Thursday, September 30, 2010

New Directions 2011

I have been asked to be the Juror for the New Directions 2011 show at the Wallspace Gallery in Santa Barbara CA.  Here's a bit of info: 

General Information
The submission period for our fifth annual juried show - New Directions 2011 will be open until 20 November 2010.
New Directions seeks to discover new talent in the world of photography. Past shows have included the works of Joseph O. Holmes, Priya Kambli and Joelle Jensen. Each year emerging artists have an opportunity to have their work seen by a nationally recognized figure in the field of photography. From these entries a cohesive show emerges for display at Wall Space in January, and this year we are excited to the opportunity to show ND11 in our gallery in Santa Barbara and Seattle.
All submissions for this exhibition are considered for gallery representation. wall space directors and associates will review the work, however the galleries review will not affect the outcome of the selection process.

David Bram is a fine art photographer and the editor, founder, and curator of Fraction Magazine, an online venue dedicated to fine art photography, showcasing the work of both emerging and very established fine art photographers. Fraction Magazine is now published on a monthly basis. Fraction Magazine was founded in 2008 and is currently on it's nineteenth issue and has shown portfolios from more than 120 photographers.
David has been reviewing portfolios at various events including Review LA, Review Santa Fe, PhotoNOLA, Atlanta Celebrates Photography and Fotofest. He was also a juror for Review Santa Fe in 2010 as well as a juror for Critical Mass in 2009 and 2010. In September 2010, David was the recipient of the Griffin Museum of Photography's Rising Star Award.

Prospectus for New Directions 2011  
The Portrait: "Moments of Being"
As photographers, we look for faces and expressions that tell stories. We look for character. We look for emotion.
We look for the hook, that moment of being that creates a compelling portrait. Like a modern physiognomy, a portrait tells a story equal parts subject and photographer in a single moment.
As the curator of this show, I will be looking for portraits that are edgy and daring. I want more than the traditional head shot. I want to see work that pushes the boundaries of what is normally called a portrait. (Please note: For this show, my interests are not in photo-journalistic photographs of the homeless, the needy, or third world subjects)
Photographs by Emmet Gowin and Sally Mann (for example) show a trust and a relationship between the photographer and the subject. There is a connection that is clear to the viewer; this is what I am looking for. I will also be looking for unique styles and interesting compositions. The images might be quiet, honest, sexually charged, or pure. These portraits, color or black and white, should convey a unique and powerful moment of life.
For more information please contact the gallery.

Important Dates  
Open Submission period - 1 October 2010 - 20 November 2010
Artists notified - 13 December 2010
Prints due to wall space gallery - 2 January 2011
wall space | Santa Barbara exhibition - 4 January - 30 January 2011
wall space | Seattle exhibition - 1 February - 26 February 2011

For the rules and entry links, visit the Wallspace website

The State of Ata - Mike Mandel and Chantal Zakari

Lecture at UNM on Wednesday October 6 at 530pm

Photo Underwear

The underpants you know you're gonna buy



Tuesday, September 28, 2010

Thinner Air by John Mann

John Mann, who was featured in Issue 3 has a new and very limited book available, called Thinner Air.

John was one of my teachers at UNM and is a great friend.  I know how meticulous he is about his work and his printing so I am quite sure this is a terrific little book.

Get it before it's gone

Monday, September 27, 2010

Moments of Being - A portrait show at the Wallspace Gallery

I am so very excited to be judging a portrait show for the Wallspace Gallery in Santa Barbara CA.  When Crista Dix asked if I would do it, I think I said yes before she was even done speaking.

Some details:
You can submit from October 1 to November 20.

The rest are here or feel free to contact me directly (

Friday, September 24, 2010

Going to the Griffin

In a few short hours, I leave for the Boston.  I will be receiving the Rising Star award from the Griffin Museum tomorrow night.  It is being presented to me by Mary Virginia Swanson.  Both are unbelievable to me.

