Monday, November 11, 2024

ONE OF THE GREATEST LEICA PHOTOGRAPHERS EVER – ERNST HAAS


By Heinz Richter

Ernst Haas (1921–1986) is considered one of the best, most celebrated and influential photographers of the 20th century and considered one of the pioneers of color photography. Haas was born in Vienna in 1921.  He did not become a photographer until after the war. His early work showed Austrian prisoners of war returning home. This brought him to the attention of LIFE magazine. Initially he declined a job offer as staff photographer in order to keep his independence. But an invitation from Robert Capa changed his mind.  Soon after,  Haas joined Magnum in 1949.  There he developed a close associations with Capa, Henri Cartier-Bresson, and Werner Bishof.

In 1951 Haas moved to the United States where he began experimenting with Kodachrome color film.  He soon he became the premier color photographer of the 1950s. In 1953 LIFE magazine published his groundbreaking 24-page color photo essay on New York City. This was the first time such a large color photo feature was published by LIFE. In 1962 a retrospective of his work was the first color photography exhibition held at New York’s Museum of Modern Art.

Ernst Haas using a Leica
Photo: Glenn Beier

Throughout his career, Haas traveled extensively, photographing for LIFE, Vogue, and Look, to name a few of the many influential publications that featured his work  He created four books during his lifetime: The Creation (1971), In America (1975), In Germany (1976), and Himalayan Pilgrimage (1978).

Ernst Haas continued to work until 1986, the year of his death. He has been the subject of numerous museum exhibitions and publications such as Ernst Haas, Color Photography (1989), Ernst Haas in Black and White (1992), and Color Correction (2011). The Ernst Haas Studio, located in New York, continues to manage Haas's legacy, aiding researchers and overseeing all projects related to his work.                                                 
It would be wrong to claim that Ernst Haas used only Leica equipment, but Leicas have definitely been an integral part of his professional life, and many of his famous photographs have been taken with Leica cameras.

When Ernst Haas began photographing in color, he soon created an entirely new approach to color photography by purposely using rather slow shutter speeds to blur the image.  However, as he explained, this was not left to chance.  He used the colors of the scene, and by deliberately blurring the image, he was actually able to create additional colors through the blurred overlap of the various subjects in the scene..  This approach was made especially famous by his photographs of bullfights in Spain.

 

  

 
Obviously, Haas applied his blurring technique to other subjects as well

 
Photograph from his book "The Creation"

The above photograph was later used by Kodak for the Kodak Colorama at Grand Central Station in New York City in 1977.  The original picture was taken with a Leicaflex SL and a 50mm Summicron-R lens on Kodachrome 25.  The finished Colorama consisted of 20 vertical panels of 3 feet width and 18 feet height for a total size of 18 x 60 feet This was the first time a 35mm picture had been used for this project.  It presents a 508 times enlargement to achieve the width of the image.  It was a definite testament of the quality of the film and that of the Leica camera and lens. 

From the book "In America"

Ernst Hass quite often tried to take photographs of ordinary subjects and to present them as an apparently abstract photograph, although, as he explained, that is a contradiction of terms.  A photograph cannot possibly be abstract because a camera can only record actual subject matter.

 
"The Cross"

 
"Snow Lovers"

 Holy Underwear © Ernst Haas
"Holy Underwear"

"Torn Poster"

Ernst Haas had an uncanny ability to find ordinary subjects and by seeing beyond the obvious, was able to create extraordinary photographs.

The first time I met Ernst Haas was at a meeting of the Leica Historical Society of America.  He had been invited as the main speaker for the event.  One thing that struck me immediately was that here was a person who gained international fame with his wonderful color photography and his masterful use of colors, yet he was clothed all in black, black pants, black shirt, black jacket, black tie.  I saw him talking in German to Walter Heun, the former director of the Leica School.   That in itself was quite an interesting conversation.  I knew Walter Heun and, upon noticing me, he introduced me to Ernst Haas.  I was fortunate to meet him again on a couple of other occasions.

There have been many excellent and important photographers, past and present.  Ernst Haas was without question one of the greatest of them all.


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Saturday, November 9, 2024

AN ABSOLUTELY POSITIVE EXPERIENCE AT THE LEICA SERVICE CENTER IN NEW JERSEY



A few days ago I came across a post by reader Ben Eisendrath. It remided me that much too often we see negative comments, in general as well as about Leica specifically. Unfortunately, mistakes can and will happen, yet that seems to overshadow almost all the positivfe experiences.

I have used Leicas all my life and I must say that the positives outshine the few negaive experiences by far. I asked Ben and he agreed to repost his article here.

Ben wrote:

Long overdue long post. But worth the read, I promise.

