Fred Picker

[Ben Calwell]

I'm rereading Fred Picker's Zone VI Workshop book and find it highly educational and inspirational. Did anyone on the forum know Mr. Picker or take one of his workshops? What was he like, and what was the workshop experience like? I wish I had attended one of his workshops. In the book, he talks with reverence about finely crafted silver prints. It has renewed my energy for the darkroom.

[bob carnie]

There is a forum member Bruce... who knew Fred very well and worked with him.

[Andrew Plume]

That's probably Bruce Barlow, Bob but sadly he died last Year

regards

Andrew

[Merg Ross]

Richard Ritter, who posts here, worked with Fred for fifteen years.

[bob carnie]

That's probably Bruce Barlow, Bob but sadly he died last Year

regards

Andrew

I am sorry to hear that, I met him at the ash spreading ceremony of Ted Harris,

Bob

[Andrew Plume]

Thx Bob

That would make sense, from memory and thx to 'View Camera Mag' they both lived in the Vermont area

https://www.largeformatphotography.info/forum/showthread.php?152733-In-Memory-of-Bruce-Barlow

Stay safe do and all of your family too

regards

Andrew

[bob carnie]

Thx Bob

That would make sense, from memory and thx to 'View Camera Mag' they both lived in the Vermont area

https://www.largeformatphotography.info/forum/showthread.php?152733-In-Memory-of-Bruce-Barlow

Stay safe do and all of your family too

regards

Andrew

You too,

I fondly remember Ted, he was an amazing person on this Large Format Photography Forum. Incredibly open with his knowledge , his specialty was scanner technology
and he taught a course at my facility and stayed with my wife and I for a week just 5 days before he passed away.

Bob

[Alan9940]

I met Fred in 1978 and attended his workshop in 1979. From 1979 - 1982, my wife and I visited Vermont and Fred several times; generally taking him out for dinner and I showed him any new work I had. In 1982, we moved to central Vermont for many reasons, one of which was to be closer making visits easier and as often as to not be obnoxious. I always enjoyed showing Fred my new work, even though it made me very nervous!

As for the man, lots has been said about him, but I would sum him up as a strong person who spoke his mind and didn't suffer fools kindly. He had little patience for students who weren't willing to do the work. He was often admonished for being a keen businessman, but that never bothered me. Half of my darkroom today is filled with equipment bought from Fred over the years. How I wish Brilliant printing paper was still available! How many times have a kicked my own butt for giving away over a thousand sheets of Brilliant and Ilford Ilfobrom when we moved across the country. At the time, I thought I'd be all digital moving into the future...what a fool! ;) I shoot mostly film nowadays.

[Luis-F-S]

I met Fred when I took his workshop I believe in the late 1980's. Remember some of this assistants, Richard Ritter, Martin Tarter, Lil Farber and others. Fred was a great inspiration to all. I think Alan surmised Fred's demeanor pretty well. A lot of the stuff Fred produced, I own, a lot I didn't care for. He did believe in what he promoted, and had good reasons for it. Today, most newbies to LF just go out buying wildly without any guidance or direction. Or worse, they look at Youtube and see someone who may not know any more than they do. Whether you agreed with him or not, Fred had convictions and reasons for why he pushed what he did. When you finish reading the Workshop book, re-read the Newsletters. I keep a copy of the Workshop in my car and actually have several copies of it, the Fine Print and Rapa Nui. I miss Fred.

[Greg]

Had many discussions with him about the S.E.I. Photometer and how to use it. His method of adapting the S.E.I. to the zone system I found to be very confusing and told him so. I told him of my method of using the S.E.I. and he disagreed with it at no end, but in the end wished me luck and told me that if my method worked for me then of course use it. Also miss his paper of which I still have 2 or 3 unopened boxes of and plan on finally using it up over the next year with a few my most favorite pre-1990 negatives.

[Peter De Smidt]

Ken Lee knew him. I talked to him on the phone once.

[Old_Dick]

i have a copy of his video on google cloud. Free download to anyone who wants it. Just PM me.