Unfortunately, I have to leave my two girls behind.  And after yesterday's event, I am really sad.

If you will be at the Griffin tomorrow, please make sure to say hello.  I'm sure it's going to be a great night.

Wednesday, September 15, 2010

The Fraction Fund

Fraction Magazine is teaming up with photographer Raymond Meeks to kick of the new Fraction Fund, financial assistance for photographers with incomplete photographic projects.

The concept is this:
Ray has just recently announced "who will stay", the third and final segment of personal journals/artist books, which began with "carousel" and "amwell, continuum".  Together with Fraction, Ray will be offering a limited edition of 50 books which include an original print, signed and editioned.

When the edition sells out, 20 percent of the sale price (approx. $1000), will go towards the Fraction Fund.
We will then do an announcement and a "Call for Submissions".  This will be free to enter.  The photographer will be required to send links (not physical prints, please) and a brief statement about the work and why the funds are needed.  (you do not need to buy the book to enter. you must have a personal website; not flickr, facebook, deviatart, etc). 
The winner be selected by David Bram, awarded approximately $1000 and will be included in an issue of Fraction Magazine.


Info about the book:

Go to and enter "friend" at the login

The print that will be included is 

Tuesday, September 14, 2010

Fuji GF670W Wide Film Camera

Oh sweet lord

This is nice

FUJIFILM Announces the GF670W Professional Medium-format Wide-angle Camera

PHOTOKINA 2010, COLOGNE, GERMANY, September 21, 2010 — FUJIFILM Corporation is pleased to announce the development of a high quality and high efficiency film camera, the GF670W Professional medium-format wide-angle camera as a reference exhibit at Photokina 2010.

Last winter, Fujifilm launched the GF670 Professional equipped with the Fujinon EBC 80mm lens, and the success of this camera led to numerous requests for the production of a series of medium-format wide-angle cameras. The development of the GF670W Professional is Fujifilm’s response to these requests and the latest addition to its lineup of medium-format wide-angle cameras.

Ideal for professional or high-end amateur landscape photographers, the GF670W Professional is a wide-angle camera equipped with the Fujinon EBC 55mm lens that features 6 × 6 and 6 × 7 dual-format shooting for use with 120 and 220 roll film. With its 55mm lens, coupled rangefinder, aperture-priority AE and manual exposure modes, the GF670W Professional produces sharp high quality and wide-angle images. The camera is particularly suited to capturing images of landscapes and the natural environment, and despite being a medium-format wide-angle camera, the GF670W Professional is surprisingly compact perfect for a trip to the great outdoors.

Technical specifications; 
Film: 120 and 220 roll film
6 × 7 (120 - 10 shots/220 - 20 shots), 6 × 6 (120 - 12 shots/220 - 24 shots) 
Lens: F4.5/55mm (8 groups, 10 elements) Shutter: Electronically controlled lens shutter, 4 - 1/500 sec., B 
Exposure control: Aperture priority AE and manual switchover, Exposure
compensation ±2EV by 1/3EV steps, Center weighted averaging metering
Film speed: Manually set, ISO25 - 3200 (1/3EV step accuracy) 
Exposure counter: Mechanical-type counter, 120/220 (switchable), 6 × 7/6 × 6
Battery: Single CR2 (3V) lithium battery

As a leading company in the imaging field, FUJIFILM Corporation will continue to enhance and excite the medium-format camera market, and further contribute to the development of the culture of film photography through the development of its medium-format camera series.

