Saturday, March 19, 2016

                                                    ERNESTO MAYANS GALLERY
I'm very pleased to announce that I'm now being represented in Santa Fe by the esteemed ERNESTO MAYANS GALLERY on Canyon Road. 
Ernesto Mayans Gallery has been in business for over 35 years in the heart of Santa Fe's most celebrated art district. It was at this very gallery in 1985, that Ernesto Mayans hosted an incredible show of over 80 photographs of master photographer ANDRE KERTESZ. Mr. Kertesz came to see the show here in Santa Fe. I sure wish I could have been there! The Ernesto Mayans Gallery is situated in a wonderful old 1880's adobe structure at 601 Canyon Road. Visiting this gallery is always an enjoyable experience. The first time I was in the gallery was a number of years ago when there was a grand opening for painter Sibylle Redford (Robert Redford's wife). What a great energy, wonderful group of people, and exciting event that was. You can imagine how pleased I am to now be associated with this gallery. 
Ernesto Mayans Gallery will have a selection of my limited edition prints from three of my portfolios: CUBASTREET, HOOVES & DUST, and THE WHITE HORSES OF THE CAMARGUE. I hope you will take the opportunity to visit the Ernesto Mayans Gallery and view the diverse range of fine art that is offered.
                                                CubaStreet No. 15, 18x13.5, Edition of 25

                                                Camargue No. 23, 28x19.5, Edition of 10

Saturday, January 30, 2016

Red River Paper Article

Just wanted to share this article with my friends and colleagues. Very honored to see this published on the Red River Paper Blog. Was a nice surprise !
smile emoticThanks to all of my clients and colleagues for their support ...

Pros Choose Tony Bonanno To Print Their Best Images

Tony Bonanno, Pro Photographer and Master Printer with one of his Santa Fe buddies.
Flip a Tony Bonanno coin and it’s a winner either way it lands. Heads, it’s an internationally renowned photographer based in Santa Fe, New Mexico who travels worldwide to shoot architecture, travel, documentary, corporate events, editorial and fine art photography. Tails, a talented digital print maker who works with both Epson and Canon large-format printers and outputs images for other pros.
Bonanno is recognized as a Master Printer in his circle of colleagues. However, unlike many print service providers, he brings the “eye” of an accomplished professional photographer to his printing workflow. His 25-year pro photography career not only spans the usual commercial and corporate assignment, but also includes the fine art market with many exhibitions, gallery shows, and collectors. As a result, he has first hand experience with what his clients are looking for in creating exhibition quality prints of their own.
Rock-star photographer Baron Wolman with a Bonanno print of his iconic Janis Joplin image
Recently, Baron Wolman, Rolling Stone’s original photo editor needed seventy 20″x 24″ B&W prints for a London show of his famous Woodstock images. Bonanno printed them– each a flawless beauty. Wolman recalls: “Nothing escapes his eagle eye, even things that escape mine. His skills as a professional photographer add to his understanding of what is possible from any digital file given him by a fellow shooter.”
_TBP6279 1
Zoe Urness, catches one of her prints as it emerges from one of Bonanno’s many printers.
Zoe Urness, Blue Ribbon winner of the Santa Fe Indian Market, needed prints of her celebrated “Native American Traditions” images for numerous clients and exhibitions around the world. She turned to Bonanno to produce them because she, she says, “I had seen other prints he had done and knew he’d be able to bring out the subtle tonal nuances that are so important in the kinds of images I shoot.”
These two photographers and many other photographic artists turn to Bonanno, who is a Red River Pro, to create their exhibition portfolios. Why Tony?
“Every printing job I do is a collaborative effort,” he says. If a client wants me to print their work, they have to commit to sitting down with me in my studio and we work together to output the final prints. None of this ‘send a file somewhere and hope for the best.’”
© Tony Bonanno
Tony is a top pro who knows what good printing should be. Click on image to learn about his White Horses of the Camargue Workshop. Photo ©Tony Bonanno
Bonanno walks each client through Lightroom and Photoshop and shows them how various post processing options affect the final output on paper. It is a process of creative artists working together to achieve the strongest composition and best quality print possible and, more often then not, results in a better print than the original photographer could have made.
Most of Tony’s clients choose Red River papers. Baron Wolman, for example, has been using paper from the Red River UltraPro series for his international exhibitions. Zoe Urness favors Red River Aurora Fine Art Natural. Other very popular papers among Tony’s clients are the Red River San Gabriel Semi-Gloss Baryta and the new Palo Duro SoftGloss Rag.
Wolman sums up his work experience with Bonanno: “Not only is it a joy to collaborate with Tony, he is the most efficient, conscientious and detailed digital printer with whom I have ever worked. Plus, he’s just a downright good guy and a fascinating story teller.”