[Peter Lewin]

I took his workshop in 1984, and Bruce Barlow was at the same workshop. My strongest memory was the lesson he drilled into us, that if we had a question about something, try it! That was consistent with the earlier post which said he had little patience for students who didn't do the work; if you wondered how development time impacted a negative, or what different contrasts would do, try it and compare the results. I also remember another of his "rules," after you have found the best spot from which to make your photographs, take another two steps forward. He also had a wonderful collection of prints for us to admire and work towards, including favorites of his by Paul Strand, Paul Caponigro, and Oliver Gagliani. (I think the collection may have been at Lilian Farber's home, my memory is a bit hazy 36 years later.) And similar to Alan's post above, my darkroom is still something of a ZoneVI catalog, with his washer, his compensating development and enlarger timers, and his VC head. While I eventually traded my ZoneVI/Wista 4x5 for my current Canham DLC, I still use his modified Pentax spot meter all the time. Probably the only piece of equipment which I think was more marketing than substance was his "lightweight" (ha!) tripod, and I even own one of those. In my library I have the full set of newsletters, the little ZoneVI Workshop book, and two books of his images. While my "aesthetic" is very different from his, he had a huge impact on how I work.

[Willie]

Am still looking for the Zone VI crosscut Saw as I have some trees in the way at times when I want to take a picture. Anyone know where I can find one? Fred used one and I can't find my old Zone VI catalog.

Do I remember it right, Fred's motto was "If Ansel didn't do it, it can't be right"? ;-)

[Ben Calwell]

Thanks for all the replies. Makes me wish I could travel back in time and sign up for one of his workshops. I just remembered that I have a Zone VI artifact — it’s a Zone VI film holder belt. I used it for years and need to dig it out of the closet. Zone VI cold light heads pop up on eBay occasionally. Do those have the V54 lamps?

[Chuck Pere]

If you haven't seen it you should try to watch his video on camera use. I think it's call "Photographing with Fred Picker".

[Alan9940]

Do those have the V54 lamps?

Don't know about later versions, but the one that came with my Beseler 45MX enlarger does not. In later years, I bought an Aristo CL4500 unit which does have the V54 lamp. I've used that for many, many years. But, just recently I picked up an Aristo VCL4500 unit which doesn't have the V54 lamp, but does eliminate the need to change out filters. I'm really enjoying that aspect of it and how easily I can now burn/dodge with different contrasts of light simply by dialing it in.

[RichardRitter]

Am still looking for the Zone VI crosscut Saw as I have some trees in the way at times when I want to take a picture. Anyone know where I can find one? Fred used one and I can't find my old Zone VI catalog.

Do I remember it right, Fred's motto was "If Ansel didn't do it, it can't be right"? ;-)

During the ten day workshop Sunday was a day off. Dave ,Tim,and myself would go photographing. We stopped at a spot north of Rockingham Meeting house. When we walked into find photographic spots we found an area that had a cut window into the brush. This was the perfect spot to photograph the river gorge. Fred's doing.

[Drew Wiley]

Maybe he used those cut scraps to make his worthless wooden tripods. Not every product was a home run.

[Peter De Smidt]

Drew, why do you always have to rip on Fred? It's unseemly. I can't think of too many businesses where every product was a home run. And, yes, I've owned and happily used both of Zone VI's tripods.

[bob carnie]

I own a Wisner Picker collaboration 4 x 5 camera.. it is really nice.

[Daniel Unkefer]

I have a Zone VI Lightweight tripod, it's been in the Atlantic and Gulf photographing architecture in shifting sands. And to plenty of mountain tops and desert hikes, I never had any issues with it at all. I have no idea why people think these are worthless?? I threw it over my shoulder (with a towel for a pad) and hiked extensively around this area, with 4x5 and occasionally with 8x10 Norma.

-Dan, who made it to the top of the Great Sand Dunes in SW Colorado with Norma 4x5 and ZVI tripod. Sunk down to my knees in the sand :)

[Alan9940]

And, yes, I've owned and happily used both of Zone VI's tripods.

Same here! Until I became of an age where I couldn't lug around those tripods any longer, I used them extensively in all kinds of weather and environmental conditions and never had a single issue. I sill own both today, though I haven't used either in many years.

[bob carnie]

I have all Freds notes as many here do, I waited for each newsletter and learned much from them, At the time I was working in a commercial lab environment and these notes were a connection to a group or idea that was not prevalent in my day to day photographic life. I never took a workshop, I did not like the idea of being cooped up with a group I did not know, I still feel that way.
If Fred was alive today I think he would be the king of the internet on every FB photo group that dealt with photographers, he would have made millions now.

