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				<title>Issue 35</title> 
				<description><![CDATA[Issue 35 - February 2012

From the Editor:
It is no secret that photography, like many creative fields, is a male-dominated art form.  I have always been very conscious of showing equal amounts of work from both men and women in Fraction.  Since the first issue, Fraction has featured 184 photographers (not including the original group shows or Fraction J). From that number, 87 were female artists. (Fraction Archive)

Although Fraction aims to represent men and women equally, I think it is important to highlight female photographers in a male-centric art form. This issue marks the third time Fraction has created a female-only issue.  Issue 12 featured Susan Thelwell, Noelle Swan Gilbert, Isa Leshko, Celine Wu and Francesca Yorke. Issue 23 featured Jennifer Schlesinger, Jennifer Shaw, Nan Brown, S Gayle Stevens, and Susan Burnstine.  All of these women have continued to build their reputations for creating strong, original work.

Building on this this talent, Issue 35 includes the work of Bex Finch, Julia Kozerski, Susan Barnett, and Jennifer Hudson.  These four artists' work range from photographing strangers to brutally honest self-portraits. I am thrilled to add these artists to the Fraction roster, and I am sure you will enjoy exploring their unique and inspired imagery.
-- David Bram


Portfolios


Not In Your Face by Susan A. Barnett



The Sleepwalker by Bex Finch



Medic by Jennifer Hudson



Half by Julia Kozerski


Book Reviews


Dolls and Masks reviewed by Daniel W Coburn




The Bridge At Hoover Dam reviewed by Ellen Wallenstein



SOMETHING TO CONSIDER





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				<pubDate>Wed, 01 Feb 2012 01:05:09 +0000</pubDate>
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				<title>Issue 34</title> 
				<description><![CDATA[Issue 34 - January 2012

From the Editor:
This issue and the beginning of 2012 mark the fourth year of Fraction Magazine.  The past 33 issues have focused primarily on emerging photography, as one of Fraction's primary goals is to introduce compelling photographic work to new audiences.  Another aspect of that goal is to show important and influential photography that the Fraction audience may not be aware of, and so I decided to dedicate this first issue of the year to four seminal photographers who have certainly influenced my own photography.

Robert Adams has published many books of his own photographs, but he has also written several books about photography in general, including Why People Photograph (a book I highly recommend). He has had numerous solo exhibitions and his current show Robert Adams: The Place We Live, A Retrospective Selection of Photographs will open at LACMA in Los Angeles in March, 2012.  

Richard Benson was the Dean of the Yale School of Art and shortly after retiring published The Printed Picture, a book that every photographer who does their own printing should own.  In 2008, Benson presented work from The Printed Picture as an exhibit at MoMA; his own work is part of collections at the Metropolitan Museum of Art in New York and the Yale University Art Gallery. 

Edward Ranney has been traveling to Peru since the 1960’s, photographing the ancient pre-Columbian sites. He published his photographs in the critically acclaimed Monument of the Incas, in 1982. His work is included in collections such as MoMA in New York, The Museum of Fine Arts in Santa Fe, the Princeton University Art Museum, and The Art Institute of Chicago.

Judith Joy Ross has been photographing around Pennsylvania and the East Coast since the 1980’s and her work has been exhibited globally. She has been a recipient of a Guggenheim Fellowship and NEA Fellowship.  Her latest book, Judith Joy Ross: Photographs, published by Schirmer/Mosel Verlag in 2011

All four of these photographers are contemporaries,  specialize in black and white work, and made a significant impact on the medium of photography.  I hope you will enjoy starting off the year with some inspiration from these masters.

