Striking Images Lifetime Work of Terry Deglau
Published by The Saint Vincent Gallery Saint Vincent College School of Humanities and Fine Arts 300 Fraser Purchase Road Latrobe, Pennsylvania 15650 gallery.stvincent.edu 724.805.2197 This catalogue is published in conjunction with “Striking Images: Lifetime Work of Terry Deglau” on view at the Saint Vincent Gallery, Latrobe, Pennsylvania, from December 4, 2015, through January 17, 2016. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying, recording, scanning or by any information storage and retrieval system without permission in writing from the publisher. © 2015 The Saint Vincent Gallery Images © Terry Deglau Editor: Ann S. Holmes Design: Seth Harbaugh
Striking Images Lifetime Work of Terry Deglau December 4, 2015 – January 17, 2016
The Saint Vincent Gallery
Welcome to the Saint Vincent Gallery! Every picture tells a story.
strength, and of humor. The shots are strong, but there is an underlying serenity to his art that transcends the images. There is no sense of anger or tension behind the image; whatever is in front of the camera is at its best because of the man behind the camera.
It’s true on many levels. Looking at these images by Terry Deglau, at first you see works that are strikingly composed and visually strong. These images record the relaxed pleasure of a father and son fishing, the joy of a bridal couple on their wedding day, and the breathtaking power of nature.
It has been a great pleasure to work with Terry on this exhibition. Please enjoy these photographs, and the many stories behind them.
Then there are the works done for his professional colleagues, shots that instruct and inspire photographers of all skill levels.
Sincerely,
But when you look even more thoughtfully, you see a reflection of the spirit of the photographer. Terry’s images exude a sense of calm, of
Ann S. Holmes Administrative Director The Saint Vincent Gallery
Reflections…Terry Deglau Taking a moment to reflect on Terry Deglau and thinking about my years of working with him at Eastman Kodak Company is easy. It is a moment of smiles, reverence, and gratitude.
On the personal side, with all of his professional accomplishments, Terry Deglau is a humble and gentle man. He has a sense of humility and confidence which he carries well. No matter whether he was photographing heads of state at the United Nations headquarters in New York City, sport celebrities, or my annual family Christmas greeting photo on a Saturday afternoon in a park, he never lost his ability to connect with the souls of the people he is photographing. Because of the way he carries himself, I can truly say, “He walked with kings, but never lost the common touch.” The excellent skills of his craft, his compassion for people, and his humble spirit make him a true professional photographer.
Yes, Terry is a very accomplished photographer. His skills and “eye” as a professional portrait photographer are unquestionable. The professional photography awards he has won, the respect that he has among photographers in the Professional Photography Association, his nomination and acceptance as a member of Cameracraftsmen of America, all point to his credibility and success. He is among the best of the best. His skills in professional photography and diplomacy earned him the title, in my view, of “Mr. Kodak.”
—Jeff McLeod Former General Manager, Professional Photography Division and Corporate Vice President Eastman Kodak
No matter what the situation was in the portrait market, be it a company opportunity or a huge challenge, I could always go to Terry for a plan of success to seize the opportunity or address the challenge. His credibility, knowledge, and respect in the professional photography industry was a competitive advantage for Kodak. The company was blessed to have him at the helm of our involvement in the professional imaging marketplace.
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About the Artist– A Good Friend’s Perspective Twenty-five years ago, in a galaxy (or at least career path) far far away, I met Terry Deglau. He was with Eastman Kodak, and I was with Hasselblad. There had been some challenges in the relationship between the two companies, and Terry was given the assignment to resolve the problems and be the peacemaker.
Cadillac. We snorkeled for manatees off the coast of Florida with a group of photographers. We explored Yosemite on another trip with our sons. We were even able to spend time in the Florida Keys with the senior President Bush during his annual fund-raiser for the Everglades. My expertise is business and marketing. I don’t make my living as a photographer, but thanks to Terry, I know more than I let on. And when it comes to life, friendship, integrity, and trust, with the exception of my own father, there’s nobody I’ve ever learned more from.
Although I never realized at the time, he would grow to be one of my very best friends and my mentor in becoming a better photographer and, for that matter, a better person. As you look at each image being shared in this exhibit, you’re going to get one of the greatest lessons in photography. You can’t create great images that tug at people’s heartstrings if your own heart isn’t in it. Well, Terry’s heart is in every click of the shutter. It’s in every relationship with every subject he’s ever photographed, even with the landscape around him, like his award-winning image from Yellowstone in the winter.
