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Schneider Angulon
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Historically, saying something artistically significant with photography has always been a tough proposition. Years of technical work perfecting a craft, a compulsion to photograph, raw talent and a burning need to make a statement were always the baseline requirements. Few attained the goal of Jedi Master.

In the age of digital, it's equally difficult to reach the heights. Excellent craft, compulsion to work, talent and having something significant to say are still in the mix. But now I believe a new factor has been added; the requirement for novel subject matter.

I'm in the process of putting together a business plan for a photographic rep firm. Part of what I'm doing is looking at the work of photographers who are not well known, but who have nevertheless developed a good craft and make lovely images.

After looking at thousands of images, what I'm absolutely struck with and never expected to encounter is the banality of the imagery being produced. And I use the word banal in the exact dictionary sense: "dull or stale because of overuse, trite, hackneyed, commonplace". Not that these aren't technically well done wonderful shots of beautiful landscapes, buildings, social man and female bodies. But damn, if I see one more print of a mountain stream done with a time exposure and a 90mm Schneider Super-Angulon lens, I think I'm gonna puke.

Twentieth century photography was absolutely ablaze with a galaxy of talent including the likes of Edward and Brett Weston, Paul Strand, Bill Brandt, Imogen Cunningham, Bernice Abbott, Gene Smith, Ralph Gibson, Diane Arbus, Danny Lyon, Sally Mann, Eliot Porter, the list goes on and on. Each one of these artists and many more not here listed produced or are producing a unique corpus of work.

Unfortunately some of the newer folks seem to be producing work that is entirely derivative in nature and this is particularly prevalent in landscape work. I can literally group many of these shots into individual categories and trace their direct lineage back to the original work by another artist. Sun bleached tree backlit against dark polarized lake. Dark prairie field with dramatic thunderhead. Twisted nude with side lighting against black velvet. It's as though the camera is being placed at an identical GPS coordinate, same film, same time of day, same print treatment as the 'original'. Oy....

I think part of the reason for this is that there are far more shooters per unit of subject matter than When A. Adams and E. Weston were running around the countryside with 8x10 view cameras. It may simply be that photography and image making have become an identifiable lifestyle inhabited by lots of people versus the relative few who came before. Ansel is famously quoted as saying that craft must be mastered to produce art. Now that we have a lot of people who have mastered the craft, is it still art?

Jeremy Myers is a wedding officiant and is the owner of Lyssabeth's Wedding Officiants. Visit his websites at: Lyssabeth's Rocky Mountain Weddings and Fort Collins Weddings.

Photography. Is it (still) Art?

by Jeremy Myers

Historically, saying something artistically significant with photography has always been a tough proposition. Years of technical work perfecting a craft, a compulsion to photograph, raw talent and a burning need to make a statement were always the baseline requirements. Few attained the goal of Jedi Master.

In the age of digital, it’s equally difficult to reach the heights. Excellent craft, compulsion to work, talent and having something significant to say are still in the mix. But now I believe a new factor has been added; the requirement for novel subject matter.

I’m in the process of putting together a business plan for a photographic rep firm. Part of what I’m doing is looking at the work of photographers who are not well known, but who have nevertheless developed a good craft and make lovely images.

After looking at thousands of images, what I’m absolutely struck with and never expected to encounter is the banality of the imagery being produced. And I use the word banal in the exact dictionary sense: “dull or stale because of overuse, trite, hackneyed, commonplace”. Not that these aren’t technically well done wonderful shots of beautiful landscapes, buildings, social man and female bodies. But damn, if I see one more print of a mountain stream done with a time exposure and a 90mm Schneider Super-Angulon lens, I think I’m gonna puke.

Twentieth century photography was absolutely ablaze with a galaxy of talent including the likes of Edward and Brett Weston, Paul Strand, Bill Brandt, Imogen Cunningham, Bernice Abbott, Gene Smith, Ralph Gibson, Diane Arbus, Danny Lyon, Sally Mann, Eliot Porter, the list goes on and on. Each one of these artists and many more not here listed produced or are producing a unique corpus of work.

Unfortunately some of the newer folks seem to be producing work that is entirely derivative in nature and this is particularly prevalent in landscape work. I can literally group many of these shots into individual categories and trace their direct lineage back to the original work by another artist. Sun bleached tree backlit against dark polarized lake. Dark prairie field with dramatic thunderhead. Twisted nude with side lighting against black velvet. It’s as though the camera is being placed at an identical GPS coordinate, same film, same time of day, same print treatment as the ‘original’. Oy….

I think part of the reason for this is that there are far more shooters per unit of subject matter than When A. Adams and E. Weston were running around the countryside with 8x10 view cameras. It may simply be that photography and image making have become an identifiable lifestyle inhabited by lots of people versus the relative few who came before. Ansel is famously quoted as saying that craft must be mastered to produce art. Now that we have a lot of people who have mastered the craft, is it still art?

About the Author

Jeremy Myers is a wedding officiant and is the owner of Lyssabeth’s Wedding Officiants. Visit his websites at: Lyssabeth's Oregon Wedding Officiants , Lyssabeth's Colorado Springs Wedding Officiants and Lyssabeth's Monterey Wedding Officiants .

Schneider-Kreuznach lenses seem to be found only on Samsung and Kodak digital cameras....?

...Are Samsung and Kodak related?
I'm wondering if Kodak makes the Samsung cameras or, more likely, Samsung makes the Kodak cameras. I'm also wondering how the Samsung and Kodak companies are related to Schneider and if, in fact, the Schneider that makes the classic professionally-oriented lenses, like the Super-Angulon, and the Schneider that makes the lenses for modern digital cameras, like the Samsung and Kodak, are not in fact different companies. And finally, are any of these lenses still made in Germany? It seems there's a tale to be told here.

See Samsung:

www.samsungcamera.com/

According to Wikipedia:

"Many of Kodak's earlier digital cameras were designed and built by Chinon Industries Chinon, a Japanese camera manufacturer. In 2004, Kodak Japan acquired Chinon and many of their engineers and designers joined Kodak Japan. In July, 2006, Kodak announced that Flextronics would manufacture and help design their digital cameras."

en.wikipedia.org/wiki/Kodak#Cameras
See also:
www.kodak.com

As for the lenses, Schneider Kreuznach (according to this reference) is currently the original equipment manufacturer "lens maker for Kodak and Samsung digital cameras"

Reference: en.wikipedia.org/wiki/Schneider_Kreuznach

Schneider Kreuznach does have an U.S. subsidiary "Schneider Optics".
See also: www.schneideroptics.com

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That's all a bit piecemeal but perhaps provides you with enough clues to do a little research on your own.

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