I wish to thank all of the photographers, especially Edward Ranney, for help making this issue a reality.  I would also like to thank Joshua Chuang of the Yale University Art Gallery, Maya Piergies of Pace/MacGill, Carin Johnson of the Fraenkel Gallery, and Christopher Benson of The Fisher Press for their assistance as well.
-- David Bram


Portfolios


Robert Adams



Richard Benson



Edward Ranney



Judith Joy Ross


Book Review


Archeology and the shape of time reviewed by Antone Dolezal


THIS ENTIRE SITE IS COPYRIGHT 2008-2012 DAVID BRAM and FRACTION MAGAZINE. ALL OF THE PHOTOGRAPHS HEREIN, UNLESS OTHERWISE NOTED, ARE COPYRIGHTED BY THE PHOTOGRAPHER. NO PART OF THIS SITE, OR ANY OF THE CONTENT CONTAINED HEREIN, MAY BE USED OR REPRODUCED IN ANY MANNER WHATSOEVER WITHOUT EXPRESS PERMISSION OF THE COPYRIGHT HOLDER(S).
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				<pubDate>Sat, 31 Dec 2011 23:26:02 +0000</pubDate>
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				<title>issue 33</title> 
				<description><![CDATA[Issue 33 - December 2011

From the Editor: 
As the year comes to an end, I want to send a sincere thank you to everyone who has been featured in Fraction as well as to all of the writers who provide Fraction with written content.
Also, I want to wish everyone a very happy and healthy holiday season
- David Bram

Portfolios


Everyday Death by Anna Kharina



Grassland by H Lee



Sunday Morning Sales by James Dodd



Stranger than Family by Matthew Avignone



Book Review


Salt &#38; Truth reviewed by Daniel W Coburn



Holiday Print Sale
The Fourth Annual Fraction Holiday Print Sale is in full swing.  There are 74 photographs and 12 books currently for sale, with the entire sale price going directly to the artist.  This holiday season, please consider Giving the Gift of Photographic Art.  Click here.



Shopping on Amazon
Shopping for holiday gifts on Amazon? Please consider using this link to Amazon, and everytime you purchase something, Fraction will earn a small commission.
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				<title>Issue 32</title> 
				<description><![CDATA[Issue 32 - November 2011

Editor's Note: David Bram, editor of Fraction, has been asked to curate a show of two photographers work at the Lishui Photo Festival in Lishui, China.
Michael Sebastian (Issue 7) and Jim Stone (Issue 6) will be representing Fraction at this international event, which takes place November 5-9, 2011.
David, Michael and Jim will be in attendance and there will be a full write up by David and Michael in the December 2011 issue of Fraction.


Portfolios



Sarah Moore



Dave Powell



John Sypal



Kurt Simonson



Noah Rabinowitz


Support Fraction Magazine by using this link every time you shop of Amazon.com (bookmark it too) - Thank you!


Book Review



Within Shadows reviewed by Daniel W. Coburn
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				<pubDate>Mon, 31 Oct 2011 23:32:55 +0000</pubDate>
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				<title>Issue 31</title> 
				<description><![CDATA[Issue 31 : The Russian Issue
&#1071; &#1088;&#1072;&#1076; &#1087;&#1088;&#1077;&#1076;&#1089;&#1090;&#1072;&#1074;&#1080;&#1090;&#1100; &#1074;&#1072;&#1084; 31-&#1081; &#1085;&#1086;&#1084;&#1077;&#1088; Fraction Magazine: &#1056;&#1091;&#1089;&#1089;&#1082;&#1080;&#1081; &#1085;&#1086;&#1084;&#1077;&#1088;


I spent the beginning of September at Portfolio Review Russia in Moscow.  It was a tremendous opportunity to meet with photographers from all over Russia and to get a sense of what is happening photographically there.  What you see here is a very small selection of the terrific work that I got to see first hand.
A sincere thank you to organizers of Portfolio Review Russia and to the fine folks at Fotofest in Houston.
- David Bram, editor


Portfolios


Anastasia Tailakova



Max Sher



Sergey Varaksin



Vasily Ilyinsky


Shopping on Amazon and want to Support Fraction?  
Bookmark and use this LINK and every time you use it,  Fraction will get a small commission. Thank You !
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				<pubDate>Sat, 01 Oct 2011 01:23:24 +0000</pubDate>
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				<title>Issue 30</title> 
				<description><![CDATA[Issue 30 - September 2011


Portfolios



6,426 per km2 by Greer Muldowney



Los Restos De La Revoluciòn by Kevin Kunishi



My White Friends - an ongoing project by Myra Greene



Experimental Relationship (2007- Now) by Yijun Liao


Shopping on Amazon and want to Support Fraction?  
Bookmark and use this LINK and every time you use it,  Fraction will get a small commission. Thank You !


