Viewpoint Exhibit History

Tuesday, March 7, 2017 to Saturday, April 1, 2017

Jan Manzi enjoys photographing a range of man-made and natural subjects — often abstracting or isolating them in a way to bring attention to things that might not ordinarily be noticed. As she says, “I find myself responding to the wonderful play of light and shadow that can transform the appearance of a building, a forgotten object, a plant, or a rock.” Sometimes the results are a bit quirky, which can cause viewers to say “what is that?”… followed by surprise at how there can be a quiet beauty in so much that surrounds them, if they only take a little time to look and see.

Jan Manzi first became interested in photography in college when she was able to learn the basics of working in a traditional darkroom and photographing a wide range of subjects. She began large format work after attending her first photography workshop, the Owens Valley Photography Workshop with Ray MacSavaney, John Sexton and Bruce Barnbaum as instructors. Inspired by the work of the instructors and Brett Weston, who welcomed participants to his home, Jan began to see things differently. Using a view camera helped her slow down and to pay more attention to how light can change textures and shapes. Most of Manzi’s work is with a 4x5 view camera and some with a 6x7 medium format camera.

Tuesday, February 7, 2017 to Saturday, March 4, 2017

Street photographers Casey LeClair and John Hernandez share the Main Gallery for this candid and striking exhibit of street photography. Casey’s images are in black and white, contrasted by John's color photos. Together they provide a broad spectrum of what street photography can be. Each photographer has a distinct style and way of looking at their surroundings. From the ironic to the gritty, this exhibit offers a slice of reality from two distinctly different viewpoints.

Tuesday, February 7, 2017 to Saturday, March 4, 2017

Mark Coggins is both an author and photographer.  His images have been used to illustrate his own novels as well as the books of other writers, notably Patricia Cornwell’s Red Mist (end papers) and Roland Barthes’s A Lover's Discourse: Fragments (cover photograph). Most of his photographs are street scenes from cities throughout the world. “I seek to capture people interacting or engaged in a representative activity,” he says. “I hope my work conveys the energy, communal bonds, and in some cases, inherent mystery and alienation of urban life.”

Originally, Coggins used photography to document places he wanted to describe in his books. Then he hit upon the idea of including the photos he was taking in the books. Later, he began to alter the plot of his books to have an excuse to include photos he liked that didn’t have a reference to an existing scene. Now he “moves fluidly between writing and photography, doing both pretty much at the same time.”

Look at his image Zoltar Gets a Shove.  Why is the woman in the photograph pushing the fortune-telling machine through the street?  What brought her to that instant in her life? If Zoltar were to talk, what would he say? These are questions that the viewer asks and then finds herself creating a story to explain.  Coggins’s images portray more than just an instant in time. Somehow, with his writer’s sensibility, he is able to capture a moment that evokes a bigger story—a story redolent with humor and compassion.

Tuesday, January 10, 2017 to Saturday, February 4, 2017

The term that most accurately describes Don Manderson’s current work is Simultaneity. This refers to the simultaneous and insistent nature of the daily sensory experience in an increasingly technical society. This phenomenon is exemplified by society’s constant efforts to leverage the human capacity for concurrent processing of a range of sensory stimuli within social interaction, advertising, entertainment and journalism. Simultaneity is employed in Don's digital montage and video pieces for delivery of personal commentary and aesthetic expression in a manner congruent with the observer’s daily sensory experience.

Tuesday, January 10, 2017 to Saturday, February 4, 2017

Utility wires span fields where a neighborhood disappeared. Gutters and garbage pile knee high in front of a burnt-out duplex. A fire hydrant serves a lonely house on a city block. The residential streets of Detroit are in the midst of rapid change with no end in sight. At night, photographer Bill Schwab travels areas in a fast state of flux, finding large swathes of ruralization and deterioration against a backdrop of skies dramatic in color and mood. Street lights, porch lights, window lights, bridge lights, moonlight shine quietly. During the day, the most aggressive blight removal program in the nation bulldozes its way up and down the streets. In its tracks: ghosts of what was and a spirit that hangs on.

