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watercolor interpretations with many
portraits.
“I have been teaching for years,”
including in Europe, mainly for
Americans there. “We did classes in
lots of lovely places. Japan; I've taught
inKorea.”
She works both fromher residential
studio and on location.
Yancy said she is most proud of her
family, she and her husband, a former
letter carrier, have four children.
“And they each have three kids.
That's what I'm most proud of, my
kids,” she said. “The thing that means
the most to me is my family. I have an
amazing husband.”
Her husband could be home by 3
p.m. from his mail route, a help in her
work when their children were grow-
ing up. Now, “I do what I want to do. I
work for peoplewho are nice.”
She's accustomed to “pushing dead-
lines,” and has less of that now that
she's established. “I might change the
fact that I worked too much,” said
Yancy. “I was blessed with having a
professionwhere I couldbe at home.”
She sees many more people work-
ing remotely now, adding, “When I first
became a photographer, it was a man's
world.” She finds women photogra-
phers have certain sensitivity “as do
men. But it's a different kind of sensi-
tivity.”
The men photographers she knew
“only encouraged me, they never tried
toholdme back,”Yancy said.
She's received many Professional
Photographers of America awards and
is one of only a few Americans lauded
as an invitational Fellow by the British
Institute of Photography. The latter has
been in part because of her leadership
in creating ties between the PPA and
theBritish Institute of Photography.
Yancy is also a member of the
Portrait Society of America, Camera
Craftsman of America, and the Society
of XXV. She is one of fewer than 100
Fellows of the American Society of
Photographers, and was honored at
the United Nations with the Medallion
for leadership, service, artistic and
photographic ability by the
International Council for Photography.