Reviews



One To Nothing reviewed by Ellen Wallenstein


Collaboration



Griffin Museum's 17th Annual Juried Show





  









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				<pubDate>Wed, 31 Aug 2011 23:07:14 +0000</pubDate>
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				<title>June 15</title> 
				<description><![CDATA[June 15
Film and Digital : The Dead Horse Whinnies

Coming of age as a photographer during the 1970’s and ‘80’s, I shot 35mm film --- like most enthusiasts of limited means --- and developed it in my makeshift bathroom darkroom. But when I resumed “serious” photography around 2004, after a several-year hiatus, I first did so with a family hand-me-down Kowa Super 66. As stolid and no-frills as that camera was, one look at those medium-format negatives told me I’d found my format. Medium format seemed to best fit the way I see, think, and shoot. And a gorgeous, sharp, tone-rich negative shot on 120 color film became my archetype of a beautiful image.

Several years, and tens of thousands of photographs later, I find that I’ve produced probably two thirds of my archive with medium-format cameras of several different brands and formats. The remainder I’ve shot mostly with the handful of digital cameras I’ve also owned --- all of which I’ve since sold or put aside. In fact, until last fall, I had all but stopped shooting digital. I found a more welcoming home for a D300 that had languished in its bag untouched for a year, during which I shot some 150-plus rolls of 120 film.

There was nothing at all wrong with the Nikon’s images --- other than the 1:1.5 image ratio that I always seemed to want to crop at least to 4:3. In retrospect, I think my dissatisfaction with digital photography simply boiled down to a few non-rational objections that logical argument couldn’t overcome.

First, the pictures, while good-looking in their own right, didn’t match my film-centric mental template of a “good” photograph --- my jaw didn’t drop, Mamiya-7-on-Portra style, on viewing the output of my DSLR. I’m not talking about “native” vs. “scanned” pixels, linear resolution, or any other pocket-protector stuff. I’m simply talking “wow” factor. Digital, it seemed, promised “new” and “better”, but delivered only “good” and “different”. It felt like opening a damaged toy on Christmas morning.

Second, after almost four decades of shooting film, some part of my reptilian lower brain felt that “real” photographers use only manual cameras, and set apertures and shutter speeds on rings and dials which click satisfyingly into place. We do not whirl girly wheels with our thumbs; we disdain the siren song of matrix metering as fit only for Digi-Chimping Shutter Monkeys. Our exposure numbers are obtained from handheld meters, wielded by a Skilled Craftsman who must interpret the meter’s advice against lighting conditions at the scene. Compared to this intricate mechanical kabuki, shooting with a DSLR felt at times like operating a microwave oven or TV remote control.

And, finally, there is the matter of the cameras themselves. Compared to the unapologetically-utilitarian squareness of a Mamiya 7, the haughty chrome elegance of a Hasselblad, or the ergonomic flair of a Contax 645, modern DSLR’s can seem downright homely. As I touched on in last month’s column (here or here), one must give due deference to his inner Collector, and modern DSLR’s move him not at all.

All that said, I started shooting digital again last fall. The event that precipitated this reconsideration was returning from a family vacation with 20 rolls of 120 color neg film to deal with. Doesn’t sound like such a big deal, right? Processing it in my Jobo took only a few hours, but getting it scanned, corrected, and spotted took me several weeks, working in small chunks of time here and there around my other obligations. It breaks my heart to say it, but that’s increasingly time I find I can’t spare from the other stuff, and tedium I don’t wish to endure.