[RichardRitter]

Fred took a light weight tripod to Scott land and manage to back the rental car over the tripod the first day out. He was able to find wood and a pocket knife and make a new leg for it. If it was made of sometime else he would of been out of luck.

[Andrew Plume]

Dear all

I am a very contented owner of a Zone V1 4 x 5, the previous owner being one John Shiu from this Forum. John had clearly looked after this one extremely well, it remains in great shape. I bought it to replace a Wisner Traditional also in that size. The Wisner Trad was brand new, the Zone V1 was not, the Zone V1 happens to be far superior, far more rigid too. The Wisner tended to be looser on certain movements, I could never insert a film holder without removing the back as the rear standard no matter how much pressure that I applied to the relevant screw always moved. With the Zone V1 I have no worries at all

Good to hear that you are happy with your one Bob

regards

Andrew

[Renato Tonelli]

I wanted to take his workshop but I was in college and funds were very low. A co-worker at a custom lab I worked at (FinePrint) suggested I buy the Zone VI workshop book in order to learn the Zone system. I still go to it when I feel in need of a refresher on some points and I have many Zone VI items. At one point he was selling a compensating timer for the enlarger (before he built his own). I recognized it as a rebadged Lektra timer we used in the custom lab - it made me smile.

[bob carnie]

Dear all

I am a very contented owner of a Zone V1 4 x 5, the previous owner being one John Shiu from this Forum. John had clearly looked after this one extremely well, it remains in great shape. I bought it to replace a Wisner Traditional also in that size. The Wisner Trad was brand new, the Zone V1 was not, the Zone V1 happens to be far superior, far more rigid too. The Wisner tended to be looser on certain movements, I could never insert a film holder without removing the back as the rear standard no matter how much pressure that I applied to the relevant screw always moved. With the Zone V1 I have no worries at all

Good to hear that you are happy with your one Bob

regards

Andrew

I have never used it Andrew too pretty.... but I would like to wear it down... right now use a reducing back on a 8 x10 camera that was given to me by a member on this site.. Vindaloo Dave Wooten.. he just sent it to me from Vegas with holders and no question.. I love it.

Bob

[Alan Curtis]

I have and still use just about everything Zone VI made. It has all held up quite well. Speaking to Fred on the phone was always interesting, I could tell when I asked something stupid, at least to him, because the conversation would quickly end.

My camera was one of the first that Zone VI produced in house. There was a long delay in me getting the camera. Fred called me apologized for the problem and threw in six extra film holders when the camera arrived.

[Ben Calwell]

All, do you think Fred Picker would have embraced digital photography?

[RichardRitter]

all, do you think fred picker would have embraced digital photography?

no!

[Jimi]

Since we are on the subject of Fred Picker ... according to what I understand he suggested that people start out with a 210 mm lens in 4x5. Why was this? I can see the point of having ample movements with such a lens, but secondarily making compositon a bit easier (closing in the details). Could there be some other idea behind? Did he come up with this, or is it "common knowledge"?

[Kirk Gittings]

When I refer to the rubber stamp, who knows what I am talking about? :)

[Ben Calwell]

The 210mm was my first lens. It came as a package with a Calumet monorail kit that I bought in the early 80s. I still use that lens, and I still have the camera, too, although it’s in the attic. I still use the loupe that came with the kit from Calumet. Good stuff.

[Daniel Unkefer]

When I refer to the rubber stamp, who knows what I am talking about?


TRY IT! :)

[RichardRitter]

When I refer to the rubber stamp, who knows what I am talking about? :)

When Bruce worked for Zone VI he got two rubber stamps for Fred to use when he replied to mail. One was try it the other was bull shit that stamp was taken away from Fred

[Drew Wiley]

I'm not "always" ripping him at all. I've just finished a session using his Zone VI comp dev timer, still going after all these years, and sure as heck spent money on his Brilliant paper, among quite a few other things. His tripods were obviously never seriously weather tested and were just poorly modified cheap survey tripods, then overpriced. Just went along with his patent medicine marketing persona.

[Daniel Unkefer]

https://live.staticflickr.com/65535/49813025768_b03da3afa7_z.jpg (https://flic.kr/p/2iTNM6S)Darkroom Reno II No 3 (https://flic.kr/p/2iTNM6S) by Nokton48 (https://www.flickr.com/photos/18134483@N04/), on Flickr

I found recently these Zone VI reference prints and was very happy to buy them at a great price. Fred always wrote that having reference prints of good quality is one of the most important things to have in a darkroom. I do agree with that.