Meet my good friend, Terry Deglau. Spend a few minutes looking at each print in this exhibit and pretend you’re standing next to him as he’s considering how to best create/capture the image. If you can do that you’ll be standing next to one of the most passionate artists in contemporary photography today. Even better, if you stare at each image long enough you’ll get to know a little more about an amazing artist, but even more about the man!
My life has been a series of adventures with Terry as my sidekick as we’ve traveled all over the United States. We spent a week photographing Yosemite driving Ansel Adams’ 1977
— Skip Cohen Former President Hasselblad USA
A Family Tradition We were always part of my Dad’s business. We grew up in the studio and, because Dad is so extroverted and sociable, his work contacts became family friends, too—hundreds of them. Studio work was also part of our social lives. We got to travel with Dad to trade shows and events, and went along on photo shoots. My sister, Sydney, became a terrific wedding photographer under Dad’s direction, and I had the opportunity to work with him at Eastman Kodak in sales, marketing, and training before he retired. No matter
what we are doing, though, Dad’s example of a strong work ethic, extraordinary friendliness, and open attitude to life and all its challenges continually inspires us. —James Deglau
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From the Artist It’s ironic that a picture is worth a thousand words and yet it’s hard for me to find the words to convey what my life in photography has meant. My Dad introduced me to what would become a different way of looking at life, and learning that almost every memory could be captured and savored for years to come. My photographs reflect my soul, and my soul in turn, with every image I’ve captured, redefines my meaning of life. Alfred Lord Tennyson wrote in Ulysses, “I am a part of all that I have met.” I am a part of every place and person who photography brought into my life. Every day God has given me the gift to be inspired. —Terry Deglau
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portrait I have always loved of our children, Jim and Syd. Simple pose, our front yard, and great expressions. How can you ask for more?
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t was a pleasure and an honor to have been mentored by my father, Henry Deglau, for 20 years. My dad was a master photographer and craftsman. His vision was to “see the light” fall on his subjects, to sculpt their character with light, to show their soul with a hair light, skid light, main light, and just enough fill to add strength. Dad had mastered the art of photography. He mastered it with light, posing, a minimal amount of props, a terrific ability to draw out just the proper amount of expression, and, late in his career… color. He photographed all the powers of industry in Latrobe and Ligonier, including members of the Underwood, Saxman, Rogers, Mellon,
Scaife, and Frick families; Arnold Palmer; and at least five Saint Vincent archabbots. My father loved his portraiture. He told me often that his best portrait would be photographed tomorrow. I think there never was a day when my Dad did not critique my work. He reviewed every order and wedding I photographed. And I will tell you, you needed a very thick skin to hear and address his fair and honest comments. He always said, “Terry, I expect the same criticism of my images from you.” Thanks, Dad, you taught me well. I am a much better photographer because of you, and I hope you see your wonderful style in my work.
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n case you didn’t know, in the winter it is cold in Yellowstone National Park. My son, Jim, and I rode up on our snowmobiles to find this wonderful view of Hayden Meadows at about 7:30 a.m.; it was 20 degrees below zero with 30 inches of new snow on this pristine landscape. A park ranger told me that buffaloes are creatures of habit. See a trail and, sometime during the day, you will see them walking the trail again.
Yes, like clockwork they appeared, walking into my photograph. It was worth waiting three hours. This photograph won the Professional Photographers of America’s best of show award, competing against 15,000 prints. Kodak produced 700,000 Christmas cards of this image. By the way, it warmed to zero by picture time.
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his photograph was made for my two friends, Skip Cohen and Don ‘big daddy’ Blair, who published a photography book called “Body Parts.” I ask you, how do you get a junk yard to open at 7 a.m. on a Sunday morning in Las Vegas? One way—money; I was prepared to offer him $100 to $200 of Kodak’s dollars. How about breakfast only for the crane operator and his son! He asked who the international photographer was; I told him Don Blair and he jumped and said yes! Don had taken his senior portrait 25 years ago in Salt Lake City and his mother loved the pictures.
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his photograph for the United Nations of the heads of state for the 2000 Millennium Conference is the most difficult portrait I ever made. It took six months of planning, weekly UN meetings, and a guarantee that I would get them on the risers, photographed, and off in 20 minutes. We did it in 18 minutes. We also published the image on the internet 30 minutes after taking the photograph, after retouching off half of Tony Blair’s tie, which was outside his suit coat, and removing half of the man in the gold robe’s left shoulder to tuck him behind the tall
man to his left. He stepped into the picture after I had the group perfectly aligned. We had a driver of Malta’s president, his brother-in-law, get in the portrait. I met with Kofi Annan to remove the intruder, a simple move in Photoshop, but Mr. Annan said the picture would be a lie so a correction would accompany each portrait. Australia’s leading newspaper was first to publish, a fact they wanted to hold over the New York Times. My signature must be published with each picture as part of the copyright agreement with the United Nations and Kodak.
