Sam Haskins—Photo Graphics mm William B. McDonald [Texte fraais: page 581] Sam Haskins, one of Europe's leading photographers, started his career as i designer, which helps to explain why his new book combines graphic beau photographic skills. Photo Graphics, from which we reproduce a few items, is p by RotoVision, Geneva, and Nihon Geijutsu Shuppan-Sha, Tokyo. Editor LpoÓJt: wiji li;hKt'i' Ik' Sam Haskins, ein bekannter europaischer Photograph, begann seine Lauöhr. m Graphiker, was die Kombination von graphischer Schönheit und photograpkhto Können in seinem neuen Buch Photo Graphics, aus dem wir einige Bilder zeigen|cklan Erschienen bei RotoVision, Genf, und Swan-Verlag, Kehl a. Rhein. Redaktion ai Sam Haskins, l'un des tout premiers photographes d'Europe, a débuté omm graphiste, ce qui explique que son dernier livre est une combinaison réussie dx-ara graphique et d'expertise photographique. Voici des exemples de Photo Graphilaubï par RotoVision a Genève et Luigi Colucci, 1 - 20 066 Melzo-Milan. La Rédactio, Sam Haskins is a practitioner in applied photography. He employs a wide range of approaches and techniques in his varied assignments. His books tend to show newly developed and favourite styleshis idiom of the moment. His new book Photo Graphics is therefore a collection of images illustrating his current preoccupation with multiple imagery and graphically orientated photography. About half the images in the book stem from commissioned work, while the rest can be attributed to personal research behind the camera. By using montage techniques it is possible to juxtapose unrelated elements much as the Surrealists did. One can also manipulate perspec tive by combining close-up and long shots in a seemingly illogical assemblage. These methods are useful in creating mild visual shock, but the most important aspect of multiple imagery is the facility it provides for communicating more complex considerations than would normally be possible with straight photography. The images in the 'Seascapes' chapter illustrate this point. These photographs were commissioned by a client in Kuwait who is a keen conservationist. Although the brief was open, he wanted various philosophies to be considered when the illustrations were made. These were to be: (a) the conflict between man and one aspect of his environment, the sea and its creatures; (b) the fundamental harmony found in nature as opposed to the human alternative; and (c) an expression of the hope that somehow the fish would outwit their human predators. This brief was so stimulating that pictures kept rolling long after the pages needed for the calendar had been filled. The technique of combining monochromatic and coloured el nent as shown in 'Black and Colour' was developed for a calendar ctimiE sioned by Zanders Feinpapiere of Germany. The brief called for f tar: in a style as far removed as possible from the conventional cinda treatment. The architectural elements were miniature sets constri :edi: perspective by the photographer. Like so many other committed photographers, Sam Haskirjfinfel that the constraints of advertising work can impose a resjxtiv framework which inhibits subjective experimentation. On tbptht hand, calendar work done for supportive clients provides oppor^titR for setting off into realms of untrammelled self-expression. Man )i tt approaches shown in the sectors 'Graphic Allsorts' and Figes Landscape' were developed under the enlightened patronage i tb- - Pentax Camera Company, mainly for use as calendars. It is obvious that Sam Haskins is a photographer to whom expc met tation is vital, and this is why such a large percentage of his time is ted t find new ways of painting with his lens. Some of the photograpl n tt 'Dancers' chapter illustrate a search for new ways of depict; tt dancer's art, where static moments emerge from a blur of motic Sai felt the need to go beyond the hackneyed conventions of camera mill and multiple stroboscopic effects because they merely emphaae tlj inadequacy of the medium in portraying movement. The chapte Span Thoughts' is a mixture of visual frivolity and wishful thinkin; Hojfj much nicer space would be if it were filled with floating feminine, ea i y rather than the objectionable hardware of reality. Sam Haskins ist ein Fachmann für angewandte Photographie. Bei seinen vielgestaltigen Arbeiten verwendet er eine bunte Palette von Betrachtungsweisen und Techniken. Seine Bücher zielen darauf ab, neu entwickelte und favorisierte Stilrichtungen zu zeigen - seine persönliche Ausdrucksform der Gegenwart. Photo Graphics ist deshalb eine Samm- lung von Bildern, die seine augenblickliche Beschaftigung mit Mehr- fach-Bildmontage und graphisch orientierter Photographie illustrieren. Ungefahr die Halfte der Bilder waren ursprünglich Auftragsarbeiten, wahrend der Rest auf persönliche Experimente zurückzuführen ist. Durch die Verwendung von Montagetechniken ist es möglich, in der Art der Surrealisten Elemente nebeneinanderzustellen, die nicht mitein- ander in Beziehung stehen. Ebenso kann man die Perspektive manipu- 5 76 lieren, indem man Nahaufnahmen und Totale in einer scjinb unlogischen Verbindung kombiniert. Diese Methoden dienejdaz einen sanften visuellen Schock hervorzurufen, jedoch der w:jtigs Aspekt der Bildüberlagerung ist, dass dadurch eine vielschi'jtige Aussageweise erzielt wird. Die Bilder in dem Kapitel «Se;ja[ illustrieren diesen Punkt. Diese Photographien wurden vo: Kunden in Kuwait in Auftrag gegeben, der ein begeisterter A tang des Naturschutzgedankens ist. Obgleich der Kunde keine besjpmt Anweisungen gab, wollte er, dass bei der Herstellung der Must in verschiedene philosophische Überlegungen berücksichtigt :rdi Diese waren a) der Konflikt zwischen dem Menschen und einerr spc seiner Umwelt, dem Meer mit seinen Geschöpfen, b) die in dtN.

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