Also I think I have about every book he ever put out. And I have the Calumet DVD which I watched last year and I really enjoyed it. I'd like to watch it again.

Fred used the Sinar Norma for commercial work and that got me really interested in finding one to check out first hand. And the rest is history! :)

I have a Zone VI Lightweight tripod, it's been in the Atlantic and Gulf photographing architecture in shifting sands. And to plenty of mountain tops and desert hikes, I never had any issues with it at all. I have no idea why people think these are not worthy?? I threw it over my shoulder (with a towel for a pad) and hiked extensively around this area, with 4x5 and occasionally with 8x10 Norma. I've gone over mine recently and it works like new, with some scars.

[Drew Wiley]

When my older brother was at Brooks around 1960, most students were on a tight budget, so they told them to buy a 21O Symmar for portraiture, product shoots, and landscapes, and a 90 SA for architectural interiors (and skip 150 in the middle). It seems to have been a widespread custom; hence 210's are abundant on the used market. Following my brother's advice, I shot everything with a 210 for about 10 years. I came to think of it as my personal "normal" perspective for 4x5. Now I see 240 as more my idea of mid-range. I've never even owned a 150. Fred P. championed the 120 SA as the second lens one should get. I fell for it, and carried that beast up 13,000 ft peaks in an 85 lb pack repeatedly. Great optic. But didn't dear ole Fred ever hear about tiny little Fuji 125 wides? As far as his tripods go, there's a famous movie called The Terminator where a Ries tripod enters the room.

[Drew Wiley]

To be more specific : The Z6 ones would literally freeze solid when wet in cold weather. The platform head was just plywood and delaminated. Just a few years later I was selling top end US made CST fiber-glass clad wood survey tripods, way better; and I was selling em at half the price Picker wanted. All it took was a simple turnbolt change to 3/8-16. But Ries does it best - all non-ferrous metal parts; nothing rusts apart; way more reliable leg operation in cold wet weather.

[Luis-F-S]

As much as I hate to agree with the above, Fred's tripod was terrible. I had one for about 20 minutes and sold it as quickly as I found someone to buy it. Bought and have used a Ries-several actually- ever since. Although I printed with a cold light for years, I hated his enlarger. Had both a type I & II and sold them both and bought an Omega F and then a Durst. Bought an aristo cold light head for it and a Metrolux timer. Still have them. A lot of Fred's gadgets I bought and still use. Have 3 of his archival washers (8x10, 11x14 & 16x20), 2 of his roll film washers, several darkroom compensating timers (backups), several of his prints and I'm sure other things if I put my mind to it. Had a Zone VI camera (several versions actually) until I switched to Deardorff. Liked the earlier ones better than when he got with Wisner. The tripod was not lightweight and the draw string to keep the legs from flattening out was stupid and didn't really work very well. Sorry Fred promoted many fine ideas and gadgets, but the tripod wasn't one of them.

[Peter De Smidt]

I'm not "always" ripping him at all. I've just finished a session using his Zone VI comp dev timer, still going after all these years, and sure as heck spent money on his Brilliant paper, among quite a few other things. His tripods were obviously never seriously weather tested and were just poorly modified cheap survey tripods, then overpriced. Just went along with his patent medicine marketing persona.

You seem to mention negative things in every thread I remember about Fred.

[Peter De Smidt]

Hopefully, when we're gone, and someone mentions us, some people will insist on telling everyone something negative about us. Decency is not trending, apparently.

[Drew Wiley]

I dealt with manufacturers and distributors for several decades. Someone makes claims concerning quality, they should be able to back it up. It's called common sense consumerism, not negativity. You reward good products, point out what's bogus. Walk into a home center or hardware store today and it's all 95% junk. That's what happens when everyone goes mute. I had to deal with certain snake oil salesmen I personally liked, but any product BS lost them sales. There's nothing "decent" about being a sucker. Just because someone has passed away doesn't suddenly make an inferior product better. I probably spent twenty times as much on Z6 products I liked as those I didn't. And manufacturers I spent a million bucks a year with got chewed out the most if they try something bogus. Step by step, going quiet is how nearly our entire national mfg base landslided into collapse in just a few short years. I have some very colorful characters in my own family tree that did downright heroic things, but could at times be shysters too. No sense whitewashing it. Just like there are great photographers whose work I praise, but might have been real jerks at a human level. I'm not interested in writing a eulogy. Other than a few brief phone conversations, my knowledge of Fred Picker is his products and marketing persona. He chose that public legacy, not me.