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y original concept for photographing Archabbot Douglas was to center him on the most important area in the Basilica, the altar. But after making this test image of the beautiful majesty of the interior of the Basilica, I quickly realized that the proportions were all wrong. The Archabbot would be too small, and any enlargement of him would be out of proportion for the interior.
Three items I like about portrait: 1) by adding two very strong skid lights on his face, light appears to originate from those windows near his head; 2) the Abbot’s charisma includes his terrific smile; and 3) my retoucher wanted to smooth down his hair. But I like some mystery, some mystique, in my portraits, so I love his hair, perhaps a little unkempt, but we know, certainly, he is the leader of Saint Vincent Archabbey and College.
The solution was to angle the interior; now, from the left or from the right? EASY—we are a left-to-right reading nation, so we read our photographs from left to right. Therefore we see the beauty of the interior, the altar, the organ’s magnificent pipes, the rose window, all before we see Archabbot Douglas. Then we see his favorite stained glass window.
This luminous image of the Saint Vincent Archabbey Basilica’s east-facing rose window and organ pipes is printed on Kodak’s ENDURA Premier Metallic paper.
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his portrait features my grandchildren, Alex and Ethan, playing in the creek with their dog, Noah. The photograph had extensive Photoshop done on Noah. The dog was originally sitting four feet to the left of where she is now,
out of the picture and looking at me. By moving her right she is interested in the boys’ activity, and a perfect visual triangle is constructed. Digital photography really allows the image maker more latitude than film photography.
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The bottom left Kodak ad was for teenage magazines, to encourage young people to have professional portraits taken for their families.
op left: Michael Taylor, the PPA president, photographing Mrs. Huntington, of the Huntington Art Museum in Pasadena, California, for Kodak. This ad for professional photography magazines was to show well-known photographers at work with their clients. This portrait of the photographer and his portrait of Mrs. Huntington ran in a single page ad.
The bottom right Kodak ad was for high school senior photographers to encourage students to have casual, contemporary professional portraits taken.
The top right Kodak ad was taken while I was waiting for a professional model to get dressed. All model shots used a professional stylist. I loved to do black on black portraits. Great lighting on her hair gives you a contemporary portrait. Notice the flow of the motion to the left, but abruptly stopping, her eyes flashed to her left.
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great father and son fishing portrait. It took some work to completely surround the portrait with the dark foliage. I stood on an 8-foot ladder to position the father and son in the light area of the water. My only disappointment was I could not find a location to cast their shadow in the water. You see a little shadow cast just to the left of the dock.
grandfather and grandson; what can be more fun? Lighting is important no matter the subject or location. It was the deciding factor for the hour to make this photograph. The light is coming from the right side of this photograph.
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Barred Owl
Mahi Mahi
Baltimore Orioles
Drake Wood Duck
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arty is a master wood carver; his wife, June, is a master artist and graduate of Rhode Island School of Design. At 88 and 90 years of age, they live in Redstone Highlands, which has given Marty a full wood carving studio in the basement of our facility. His passion for carving ducks, birds, and turtles is a vision to work with. Here are four of his carvings.
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taught a class in the Baja Peninsula, Mexico. While I was arranging this model, a strong wind kicked up and I had the opportunity to show how to work with the wind rather than fight it. I slowed the shutter speed to a 15th of a second to record her dress blowing in the wind. I built the pose to the right into that wind and got her hair blowing away and to the back. You can almost feel the wind. And I think it produced a creative and fun photograph.
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his Kodak ad for outdoor professional portraiture ran in consumer publications such as People magazine. Portrait lighting is as important outdoors as in the studio.
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similar portrait in model’s motion with her eyes back to the right and looking at the camera. Specular out-of-focus highlights make large out-of-focus circles or pentathons, caused by the lens shape of the shutter leaves. Using an1/8-inch strip of black tape over the lens causes a split in the out-of-focus circles. I seldom ask for a smile; I love these expressions, which enhance the model’s beauty.
his was a fun shoot with a professional model for a general portrait ad. A stylist did a great job with makeup and her blond hair. The portrait looks interesting with a terrific monochromatic style; monochrome does not have to be black and white. The background was a gold fabric that produced out-of-focus specular highlights, large out-of-focus circles. A narrow 1/8-inch strip of black tape over the lens gives you a very interesting, unusual look. Again, my pose is a strong model movement to her right, then her eyes snap back with a look directly at the camera.