RIP Portra 400NC & 400VC; hello Portra 400

RIP Portra 400NC & 400VC; hello Portra 400

Guest Post by Michael Sebastian

Via the British Journal of Photography, and elsewhere, comes the news today that Kodak has replaced both of its 400-speed Portra professional color negative films, effective immediately, with a single 400-speed successor. The new Portra 400 (no suffix) will be available in 135, 120/220, and 4×5, probably by November. So farewell to my venerable old friends Portra 400NC and 400VC, as existing supplies in the chain are consumed by year’s end.
What does this mean for Kodak, and for film shooters, going forward? As usual, there’s cause for both sorrow and celebration; but  overall, I think more the latter than the former. That is, assuming the new film lives up to its lineage and to Kodak’s recent reputation for hitting new-emulsion home runs—think Ektar 100. Preliminary reports from advance Portra 400 users are quite positive. One shooter in particular, wedding/portrait/commercial photographer Jonathan Canlas of Utah, has used the film and spoken glowingly of it. He’s posted some images he shot on Portra 400 during his recent Film Is Not Dead workshop. Click on the link to access that post, and the three that follow it, to see the images. Thanks, Jon, for posting the work—even though you had to keep the film’s existence under wraps until now.
From Kodak’s manufacturing and production standpoint, this move makes perfect sense. By incorporating its Vision motion-picture-emulsion technology in the making of Portra 400, as it did with Ektar 100, Kodak continues to cross-pollinate and consolidate its still and motion-picture emulsion lines. Given that movie-film sales are keeping the whole analog ship afloat at Kodak, still shooters should be happy to glom onto the cinema train for as long as it still chugs through the film gate. Any advantages of simplicity and scale Kodak can achieve through a still/motion manufacturing convergence redound to the benefit of both camps, but disproportionally to us still shooters. Once Hollywood turns its back on film completely, color film will be absolutely done, the digital stake through its heart quivering with each waning squeeze of the ventricle.
Perhaps the only surprise here—viewed through that highest-resolution optic, the retrospectoscope—is that it didn’t come sooner. It cannot for years have made business sense for Kodak to offer two ISO 400 pro color-neg emulsions to a worldwide market of target users who can’t abandon film quickly enough—emotional attachments notwithstanding. After all, Fuji users have gotten by with only one for quite some time. And the smell of firing-squad cordite in Tokyo has yet to dissipate since the massacre of every other pro color negative emulsion in their lineup. So having only one where there were once two seems inexorable. It will certainly simplify purchasing and storing film; no more wondering how much and in what ratio to buy 400NC vs. 400VC, or what to grab as I leave the house.
This consolidation is quite understandable, too, from an aesthetic point of view. As do I, the vast majority of color-negative shooters these days scan their film, work the digital files in some post-processing software, and print digitally—when they bother to make prints at all. If I’m free to tweak an image in Lightroom, Aperture, or Photoshop, do I really need both a Neutral and a Vivid version of the same film, differing only in characteristics like saturation and contrast that are easily tweaked in the software?  What I really “want”, even if I my head has yet to fully convince my heart, is a smooth, forgiving canvas upon which to paint an image. I want a fine-grained, sharp emulsion that “looks” like film, in all its rich tonal transitions and density of information. But I also want that film to capture the greatest possible color, tonal, and spatial information in the most neutral and forgiving manner, so that I can determine the rest in post-processing. With this move, analog film becomes more like a digital “raw” file, a vast bin of image information waiting to be shaped on my Wacom tablet. This approach seems like the best way for Kodak to acquire or keep film users. Most film shooters for the rest of film’s lifespan will be retro-loving digital converts, considerably my junior, who’ve discovered the beauty of film, but who are used to “doing it in Photoshop” rather than in the camera.