[peter schrager]

until the time I took the Zone VI workshop in Vermont I had no clue how to make a good negative or a decent print. I had seen lots of great photos at the Museum of Modern Art in NYC but the revelation of making my first real photo with white whites and black blacks and all the other shades in between
I've done many workshop since that time but that one was the most fun and steepest learning curve
Fred was very dogmatic about photography his mantra of "just try it" has remained with me the whole time...now that we have the internet the lazy ones just want the answers....is this lens better; is this developer better; is this camera better; probably not but TRY IT!
Yup the tripod sucked but today I used the timer and 11x14 open washer that they made to take the silver off of old Agfa paper to make my own POP emulsion
....thanks Fred!!

[Luis-F-S]

Oh, have the 11x14 open washer that I use everytime I print. I'm enbarassed to say that I've never used the 16x20 archival washer. I bought it because it was available almost new and I might want it at some point. Although that point seems to go further away each day. Use the 8x10 for film and every time I print.

Have two of his modified digital spot meters that I could not do without. Fred taught many of us what a fine print was and how to make one in the darkroom starting by producing a printable negative, his proper proof, and kept many of us away from the pitfalls so many make today. You could always write Fred with a question and he would answer you. L

[bob carnie]

until the time I took the Zone VI workshop in Vermont I had no clue how to make a good negative or a decent print. I had seen lots of great photos at the Museum of Modern Art in NYC but the revelation of making my first real photo with white whites and black blacks and all the other shades in between
I've done many workshop since that time but that one was the most fun and steepest learning curve
Fred was very dogmatic about photography his mantra of "just try it" has remained with me the whole time...now that we have the internet the lazy ones just want the answers....is this lens better; is this developer better; is this camera better; probably not but TRY IT!
Yup the tripod sucked but today I used the timer and 11x14 open washer that they made to take the silver off of old Agfa paper to make my own POP emulsion
....thanks Fred!!

Making your own silver emulsion for paper ... I am really impressed Peter with your long term commitment. way to go.

[Alan9940]

I've read quite a few comments here saying that Fred's tripods SUCKED. Well, that wasn't my experience at all! I used both the "lightweight" and standard (for 8x10) tripods through 18 long winters in Vermont without a care as to where I placed them. I photographed in below 0 temps, hip deep snow, blowing snow, in and along the brooks, etc, and never once had any issues. As a matter of fact, winter was my favorite time to photograph there.

For example, one November I was photographing along a brook near Moss Glen Falls with my 8x10. I saw an image that I wanted to make, but it required me to get into the water (usually does) to get the camera position I wanted. There I am standing in thigh-high freezing cold water with the 8x10 tripod and camera in the water, too, of course. I exposed two sheets of 8x10 film and when I climbed back out of the brook, I realized I couldn't feel my legs! Anyway, back to the tripod...it was simply lowered back down and tossed into the trunk; with a bit of ice formed on the legs at this point. When I got home, all I did was open it back up at full extension and let it dry out. This, of course, was not the only time I abused either of Fred's tripods! ;) Again, no issues EVER...

[peter schrager]

I've read quite a few comments here saying that Fred's tripods SUCKED. Well, that wasn't my experience at all! I used both the "lightweight" and standard (for 8x10) tripods through 18 long winters in Vermont without a care as to where I placed them. I photographed in below 0 temps, hip deep snow, blowing snow, in and along the brooks, etc, and never once had any issues. As a matter of fact, winter was my favorite time to photograph there.

For example, one November I was photographing along a brook near Moss Glen Falls with my 8x10. I saw an image that I wanted to make, but it required me to get into the water (usually does) to get the camera position I wanted. There I am standing in thigh-high freezing cold water with the 8x10 tripod and camera in the water, too, of course. I exposed two sheets of 8x10 film and when I climbed back out of the brook, I realized I couldn't feel my legs! Anyway, back to the tripod...it was simply lowered back down and tossed into the trunk; with a bit of ice formed on the legs at this point. When I got home, all I did was open it back up at full extension and let it dry out. This, of course, was not the only time I abused either of Fred's tripods! ;) Again, no issues EVER...
Alan I give you more credit for standing in the freezing water!! I use el cheapo carbon fiber that run about $125 and once when I was in Vermont deep in snow one of the legs just snapped off!

