Edited with introduction by John P. Jacob. Text by Walter Moser.
This book considers the film stills of Ernst Haas (1921-86), one of the most accomplished photographers of the 20th century, transgressing the borders between still photography and the moving image. Haas worked with a variety of eminent directors--from Vittorio de Sica to John Huston, Gene Kelly and Michael Cimino--and depicted cinema genres from suspense (The Third Man, The Train) to the Western (The Oregon Trail, Little Big Man), and from comedy (Miracle in Milan, Love and Death) to musicals (West Side Story, Hello Dolly). Haas inscribed a temporal, filmic dimension into his stills which, when viewed in a sequence, generate movement and narrative. So accomplished was his mastery of color, light and motion that Haas was frequently asked to photograph large group actions--from the battle scenes of The Charge of the Light Brigade and the dances of West Side Story to the ski slopes of Downhill Racer. On Set elucidates a novel perspective on the sets and the stars Haas photographed, and reveals a little-known but crucial dimension of his oeuvre.
Featured image, from Quest for Fire by Jean-Jacques Annaud,1981, is reproduced from Ernst Haas: On Set.
PRAISE AND REVIEWS
New York Magazine
Christopher Bonanos
Ernst Haas photographed just about everything he could get in front of his lens. When he died in 1986, he left a huge body of work depicting deserts in the Southwest, skyscrapers in New York, pedestrians in Paris, monks in Vietnam. And movie stars—lots of movie stars. Haas looked at a movie set with a documentarian's eye. The selection here, from the collection Ernst Haas: On Set (out this spring, from Steidl), take visible pleasure in Hollywood's absurd, arresting artifice.
CNN.com
Todd Leopold
Such distinction is obvious from looking at Haas' work -- some of which is as famous as the movies he worked on.
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Featured image—of on- and offscreen lovers Sophia Loren and Cary Grant on the set of Stanley Kramer's 1957 epic, The Pride and the Passion—is reproduced from Steidl's much-loved new release, Erns Haas: On Set. A critic's pick everywhere from New York Magazine to CNN, this beautifully produced volume collects the influential Magnum photographer's film stills for Golden Age Hollywood features including Carol Reed's The Third Man, Howard Hawks' Land of the Pharaohs, Jerome Robbins and Robert Wise's West Side Story, John Huston's The Misfits, starring Marilyn Monroe and Montgomery Clift, and Gene Kelly's Hello Dolly! starring Barbra Streisand. Editor John P. Jacob writes, "Ernst Haas was so prominent, so prolific a photographer during his lifetime that it has taken the passage of decades since his death, in 1986, for historians to initiate an assessment of his legacy. Very simply, they have had to catch their breaths." continue to blog
FORMAT: Hbk, 9.5 x 11 in. / 288 pgs / illustrated throughout. LIST PRICE: U.S. $70.00 LIST PRICE: CANADA $92.5 ISBN: 9783869305875 PUBLISHER: Steidl AVAILABLE: 5/26/2015 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by Steidl. Edited with introduction by John P. Jacob. Text by Walter Moser.
This book considers the film stills of Ernst Haas (1921-86), one of the most accomplished photographers of the 20th century, transgressing the borders between still photography and the moving image. Haas worked with a variety of eminent directors--from Vittorio de Sica to John Huston, Gene Kelly and Michael Cimino--and depicted cinema genres from suspense (The Third Man, The Train) to the Western (The Oregon Trail, Little Big Man), and from comedy (Miracle in Milan, Love and Death) to musicals (West Side Story, Hello Dolly). Haas inscribed a temporal, filmic dimension into his stills which, when viewed in a sequence, generate movement and narrative. So accomplished was his mastery of color, light and motion that Haas was frequently asked to photograph large group actions--from the battle scenes of The Charge of the Light Brigade and the dances of West Side Story to the ski slopes of Downhill Racer. On Set elucidates a novel perspective on the sets and the stars Haas photographed, and reveals a little-known but crucial dimension of his oeuvre.