Wednesday, December 7, 2016 to Saturday, January 7, 2017

This year marks Viewpoint Gallery’s 25th anniversary. For this milestone year Viewpoint’s annual juried exhibit, TWELVE, invites submissions that express the relationship between photography and time. Time, of course, is in photography’s tools. Shutter speeds that split a second into amazingly small fractions and “B” – the 19th century carry over abbreviation that puts the photographer in control of the length of time the shutter is open. Time is also in the language used to express photography’s ideas like the much sought “decisive moment” and memories that are held suspended in time like visual fossils. Time for photography is the frozen collision of the instant and also the on-going ooze of long exposures of traffic or wind or the Milky Way. In fact, all photographs are time exposures of longer or shorter durations. Photography is the record of seasons, growth, decay, memories, the past always present yet always past, and dreams. And what of the time spent planning a photograph, then waiting, watching. Or the time after making the initial exposures spent editing, combining, reimagining. Chair time. Time is certainly ever present in photography. This year's TWELVE: It’s About Time.

► Click here to view and purchase images

Wednesday, November 9, 2016 to Saturday, December 3, 2016

Hans Gindlesberger's exhibit I’m in the Wrong Film is a consideration of our troubled relationship to the marginal places that exist in the national landscape. The title of the series is a colloquialism used to indicate a speaker’s disorientation in regard to physical surroundings that have taken on a disconcerting, fictitious quality. In this series of staged and performative photographs, the experience of individual dislocation the phrase describes is applied more broadly, in articulating the collective loss of identity that permeates the rural and post-industrial landscape of America.

Presented as a constellation of narrative fragments, each photograph manifests the shared psychology between a transient character and constructed environments suggestive of Middle America. The character, wandering with alternating senses of desire and reticent detachment amid his surroundings, is an extension of a place no longer able to sustain itself.

Wednesday, November 9, 2016 to Saturday, December 3, 2016

Saying “hola” (‘greetings’ in Spanish) causes your face muscles to move upward in an openly welcoming manner. “Baja” is the land of the beating sun where dust clings to your body like a cheap price sticker and the colors vibrate to distract you from the surrounding hardships. Ingrid Lundquist’s images capture the inner strength of the people as they go about their daily lives, under challenging circumstances, in a less than pristine environment. Hola Baja speaks to the rich texture of this land and the spirit of its people

Tuesday, October 4, 2016 to Friday, November 4, 2016

Probably for the majority of people the word warrior evokes images of the male gender. Yet throughout history women have been thrust into positions of leadership and conflict, rising to the challenge, either alongside men as equals, or in many cases, even better than their male counterparts. Generally it has been men who have written the histories of the world. The heroic actions of women, with rare exceptions, have been inadvertently or intentionally omitted or diminished.

This photographic project seeks to remind all of us that what makes a warrior is inner spirit and strength, not outward gender. Rocky Bull’s subjects are not new heroes, but instead individuals from history who deserve to be recognized alongside and with the same reverence as their male counterparts.  “The photographs of the women that I have chosen are not meant to be imitation portraits of the real persons involved as the actual figures are long deceased. Rather, my work is intended to invoke the collective as well as the unique aspects of the warrior spirit of each of the women shown.”

Tuesday, October 4, 2016 to Friday, November 4, 2016

Silent Auction Party: Saturday Nov. 5, 6:00 p.m. to 9:00 p.m. Details and tickets here.

Featuring an exhibit of carefully selected prints from Viewpoint’s personal collection as well as donations by some of the country's most noted photographers.

The October exhibit at Viewpoint Photographic Art Center in the Main Gallery will include an extensive display of the prints available for purchase at Viewpoint's annual Art Auction Fundraiser and Exhibition—entitled Collectors Edition 2016. Prints from local, regional, national, and international photographers will be exhibited, bid on, and sold in this year’s Auction.

Visit the Auction Event Page for full details on this event, including a link to the on-line Store, which houses the gallery of images that will be for sale at the event on November 5th from 6 p.m. to 9 p.m.

The annual auction of fine art photography is the centerpiece of Viewpoint’s fundraising efforts, enabling the organization to continue to build its outreach, education and exhibit programs.

Artists who have prints included in this year’s auction include: Wynn Bullock, Roman Loranc, Ruth Bernhard, Mark Citret, Charles Farmer, Gordon Hutchings, Gene Kennedy, Roberta Bailey, John Hennessy, Ryuijie, Joan Gentry, John Wimberley, and many more. All images will be online in the Viewpoint Store by mid-September.


Tuesday, September 6, 2016 to Friday, September 30, 2016

The concept for Judy Yemma's project, Farm to Studio, is built on her interest in creating studio portraits of organic subjects.  Flowers were first.  Currently, her interest is in photographing plant-based edibles in unique and unexpected compositions.  More than mere food items in the produce department or in her garden, she finds fruit and vegetables to be complex and beguiling.  "When I look, I see their personalities. I see their relationships to human qualities.  Fruits and vegetables have remarkable lines, color, texture, and character—offering possibilities for conveying emotional qualities (including humor) and for compositions out of the ordinary."