And precisely therein lies the source of my head/heart conflict. In a word, codger-hood. Having come of age shooting film, with decades of experience doing it, I’ve always worked to do things in camera, if not before. Choose an emulsion based on its individual color/contrast palette, your desired outcome, and the light conditions you expect for the shoot. Make your best possible image in camera. Send the film off to the lab you know and trust, whose particular “look” also suits your preferences. The analog prints you got back were the vector sum of all these choices, made before the first frame ever got dipped and dunked. You could see in the image the NC or VC patina looking back at you, validating all your effort and specialist knowledge, proudly acquired.
It’s not surprising, then, that I have set up my post-analog workflow to reflect my film-centric worldview. I scan to capture full tonal information, which produces a rather pedestrian “flat” scanner file. To this file I apply capture sharpening and standardized contrast correction on import into Lightroom or, more rarely, Aperture. I digitally dust-spot and tweak black and white points and tonal distribution, and make small further contrast adjustments. My goal is to do only what’s required to release the inchoate captured-in-camera NC or VC image from its cocoon. Ditto digital printing; I calibrate and profile, but that’s about it. When I look at my prints, I still see the film’s personality in the final image. But as fewer and fewer emulsions remain, I’ll have to learn to accept the necessity of doing more in post to duplicate the looks I used to get just by switching emulsions and minding the light—or else move to some entirely new way of approaching things. Until I have to give up film and make the Biggest Leap of All.
What about the images I linked to above? It’s hard to tell anything about a film by looking at someone’s web JPEG’s. Jonathan’s an expert film shooter and hybrid-workflow master, though, so his images viewed on my calibrated monitor give a few clues. They look to my eye a bit cooler than either Portra 400 emulsion, smooth and creamy, with the cyan-ish blue skies you see with Ektar. The contrast looks softer than VC but harder than NC.  Kodak’s comparison data places Portra 400 between its predecessors in saturation and sharpness, while it bests either one in graininess. Contrast is rated as comparable to the existing NC films. Would it be fair, then, to sound-bite the new film as Ektar 400NC? Or maybes TMax400 Color? This is all speculation until I’ve used the film. I’ll be doing that, and blogging about it here, as soon as I can get my hands on it.
So the sorrow is that yet another film line has died. The hands on the Film Doomsday Clock just tocked closer to 12 o’clock. But I understand the logic—even as I wish it weren’t so—and I can see a way to keep doing what I do with the new film, and maybe even improving things. Others will no doubt regard it with less equanimity; large-format shooters just saw their choices shrink significantly. With the demise of the old Portra 400 films, there are no more ISO 400 color-negative emulsions left in the world in sizes above 4×5; Kodak so far hasn’t announced the new film for larger sizes. For the 8×10 color shooter, that leaves Ektachrome E100G in E-6, plus Ektar 100 and both Portra 160′s in C-41. At least some of those should remain available to 5×7 shooters, if only by special order. Fuji hasn’t played in the large-format space for some time, so no help there.
More ominously, where does this leave the Portra 160 duo? With the Vision pair of Ektar 100 and Portra 400 on hand, does anyone really need 160VC? Granted, other than sharing the moniker “saturated”, Ektar and 160VC  aren’t much alike; but close enough may be good enough in today’s shrunken film market. Even the current Portra 400 versions give the 160′s some pretty stiff competition in the grain and sharpness departments; they’ve already supplanted the 160′s for the medium-format hand-held shooting that’s most of my work. If new Portra 400 is as much an improvement in grain and sharpness as was Ektar, then 160NC starts to look redundant too, just as TMax 400 serves as the only B&W film many photographers need.
It doesn’t take much of a leap to imagine new Portra 400 as the sole surviving family member, doing the jobs of all four of its predecessors, with Ektar standing by when you want the sharpness and contrast of T-Max 100 in a color negative film. But, you say, that would leave larger-than-4×5 shooters with nothing but Ektar? My guess is that, if Kodak still cares about serving that handful of customers, it will make Portra 400 available in those sizes—just as it tested the waters with the smaller Ektar sizes before announcing it for 4×5 and up.
Portra 160, Portra 400, Portra 800, and Ektar 100, no suffixes: Kodak’s future pro C41 film lineup? Time will tell. Hard to see how you could justify any more than four color negative films in today’s market. I only hope it’s that many.

