Sam Haskins
| Sam Haskins | |
|---|---|
 |
|
| Born | November 11, 1926 Kroonstad, South Africa |
| Died | November 26, 2009 (aged 83) Bowral, Australia |
| Alma mater | London College of Communication, London |
| Occupation | photographer, photo-graphic illustrator. |
| Spouse(s) | Alida Haskins |
| Children | Ludwig Haskins, Konrad Haskins |
| Awards | Prix Nadar in 1964 International Art Book Competition, Israel in 1969 One Show Gold Medal, NY in 1974 Kodak book of the Year in 1980 |
Sam Haskins, born Samuel Joseph Haskins (born 11 November 1926, died 26 November 2009), was a British photographer, born and raised in South Africa. He started his photographic career in Johannesburg and moved to London in 1968. Haskins is best known for his contribution to nude photography, in-camera image montage, and his books, the most influential of which were Cowboy Kate (1965) and Haskins Posters (1973). He suffered a stroke on 19 September 2009, the opening day of his exhibition to launch 'Fashion Etcetera' at Milk Gallery in New York and died at home in Bowral, Australia, nine weeks later.
Contents |
Youth [edit]
Sam Haskins was born in Kroonstad in the province of the Orange Free State of South Africa. His father Ben was a goods inspector on South African Railways. Early creative influences were fueled by an interest in magic tricks, kite making, drawing and the circus. A talented athlete, as a teenager Sam excelled at hurdling and trained with a circus, resulting in a job offer as a trapeze catcher.
Education [edit]
Formal higher education was at the Johannesburg Technical College, 1945 to 1948, where he did a general arts course followed by a part-time photographic module. Between 1949 and 1951 he studied at the London School of Printing and Graphic Arts in Bolt Court, later renamed the London College of Printing and now known as the London College of Communication.
Marriage and children [edit]
Sam Haskins married Alida Elzabe van Heerden in 1952 and they have two sons; Ludwig (4 August 1955) and Konrad (1963). They adopted a daughter, Heidi. She passed away as an infant. Alida gave up a career in fashion soon after their marriage to become Sam's business partner. She played a key role in the launch of his career by acting as a publishing agent for Five Girls when Sam was still an unknown photographer. She continued to negotiate worldwide publication of all subsequent Haskins books.
Career summary [edit]
Haskins started his career as an advertising photographer in Johannesburg in 1953. He ran what was probably the first modern freelance advertising studio in Africa. He produced commercial work across a very broad spectrum of photography from still life to industrial, fashion and aerial. His first formal creative output was a one-man show at a popular Johannesburg department store called John Orrs in 1960. This featured black-and-white photography of models in the studio and included some photographs of dolls made by the young Elisabeth Langsch, who later went on to become Switzerland's leading ceramist.
His international reputation and his signature photographic passions were established by four key books published in the 60s. Five Girls (1962) explored a fresh approach to photographing the nude female figure and contained important first explorations with black-and-white printing, cropping and book design which went on to become a key feature of all his subsequent books. Cowboy Kate (1964) was probably the first creative black-and-white book of the 20th century to deliberately explore black-and-white photographic grain as a medium for expression and image design. The book was highly influential at the time and went on to sell roughly a million copies worldwide and win the Prix Nadar in France in 1964. It continues to influence contemporary photographers, film makers, fashion designers and make up artists nearly five decades after its publication.
November Girl (1966) contained a number of key image collages which formed the basis of many graphic and surrealist experiments in the 1970s and 80s. African Image (1967) was a visual homage to the indigenous people, culture, landscape and wildlife of sub-saharan Africa. The images in the book represent a lifelong interest in photographing graphically stimulating environments and formally document Haskins' personal passion for indigenous craft. He broke bones on river rapids and wrote off two Volvo saloon cars on African dirt roads while shooting African Image. Despite its international award, this meticulously constructed book, celebrating a love for sub-Saharan Africa, is probably the least known of Haskins' major creative projects; nonetheless, it is coveted by serious collectors of African art and photography.