Tuesday, September 6, 2016 to Friday, September 30, 2016

Malcolm Easton's project Keepsakes of Strangers derives from his visits to estate sales at homes of the recently deceased. He focuses on the humbler possessions left behind. These objects—typically stained, dusty or patched—carry hints of their connections to the everyday lives of their owners. Malcolm selects some of these things to be photographed. Working with natural light in his studio, he finds that illumination can bring new life to items that might otherwise seem outworn. He also explores juxtapositions that allow objects to relate to each other in unexpected ways. These inspirations lead him to create small monuments, temporary memorials to the people who handled these objects and kept them close for many years. Using sunlight reflected by a hand-held mirror, he photographs his subjects in isolation. In so doing he intends the images to have one foot in the world of light and another in the void. His intention is to address themes of loss and transformation.

Tuesday, September 6, 2016 to Friday, September 30, 2016

At the age of 91, Francine Moskovitz looks back over her 40 years as an enthusiastic photographer and says, “My journey has been adventurous. I’ve gone from underwater cameras, to single lens reflexes, to digital cameras.” Her work has included painting and sandwiching slides, weaving photographs with Mylar, producing double images with a reflective glass pane, and presently, manipulating and combining digital images. This exhibit follows a photographer’s path from the 1970s to the present, with excerpts from numerous portfolios.

Francine Moskovitz became involved with photography first by joining her husband in scuba diving.  She loved the undersea world and reveled in trying to capture on film the corals and tropical fish. From the ocean she moved to a swimming pool and after much experimenting, ended up photographing nudes, “which brought me my first attention as a photographer!”

Around the time she moved past underwater photography, Photoshop became available, and it opened up a whole new range of possibilities for her.  “Since then,” she says, “every photograph I do is re-worked in Photoshop—sometimes a little, sometimes changed into a new image, or completely re-made into a composite of several photos. Working on photographs at the computer for several hours a day has become a way of life for me.”

Tuesday, August 9, 2016 to Friday, September 2, 2016

In August 2016 the U.S. National Park Service turns 100. This exhibit celebrates 100 years of the beauty and diversity brought to us by our National Park system. For this exhibit we focus on California, with inspirational work by three photographers. Each artist will display some of their finest landscape work for a captivating exhibit of several of California's National Parks. Our coast and ocean and the Point Reyes area are represented by Geoff Delanoy's exhibit, Point Reyes—Fugitive Landscapes. Our mountains are represented by Darvin Atkeson’s images of Yosemite in his exhibit, Capturing Yosemite. California's desert will be represented by Michael E. Gordon in his exhibit, Desert Study.


Monday, August 8, 2016 to Friday, September 2, 2016

In celebration of the National Park Service's 100-year anniversary, Viewpoint Photographic Art Center has invited all high school and college students of photography and students in Viewpoint Workshops to submit photographs taken in national or state parks or other protected lands for an exhibit in the Viewpoint Step Up Gallery. 

This exhibit, entitled National Treasures, runs from August 9 through September 3, 2016. It will coincide with an exhibit in Viewpoint's Main Gallery featuring images from Yosemite National Park, Point Reyes National Seashore, and Death Valley National Park by three prominent photographers.


May 7 Entry period begins
July 16 Entry period ends at 5:00 p.m.
July 18 Entries juried for acceptance
July 19 Photographers notified of acceptance by Viewpoint
July 30 Accepted entries due at Viewpoint

August 9 National Treasures exhibit opens at noon
August 12 Members and Artists Reception, 6:00 to 8:30 p.m.
August 13 Second Saturday Reception, 5:30 to 9:00 p.m.

September 3 Exhibit closes at 5:00 p.m.
September 6 First day to pick up unsold prints
December 10 Last day to pick up prints.

► Entrants may still DOWNLOAD THE PROSPECTUS for additional important details on submitting  images, print sizes, labeling, selling  work and the agreement between the artist and the Gallery.

Thank you for your participation!

Tuesday, July 5, 2016 to Friday, August 5, 2016

The annual Members' Exhibit provides an opportunity to both acknowledge the valuable contributions of our membership, and to exhibit their truly outstanding artwork. This year will be no exception as Viewpoint presents 100 images by its membership. Both the Main Gallery and Step Up Galley will be dedicated to the exhibit. All artwork submitted is new to the gallery and exhibits a wide range of style, format and execution.


