Ever since the springtime when I first took notice of Corinna Belz's documentary Gerhard Richter Painting, I have kept an eye open for stills from that film. They turned up in scattered locations, slowly but surely. There are now at last enough in my folder to give an idea of Richter's giant labors (a man in his late seventies when Corinna Belz's cameras gained studio access in 2010) with the small, the large, and the very large squeegee.