Monday, September 13, 2010

Edition One Hundred Exhibition

Edition One Hundred and A&I Lab are pleased to announce the premiere Los Angeles exhibition of work from EDITION ONE HUNDRED

Artists’ Reception: Saturday, October 2, 2010, from 7–10pm
A&I Lab, 933 N. Highland Ave, Los Angeles, CA 90038
For more information please call (323) 856-5280
Exhibition continues through October 18

On Saturday, October 2, A&I Lab, Los Angeles, will host the first exhibition of work by all 2010 Edition One Hundred artists. The exhibition is designed to introduce the public to the brand by showcasing the luxurious production and knock out content of astoundingly affordable art. Edition One Hundred has partnered with A&I Lab, the largest photographic and digital services lab on the west coast, to produce the photo-based fine art prints available for sale. Prints that are not photo based are made in collaboration with master printer and artist Richard Duardo at Modern Multiples in Los Angeles. All works in the exhibition will be available for purchase at A&I Lab on the evening of October 2. For those who cannot make it to the opening, prints are available for sale exclusively at

Launched in June 2010 by Cat Jimenez, Edition One Hundred is a gallery without walls, open twenty-four hours a day in any time zone around the globe at Every two months, Edition One Hundred hosts a brand new curated exhibition of work featuring up to eight artists of international renown and emerging talent. The exhibition at A&I Lab highlights the first three shows: I LOVE LA, FREEDOM & REVOLUTION, and DELAYED GRATIFICATION (which debuts online on November 3).

This exhibition, which includes work by Brooke Ashe, B+, Jianai Jenny Chen, Martha Cooper, Nat Finkelstein, Kevin Hayes, Ardith Ibanez, Jim Jocoy, Eric Johnson, Augustine Kofie, Cynthia Loebe Wendell Mc Shine, Estevan Oriol, Miles Regis, Retna, Katie Shapiro, Slavery, Jennifer Uman, and Tasya van Ree will be open to the public through October 18.

Each artist’s work is printed in an exclusive edition of 100. With rare exceptions, each print sells for $100. All prints are signed by the artist, come with a certificate of authenticity. Edition One Hundred will contribute 10% from the sale of every print to the charity or cause of each artist’s choosing.
The exhibition at A&I Lab is designed to provide the public with the opportunity to preview the works in person, revealing the high production quality of each print. While most gallery exhibitions offer high priced work in a rarified setting, this show introduces accessible art to new collectors, providing fine art prints by high profile contemporary artists at a price within any budget.

Founder Cat Jimenez observes, “As more people begin to understand that art, and great art at that, can be accessible, I hope they'll consider supporting more artists, not just those that are championed by the art world. And if we're fortunate at EOH, we'll get some of that talent out there that has been embraced by the art world because they are at the end of the day, free thinkers that believe art is just as much for the masses as it is for the wealthy.”

For more information, please contact Sara Rosen,

Thursday, September 9, 2010

The Clarence John Laughlin Award deadline approaching

The Clarence John Laughlin Award was created by the New Orleans Photo Alliance to support the work of photographers who use the medium as a means of creative expression. The award grants one $5000 prize annually to a fine art photographer who is creating or has completed a significant body of photographic work. John Wood, Editor of 21st Editions, is the inaugural juror.

This new award is open to emerging and established photographers who reside in the U.S. The online application process requires a portfolio of 10-20 photographs, a written statement, a bio or CV, and a $25 application fee. The application deadline is September 15, 2010. Only one recipient will be selected to receive the $5,000 award.



Apply here:

Monday, September 6, 2010

Looking for work

I am looking for female photographers who work with the nude figure, male or female.  Must have a solid portfolio and a website, and must be contemporary.  Send links to

Wednesday, September 1, 2010

Issue 18

Issue 18 is now online and available for viewing. 

This issue features the work of Jason Houston, Heather McClintock, Gloria Baker Feinstein, and David Rochkind.   There are book reviews by Michele Penhall and Ellen Wallenstein.

This month also kicks off a new section called Fraction J, which will feature documentary photography and photojournalism.  Issue 1 features the work of the LUCEO Images photographers: Matt Eich, David Walter Banks, Kendrick Brinson, Matt Slaby, Kevin German and Daryl Peveto.  Future issues will be edited by David Bram, Stella Kramer, and Jason Houston.

So check it all out at