Composition

Summary:

In this follow-up video, Eberhard Schuy of Loft 2 is back perfecting his oversights, bringing a successful conclusion to “The Hot Ice Cube”.

After the many viewer responses that resulted from The Hot Ice Cube, Schuy decided to put those comments to good practical use and started right away working on the imperfections of the first video. Most viewers were not satisfied with the “authenticity” of the ice cube and felt it could go much further in an attempt to make it look realistic. Beginning with an evaluation of the previously produced ice shot, Schuy explains the errors that were made the first time around. No small feat for most photographers, but Schuy approaches this topic like a pro, very thankful for the viewer responses.

The first ice cube, when viewed in the finished shot, looks somewhat metal-like and is also missing the transparency so characteristic of ice. This is partially due to the fact that Schuy used an acrylic ice cube; filed down into the desired shape he was looking for. To remedy that solution for the reshoot, Schuy makes a form cast of the plastic ice cube, therefore guaranteeing him the exact shape he desires. Next to the simple materials that can be purchased in a hobby or hardware store all that is needed is time, three hours to be exact, and water to pour into the hardened form cast.

Moving along, Schuy notes that the same lighting set-up was used with the small exception of placing a candle underneath the ice form. And this makes all the difference, as he explains, “When I place a candle underneath the ice cube, it radiates light from within as opposed to being lit up from the exterior.” But Schuy does not stop there; he uses a small spotlight to simulate the effect of the candlelight, resulting in the same yellow nuance achieved with the candlelight.

Viewers will definitely not be disappointed this time around. Not only does Schuy offer a professional and technical guide relating to light and its affect on the different materials being used, but also he has perfected the art of photographing a real ice cube.

Summary:

In this film, Fred Picker gives us comprehensive insight to his photographic prints from his four previous films on FotoTV; “photographing the wall, photographing the fence, photographing the sculptures, and photographing the river”. All four films and the corresponding prints are meticulously evaluated, along with tips and helpful commentary from Picker. He discusses each print and how he treated it and therefore, why he chose it.

His valuable technical information regarding tonal value, composition, cropping, development time, shapes and forms, aperture and all other relevant terms in his photography and printing are wonderfully reviewed. Picker wraps up this series beautifully with the necessary information not only regarding photography itself, but the mastery of photographic printing.

This film brings a harmonious closure to an exciting and unique film series courtesy of Calumet Photographic Inc. USA. Internationally celebrated photographer, Fred Picker will be long remembered for his photographic work.

Picker’s wide, sweeping wilderness landscapes and intimate studies of natural forms have been held up alongside the work of Ansel Adams, Paul Strand and Edward Weston. Picker was involved in the manufacture 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. Picker will always be known for saying, "If you want to know what happens with this or that, don't ask me ... test it." That phrase was simple, but it made perfect sense to the many who have followed his wise advice. With a love for the photographic art form, his contributions to photography as an educator, equipment designer/manufacturer, writer and artist, Picker was a true Pioneer that improved the field of photography.

Picker once wrote, on the occasion of Ansel Adams’s passing away, to "lift a glass to him, he would appreciate that". That’s Picker: always thoughtful, always caring. Fred Picker, 1927 - 2002 *Special thanks to Calumet Photographic USA for making this film available to FotoTV

Summary:

In this film, Fred Picker photographs the sculptress Judith Brown on location at her home and Atelier. Brown’s unique way in creating her art form is quite interesting for Picker, and a good way to capture the essence of her work and person. Her sculptures are made from such peculiar and ingenious items such as, twisted steel, mangled metal, automobile rims, license plates, roof ventilators, and even a front end of a Volkswagen Bug.

The location is Vermont and Picker describes it at as a place like no other seen by him before, with sprawling gardens sprouting statues of metal and steel. For a novice or professional, this is definitely a stark scene of contrast worth beholding.

As Picker notes in this film” It is his job as a photographer to do what feels strong and right, otherwise he won’t do it well.” Once again Picker creates subtle portraits of juxtaposed images of brash objects, together in a flowing and iconic portrait sitting of Judith Brown. Picker believes the first picture in such a portrait sitting is usually the best. And he was right. He places Brown in elegant, almost regal poses, amidst all those steel statues. We are enchanted by the results, as Picker humbly explains the logic behind his passion and what excites him.

Technically accurate, Picker gives us even more insight to what equipment and methods he uses. For instance, the 210 mm lens, turned slightly on its vertical access has a very effective outcome for Picker. These are the quiet tips one could only learn from a master.

Internationally celebrated photographer, Fred Picker will be long remembered for his photographic work. Picker’s wide, sweeping wilderness landscapes and intimate studies of natural forms have been held up alongside the work of Ansel Adams, Paul Strand and Edward Weston.

Picker was involved in the manufacture 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. Picker will always be known for saying, "If you want to know what happens with this or that, don't ask me ... test it." That phrase was simple, but it made perfect sense to the many who have followed his wise advice.

With a love for the photographic art form, his contributions to photography as an educator, equipment designer/manufacturer, writer and artist, Picker was a true Pioneer that improved the field of photography.

Picker once wrote, on the occasion of Ansel Adams’s passing away, to "lift a glass to him, he would appreciate that". That’s Picker: always thoughtful, always caring.

Fred Picker, 1927 - 2002

*Special thanks to Calumet Photographic USA for making this film available to FotoTV

Summary:

In this film, Fred Picker takes us to a location that he has known for 10-12 years. A beautiful river that only he knows about, he finds this location magical as he affectionately names it his “Point Lobos of the East”.

Throughout the film Picker, as always is full of knowledge and wisdom as he discusses the delineated beautiful clean form of the rock and river formations. He decides on photographing the water and stone elements in a 50-50 ratio, calling it his “Yin and Yang principle”. The Chinese idea of balancing each other out; he goes on further to describe how seemingly disjunct or opposing forces are interconnected and interdependent in the natural world, giving rise to each other in turn.

His legendary exposure Zone once again plays an important role when studying and photographing his subjects. These simple rules and guidelines are ubiquitous in Picker’s photographs and even the most professional photographer still always has something new to learn from Picker.

His valuable technical information regarding tonal value, composition, cropping, development time, shapes and forms, aperture and all other relevant terms in his photography and printing are wonderfully reviewed. Picker wraps up this series beautifully with the necessary information not only regarding photography itself, but the mastery of photographic printing. This film brings a harmonious closure to an exciting and unique film series courtesy of Calumet Photographic Inc. USA.

Internationally celebrated photographer, Fred Picker will be long remembered for his photographic work. Picker’s wide, sweeping wilderness landscapes and intimate studies of natural forms have been held up alongside the work of Ansel Adams, Paul Strand and Edward Weston.

Picker was involved in the manufacture 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. Picker will always be known for saying, "If you want to know what happens with this or that, don't ask me ... test it." That phrase was simple, but it made perfect sense to the many who have followed his wise advice.

With a love for the photographic art form, his contributions to photography as an educator, equipment designer/manufacturer, writer and artist, Picker was a true Pioneer that improved the field of photography.

Picker once wrote, on the occasion of Ansel Adams’s passing away, to "lift a glass to him, he would appreciate that". That’s Picker: always thoughtful, always caring.

Fred Picker, 1927 - 2002

*Special thanks to Calumet Photographic USA for making this film available to FotoTV