In 1968 Haskins moved to London and ran a studio in Glebe Place just off the King's Road. He worked here as an advertising photographer for a list of international consumer brands — Asahi Pentax, Bacardi, Cutty Sark whisky, Honda, BMW, Haig whisky, DeBeers, British Airways, Unilever and Zanders — and specialised in the art direction and shooting of calendars, especially for Asahi Pentax in Japan. Although Haskins endorsed Hasselblad for a short period in the late 60s and early 70s his loyalty to the medium format 6x7 camera and lenses from Asahi resulted in a rare longterm association between a camera manufacturer and photographer. From 1970 to 2000 Asahi Optical (later Pentax) produced 30 calendars of which Sam Haskins shot and art-directed 15 editions including the millennium calendar. No other photographer was ever invited to contribute more than once. He is still involved with the Pentax Forum Gallery in Tokyo, which hosts his exhibitions. His first contact came in 1967 when Asahi Optical presented him with a 35mm camera after hearing that he had shot African Image with various competitors' products.
In 1972 he produced his first colour book, Haskins Posters.[1] The large-format publication contained pages printed on one side using a thick stiff paper and a soft glue perfect binding allowing the pages to be removed and used as posters. Haskins and his wife Alida successfully self-published the book internationally, with their own publishing company, Haskins Press. The book won a gold award at the New York One Show. At the time the best-known image from Haskins Posters, a girl's face superimposed on an apple with a bee near the stem, appeared on the cover or in editorials of almost every major photographic magazine around the world. This image was part of a well-publicised visual and graphic experimentation with the apple theme in the 70s that for a while resulted in photographic journalists nicknaming him 'Sam the Apple man'.
The images in Haskins Posters traversed a number of different creative themes that all became signature passions for Haskins' image-making over the next three decades; graphically strong compositions of nudes characterised by a natural essence in the models while the image-making explored themes of graphic experimentation, humour and sensual eroticism. Haskins' has a recurring theme (rooted in his training as a painter) of creating tension in the surface of his photographs between flat graphic elements and 3D chiaroscuro. These results are often achieved with sophisticated lighting and/or double exposures. A highly creative and design driven approach to lighting almost always plays a key role in Haskins' work, both in the studio and on location. He often develops complex lighting designs for a single specific shot that are never repeated. The most recent example of which is a fashion shoot for New York magazine's 75th anniversary issueshot in New York's Pier 57 studios in August 2006.[2]
He also often sculpted and painted graphic elements for his photographs and drew inspiration from a combination of surrealism, illustration, film and modern graphic designers.
The graphic experiments first seen in Haskins Posters and related exhibitions at London's Photographer's Gallery and National Theatre resulted in a book called Photo Graphics (1980).[3] The title of the book coined a new term in photography that has since become widely used.
Haskins' next book, Sam Haskins á Bologna (1984) resulted from an invitation by the mayor of Bologna to photograph the city.[4] The publication was accompanied by an exhibition in the city. This project led to two more homages to visually rich locations shot over a series of visits; one in Barcelona (1991) and another in Kashmir (between 1992 and 1994).
From 2000 to 2005 he focused on fashion photography for Vogue, Harper's Bazaar, Allure and New York. A shortage of copies of the original edition, which was selling to collectors for up to US$3,000, led Haskins to bring out a digitally remastered 'director's cut' version in October 2006, published by Rizzoli in New York. The new version of Cowboy Kate, apart from image editing and layout revisions, also features 16 pages of additional new images.
In 2002 Haskins and his wife Alida moved to the Southern Highlands in Australia and built the third house/studio of their partnership. The move away from London resulted in a renaissance in Haskins' fashion photography. While he always had a passion for fashion from the start of his career, and Cowboy Kate influenced fashion designers who openly credited Haskins, he had not been courted by the mainstream fashion world and it is fair to say that he also did not court them. A shoot for [Yves Saint Laurent (designer)|Yves Saint Laurent] in Paris in 2002 resulted in a 'rediscovery' that led to a stream of assignments in London, New York, Paris, Tokyo and Sydney working for fashion houses and magazines.
In December 2006, a month after his 80th birthday, the first retrospective exhibition of his work (with a portraiture bias) opened at the National Portrait Gallery in Canberra (Australia). This was also his first exhibition at a national museum/gallery.[5] The show ran for four and a half months through to 22 April 2007.
The exhibition at the National Portrait Gallery includes several portraits of other artists never seen before including one of the late Jean-Michel Folon, a graphic artist much admired by Sam Haskins. Although one or two of the images from this personal portrait project had previously been published, the majority remained part of a quiet collection built up over decades of meeting and befriending other artists.
In 2009 he published, under the family imprint The Haskins Press his first book in 24 years. 'Fashion Etcetera' is a thematic slice through his archives that explores a lifelong passion for fashion, style and design. Sam Haskins' artistic estate is now managed by his wife and son who will continue to publish and exhibit his work.