[Drew Wiley]

Try our wet warmer Spring snows out here. The wood takes in water, refreezes, and the leg sections won't slide. Same thing with winter tents. Something that stays dry in a powder snow might soak through or condense in wetter snow. I probably couldn't count how many times I've been in ice water. Had a friend who broke two legs off his expensive Gitzo CF tripod slipping on a rock in a high country stream. I whittled prosthetic legs from whitebark pine sticks and duct-taped them on. Now that was a hokey tripod, but it worked!

[Kevin Crisp]

"We used to dream of having pine sticks and duct tape...."

[Drew Wiley]

That was only half the story. He dunked a $3000 Zeiss lens too, and tweaked his foot. It was in one of the remotest places in the High Sierra two divides away from even a trail, and a week from the road. Duct tape on his ankle too. The lens was later salvaged in a dessication chamber, just like I've used a couple of times for my own stupid dunkings of spotmeters in snowmelt.

[Daniel Unkefer]

I've read quite a few comments here saying that Fred's tripods SUCKED. Well, that wasn't my experience at all! I used both the "lightweight" and standard (for 8x10) tripods through 18 long winters in Vermont without a care as to where I placed them. I photographed in below 0 temps, hip deep snow, blowing snow, in and along the brooks, etc, and never once had any issues. As a matter of fact, winter was my favorite time to photograph there.

For example, one November I was photographing along a brook near Moss Glen Falls with my 8x10. I saw an image that I wanted to make, but it required me to get into the water (usually does) to get the camera position I wanted. There I am standing in thigh-high freezing cold water with the 8x10 tripod and camera in the water, too, of course. I exposed two sheets of 8x10 film and when I climbed back out of the brook, I realized I couldn't feel my legs! Anyway, back to the tripod...it was simply lowered back down and tossed into the trunk; with a bit of ice formed on the legs at this point. When I got home, all I did was open it back up at full extension and let it dry out. This, of course, was not the only time I abused either of Fred's tripods! ;) Again, no issues EVER...

Same with me and the lightweight model. I threw it into my cargo minivan at least 500 times, never any damage. Did beeswax the side slats and put washers and tightening washers on all the knobs, Fred recommended that and it helped. Made of ash, if I remember correctly. Never could break it and I did try! :) Now it's cleaned up and ready to use again. And I'm looking forward to it.

I have five or six really heavy tripods, and this is in the top five for me.

[chuck461]

Try our wet warmer Spring snows out here. The wood takes in water, refreezes, and the leg sections won't slide. Same thing with winter tents. Something that stays dry in a powder snow might soak through or condense in wetter snow. I probably couldn't count how many times I've been in ice water. Had a friend who broke two legs off his expensive Gitzo CF tripod slipping on a rock in a high country stream. I whittled prosthetic legs from whitebark pine sticks and duct-taped them on. Now that was a hokey tripod, but it worked!


"We used to dream of having pine sticks and duct tape...."

LOL
Thanks for a good laugh

[Alan9940]

Try our wet warmer Spring snows out here.

I guess the Spring snows out on the left coast are somehow "wetter" or different than the Spring snows we got in Vermont. Plenty of snow dumped on where I lived during the month of April and it was many times pretty wet and heavy. Still used my Zone VI tripods in those conditions with nary a thought. Come to think of it...all of Fred's equipment held up better in the winter than I did! :D

[Drew Wiley]

Much wetter, much deeper. After the early powder snows, the skiers contemptuous call it "Sierra cement". The surface melts fast, it glazes over, more deep snow, then serious avalanches. Backcountry skiers generally wait until March when things potentially compact better; but it varies from year to year. I've been in serious blizzards every month except July. When you've got a wall hundreds of miles long over 14,000 ft high in places parallel to the Pacific Ocean, that attracts a lot of water-loaded weather that chills with elevation, and in a century ago produced the deepest recorded annual snowfalls on earth. But things are changing. Did you make a set of snow baskets for your tripod feet? I did some snowshoeing with the Z6, and it froze up rock solid every time. If Fred had done his homework, he'd have known beeswax collects grime and gets sticky over time. But it was long a custom to do that for sash windows too, so I understand. Ries would spray-can water-based urethane on their maple legs which wore off almost instantly. Apparently just for cosmetic new-look purposes because they didn't have proper drying conditions or time for anything serious. But their time-tested leg cross-sections don't freeze up so easily. Parts don't rust either.

