­ials. This was an extremely popular divis­ion for competition, and many fine examples of this art were to be seen in monthly com­petitions. Talent in this category was increasing as well as sales, for Monte was beginning to teach and spread about his talents in this category. Not only was the quality of the prints far superior to prior prints, but the monthly lecture talents were again far superior to what had gone before in monthly meetings. For example, Charles Gill spoke on painted backgrounds, to many a new subject; Ray Philips spoke on make-up for photography --just a few of the talented people who spoke to the group. Throughout the year, plans were underway to present a convention that would be the best convention that the Maryland Photo­graphers had ever presented. A convention was planned that would present nationally-known and famous talent, but it was not to be all work, for there were plans for much fun, games, food, entertainment and general good times. A convention was planned for much learning and some fun. The location was decided. Adult Education Center at the University of Maryland, and the date was to be in September of 1969. With the outstanding talent to be presented and the entertainment to be enjoyed, it was soon re­alized that the convention price would have to be increased and, thus, a price of $29.50 was placed on the admission to this convention. The talent at this convention was outstand­ing, for such men as Laverne Friessen, Al Gilbert, Ernest Wildi, Joseph. Zeltsman and Martha Zeltsman spoke to those in attendance; and for entertainment there was the Great Kreskin, the mystic and mind reader, a bountiful banquet and an awards luncheon. A trade show was highly successful, present­ing many products that were used by the lecturers, plus much that was new and unique. All told, this portion was very Successful and profitable. The success of this show could be in large measure attributed to the Convention Chairman, H. Morton Apple. Indeed, so outstand­ing was his handling of the, convention that his name was placed into nomination for President, which he won for the year 1970.  His slate of officers was as follows:

Paul Jordan Vice-President

F.    Paul Galeone      Secretary

Ronald Schaefer         Treasurer

with Joseph Clipper, Louis Spears and Monte Zucker as Board members. As a synopsis of what he intended to accomplish during his presidency, Morton Apple stated that teach­ing and workshop programs would be conduct­ed during the year. These aims were accom­plished, for this year was one of the most instructional, with workshops by Monte Zucker and Joseph Zeltsman, lectures by Roy Courneyer of McIntosh Studios, lectures by Alex Shafrin on retouching, print enhancing by Joseph Arnone, and other lectures by Hubert Gentry from Bostwick, and Marty Feins.

In 1970 Morton Apple himself conducted lec­ture tours throughout the United States and one within the State of Maryland. This was a year of learning, of powerful leadership, and an increase in professionalism. The group had so grown that it was now felt that a public relations man was needed, and that also one set permanent meeting place should be established. Laurel was selected, as it was half-way between Baltimore and Washing­ton, and the Washington suburbs whose mem­bership had greatly grown needed a conveni­ent close-by area. Membership was listed at 86 persons, with $3,300.00 in the treasury. Again the annual convention was a great top­ic of discussion, and a focal point of much energy. Again it was realized that dues must be increased to cover the costs of speakers and convention site. An attempt. was under way to get either Kodak, National Color Lab, Meisel or a similar business to sponsor the speakers and, thus, help to de­fray the cost. Some members were against this, stating that this would mean that the group would be beholden .to these commercial sponsors, and would have to do what they desired or would have to give them a cer­tain amount of business. No sponsors were forthcoming, so the trade show was reduced in size and, thus, the con­vention costs were $20 for members, $30 for non-members, and $15 for wives of non-members, with wives of members free. Speakers for the convention were Harry Yen, Joseph Zeltsman, Doug MacDonald and Chuck Riser. As it finally proved, the convention was held in Annapolis at the Hilton, and again was instructional and enjoyable. Joseph Zeltsman was by far the most instructional and influential, and was the most widely at­tended lecturer. There were two banquets the formal banquet held on a Sunday even­ing, and an awards dinner held a day later, at which, as usual, the top awards for the year were presented. During this year, three events took place that was to affect the organization. One was a fun affair, for in July a crab feast and pool party was voted on, with all members invited to attend. A second event of far more consequences and benefits was inaugurat­ed -- that being, upon the foundation and ground work of Ruth Apple, the Maryland group joined the Southeastern Region, and this was agreed upon by a unanimous vote. The third undertaking was upon the insistence of the President, and that was to clean up school photography, with questions to be answered on the legality of school photography. An attempt was begun, but most members were against stirring up a hornet’s nest when they felt that little could be gained by any legal action and, especially, since some members actually made a handsome profit by this type of business. In reality there was a great need to improve this type of business through better business methods and competi­tive bidding. But most schools were willing to accept the gratuities passed on by those entrenched in a given school rather than to accept another company, for these school principals and school board members little realize that this business runs into large sums of money. Again, the photographer is looked down on as a non-consequential, little profit business. This attempt by Morton, Apple to investigate and then bring charges against such a professional section of the photography business met a large amount of resistance. Right from the start, the President engendered heated debate and forceful opposition to any attempt to even meddle in these busi­ness affairs. Opposition came from those members who did school photography, although. no member of the Maryland group was really a leader in this field, and from those’ large corporations whose bulk of business was, schools. These large companies were very. much against any prying into their business affairs, but these companies did not belong to the Maryland group and, on face value, supported no organization of professional photography. Any attempt on the President’s part to get this action in operation met with many de­lays, so it was finally brought up for, a vote and was then generally agreed to shelve the matter until a more auspicious and receptive time. The President was disappointed by this fail­ure, for he felt that this segment of the photography business needed much improve­ments and. many regulations to guide photo­graphers and prospective customers. The President felt that this was a totally un­guided segment of business that gained large profits but was.not bound by rules that governed other school functions whose profits did not equal those of photography. A program for awarding merits on a state level for photography which was begun-by Monte Zucker and Morty Apple really came to fruition under the insistence of the Presi­dent, and the criteria for the foundation of the degrees was the work of Ruth. Apple. This was an important step toward recogni­tion of local talent, both for artistic cre­ation, business enterprising and associa­tion work. It was just such recognition, that further increased morale with the or­ganization, while giving visible reward in return for devotion to the organization. Officers for 1971 were: ‘