Influences [edit]
Sam Haskins is unusual among photographers for also being recognised as a designer. He has on various occasions given tribute to the following artists as being an influence on his work. Photographers: Irving Penn, Richard Avedon, Edward Steichen, Henri Cartier-Bresson and Jean-Loup Sieff. Designers and typographers: McKnight Kaufer, Paul Rand, Louis Dorfsman, Willy Fleckhaus, Alexey Brodovich, Herb Lubalin, Milton Glaser, Paul Rand, and Saul Bass. Painters: René Magritte, Surrealism, Dadaism, Impressionism, Post Impressionism, 20th century art from Paris, Pop Art. Film makers: Federico Fellini, Carol Reed (for his directing of The Third Man), Sergei Eisenstein (primarily for the directing of Strike). Although Sam Haskins did not go on record as crediting Lillian Bassman as an influence it is self-evident that she was an influence on Sam Haskins' high contrast black and white images and extreme darkroom manipulation and she also influenced one of Sam Haskins' primary heroes Richard Avedon who received support from Bassman early in his career. In the last year of Sam's life, 2009, his 'Fashion Etcetera' book and exhibition received widespread global publicity and in the process turned images of Gill from 'Five Girls' (1962) into new found icons of the sixties.
Famous photographs by Sam Haskins [edit]
The following are (with links to the author's web site) examples of signature images from his career. All these photographs proved to be popular with magazine and book editors and have been published on multiple occasions.
- Gill from Five Girls in profile 1963
- The Cowboy Kate gunbelt, front view 1965
- The Cowboy Kate gunbelt, rear view 1965
- Masai and Pondo ladies in a double page spread designed in 2006 with images taken from African Image, 1967
- Mood swings a recent spread that juxtaposes the front cover from Haskins Posters with a popular expressive face from November Girl, 1973 & 1966
- The Apple Face from Haskins Posters, probably the single most reproduced image by Sam Haskins, 1973
- Lindy Run from Haskins Posters, an image that typifies the dynamism of Haskins fashion photography, 1973
- Delia with two fish from a Pentax calendar shot in the Seychelles, 1973
- Cityscape montage from Sam Haskins a Bologna, 1984
- Maria Carla Boscono shot for Vogue Japan in London 2002
Slide show [edit]
Sam Haskins developed a medium format slide show compromising up to 500 images (each displayed for 7 seconds) synchronised to music. These were shown with a traditional manual projector operated by Haskins using a darkroom timer. First shown in Brighton at an international photo conference in 1970 the show was hugely popular, filling theatres, cinemas and convention halls at photo conferences and public performances in over 50 cities around the world.
The initial format of the slides was 6cmx6cm as all Haskins' medium format images at that point had been shot on Hasselblad and Rolleiflex. Haskins took delivery of his first Pentax 6x7 in 1970 in Tokyo but it took several years to build up a body of 6x7 slides. The conversion of the slides to 6x7 format took place in 1975 and it was at this point that the show took on a much higher profile internationally.
Teaching and assessing [edit]
Haskins returned to his alma mater, The London College of Printing, in 1975 as outside assessor on the photographic diploma course, a position he maintained until 1982.
Between 1980 and 1985 he also ran one week workshops for writers, cinematographers, directors and set designers at Norwegian Television's training school in Oslo.
He also ran one-week photographic training workshops in Italy, Sweden and South Africa in the 70s.
The rest of his teaching was usually at one day workshops at photo conferences and to groups visiting his studio. Haskins maintained close links with Syracuse University in the USA, hosting groups of visiting students at his studio in London every summer from 1975 to 1988.