Furthermore, despite the fact that color films are better today than they’ve ever been, the only sure prediction one can make about them is that they are history --- in 3-5 years if you’re pessimistic, 10 if not. Besides, I have no idea how much longer I’ll be able to affordably source the C-41 chemistry required to feed the Jobo. I can make my own B&#38;W developer from cheap, plentiful chemicals, but C-41 is another story. When that goes, or the Jobo dies, and I have to start sending 120 color-neg off to the west coast at $8 a roll and two weeks’ turnaround, I’m probably done. The wait alone would kill me!

The other thing that’s changed is that I have cleaned out my gear closet, consolidated things a bit, and settled on a workable digital solution whose images, so far, I have found as satisfying in their way as my beloved MF film pictures. They are not the same, of course, but they are beautiful. I may have more to say about this in some future slow-news month when I feel like a gear review. I really don’t want this column to be about gear --- except as it relates to the overall culture of image-making. So stay tuned.

I plan to keep on shooting film until something breaks irretrievably. I’m addicted, and just because I’ve added another drug to the pharmacopoeia doesn’t mean that I can’t stay high on the old standbys. Some days, you just gotta have a mechanical shutter ca-chunk to get through the day.

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				<title>May 15</title> 
				<description><![CDATA[May 15
Collector vs Photographer

I am a camera collector. I've always been a camera collector. But sometimes I'm also a photographer, and it's so confusing....the B&#38;H, KEH, and Adorama boxes just keep coming, but the pictures still suck....

If there were a 12-step program for camera addicts, thus would I introduce myself to the group. Imagine the scene: a tremulous circle of clammy camera-tweakers in a dingy VFW hall; screw-mount Leicas, Rolleiflexes, and 500-series Hasselblads draped around our necks like oversize St. Ansel medallions; film-advance levers worn as smooth as rosaries as we bare our souls to anonymous, similarly-afflicted strangers.

Each of us in his turn---women are not excepted---would tell woeful tales of bank accounts emptied, and dreams of artistic renown waylaid, by the all-powerful Camera Jones. Commiserating all around, we'd end with cookies and punch, giving thanks to our Higher Power (AKA Spouse With Checkbook.) We'd part company, momentarily unburdened, rejuvenated with fresh artistic resolve---until the next new camera came along to distract us with opiate vapors from the real work of Doing Something Worthwhile with the things. Binge, Regret, Binge again.

Probably no other form of artistic expression is as bound up as photography in the technology used to produce it. The Photographer sees the image, and the Technician masters the device that produces it. This mastery is frequently mated to a keen love of finely-wrought machines, so the Technician abides with his cousin, the camera Collector. All these personae exist to some extent in each of us. The problem, though, is that, while the Technician lives only to serve, the objectives of Collector and Photographer are seriously at odds.

Collector exalts the camera as a functional bit of industrial sculpture. Photographer, on the other hand, regards the camera as but a means of art-making. For her, a certain disdain for one's tools, but a steadfast monogamous fidelity to the chosen few, is essential if she is to make serious art. The Collector makes an occasional dainty exposure, then tucks the object of his love gently back into the Billingham or display case, lest dust or smudge sully its pristine leatherette. The Photographer, by contrast, sees her D3 smashed by a third-world riot cop, files the insurance claim, and replaces the camera with all the emotional investment of a plumber deploying a broken drain auger. This utilitarian mindset gives the Collector hives.

I have been aware of this Collector / Photographer duality almost since the day I picked up my first camera, a family hand-me-down Bakelite Brownie, four decades ago. I'm quite sure that, in my eight-year-old mind, the camera---with its smooth Art-Deco-ish lines and beguiling clicks and buzzes--- was initially more fascinating as a device than as an image-making tool. Soon, though, Photographer appeared, and he and Collector learned to get along about as well as siblings confined on a long car trip. Lately, though, this coexistence has been downright turbulent, as I strive to make work at a higher level, and to find the tools best suited to that undertaking, while throwing the occasional shiny chrome bone to the Collector.