[Randy]

Fred gets the credit (blame) for me getting into large format. I purchased his Zone VI Workshop book in the very early 80's, when I was shooting 35mm and medium format. Learning that I had been metering wrong all this time was a revolution for me.
Anyway, I still use my Zone VI dark cloth that I have had since the mid 80's. I did purchase a used version of the controversial wooden tripod several years ago, for use with 8X10. I use it "headless" as another member on the forum suggested. Works fine for my purposes.
I have to say though - I loved Freds writing and his technical abilities, but I was just never crazy about his images. Perhaps if I could have seen some actual prints, rather than just reproductions in his books...?

[Alan9940]

Fred gets the credit (blame) for me getting into large format.

LOL! For me, it was "The Portfolios of Ansel Adams". I was happily going along shooting 35mm when my wife bought this book for me for Christmas one year, and I was like "That's the kind of work I want to do!" Not grand landscapes, but the clarity and smoothness of tones.

[bob carnie]

LOL! For me, it was "The Portfolios of Ansel Adams". I was happily going along shooting 35mm when my wife bought this book for me for Christmas one year, and I was like "That's the kind of work I want to do!" Not grand landscapes, but the clarity and smoothness of tones.

For me it was Man Ray.. I only use 4 x 5 and 8 x 10 , roll film can work but not with the same precision when trying to solarize.

[Peter De Smidt]

I wouldn't be doing LF if it weren't for Fred. I stumbled on a Zone VI catalogue about 1992. I had just been shooting 35mm. I bought the newsletters and that was that.

[Bernice Loui]

Fred Picker was an interesting marketeer back in the days when 4x5 studio work was common.

He and others were carrying on the outdoor LF camera work with a long history going back to the earliest days of landscape photography using a view camera. Think Fred and all were very inspirational for an entire generation of photographers that wanted to continue this very long tradition of landscape and related outdoor photography.

While IMO, some of the stuff Fred marketed was iffy, Fred's stuff kept that area of LF alive in various ways during a time when the vast majority of view camera work was commercial color 4x5 sheet.

Now that most if not all that 4x5 color studio work has gone, what remains as LF today is mostly the folks interested in what Fred was promoting.

Another signifiant individual who made a real difference in the world of view camera is Steve Simmonds when View Camera magazine began.


Bernice

[Ken Lee]

Most of us are lucky if we can make a small contribution in just a single domain.

One person might be become an entrepreneur, another person an artist or an effective art critic. One might be an office manager or a technician or an inventor. Some have the gift of writing and publishing. Some act as a thought leaders and provocateurs. Some can give clear instruction while others can inspire others to reach for something larger and more fulfilling.

Some people have organizational skills while others can simply make things work. Some give personal counseling and critique. Some promote causes like environmental conservation. Some strive to adapt to the times and continuously improve. Some function as educators.

Some lie about their age and volunteer to serve in time of war. Some are accomplished atheletes.

Some can be dedicated to their craft and still maintain a sense of humor and personal warmth.

People who do all of these things - and more - are rare. They don't show up very often.

I was fortunate to meet such a person, even more so to be a student and a friend.

[peter schrager]

Most of us are lucky if we can make a small contribution in just a single domain.

One person might be become an entrepreneur, another person an artist or an effective art critic. One might be an office manager or a technician or an inventor. Some have the gift of writing and publishing. Some act as a thought leaders and provocateurs. Some can give clear instruction while others can inspire others to reach for something larger and more fulfilling.

Some people have organizational skills while others can simply make things work. Some give personal counseling and critique. Some promote causes like environmental conservation. Some strive to adapt to the times and continuously improve. Some function as educators.

Some volunteer to serve in time of war. Some are accomplished atheletes.

Some can be dedicated to their craft and still maintain a sense of humor and personal warmth.

People who do all of these things - and more - are rare. They don't show up very often.

I was fortunate to meet such a person, even more so to be a student and a friend.
Ken that is so well said...thank you!!
please add strong convictions!!

[Alan9940]

People who do all of these things - and more - are rare. They don't show up very often.


So VERY well said and makes me immediately think of our health care professionals and first responders!! I've been fortunate to have been married to a very caring Registered Nurse who devoted nearly 40 years of her career to caring for total strangers and our family. Sorry for being slightly off-topic, but Ken's response truly inspired me! Thank you, Ken.