Wednesday, July 15, 2015

                         The White Horses of the Camargue

Wikipedia - The Camargue horse is an ancient breed of horse indigenous to the Camargue area in southern France. Its origins remain relatively unknown, although it is generally considered one of the oldest breeds of horses in the world. For centuries, possibly thousands of years, these small horses have lived wild in the harsh environment of the Camargue marshes and wetlands of the Rhône delta. There they developed the stamina, hardiness and agility for which they are known today. Traditionally, they live in semi-feral conditions in the marshy land of the region. The Camargue horse is the traditional mount of the gardians, the Camargue "cowboys" who herd the black Camargue bulls used in bullfighting in southern France.
                         Visit to see my latest Camargue portfolio

Join Jodie Willard and Tony Bonanno for the next Camargue Photo Workshop, April 10-16, 2016.  For more information, go to

Wednesday, March 4, 2015

PHOTO-SYNTHESIS:  SW Voices - SPE Photography Show in Denver

I'm very pleased that seven of my photographs (from the CubaStreet and Hooves & Dust series) have been selected for a juried exhibition in Denver.  "Photo-Synthesis : SW Voices" is being held at the Republic Plaza in Denver, Colorado from March 5th to May 5th, 2015.  The exhibition is being held in cooperation with the Society for Photographic Education (SPE).  I'm honored to have been selected and hope that you will have an opportunity to see the exhibition should you be in the Denver area.

Republic Plaza is located at 370 17th Street, right across from the Brown Palace Hotel.  I won't be able to attend the opening reception on March 6th, but look forward to seeing the show soon.

      Cojimar, Cuba 2014                                                                                                © Tony Bonanno

Wednesday, July 30, 2014

Nikon D810 - First Impression

© Karen Herman

The bottom line:  The Nikon D810 camera is probably the best pro quality DSLR that I've ever used.  It's not quite the solid build of the Nikon D4s or the Canon 1D series, but the overall performance is very refined and sets a new standard for resolution, dynamic range, and functionality.  Previously, I was using a Nikon D800 and D800E.  When the D810 was announced I intended to replace my D800 and keep the D800E as the second body for backup and client shoots.  I was so impressed with the new D810 after a few days of shooting that I decided to replace the D800E with a D810 also.  Admittedly, I had not anticipated such enthusiasm for this new camera.  The D810 was described on many websites as a "minor" upgrade, but I would call it a "substantial" upgrade (depending on your intended use of course).  There are many improvements, but two in particular apply to my work and they are "major" improvements for me.  The first is the AF system from the D4s (very fast and accurate) with the Group Area Autofocus.  The second is the much quieter low vibration shutter mechanism.  The D810 is not the frames per second speed demon or high ISO king that the D4s is (although it does a commendable job in these areas), but it has many other qualities (including the superb 36 MP sensor) that combine to make it an impressive tool for almost any application or assignment.  The only criticism I have is the lack of user interchangeable focusing screens.  I'm old school and I miss that feature.  Regarding video; Supposedly the video performance is significantly improved, but I'm not a video shooter, so I haven't any experience with the video function. The high resolution 36 MP sensor does demand the best glass.  Do not skimp on your lenses.  Would I recommend this cameras to my colleagues, serious enthusiasts, and pros ?  Absolutely.

 Some of the changes/improvements compared to D800/D800E:

- 36 MP sensor with the highest rating and dynamic range ever tested by DXO Labs.  It is very similar to the D800E sensor as far as image quality in my preliminary tests.
- Addition of Nikon D4s AF system with Group Area AF is a HUGE improvement.
- Electronic front curtain shutter option during mirror up mode and live view offers a visible improvement for landscape photographers due to very low vibration.
- Very quiet shutter mechanism compared to 800/800E.
- Very low vibration shutter mechanism.
- Improved viewfinder and viewfinder display.
- Improved LCD screen.
- Base ISO 64.
- 5 frames per second high speed mode (6 in DX mode and 7 with optional grip/battery).
- Faster overall operation with Expeed 4 processor.
- Longer battery life (1200 vs 900 frames).  Same battery as D800/D800E.
- Somewhat improved ergonomics (handgrip, AF control button, etc.).  Slightly less weight.
- Larger and faster buffer for continuous shooting.
- Provision for a "small" RAW file.
- Option for in camera TIFF file in addition to the normal RAW, JPEG, etc.
- Improved Live View Mode.
- Improved Video.