Ronald Schaefer   President

James Miller      Vice-President

James von Ruster   Secretary

Sandy Zucker       Treasurer

 After one failure in which the total scene was a gigantic collapse, new racks were con­structed that were portable and met the specifications and dimensions of competition size prints. With the acquisition of these racks, displays of prize winning prints were placed in strategic locations within malls, shopping centers, banks, stores or any pro­tected place that drew a diversified traffic of people. These displays were designed to draw attention to the excellent work that Maryland Professional Photographers were turning out, and to generate business for those who displayed their photographs. President Ronald Schaefer continued on in the tradition of Morton Apple, with emphasis on professional education, particularly the workshop type of education. Mr. Schaefer’s. main objectives were increasing professional­ism within the organization and  more continued emphasis on photographic education. On January 5, 1972, at Colony 7, Joseph Zeit­sman was to give a one-day seminar with prices that were extremely reasonable - $10 for members, $15 for members at the door, $15 for non-members, and $20 for non-members at the door. This workshop/seminar proved profitable, for many members and non-members turned out for the one-day session. It was successful .as only Joe Zeltsman could make a learning session, and those who attended learned much or renewed former ideas. Money-wise, this was again a winner because this was the first time that a seminar/work­shop session had broken even or even showed in the black a profit of $609.00. A star-studded line-up graced the 1972 convention which was held at Bobby Baker’s Carousel in Ocean’ City from September 30th to October 2nd. A full list of nationally famous speakers lectured, explained, instruct­ed and imparted, their knowledge to. The  members  present. And what a line-up of talent--Joe Matthews on bridal’ portraiture; Van Moore on outdoor portraiture, McIntosh on senior high school photography; and Martha Zeltsrnan on print finishing. Indeed this was another great convention in both learning and fun. It shou1d not be thought that the monthly meetings went by the boards ~.: No indeed; the monthly meetings were better than ever, for during this year Mick Que talked on small studio: operation; Ruby Schaefer on children, in and out of the studio; Pete Carragone and Odin Clay on advanced proven business, methods; and Lamar Williamson on how to paint backgrounds. 1972 monthly meetings in many cases were far better than what many other states held during their yearly conventions. At last the degree program was completed, and Fran Bellistri and Ruth Apple did a fine job. The program was based on the national degree program of the PPA. There were three degrees that a Maryland profess­ional photographer could earn  one was an Associate Fellow Degree that required 25 points which must all be service merit points; and a Fellow Degree that also re­quired 25 points, 15 merits that had to be earned in print competition and 10 merit points earned through service. Both of these degrees could be combined into a single degree, and this was the third type of degree. Incidentally, these degrees were to be named as follows - Associate Maryland Photographer., based on service, abbreviated AMP; Certified Maryland Photo­grapher, based on service plus print merits, abbreviated CMP; and the combined de­gree, Associate Certified Maryland Photo­grapher, ACMP.  of degree. Incidentally, these degrees were to be named as follows - Associate Maryland Photographer., based on service, abbreviated AMP; Certified Maryland Photo­grapher, based on service plus print merits, abbreviated CMP; and the combined de­gree, Associate Certified Maryland Photo­grapher, ACMP. Unfortunately just as these degrees were to go into service, and a list of those eligible for the degrees was being compil­ed, Fran Bellistri quit in a dispute. over member eligibility, leaving the remainder of the work to Ruth Apple. With his resig­nation, Jim Chesnut was placed on the Board to fill the vacancy. The year 1973 should certainly be known as the year of the seminar, for three nation­ally known photographers, who had received all types of awards and who were giants in their special sections of portraiture, lectured to the Maryland photographers in one-day seminars. In February, Jay Stock thrilled, instructed and enthralled all in attendance. In May, Leon Kennarner lectured and entertained in an outdoor portrait sem­inar conducted at the Rockville Civic Man­sion; and in October, John Howell lectured on formal bridal portraiture as only he could create a formal portrait. Again, the monthly meetings. were outstand­ing, for Ralph White showed the Maryland group how he worked in his unique style of photography and then Andrew Torres spoke on his’~ style of business, and then Bill Russ showed the group how he used his unique style of on-the-spot candid wedding lighting, and then the Edgars showed the members how they successfully operated at a profit their small studio in a small town and, last but not least. Larry Anspaugh talked about studio pschology and sitter psychology. Of course, there, were other well-known photographer/lecturers who talked to the Maryland group., but the most outstanding were those just mentioned. The officers ‘for this year were dynamic men with farsighted ideas and aggressive meth­ods, as follows:

