Born in Iowa, USA. Entered American film as a cinematographer for the comedy short AMBROSE'S CUP OF WOE (1916) at the Keystone Film Co. Over the next few years, he shot several more shorts for Mack Sennett, occasionally working at Paramount, Assoc. First National and Hal Roach -- where his last cinematography credit was THE WHITE SHEEP (1924). In 1922, he started directing comedy shorts and westerns at Hal Roach; some of those credits include WHITE EAGLE, THE TIMBER QUEEN and BOW WOW (all 1922), CALL OF THE WILD (1923, also writer), THE KING OF THE WILD HORSES (1924), BLACK CYCLONE (1925), THE DEVIL HORSE (1926) and THE HONORABLE MR. BUGGS and NO MAN'S LAW (both 1927). In the late 1920s, he began working with technical effects: THE LOST WORLD (1925), THE JAZZ SINGER (1927), NOAH'S ARK (1929), THE DAWN PATROL and OUTWARD BOUND (both 1930), SVENGALI (1931), IT'S TOUGH TO BE FAMOUS (1932), CAPTURED! (1933). He finished out his career working in special photographic effects, first at Warner Bros.: MOBY DICK (1930), THE LAST FLIGHT (1931), THE CROWD ROARS (1932), A MIDSUMMER NIGHT'S DREAM, I FOUND STELLA PARISH and CAPTAIN BLOOD (all 1935), CEILING ZERO, THE PETRIFIED FOREST, THE WHITE ANGEL, THE GREEN PASTURES, ANTHONY ADVERSE, ISLE OF FURY and THE CHARGE OF THE LIGHT BRIGADE (all 1936) and STOLEN HOLIDAY (1937). He then began freelancing in special effects at Paramount, Monogram and RKO: PARADISE ISLE, ON SUCH A NIGHT and RIDING ON AIR (all 1937) and FORCED LANDING (1941). His brother was silent film cinematographer Floyd Jackman (1895-1962), and his son, Fred Jackman, Jr., (1913-1982) was also a film and television cinematographer and special effects photographer.  Scientific/Technical Award (Class III - Citation) 1932-33: (Warner Bros.) For the development and effective use of the translucent cellulose screen in composite photography. [w. Fox Film Corporation & Sidney Sanders (RKO)] 1 Scientific/Technical Award