Tuesday, June 7, 2016 to Friday, July 1, 2016

Helmut Schillinger: A Different View of Haiti
Helmut Schillinger arrived in Haiti with a naive sense and desire for tropical allure and adventure. He got more than he wished for, the good as well as the bad. Many of his European values were turned upside down, but the misery and poverty that he encountered were often balanced by a natural beauty and a different kind of wisdom that he was taught by the largely illiterate rural population. Schillinger says, "I let you the viewer of my images decide whether what I found and photographed contributes to the view of a still largely African world. Someone said once that Haiti today still has more of the original African lifestyle than Africa now."

Jane Schreibman: Littoral Legacies
Jane Schreibman's photographs were taken by the Arabian Sea, where it touches the shores along Mumbai — here the masses give way endless space.  The sea is thick with dreams; they float on the water, churn through the waves, and end up as mysterious objects on the shore, packages wrapped in palm leaves, bouquets of orange marigolds, or fragments of the Gods. Young girls wander the sands looking for golden cloths and bracelets released to the sea as the Goddesses disintegrate, strange entities emerge from the tides. Walking along this shore is haunting.


Tuesday, June 7, 2016 to Friday, July 1, 2016

Cathy Summa-Wolfe: Hummingbirds: A Flash Ahead of Creation

Cathy Summa-Wolfe's photographs of hummingbirds were taken over several months, always at sunset, on the porch of her ranch home in the hills of San Juan Bautista, California. "After observing their antics for several weeks," says Cathy, "I noticed that the hummers were often more animated as night fell, when they fought each other to get to the last drops of nectar. Most often depicted as spritely flower garden companions, hummingbirds have a distinctly darker and somewhat menacing side. Beautiful and fierce, these tiny flying jewels soon became compelling subjects. I have printed them on metallic paper, to capture their natural iridescence, and in large format, so that the viewer might have a more intimate experience with them."

Larry Brenden: Expressions

Larry Brenden’s ‘Expressions’ are more about feeling the image than about seeing it. By pushing the boundaries of photography they are meant to express a mood or feeling rather than show a subject with infinite detail. Expressive images use the camera in non-traditional ways that can give the images a painterly or abstract quality. Some of the effects used to create the photographs include camera motion with slow shutter speeds, multiple exposures, special lenses, and selective de-focus techniques. The images are printed using minimal adjustments in Lightroom and Photoshop.

Tuesday, May 10, 2016 to Friday, June 3, 2016

Wildlife photographer Douglas Herr seeks partnership with the animals he photographs. He spends the time needed to allow an animal to become comfortable in his presence. This allows the animal to relax and often allows him to use use shorter lenses than are customary for wildlife photography. This in turn allows in the photograph a sense of the animal's preferred habitat. In the ideal photograph, the animal is fully aware of and comfortable with his presence.

Tuesday, April 5, 2016 to Friday, June 3, 2016

Q: How do you turn $5,000 into $10,000?
A: Through a generous anonymous donation!

Viewpoint has been given $5,000 and challenged to match it. This will bring a total of $10,000 to Viewpoint. This match offer will run to the end of the Weston exhibit, which closes June 4th. You can donate online or at the gallery.

Thank you for supporting Viewpoint and the art of photography!

Edward Weston once wrote:

My work-purpose, my theme, can most clearly be stated as the recognition, recording and presentation of the interdependence, the relativity if all things – the universality of basic form . . . In a single day’s work within a radius of a mile, I might discover and record the skeleton of a bird, a blossoming fruit tree, a cloud, a smokestack; each of these being only a part of the whole, but each – in itself – becoming a symbol of the whole, of life.

This unequaled vision of photography resonates throughout Edward Weston’s work and that of his family who continue an artistic legacy that remains vibrant today.

In the work of Brett Weston, we see a deep contemplation of form and through his classic sharp focused contrast we are witness to a master of abstraction.

In the photography of Kim Weston we see generations of photographic acumen and tradition and a versatile style which becomes adaptable and transcendent to every subject, nude, and setting.

In the images of Zach Weston we are able to witness a new perspective in abstraction formed from the intuitive Weston ability to present a subtle story in profound ways which honor his family’s legacy yet looking intently to the future.



Tuesday, April 5, 2016 to Friday, May 6, 2016

In the past two decades, Adrienne Sher has divided her time, artistically, between photography and theatre.  "I find that the two disciplines complement each other very well," she says. "Theater is verbal, collaborative and interactive with the public.  Working in the darkroom or at the computer is quiet, solitary and meditative.  I find the more I learn about photography, the more I exchange ideas and techniques with other photographers, the more engrossed I become, and passionate to learn more."