Jim, Miller President

Dave Hare   Vice-President

Ralph White Secretary

Jimmy von Ruster  treasurer 

Of course, in the next year, 1973, the President was David Hare, with

Ron Schaefer      Vice-President

Jimmy von Ruster  Secretary

Pat Ramsey  Treasurer

The format for the Board meetings and the monthly meetings still remained the same as previous years, but there was a great trend toward internal problems and their solutions. A big discussion with a possible solution was centered around attendance at seminars by non-professionals, who then turned their knowledge into a profitable competition a­gainst the professionals. So it was decided to have those non-members become members, or else they may not come to the seminars. It became obvious to all those in power that a new criteria for membership had to be estab­lished that would eliminate free-loading by a certain segment of the photographic group. Amore strict set of rules, regulations and specifications for print displays was adopt­ed by the Maryland group that made display­ing of prints more practical, profitable and less work for those involved. For the first time in its history, the Mary­land Professional Photographers brought charges of unethical conduct against one of its members -- a member who was in competi­tion with one of the governing figures. Another internal problem was the awarding of merits to Monte Zucker after the initial recommendation of the Board to disbar those merits that would be applicable toward the state degree. This reconsideration was. bitterly contested by some members, and when the final decision was. finally settled, Ruth Apple quit as degree. chairperson over this decision, and Art Smiley took her posi­tion. But this decision caused an initial splitting of members that was later to be felt in a more ominous decision and more widespread splitting of members. At the John Howell seminar, a non-member was admitted to the-lectures, and in order to remove this member, a nasty scene was created. President Jim Miller decided it was the fault of those handling the regis­tration for the seminar and, in particular, the Chairman. This member, Pat Ramsey was asked not to be treasurer again next year. This was again a very decisive move, and it can be seen that sides were beginning to form, sides forming from splitting the mem­bership into two camps. There had always been factions within the organization, but the cohesive power of similar aims, mutual business problems and solutions, friendships and identical aims, overcame these causes from splintering the group. But these fac­tors were now disintegrating, soon, to the point where two separate factions would ex­ist, and then it would be only a matter of a formal excuse to split the organization into two separate photographic groups