Bibliography [edit]
Books by Sam Haskins [edit]
| Five Girls | |
|---|---|
| Concept, Photography & Design | Sam Haskins |
| Format | 144 p, 350x270mm, Cased, Offset |
| Images | Black-and-white photographs |
| Printed in | U.S. |
| Library of Congress catalogue No. | 62-20049 |
| Introduction by | Aaron Sussman |
| Hardcover published 1962 | |
| Crown Publishing Inc. | New York |
| Bodley Head | London |
| Europäische Bücherei Hieronimi | Bonn |
| Paperback | |
| Bantam Books | New York |
| Corgi | London |
| Cowboy Kate | |
|---|---|
| Concept, Photography & Design | Sam Haskins |
| Format | 160p, 350x270mm, Cased, Gravure |
| Images | Black-and-white photographs |
| Printed by | Heliographia S.A., Lausanne |
| Library of Congress catalogue No. | 67-112870 |
| Introduction by | Norman Hall |
| Text by | Desmond Skirrow |
| Hardcover published 1964 | |
| Crown Publishing Inc. | New York |
| Bodley Head | London |
| Edition Prisma | Paris |
| Europäische Bücherei Hiernonimi | Bonn |
| Besige Bij | Amsterdam |
| Paperback | |
| Bantam Books | New York |
| Corgi | London |
| Europäische Bücherei | Bonn |
| Signed Limited Edition 1974 | |
| Haskins Press | London |
| November Girl | |
|---|---|
| Concept, Photography & Design | Sam Haskins |
| Format | 129 p, 350x270mm, Cased, Gravure |
| Images | Black-and-white photographs |
| Printed by | Heliographia S.A., Lausanne |
| Library of Congress catalogue No. | 71-385000 |
| Text by | Desmond Skirrow |
| Hardcover published 1967 | |
| Grosset & Dunlap | New York |
| The Bodley Head | London |
| Edition Prisma | Paris |
| Europäische Bücherei Hiernonimi | Bonn |
| Paperback | |
| Bantam Books | New York |
| Corgi | London |
| African Image | |
|---|---|
| Concept, Photography & Design | Sam Haskins |
| Format | 160p, 350x270mm, Cased, Gravure |
| Images | Black-and-white photographs |
| Printed by | Heliographia S.A., Lausanne |
| Library of Congress catalogue No. | (no number assigned) |
| Foreword by | L. Fritz Gruber |
| Hardcover published 1967 | |
| Thomas Crowell | New York |
| Bodley Head | London |
| Haskins Posters | |
|---|---|
| Concept, Photography & Design | Sam Haskins |
| Front Cover Design/Typography | Alan Fletcher at Pentagram |
| Format | 32 p, 480x350mm, Soft Cover, removable pages |
| Images | Colour and black-and-white photographs |
| Printed by | Lichtdruck AG, Dielsdorf |
| Library of Congress catalogue No. | 73-176000 |
| Foreword by | Sam Haskins |
| Softback (main edition) published 1972 | |
| Haskins Press | London |
| Thomas Crowell | New York |
| Fitzhenry | Toronto |
| Westside Ltd | Toronto |
| KKK | Tokyo |
| Europäische Bücherei Hiernonimi | Bonn |
| Limited edition hardback published 1972 | |
| Cover design by | Paul Colsell at Pentagram |
| Photo Graphics | |
|---|---|
| Concept, Photography & Design | Sam Haskins |
| Format | 100 p, 310x245mm, Cased, Offset |
| Images | Black-and-white and colour photographs |
| Printed by | Rotovision, Geneva |
| Library of Congress catalogue No. | 82-126090 |
| Hardcover published 1980 | |
| Rotovision S.A. | London |
| Rotovision S.A. | Geneva |
| Colucci Edizione | Milan |
| Nippon Geijutsu Shp. | Tokyo |
| Sam Haskins a Bologna | |
|---|---|
| Concept, Photography & Design | Sam Haskins |
| Format | 88p, 280x240mm, Soft Cover, Offset |
| Images | Black-and-white and colour photographs |
| Printed in | Bologna |
| Library of Congress catalogue No. | (no number available) |
| Introduction by | Profs. Carlo Gentile & Renzo Renzi |
| Hardcover published 1984 | |
| Graphis Edizione | Bologna |
| Cowboy Kate (Director's Cut)* | |
|---|---|
| Concept, Photography & Design | Sam Haskins |
| Format | 194p, 350x270mm, Cased, Offset |
| Images | Black-and-white photographs |
| Printed in | China |
| Library of Congress catalogue No. | 2006923016 |
| Foreword by | Philippe Garner |
| Introduction by | Norman Hall |
| Text by | Desmond Skirrow |
| Hardcover published 2006 | |
| Rizzoli | New York |
- 'Cowboy Kate and other stories — Director's Cut' published in 2006 is entirely digitally remastered by the author with edits to the original story and 16 additional pages of images.