Sher is particularly drawn to vintage cameras and archaic film formats, small and large.  "I love alternative processes, hand printing, wet paper, the smell of the chemicals, the brushes and glass rods." The images in Underwater are an attempt to capture some of the romance of the hand-processed print using digital tools. All of the images in Underwater are Archival Pigment Inkjet Prints.

Wednesday, March 9, 2016 to Friday, April 1, 2016

The title of Mark Howell’s exhibit, Brief Encounters, alludes to how he usually photographs and to how his photography shifted when he began using digital equipment and processes. For a couple of decades, starting in the early ‘90s, he photographed with 4x5 view cameras (and sometimes a medium format camera) using black-and-white film, and made prints in his home darkroom. “It was a great way to make pictures,” Mark says, “but it involved a lot of labor and a lot of limits.”

Generally, Howell’s photographic process has always begun with wandering around looking for pictures. “With digital cameras, however, my wandering is less burdened and the pictorial possibilities are more varied; the image capturing is less studied, more reactive. I wind up enjoying brief encounters with a wide range of subjects that intrigue or move me. Sometimes, in retrospect, the encounters are facile; sometimes they're of only middling interest. But I'm grateful for them anyway.”

“And every now and then, I manage to turn a brief encounter into a picture that delights or moves me enough that I want to share it. The prints in this exhibit are some of my favorite Brief Encounters from the last four years.”

Wednesday, February 10, 2016 to Friday, April 1, 2016

Today, mistaking plastic debris for food in the Pacific gyre is a common occurrence resulting in the death of countless albatross each year. Plastic is often designed for "single-use" (think straw, cup, bottle) but, by its nature, every molecule ever developed is still with us today. The paradox of beauty, created from artifacts recovered from the remains of dead albatross, generates a message that can more sustainably inform the viewer. We live in a disposable society — what we throw away, we ultimately consume. Before we seek to change what we dislike, we must consider the consciousness and intention that has created what we see.

In the Main Gallery during both February and March, Viewpoint presents Jerry Takigawa's unique and important project, False Food. The plastic artifacts used to create these images were gathered from the remains of an albatross found on Midway Atoll. False Food calls attention to this environmental issue through an ironic aesthetic. It’s a way of taking a global problem and finding a way to make it personal.


Wednesday, February 10, 2016 to Saturday, March 5, 2016

Dennis Scott’s fascination with photography started when he was around 12 years old, with a Kodak Brownie camera, and grew from there. Photography combines both his artistic and mechanical talents, just as his profession, architecture, does. “To produce high-level photographs requires me to travel somewhere where I can leave the daily to-do list back home and concentrate on photography. For me, it can be as close as Harlow’s nightclub in Midtown Sacramento and as far away as South Africa. Presently, my commitment is mostly expressed in environmental portraiture, and journalistic photography related to nature and architecture."

The images in Angkor Views come from a body of work undertaken at Angkor Wat, Angkor Thom, Bayon, Beng Mealea, Preah Khan, and Ta Prohm, a World Heritage Site, in the Siem Reap Region of Cambodia. The work represents Scott’s feeling for the antiquity, craftsmanship, and architecture of the temples created by the Khmer people during the 10th through 12th centuries. “I wanted to capture the mood of the unique architectural spaces through the use of selective perspective and tonality in the prints.”

Wednesday, January 6, 2016 to Saturday, February 6, 2016

Viewpoint is delighted to present an extraordinary retrospective exhibit celebrating fifty years of photography by John Wimberley.

Wimberley says that selecting the images to include in this exhibit wasn't an easy task. "Rather than choose one image from each year, or those fifty which have been most well-received, I opted for an eclectic collection of what I consider to be my best work. My criterion of selection was based primarily on each photograph’s quality of relationship between physical description and spiritual resonance."

"In terms of a human life, fifty years is a considerable period of time," he says. "In terms of a spiritual journey, it's both long and extremely short. As I look back over the decades since I first purchased a camera on April 6, 1966, that duality becomes very striking. Photography has lost absolutely none of its excitement and gratification: whenever I photograph is still like the very first time. I have decades of experience yet am forever a beginner. As I move past the half-century mark, I feel that I’ve only just begun to make photographs."



Thank you to our sponsors!

Kenneth Meyers
Meyers Investment Group of Baird

Platinum Sponsor


Viewpoint Photographic Art Center is the proud recipient of a SMAC Cultural Arts Award grant.

Individual Sponsorships
(Luminance Level & Above)

Diane Tempest

J.B. Jones



Shop on Amazon? Use this link to support us while shopping!


Connect with us on Facebook!