Though Haas continued to use black-and-white film for much of his career, color film and visual experimentalism became integral to his photography. He frequently employed techniques like shallow depth of field, selective focus, and blurred motion to create evocative, metaphorical works. He became interested in, as he put it, “transforming an object from what it is to what you want it to be.” Beyond the physical place, person, or object he depicted, Haas hoped to reflect the joy of looking and of human experience.
Haas supported his adventurous personal work with commercially viable photojournalism, advertising, and motion picture stills photography. While on such assignments, he would make his own photographs, translating his passion for poetry, music, painting, and adventure into color imagery. His reputation on the rise, Haas traveled the world, photographing the U.S., Europe, South Africa, and Southeast Asia in expressionistic color.
In the late 1940s, Haas switched from his medium format Rolleiflex to the smaller 35mm Leica rangefinder camera, which he used consistently for the rest of his career. Once he began working in color, he most often used Kodachrome, known for its rich, saturated colors. To print his color work, Haas used the dye transfer process whenever possible. An expensive, complex process most frequently used at the time for advertising, dye transfer allowed for great control over color hue and saturation.
As the technology of color photography evolved and improved during this period, audience interest in color imagery increased. Many of the magazines that published Haas’ work, such as Life, improved the quality of their color reproduction, and increasingly sought to include his work in the medium. Despite this progress, many photographers, curators, and historians were initially reluctant to consider color photography as art, given the technology’s commercial origins.
In 1954 Robert Capa, Magnum’s first president, was killed while on assignment covering the First Indochina War. That same year, Werner Bischof died in a car accident in the Andes. Following their deaths, Haas was elected to Magnum’s board of directors and traveled to Indochina himself to cover the war.
After the death of David “Chim” Seymour in Suez in 1959, Haas was named the fourth president of Magnum. He made significant and lasting contributions to the organization as its leader. Haas had a deep understanding of the cooperative’s mission and encouraged its members to strive for excellence and innovation. In a letter to the members of Magnum, he wrote:
Every one of us wants to take beautiful, striking, extraordinary pictures. Every one of us is struggling with his own style. Changes don’t come purely by will power alone, but they never come by being satisfied. Let us be more critical with each other: it will bring us closer. Let us find a new common denominator in the struggle, not to follow our own standards of invention. Don’t cover—discover!
In 1962 the Museum of Modern Art in New York ( presented a ten-year survey of Haas’s color photography. Titled Ernst Haas: Color Photography, the exhibition marked MoMA’s first solo-artist retrospective exhibition dedicated to color work,and took place during Edward Steichen’s final year as director of the museum’s Department of Photography. It was realized by Steichen’s successor John Szarkowski, and consisted of about 80 prints including Haas’s motion studies and color essays. Of Haas’ revelatory color imagery, Steichen has said, “He is a free spirit, untrammelled by tradition and theory, who has gone out and found beauty unparalleled in photography.” No exhibition catalogue was produced at the time, but the original prints exist, allowing a much later “re-creation” of the exhibition.
Before his solo exhibition at MoMA, Haas had been included in Steichen’s exhibition The Family of Man, which premiered in 1955 and traveled to 38 countries.
Haas was a respected stills photographer for many films, including The Misfits, Little Big Man, Moby Dick, Hello Dolly, West Side Story, and Heaven’s Gate. John Huston employed Haas as a second-unit director for his 1966 film The Bible: In the Beginning (a.k.a. The Bible), to visualize the section devoted to creation.
In addition to editorial journalism and unit stills work, Haas was also highly regarded for advertising photography, contributing groundbreaking campaigns for Volkswagen automobiles and Marlboro cigarettes, among other clients.
Haas was inspired and fascinated by the natural world, and took photographs of the elements throughout his career. Inspired in part by his involvement in John Huston’s 1966 film The Bible, Haas conceived an ambitious, multi-year project to visualize the theme of the Earth’s creation, as described in a variety of religious texts, primarily the Old Testament. His book The Creation, first published in 1971, presented 106 color photographs made throughout the world, organized into an expressive, poetic sequence. The book was produced in multiple editions in numerous languages through 1988, selling over 350,000 copies to become one of the best-selling photography books of all time.
Haas also issued the monographs In America (1975), In Germany (1977), and Himalayan Pilgrimage (1978).
In 1980 Haas published a limited edition portfolio of dye transfer prints from The Creation with Daniel Wolf Press. He also began work on a book devoted to Japan and a project illustrating the poetry of Rainer Maria Rilke, whose writings inspired him throughout his life.
Posthumous books of Haas’ photographs include: Ernst Haas: Color Photographs (1989); Ernst Haas in Black and White (1992); Ernst Haas (Photo Poche), 2010; and Ernst Haas: Color Correction (2011).
In 1962, the year of his retrospective at the Museum of Modern Art, Haas was invited to write and host Ways of Seeing, a four-hour miniseries for National Public Television, then in its first year. Newsweek magazine praised its success as a television program, for Haas combined seeing with hearing. Throughout the series, Haas demonstrated what makes a successful photograph, illustrating how images can be transformed by the slightest variations of technique, perspective, or choice of tools and materials.
Haas also taught frequently at photography workshops, including the Maine Photographic Workshop, the Ansel Adams Workshop in Yosemite National Park, and the Anderson Ranch Arts Center near Aspen, Colorado.
Over his 40-year career, Haas established a remarkable legacy. His abstract aesthetic, use of color, and innovative use of technology remain vital and influential.
In 1958, Haas was listed as one of the 10 greatest photographers in the world by Popular Photography magazine, along with Ansel Adams, Richard Avedon, Henri Cartier-Bresson, Alfred Eisenstadt, Philippe Halsman, Yousuf Karsh, Gjon Mili, Irving Penn, and W. Eugene Smith. His importance to photography was underscored in 1986, when he won the Hasselblad Award just before his death.
After suffering a stroke in December 1985, Haas concentrated on layouts for two books he wanted to publish, one featuring his black and white photographs, the other his color. At the time of his death from a stroke on September 12, 1986, he had been preparing to write his autobiography.
A number of awards have been created in Haas’s honor, including the Ernst Haas Award for Creative Photography by the American Society of Media Photographers (ASMP); and the Ernst Haas Photographers Grant, funded by Kodak, at the Maine Photographic Workshops. In 1998 the Ernst Haas Studio archive was sent to London to be housed at the Hulton Getty Picture Library as part of a licensing agreement with Getty Images. In 1999 the Ernst Haas Memorial Collection was established at the Portland Museum of Art in Maine.
The Ernst Haas Estate is operated by his children, Alexander Haas and Victoria Haas.
- Campbell, Bryn, ed. (1981). World Photography. Ziff-Davis Books. pp. 134–135.
- Capa, Cornell (1972). The Concerned Photographer 2. Grossman Publishers. pp. __.
- Coleman, A.D (2000). “A Painter in a Hurry: The Photography of Ernst Haas”. Ernst Haas Website.
- Bondi, Inge (2000). “Biographical Essay”. Ernst Haas Website. Ernst Haas Estate.
- Haas, Ernst (1971). The Creation. The Viking Press. p. 147.
- Hughes, Jim, Alexander Haas, ed. (1992). Ernst Haas in Black and White. Bulfinch Press.
- Ewing, William A. (2011). Ernst Haas: Color Correction. Steidl.
- Grundberg, Andy (14 September 1986). “Obituary of Ernst Haas”. New York Times.
- wikipedia, Ernest Haas