This week I received a ship notice for a long-backordered, scarce camera I'd ordered months ago, while Collector was momentarily in the driver's seat. Luckily, between the ordering and the shipping, reason had schooled Photographer that I neither needed, nor could afford, this camera. Too bad; the shiny new toy shipped before I could cancel it. Heartened, Collector sensed another default victory, but Photographer thwarted him yet again, through the agency of my saintly-patient wife. She refused delivery on Photographer's behalf, and the package returned whence it came, unopened, temptation forestalled. Score one for Photographer, who lately could really use the leg up.

Since the Brownie I have owned cameras TNTC---Too Numerous To Count, as we describe our microscopic censuses of deranged blood cells and urinary bacteria---and I've loved something about each one. In the actual use of them, I've discovered their limitations and best uses. Some of Collector's favorite cameras have been Photographer's least favorite tools; conversely, some of the better tools were the cameras that least excited Collector's passion. I'm so sorry, RZ67. The Hasselblad was just so...slim...so...shiny and angular. I respect your work, but the heart wants what it wants.... Er, you wouldn't maybe consider taking me back, would you?

This is a different issue than the thoroughly discredited notion, "if only I had a Canikosonytaxblad zillion-megapixel digital back I'd be the next William Eggleston." We've all internalized the shibboleth that it's the vision, not the camera, etc, etc, and we all profess to believe it. I'm well past the point of investing my next camera with super-powers. More problematical is that studying, acquiring, and becoming acquainted with a series of beautiful cameras, however fulfilling in its own right, takes mind-space and energy that could be devoted instead to furthering one's actual image-making skills and visual sensibility.

Camera collecting, per se harmless, is the ultimate expression of genteel photographic procrastination. Swiping the MasterCard is far easier than the slow and sometimes tedious job of making better photographs.

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				<pubDate>Wed, 31 Aug 2011 07:44:17 +0000</pubDate>
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				<title>April 15</title> 
				<description><![CDATA[April 15
An Introduction

When David Bram invited me to write a monthly column for Fraction, I naturally asked---after verifying his sanity---about his mandate for the work. It seems my brief is promiscuously broad: to write about photography as the muse impels me, from an outsider's perspective---as someone whose primary residence is not in the Fine Art Photography neighborhood, but who drives, agog, the mean, beautiful streets of that gated community every chance he gets. I'm grateful for this opportunity to inflict my meanderings upon a wider audience under the Fraction masthead.

You're surely wondering, "just how far "outside" is this guy?" (or more likely, "how do I unsubscribe?") I've been making pictures since grade school---that's a long time. But in my youth, a career in art didn't seem feasible; it was just not done. Instead, my path went through med school, two residencies, and private anesthesiology practice. I've been doing that for about sixteen years, the latter half in a small community hospital in central Kentucky, my wife's home state.

The nature of my specialty is that we don't have practices full of permanently-attached patients. We do our thing, the patient does well and goes home, and I move on to the next operation. As a result, my work schedule can be made amenable to the pursuit of happiness outside of medicine. It took me a while to figure this out, though. So, not quite eight years ago, I downshifted to create just such a family- and photography-friendly situation for myself. As a result, I've been able to earn a living and still try to be a husband, father, and photographer.

I had assumed in my ignorance that part-timers like myself were the exception in the fine-art photography ecosystem. But when I began putting my work out into the world in online venues, in contests, and at portfolio reviews, I realized that many---if not most---fine-art photographers make their living around the genre's edges, or even entirely outside photography. I shouldn't have been surprised---this reality is certainly in keeping with art photography's spartan economic traditions. But evidently there are quite a few of us dilettantes out here photographing assiduously, even as we work at some other job. Hopelessly infected, we simply can't not make pictures. All of us carve out time for photographic work around the stuff that keeps the lights on.