There are a number of other minor changes and refinements.  I can't over-emphasize how significant the new autofocus and shutter mechanisms are though.  Those two items alone have transformed the shooting experience dramatically compared to the previous models.

Hummingbird photo taken with D810 using Group Area Autofocus and Nikon 300mm f/4 lens.  Click on photo to see detail.  

Monday, April 7, 2014

Photo-Eye to Host Synergy Exhibit

                                                                             Synergy No. 1    © Tony Bonanno 2013 

photo-eye is Pleased to Announce an Exhibition of Images by Tony Bonanno
Synergy: Studies of the Female Nude Shot in the Galisteo Basin
Opening Reception: Friday, April 25th from 6-8 pm
Exhibition runs through June 6th

photo-eye Books is pleased to host Tony Bonanno: Synergy, an exhibition of the artist’s female nude study in the Galisteo Basin. In this new portfolio, Bonanno utilizes the graceful contours of his model to enhance his portrayal of geologic outcroppings and skies in this arid New Mexico landscape. Bonanno’s work is reminiscent of some of the classic images of artists such as Edward Weston, whose photographic portraits of bodies became more about formal qualities of line, texture and shape than the tantalizing qualities often associated with the nude body. Just as some of his artistic predecessors, Bonanno’s photographs of Allen also beautifully focus on the contrasts and similarities of the human and natural forms. 

Tony Bonanno is an internationally renowned professional photographer based in Santa Fe, New Mexico. His subjects have ranged from the President and First Lady of the United States to indigenous peoples and their cultures, to capturing the raw power, grace, and beauty of western horses in his acclaimed “Hooves & Dust” series. He was the recipient of the prestigious Leo Diehl Award at the Creative Arts Center in Chatham, Massachusetts and was the feature artist at the Cape Cod Museum of Natural History (1990-91). He is a Board member of the NM Chapter of the American Society of Media Photographers and teaches a variety of programs at the Santa Fe Photographic Workshops. Since moving from Cape Cod to Santa Fe over 20 years ago, he has engaged in a range of commercial, documentary, and fine art work including a five-year street photography project in Cuba. 
Where: photo-eye Bookstore, 370 Garcia Street, Santa Fe
Media Contact: Melanie McWhorter - 505.988.5152 x112 -

Friday, January 17, 2014

Corporate Event Photography
Interview with "Window on Photography"

I was pleased to have been interviewed by "Window on Photography" editor Larry Padget regarding corporate event photography.  The interview provides an overview of corporate event assignments and the use of "second cameras".

The interview also includes a link to my "Primer".

January 15, 2014

This issue introduces audio interviews to the newsletter. Please let me know how you like the format.

Event Photography -- Being a Second Camera

Event photography creates income and opens doors to new opportunities through connections made in the process. Surprisingly, it is an opportunity often overlooked by both new and seasoned photographers.

Recently I interviewed Tony Bonanno for this newsletter.Tony's ". . . specialties are the fine art market, event and assignment photography, architectural and interiors, travel and documentary work." He is very successful in all of these areas.

The following audio interview with Tony provides in-depth insight into this photography niche from the perspective of one who is well respected for his talent and skill in this and other areas of photography. Listen to the Interview. (16 min) 

Tony also has graciously provided his Event Photography Primer which can be downloaded for your personal use. Please respect the talent and time required to create this guide by respecting his copyright and not distributing it.

I also encourage you to take a look at his website. It offers a very good example of a clean, simple and effective marketing design.
Larry Padgett

Here's the link to the actual interview page at Window on Photography..

