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The Fine Print
Summary:
Finally, the fine print has been done. It is presented with a white cardboard frame that enhances the beauty of the photography.
Fred Picker comments that the hard part of making photography is not to shoot the camera or to spend many hours in the darkroom; the hard part is to take the correct decisions in order to get the print that the photographer visualized when the photo was taken.
Fred Picker was involved in manufacturing of 4 x 5 and 8 x 10 large format field cameras. 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 and black and white photography was unsurpassed.
Final Adjustments
Summary:
The photography that Fred Picker printed in the previous film in carefully analysed. He is able, once again, to find new possible improvements in some small areas of the photography. He takes notes of this new burning and dodging necessities, and he makes the new print. This one is finally accepted as the one that he visualized when he took the picture.
However, everything is not done yet. He explains the effect of the dray down factor, and how it should be compensated. At the end of the film, Fred Picker mentioned the importance of a good washer process and the convenience of toning the photography.
Fred Picker was involved in manufacturing of 4 x 5 and 8 x 10 large format field cameras.. 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 and black and white photography was unsurpassed.
Burning & Dodging
Summary:
In the previous film, Fred Picker made new prints of those small areas that he imagined that could be improved by changing the original printer time. He explained the importance of taking precise notes about where more (burning) or less (dodging) exposition should be given in order to produce a much better photography.
Now, he simply follows the recipe and, in a very systematic way, shows us how to print the photography just burning and dodging in those areas that he previously selected.
Picker was involved in manufacturing of 4 x 5 and 8 x 10 large format field cameras.. 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 and black and white photography was unsurpassed.
Refining the Print
Summary:
So far, Fred Picker has shown us how he gets a correct basic exposure, find the right high value, make pilot prints and then choose the appropriate contrast paper from a negative.
In this film, he carefully examines the pilot print that he had previously chosen and finds ways to improve the photograph. He suggests that the photograph be printed in different tones of Black and White, usually fifteen, from his experience. He derives these different tones by increasing the exposure time from the standard 27 seconds in increments of 3. He chooses the area of the picture he wants to compare and makes prints by increasing the exposure time. He then places the result over the chosen pilot print and does a comparative study on the tones and colours of the result with that of the pilot print. Its interesting to note his comments on the various black, white and grey tones. He repeats this process as much as it is needed. It is also important to observe how he systematically notes down all the variables in the comparative test. This work system allows him to get the best possible result.
Picker was involved in manufacturing of 4 x 5 and 8 x 10 large format field cameras. 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 and black and white photography was unsurpassed.
Selecting Paper Grade
Summary:
In the previous film, Fred Picker made two pilot prints of the same negative using two different paper grades: the first one with a paper grade No. 2 and the other one with a paper grade No. 3.
In this film, he explains the criterion to select the best pilot print. According to Fred Picker, to make this selection, one needs to go back to the basics and think about what exactly the photographer wished to capture when he clicked that picture. This is the important criterion to discard one of these pilot prints. After stepping back to reflect upon the overall picture, one needs to evaluate it in terms of light, substance and space. The criterion therefore is a mix of luminosity, depth, emotion and the atmosphere that prevailed while taking the picture.
Picker was involved in manufacturing of 4 x 5 and 8 x 10 large format field cameras.. 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 and black and white photography was unsurpassed.
Making Pilot Prints
Summary:
In the previous film, Fred Picker explored where the high value was correctly exposed in each test strip for both grade 2 and grade 3 papers. In this one, he will simply make Pilot Prints for each paper grade. It means he will make unmanipulated print of the two papers to see which one has the best atmosphere according with what he visualized when he took the photography.
He insists that it is much safer to make pilot prints instead of trusting in his own experience, and he recommends keeping always this system. He puts a special attention to the way he works with the print timer in order to keep the same procedure that he used to evaluate the correct print time when he made the initial test strip.
Picker was involved in manufacturing of 4 x 5 and 8 x 10 large format field cameras.. 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 and black and white photography was unsurpassed.
Determining Basic Exposure
Summary:
In the group of films about Fred Picker one can learn in a step by step fashion, how to get the best possible print from a simple negative. In the previous films, we learnt how to make a correct test strip, which is in fact, the third step in printing a black and white photograph. The films show how to make a test strip with a paper grade No. 2 and another with a paper grade No. 3.
In this film, Fred Picker explores where the high value is correctly exposed in each test strip. It means that he determines the correct combination of aperture lens and exposure time for getting appropriate high lights in each paper. He then makes a straight print in both papers with its correspondent appropriate exposure to compare them. The comparison reveals the best grade paper that brings out the effect he visualized when he shot the picture.
Picker was involved in the manufacture of 4 x 5 and 8 x 10 large format field cameras.. He taught a highly successful photography class known as "The Zone VI Workshop," and authored a book by the same name. The book is now recognized as the golden standard of photographic instruction. He had an uncanny sense for photography. His passion for the subject rendered him opinionated and often times controversial. His contribution to the area of large format and black and white photography is unsurpassed.
Developing the Print
Summary:
In this latest installment of the FotoTV Fred Picker series, Picker demonstrates his legendary techniques in black & white printmaking.
There is no extensive experience or overrated materials needed in order to produce outstanding prints. In the film Picker explains that he even still uses the same fixer for years, one that famed photographer, Ansel Adams used. Furthermore, he goes on to say there is no reason to use a rapid fixer, because he's sees no point in rushing his fine black & white printing. Picker is a master, so it goes without saying he is meticulous. In order to precisely control the consistency of the developer while developing his print, Picker uses a Thermistor, which automatically varies its electrical resistance, consequently adjusting the developer, speeding it up, or slowing it down, depending on the developer's temperature above or below the sixty-eight degree mark.
Through Picker's clear, informative, and inspiring instruction, printing custom black & white prints in the darkroom is now possible for nearly aspiring printers, even the most hard to teach.
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 and black and white photography was unsurpassed.
Making Test Strips
Summary:
In this classic film you’ll learn from master printer Fred Picker how to properly make a test strip for producing fine black and white prints. While keeping in mind the aesthetic considerations for making prints, Picker explains the practical methods he uses to determine the optimum time for exposing a photographic print. Picker notes that a significant reason for using test strips is to save on photographic paper and time—this helps to cut down on the frustration at producing too many prints that are over or under exposed.
The test strip is the third step in printing a black and white photograph from a negative - and one of the trickiest procedures. Picker instructs the viewers with a clear, concise explanation on this traditional darkroom technique, covering essential topics such as the method of calculating ideal exposure times, and photographic contrast in relation to paper grades. 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, black and white photography was unsurpassed.
Choosing the Negative
Summary:
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.