Meeting others of similar situation has made me ponder what might lead a person both to photography and to a certain, seemingly unrelated, vocational field. Among my medical colleagues there seem to be two kinds of doctor-artists: those whose art is inspired by medical practice, and those whose art coexists with it. I'm among the latter; in my experience, neither type is plentiful. How, then, does one find his way both to medicine and to the arts?

Medical practice, like other highly-technical fields, requires a sturdy ego, independence of thought and action, perseverance, discipline, and the ability to quickly organize masses of information into coherent mental wholes. Sound familiar? Photography calls upon those same traits; both a photographic series, and a complex medical history, are stories that must be condensed painstakingly from background noise.

But while photography may make use of procedure, consistency, and rote, medicine is understandably dominated by them, but without the creative payoff photography provides. I like the comforting rituals of doing, the mechanical tasks that comprise the operation of a camera or the administration of an anesthetic. But I especially crave the sublime sense of discovery that accompanies fixing an image in my head in tangible form, or seeing this done by the many others more gifted than myself.

I think about photography and photographs constantly; in my field of dreams I'm a full-timer, and I've often bridled at the frustration of this fantasy. But I have also gazed upon the lurid neon greenness of the grass Over There; on this side of the paddock, I've learned to appreciate the freedom accorded me by the day job to photograph on my own terms. In my own modest artistic life, I take nothing for granted, and acknowledge my good fortune.

Pardon this long introduction. And fear not, for such tedious me-centricity will not be a fixture in future columns. In those, I hope to provoke thought, and to stimulate discussion, across a wide range of topics relating to contemporary photography. To that end, these columns will appear here on the Fraction blog, but will also be archived with each month's edition of Fraction itself. David and I both feel the blog is better suited than the magazine itself to accommodating the reader to-and-fro we hope ensues. So let fly here---we want to hear from you. (You can also email me at mike at michaelsebastian dot com.)

My thanks to David for publishing this column---I only hope it goes live before his ether wears off---and to all of you for your continued support of Fraction.

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				<pubDate>Wed, 31 Aug 2011 07:43:00 +0000</pubDate>
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				<title>Griffin 17</title> 
				<description><![CDATA[Griffin Museum of Photography's 17th Annual Juried Exhibition

Juror’s Statement : Debra Klomp Ching

"Photographers, like no other contemporary visual artists, have a wealth of opportunities to showcase their work across a myriad of platforms — the ‘juried exhibition’ is one such platform. When presented by respected institutions, such as the Griffin Museum, juried shows can make a real and measurable difference to the career of an aspiring professional artist and the pursuits of an amateur that is chasing a passion of visual interrogation. Remarkably, they can also prove to be an interesting barometer of an overall vision of what contemporary photography is or might be.  

The importance of this is echoed in the selection process undertaken for this exhibition. Without any pre-conceived notions, the selections made are a direct response to the hundreds of submissions received. The final list of photographers curated into the 17th Annual Juried Exhibition, demonstrate carefully conceived and executed photographs that caused an intake of breath or insisted on being ‘read’ by causing a spark of intellectual and visual curiosity.  The subjects and method of making vary greatly and this is reflected in the photographs made by the final 16 photographers selected for the exhibition.  

Two photographers stood out and have been recognized with an appropriate accolade. Rania Matar’s portraits of young women photographed in the habitat of their bedrooms, are reflective of an ongoing preoccupation in photography to look into private lives and spaces within a domestic context. A striking aspect of these photographs is the  homogeneity of paraphernalia contrasted with the very apparent individuality of the subjects. The photographs made by Tara Sellios register a rise of engagement with art historical themes albeit with a contemporary twist. Her use of the still life draw you in with a wonderful use of rich colours, but entice even further with a sophisticated use of perspective and visual construction that is easy to overlook upon first viewing."


Visit the Griffin Museum's website.



Click here to view Rania Matar's "A Girl and her Room"



Click here to view Tara Sellios' "Lessons of Impermanence" 


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