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Ernst Haas On Set

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Détails sur le produit

Relié: 288 pages

Editeur : Steidl; Édition : 01 (1 mars 2015)

Langue : Anglais

ISBN-10: 9783869305875

ISBN-13: 978-3869305875

ASIN: 3869305878

Dimensions du produit:

24,1 x 3,2 x 29,2 cm

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Classement des meilleures ventes d'Amazon:

723.832 en Livres (Voir les 100 premiers en Livres)

Ignore the earlier three reviews: they are not about this book, but about other books by or about EH's work.This book has been over a year in coming available after its first announcement. But the wait is more than worth it. It has more than twice the number of images of any earlier EH book.It will be a quick sellout. Any person from the Post-War Baby Boom Generation (PWBBG) who took up photography will want this book, covering an aspect of EH's work that appeared in Life, Look, and many other magazines, but not generally in books, except in a few instances, such as several images in "In America" from his work on film westerns. Film historians will also devour this book. Haas covered several dozen of the iconic movies idolized by the PWBBG. This will be the instant Go-To book to study images of these films from this era of these stars and directors.Twenty three movies are covered in 245 pages of images(yippee), from "The Third Man" from 1949, through "Moby Dick," "The Misfits," "The Greatest Story Ever Told," "The Molly Maguires," and wrapping up with "Quest for Fire" from 1981. At the back, there is a complete list of the thirty four films he worked on, starting in 1948 and ending with "The Journey of Natty Gann" from 1985. Although several photographers worked on many of these films, many of them colleagues from Magnum, of which he was an early member, EH became favored and was often asked for specifically, to the point that often he became associated with particular directors or actors.Much of what they saw and wanted in Haas's work on cinema sets was manifestations of the innovations and uses of camera and film that he was doing with his own work. EH can almost singularly be credited with inventing modern small-format color photography with his early work with ISO 8 Kodachrome I. EH's explosive revelations of what was possible started showing up in two issues of LIFE magazine in 1953 with a ground-breaking photo essay on New York City that required two issues; LIFE had never done that many pages and images on one subject. Many more single issue and at least one more double issue essays were to follow.This is not a book of primarily film promotional stills, but much deeper, looking into the entirety of the film-making activity itself. EH had unusual access on many sets to shoot what interested him, and not just to populate an assignment of part of the process or action. Some of these images we have seen in the magazine reviews of the time of the respective films, but many also surpass that use and stand at the top level of photographic art on their own merits. Many portraits and set images are icons of photo and cinema history.He was very intrigued with trying to convey a sense of time in a 3-D evolving space onto a 2-D Kodachrome or B&W image. His various means of accomplishing this show up throughout the movie-by-movie chapters in this book.Once more, Victoria and Alex Haas, and Steidl have collaborated to push back at such effete artphoto-critics, such as Max Kozloff, who have failed for decades to accord EH his place as one of the 20th C's greatest photographers, teachers, imaging philosophers, innovators, and inspiration to several generations, now, of photographers. It is past time to discover or rediscover this photographer's work, and this book, on a theme one doesn't see done with respect to other photographers, is an outstanding book with which to start.Steidl's earlier book by EH, "Colour Correction," sold out in a few weeks. Don't bet on this one's lasting any longer. (I bought two copies!)

Ernst Haas takes his camera on set of the best movies of all time (West Side Story, The Third Man, Hello Dolly). Haas is an amazing photographer in his own right, but when you combine his photographic eye and the skill of the best directors and cinematographers of all time?? The results are really just stunning.This is the ultimate behind the scenes look at cinema history. I am personal Woody Allen fan (I know, I know) but the photographs of Love and Death give the film more depth and make me want to watch it from start to finish all over again.

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