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s Louis Pasteur said, “Chance favors only the prepared mind.” I was to teach a bridal portrait class on Stone Mountain, near Atlanta, Georgia. Our model got lost, so we asked a rock climber to model for us. She put on a slip and gown and was ready to model. She flipped
out the gown, and I saw a fantastic shadow on the back of the gown. Take it when you see it. Be ready. The sun that made this great shot was gone in less than five minutes. If you look closely, you’ll see her hiking boots.
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his ad for the PPA was taken at a library in Jacksonville, Florida.This great female pose shows a lot of motion to the left. I wonder if my constant use of a left motion is because I’m left handed. Standing with her weight on her left foot, motion to her right, her right foot carries no weight, and she stands with weight only on her toes. Hands behind her back show how thin she
is. The flow to the right is accented by the feminine head tilt to the right. And amazingly her face is lighted perfectly. Did the image maker start his pose with her feet in the right place to build this motion ending looking at the light? Guess what, an unequivocal YES, Terry, YES!
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meadow scene in Yosemite National Park, one of my favorite parks to photograph. I would never, ever presume to be an Ansel Adams, but a student of his…YES! On this trip to Yosemite, my friend Skip Cohen and I rode in Ansel’s vintage 1977 white Cadillac. To visit Ansel’s favorite haunt in his boat of a car is a photographer’s dream come true.
ouldn’t you love to be photographed in Yosemite with your Hasselblad in front of Ansel’s Cadillac?
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his is one of my favorite brides because of the pose. To start with I used an old paint drop cloth from Kodak’s paint shop, a stark contrast from the usual bridal shots with a pretty, flowery background. This bride was different: six feet tall, a horse woman, very strong and beautiful. What do you do? Well, for starters, no feminine foot position. Standing tall; bare footed; no shoulder tilt (crazy, every female portrait needs a shoulder tilt), one shoulder high and one low;
and look, no feminine or, for that matter, masculine head tilt either. Her left hand clutching her gown with a fist. And tell me who would hold a nice bouquet of flowers like that? What bride would hike up her gown to show so much leg? And who added the fog? Me, I’m guilty. By the way, her husband replaced her large bridal portrait over their fireplace with this portrait. He said that this was his wife down to the out-of-place hair. MYSTERY, MYSTIQUE, SURPRISE.
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he Madison River is a big part of the beauty of winter in Yellowstone National Park. At 6:30 a.m. you can find herds of elk fording these waters. Unfortunately, I do not have a photo of them.
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ere is an elk just leaving the river, but not a picture I am proud of. The bull should be coming toward me, not escaping into the woods. I waited for his return for what seemed like hours but he outsmarted me. Win some, lose some.
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ost people who look at this photograph comment on it being black and white. I love the mystique in many of my photographs. This is a color photograph of
the waterfalls in the depths of winter and lots of snow. This waterfall is on the east side of Yellowstone in the black bear part of the park.
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country and western singer working in Las Vegas was photographed in the ad agency owner’s home for an upscale magazine portraiture ad for Vogue magazine. A portrait of a woman does not have to fill the entire space. This model’s image is powerful enough to be seen in the space given. The art director wanted to see much of the beauty of the room.
he technical side of Eastman Kodak worked in Building 69. Employees in 69 made many of Kodak Professional Photography’s decisions. This building housed heavyweights like Steve Sasson, the inventor of digital photography, and Ray Demoulin, our general manager and vice president. Ray invented the Shirley negative, a test image of a beautiful woman in a wedding gown to be used by all labs worldwide to balance all color negatives. The first model was named Shirley, and she sat for over 10,000 negatives; I photographed many. I came up with the idea to photograph four Shirleys for four skin color types—black, Asian, blond, and brunette—in bright colors. These were used until digital came on board.
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he artist Roman Verostko in his Saint Vincent studio, at work on large concrete sculpture walls. We became friends as I photographed his work.
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his handsome lad is the late Joe Reilly, a founder and long-time director of the Saint Vincent Summer Theatre.
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OW, photography can be exciting; four days photographing George Bush in the Everglades fishing with his grandson. Can you imagine trying to fish with a heli-
copter flying overhead, 12 park rangers and secret service members patrolling in a boat, a CNN boat with two photographers, and my boat tagging along?
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food photograph to decorate the walls of the Two Sisters Bistro at Redstone Highlands. Food photographs are not
my fortĂŠ but nonetheless I had fun making these images.
