Choosing the Negative

In this film you learn from Fred Picker how to select the right negative for making fine prints.

Picker believes when a photographer is outside shooting in the field he should always consider the lab technician who is waiting back at the darkroom to print the photograph. Therefore, it is essential for the photographer to always give the best negative possible, both technically and emotionally, to the darkroom technician so that the best print can be made.

Years ago Picker developed what he calls a “Proper Proof.” A proper proof is what Picker conveniently prints, in development increments of 3, 6, 9, 12, 15 sec. respectively, from the selected negative to view it for its technical and aesthetical attributes.

There are two fundamental reasons why Picker stresses the importance of using proper proofs when making fine prints. Firstly, to evaluate the quality of the negative, Picker realizes there are small differences in negatives that the eye cannot recognize, such as minor variations in exposure. Although they may be just small changes in relation to the light, they are absolutely unacceptable to a photography master such as Picker. Secondly, the proper proof is used to evaluate the content of a negative. This is very important when the ‘moment’, or emotion, is of the essence for shots containing movement or changing landscape, such as cloud formations or rushing water. As Picker puts it, “All negatives look wonderful until you look at the proper proof.”

Picker was involved in manufacturing of 4 x 5 and 8 x 10 large format field cameras. And his filters, camera designs, tripods and other photographic aids are still considered indispensable tools of the trade by photographers. He taught a highly successful photography class known as "The Zone VI Workshop," and authored a book by the same name that has become recognized as the golden standard of photographic instruction. His uncanny sense of "photographer's intuition” and his passion for the art was a unique combination. Always opinionated and oft times controversial, his dedication to large format photography was unsurpassed. Many called Picker’s straightforward approach to the relationship between the "scene" and the final print, pure genius. But Picker himself had a more grounded approach to encouraging his students and other photographers.