Thursday, October 31, 2013

Spotlight on Cuba:  Tony Bonanno
Paints a Picture

© Tony Bonanno

Wednesday, October 30, 2013

1x15 Fine Art Photography Show
December, 2013
Albuquerque, New Mexico

I feel privileged to have been invited to participate in the fourth 1x15 Fine Art Photography Show at Matrix Fine Art Gallery in Albuquerque, New Mexico.  The show will be on display the month of December, 2013.

1x15 = 1 Model,  15 Photographers !  The opening reception is from 5-8 pm on December 6th, 2013.  If you are in the neighborhood, hope you can come by and see the show !

Working with this model was a real pleasure.  A very professional model that participated in the creative effort every step of the way.  You can view some of the images we created for this show at


                                                                         Synergy No. 15
                                                                                          Image size:  16" x 24"
                                                                                                  Edition:  10
                                                                                       (c) Tony Bonanno 2013

Saturday, June 2, 2012

Nikon D800 and D800E - What is the Difference ?

The Nikon D800 and D800E Full Frame 36 MP DSLR
How Do They Differ ?  Early Observations

White Sands National Monument - Nikon D800 with 70-300 Nikkor

In the Spring of 2012, Nikon began delivery of the D800 and D800E DSLR Cameras.  The new full frame 36 megapixel sensor has created considerable interest among enthusiasts and professionals alike.  Do a Google search of reviews and you will see why these new Nikon's are considered industry game changers - at least for now.  The two models are virtually identical except that the D800E has a modified low pass filter which effectively cancels the anti-aliasing component that is found in the D800 (and most other digital cameras).  In theory, the absence of an anti-aliasing filter in front of the sensor should provide slightly sharper images and enhanced resolution of fine detail.  I did a quick comparison of my D800 and D800E using a distant landscape scene.  

The Result ?  What was I able to see at 100% on a 24" calibrated EIZO display ?  Was there any real visible difference on screen ?

They are really close.  My technique for the comparison was not-very-scientific, but was a reasonable real world exercise.  I focused on a distant landscape using the camera's center focus point with a 24-70 Nikkor f/2.8 lens at 70mm.  Both camera bodies mounted on a sturdy Gitzo tripod with an Acratech head.  Frames were shot at f/2.8, 4, 5.6, 8, 11, 14, and f/16. 

All files were RAW and Full Frame 36 MP.   Imported into Lightroom using default LR settings.

The bottom line is there is indeed a visible difference, but only at the finest detail level.  Where I really noticed the advantage of the D800E in my test scene was in the details of distant foliage.  You may have noticed in your own landscape work how often distant vegetation looks like "clumps" of green as opposed to having any real structure.  On the D800E, you can actually make out the "leaves" and "structure of the trees and shrubs" to a greater degree than on the D800.  The details of distant man-made structures were rendered with slightly more sharpness and definition.  BUT, I'm not talking about visible differences that are readily apparent at normal viewing sizes.  You have to really look at the "fine detail" to see the difference.  I think the nature of the "detail" and the light can often create results that are hard to differentiate.  The exception being the "foliage test".  The D800E was always better with the foliage.  And foliage, when you think about it, really does present a good test.

The difference between the D800 and D800E and lower resolution sensors is generally only going to be noticeable at magnified viewing sizes or large prints.  And that applies again regarding the difference between the D800E and the D800.  What I am convinced of though is the removal of the anti-aliasing filter effect on the D800E does indeed result in better detail at the pixel level.  Not that I was doubting Nikon's information, but it was interesting to "see" the degree of the effect in my own files. I also noticed that the D800E's rendering of the fine detail appeared to be a bit more contrasty than the D800.  Not sure why that is.  I was also pleasantly surprised to find that the effects of diffraction were not nearly as severe as I had anticipated at f/14 and f/16.  With both bodies and this particular lens, f/8 - f/11 seemed to be the sweet spot (I would have thought f/5.6 - f/8, but that is not what I observed).

I think anyone would be happy with either the D800 or the D800E.  However, for specialized applications where the you want to reveal the maximum "fine" detail, then the D800E does appear to have a visible advantage as far as files right out of the camera with LR default processing.  

I intend to use both bodies as general purpose cameras for both my client work and my personal work.  I really do feel they can be used interchangeably for the most part without any real concerns.  Obviously, if I'm looking for ultimate large print resolution and the best possible rendering of the finest detail, I'd opt for the D800E.  

Just some early observations and thoughts for what they are worth. 

© 2012 Tony Bonanno Photography, LLC