From May 12 to June 10, Viewpoint will exhibit the work of two members whose color photography could hardly be more different, O. Truman Holtzclaw and Larry Brenden.

Truman Holtzclaw has been photographing seriously for 22 years, creating a collection of more than 100,000 images. His photographic endeavors have included attending and presenting workshops, leading field trips, competing in and judging competitions, and photographing individuals, groups, weddings, banquets, architecture, and sporting events. After retiring in 2001 (he taught biology for 34 years), Truman started his own photographic company, A Beautiful Image. He is past president of the Sacramento Audubon Society, Sierra Camera Club, and the Gold Rush Chapter of the Photographic Society of America. He also has worked as a park naturalist for the State of California. A world traveler, he still finds that his favorite location for photography is the western United States.

In this exhibit, Holtzclaw presents what he calls Camera-Computer Art—images captured with his camera; then manipulated, enhanced, and abstracted on his computer; then printed digitally. “I compare these new images to oysters,” he says. “People really like them or they really don’t!”

In a collection entitled Reverence, Larry Brenden explores a photographic relationship with nature that has been influenced by many factors. Raised in Washington, he gained an appreciation of lush forest beauty early in his childhood, while his education, including formal training in music and a degree in engineering, fostered an analytical appreciation. Over the last five years, the work and teaching of Robert Glenn Ketchum have helped transform Brenden’s experience behind the lens from merely visual to profoundly spiritual. “Whether walking in the woods, hiking in the desert, or navigating a canyon bed, I find myself mesmerized with nature’s glory. In this moment of reverence,” he says, “peace and purpose combine.”

Brenden’s photographs are captured on film, scanned, processed with Photoshop, and digitally printed. “When processing images in Photoshop,” he says, “I seek to reproduce what the film captured in the moment of reverence.”