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his is my favorite picture of Yosemite. I am standing on Glacier Point looking at Half Dome, Ansel Adams’ favorite Yosemite subject. Without the gnarled pine tree in the foreground, this photograph would be just another scenic picture (probably just an okay picture). Add this gorgeous, photogenic tree and
this picture goes from a D to an A. It is incredibly difficult to get a sky in Yosemite without jet trails, because Yosemite is on the approach for the San Francisco Airport. I was lucky; you probably wouldn’t notice the trail if I hadn’t told you.
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church and to the reception. Our families are still friends so I guess the pictures were fine.
y first wedding was Natalie Carbone of Carbone’s Restaurant. I was only 15. My mother drove me to their home in Crabtree and Nat, Natalie’s father, drove me to the
Here are portraits of Natalie and Vincent Mangini.
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was photographed by the world-famous husband and wife photographers, Joseph and Louise Simone of Montreal, Canada. Joseph is best known for photographing many of the Prime Ministers of Canada. Here he used the Scene Machine by Henry Oles from Texas, a projected digital background. Louise has also painted our President, Barack Obama. Her works are museum-quality.
About the Artist Terry Deglau’s background and contribution is as diverse as photography itself. To any assignment, he brings a wealth of experience. Growing up in a family photography business, knowing how to create the ultimate image is simply in his blood.
• Interfaced with digital & film manufacturing, Kodak senior management, vendors, and Photographic trade associations. • Developed & managed the Mentor Program that contracted well-respected, knowledgeable photographers to deliver a Kodak message. Internally mentored Kodak management on awareness and function of the Portrait Social Business.
He has photographed everyone and everything from President Bush fishing in the Florida Keys, to the heads of state at the UN, to Yellowstone in the winter. His years of experience as Eastman Kodak’s liaison to the professional photographic community added planning, presentation, problem solving, and budgetary skills, to experience.
• Photographed the heads of state at the United Nations for the 2000 Millennium Conference. 1992—1995 Eastman Kodak Company Rochester, NY Segment Manager, Portrait Photographer.
His style, skills and integrity make him an outstanding associate for any project.
Professional Experience
• Managed the launch of the Kodak ProTeam and ProTeam Marketing Books.
2001—present Terry Deglau & Associates Pittsburgh, PA Photographic Consultant.
• Presentation skills and utilization of various resources in regards to AV production, graphic design, and advertising.
1996—2001 Eastman Kodak Company Rochester, NY Trade Relation Manager.
1989—1992 Eastman Kodak Company Rochester, NY Coordinator, Portrait Photography.
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Awards Received
• Lectured on Marketing and Technical Aspects of Portraiture in 32 countries on six continents, and various cities in 48 states.
• Master of Photography and Photographic Craftsman Degrees.
• Corporate communicator to more than 100,000 photographers.
• PPA Director’s Award. • Two PPA National Awards from Professional Photographers of Pennsylvania and Ohio Professional Photographers.
1964—1985 Deglau Studio Latrobe, PA Owner, Photographer.
• American Society of Photographers Honorary Fellowship Degree.
• Owner, general manager, photographer, and lab manager.
• American Society of Photographers Associate Fellowship Degree.
• Photographed more than 1,000 weddings personally; 1,600 weddings through studio in 25 years; 2,500 seniors annually; 25,000 underclass; with studio producing 40 percent commercial photography.
• ASP Gold Medallion award. • WPPI’s Bill Stockwell Award.
Photographic Opportunities
Education
Photographed the heads of state at the United Nations for the Millennium Conference.
1960—1964 Rochester Institute of Technology Rochester, NY
Produced and organized the photography of 100 people for the “Photo of the Century,” July 4, 1999, in Philadelphia.
• B.S. in photographic science. • Graduated cum laude.
Acknowledgements The Saint Vincent Gallery gratefully acknowledges the assistance of all whose efforts contributed to the success of this exhibition.
Lee Ann Ross and Kim Houck Saint Vincent College Mailing and Duplicating
Archabbot Douglas R. Nowicki, O.S.B.
Larry Hendrick and Staff Saint Vincent Facility Management Office
The Benedictine Community of Saint Vincent Archabbey
Cindy Johnson i frame it!, Youngstown
Br. Etienne Huard, O.S.B. Conception Abbey
Heath Davis and Frank King Signs By Tomorrow, Greensburg
Kim Metzgar and Seth Harbaugh Saint Vincent Archabbey and Seminary Public Relations
Saint Vincent Gallery Student Attendants Saint Vincent Student Carollers
Suzanne English and Don Orlando Saint Vincent College Public Relations
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Saint Vincent College Latrobe, Pennsylvania