In general, people tend to relate only negative customer service experiences, and that's a shame. People on the other end of it, trying to help (or not) get mostly a rough day, every day. Well this is to make sure Leica New Jersey gets its high praise, too.
A few months ago I was still struggling with two very fancy M lenses that were both problem children on my two digital M bodies. I just couldn't seem to hit focus with them, when I could do so consistently with all my other fast RF lenses. You could understand my frustration when I tell you these lenses were the Noct f1 and the Mandler Lux 75mm, both famed unicorns.
If you've noticed my posts in the past you've probably gathered I pretty much only shoot fast lenses, and vintage ones at that. I miss focus plenty, but now have enough practice that I'm very comfortable with my hit rate. EXCEPT when I was using two of the most valuable lenses in my arsenal. Before you put all the blame on me, my smoking gun was the fact that I could hit practically every time with my Canon .95 'Dream', on both bodies.
SO. I took both lenses to the Leica store, almost at my wit's end, ready to part with them, but wanting to hear their thoughts first. This was the DC Leica store. I turned into a real regular during the pandemic when I made them one of my walking destinations. Cutting to the chase, and knowing I go to NYC often, they suggested I make an in-person appointment with the New Jersey service center (!). I was dumbstruck that this was possible. Obviously I did just that.
The day came, and I arrived via very expensive Uber at the service center, around a 30 minute trip from Manhattan. The security guy checked my appointment and I went up the elevator to find a little Wetzlar (or as I picture it) in Jersey.
The lobby was gorgeous, they handed me a water, and a few minutes later, I kid you not -- the President of Leica USA walked out, recognized me from a DC event, then sat down and chatted with me for a few minutes, mainly about watches (he came from that world to Leica). Shortly after he left, Jennine came out. Jennine is the head of Leica service there.
Jennine told me that Peter would be with me in a couple minutes, and handed me a Leica lab coat. At this point I was crossing from pleasant surprise right over to dumbstruck. The lobby has a window into their lab, so I'd been watching about a dozen technicians working on lenses and bodies. I was still looking at the lab coat in amazement when Peter came to get me.
Peter has been with Leica since 1985. He's German, and has worked in the service departments of every Leica facility they have (except Portugal). He asked me to put the coat on because HE WAS TAKING ME INTO THE LAB.
I gathered up my precious gear (M10M, M10R, and Noct) and followed him into what felt like hallowed [even tho it was Jersey] ground.
I just couldn't believe what was happening. Peter took me on a quick tour before taking each camera, calibrating/adjusting their RF, then hooking them up to machines that read their history and checked for errors. He handed the lens to another tech, who disappeared into his service lair. I was shown the old way they used to check rangefinder accuracy, and how they do it now. He explained and showed me up-close everything he was doing, all things I'd presumed to be only viewable by the Leica Gods.
Both cameras had RFs that were marginally out of alignment, but nothing major. When he hooked my year-old M10R up to the history-reading machine he turned to me and said "Wow, 16,000 shutter actuations!" I was surprised he was surprised, and said "wait 'till you check the monochrom!" That one was just short of 40,000 actuations. He told me it's very common to see cameras that show similar heavy wear like mine, but have only a thousand or so actuations. He cocked his head and nodded when I said I was sure many cameras are mostly treated like jewelry. Peter assured me that though they would consider my cameras 'high-mileage' already, that I shouldn't be concerned about shutter life, even past 100,000.
After this step we went over to the lens tech's workspace and he told us that the Noct f1 was far out of adjustment, so far that it wouldn't go to infinity. I'd never noticed because I NEVER shot that lens at infinity! He fixed that in ten minutes. I'd already sent the Lux to real Wetzlar, and BOY did I regret that.
The last machine both cameras took a turn on checked the alignment and position of the sensor. The M10R passed, the Monochrom failed. Apparently sometime along the line the sensor moved seriously out of position. I felt it very strange because I hadn't noticed anything in my use of the camera. He explained that it would only affect where on the sensor critical focus would land. For instance, off to the left or right when you were going for center. More information I could never know. My Leitz-Wetzlar M10M baby would need to stay for a couple days.
I walked out of the lab into the lobby with now-perfectly performing M10R and Noct f1. Janine led me to the desk where I signed the service receipt. The cameras were under warrantee, so even though they were described as 'signs of heavy use', no charge. They also didn't ding me for the quick fix on the Noct. As promised the M10M sensor adjust was complete within two days.
I have rarely if EVER been so dazzled by a service experience. I asked Jennine about it - if anyone could just make an appointment like mine. She told me they have been preparing to do these in-person service appointments for a long time, but had decided I WOULD BE THE TEST CASE. I probably should've fainted. But so you know, for all my Leica brethren I asked if I could share that this was available to anyone, and she said:
YES.
I suspect this will be case by case, and centering on mysteries like mine rather than regular tweaks. But HOLY SH+T if you have a seemingly unsolvable problem and can get to New Jersey, DO IT.
Much love to you, Jennine and Peter.




All photographs by Ben Eisendrath

Ben Eisendrath owns Grillworks, a fire specialist in wood grill design for the culinary world. He is also a longtime Leica photographer, shooting live music and for news media professionally.

GrillworksUSA.com
The Premire Wood-Fired Grills
@insomnigraphic


For other articles on this blog please click on Blog Archive in the column to the right

To comment or to read comments please scroll past the ads below.

All ads present items of interest to Leica owners.

_______________________________________________________________________

EDDYCAM - the first and only ergonomic elk-skin camera strap     
 www.eddycam.com        

      



Buy vintage Leica cameras from 
America's premier Leica specialist 
www.tamarkin.com

 http://www.tamarkin.com/leicagallery/upcoming-show


Click on image to enlarge
Please make payment via PayPal to GMP Photography

Click on image to enlarge
Please make payment via PayPal to GMP Photography

Click on image to enlarge
Please make payment via PayPal to GMP Photography


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