Printed in offset litho as opposed to the original which was photo gravure printed in Switzerland.
| Fashion Etcetera by Sam Haskins | Author's Edition |
|---|---|
| Concept, Photography & Design | Sam Haskins |
| Format | 316p, 359x271mm, Cased, Offset |
| Cover | French Fold Jacket |
| Images | Black-and-white photographs and colour photographs |
| Printed in | China |
| Library of Congress catalogue No. | 2009924427 |
| Foreword by | Tommy Hilfiger |
| Introduction by | Michael Arts |
| 7 Chapter Introductions by | Sam Haskins |
| Hardcover published 2009 | |
| The Haskins Press | Bowral, Australia |
| Fashion Etcetera by Sam Haskins | Special Edition | ||
|---|---|---|---|
| Concept, Photography & Design | Sam Haskins | ||
| Format | 316p, 359x271mm, Cased, Offset | ||
| Cover | Print on board plus translucent slip case | ||
| Images | Black-and-white photographs and colour photographs
- |
Printed in | China |
| Library of Congress catalogue No. | Sold in Tommy Hilfiger stores | ||
| Foreword by | Tommy Hilfiger | ||
| Introduction by | Michael Arts | ||
| 7 Chapter Introductions by | Sam Haskins | ||
| Hardcover published 2009 | |||
| Tommy Hilfiger | New York |
- The two editions of Fashion Etcetera are technically identical apart from the covers.
Books with images by Sam Haskins [edit]
| Year | City | Title | Editor/Author |
|---|---|---|---|
| 1964 | Tokyo | Photography of the World | Heibonsha Ltd |
| 1966 | Cape Town | Silver Images | Dr A Bensusan |
| 1966 | London | British Journal of Photography Annual | Arthur James Dalladay |
| 1966 + '68, '71-'75, '77-'82, '84 | Zurich | Photographis | Walter Herdeg |
| 1968 | London | British Journal of Photography Annual | Arthur James Dalladay |
| 1970 | Geneva | Art Director's Index to Photographers1 | Rotovision |
| 1970 +'71, '73, '75, '77 | Tokyo | Pentax Forum | Pentax |
| 1970 | Munich | 4 Meister der erotischen Fotografie | Photokina |
| 1970 | Cologne | Photokina Bilder und Texte | Photokina |
| 1971 | London/New York | Views on Nudes | Bill Jay |
| 1972 | London | The Century - 100 Years of Posters | Bevis Hillier |
| 1974 | Zurich | Graphis Inc. Posters | Walter Herdeg |
| 1974 | New York | The One Show | New York Art Director's Club |
| 1974 | Zurich | Graphis Inc. | Walter Herdeg |
| 1975 | Fribourg | Friburg International Trienalle | Friburg Museum of Art |
| 1976 | London | Graphis Glamour Calendar Art | Michael Colmer |
| 1977 | London | Photography 35mm Camera | R H Mason |
| 1977 | Tokyo | Asahi Pentax Annual | Pentax |
| 1977 | Cologne | Geschichte der Fotografie im 20 Jh. | Peter Tausk |
| 1977 | London | Masterpieces of Erotic Photography | Aurum Press |
| 1978 | Fribourg | Friburg International Triennale | Friburg Museum of Art |
| 1978 | Brno | Brno Biennale '78 | 8th Graphic Art |
| 1978 | Cologne | Dumont Foto 1 | Fotokunst Int. |
| 1978 | London | The Visual Dictionary of Sex | Macmillan |
| 1978 | London | Modern Publicity | Van Nostrand Reinhold |
| 1979 | London | The Erotic Arts | Peter Webb |
| 1980 | Zurich | Graphis Inc., Photographics | William B McDonald |
| 1981 | Milan | Women in the Magic Mirror | Bert Hartkamp |
| 1982 | London/New York | The Dictionary of Visual Language | Philip Thompson[disambiguation needed] & Peter Davenport |
| 1983 | Cambridge | The Autograph Book | |
| 1984 | Hamburg | Die Schönen Geschöpfe - Tierfotos | Stern |
| 1984 | Hamburg | Der Erotische Augenblick | Stern Bibliothek |
| 1985 | Munich | Das Aktfoto | Munich Stadtmuseum |
| 1985 | London | Photographers Encyclopedia International 1893 to the Present | Michele Auer & Michel Auer |
| 1986 | Schaffhausen | Ansichten vom Körper | Michael Kohler |
| 1987 | London | The Naked and the Nude | Jorge Lewinsky |
| 1987 to 1997 inclusive | Tokyo | Pentax Annual | Pentax |
| 1989 | Rochester, New York | Professional Photographic Illustration | LoSapio |
| 1990 | New York | Angels - An Endangered Species | Malcolm Godwin |
| 1990 | North Abbot | The Tree | Peter Wood[disambiguation needed] |
| 1995 | Munich | Twen, Revision einer Legende | Michael Koetzle |
| 1995 | London | Contemporary Photographers 3rd Edition | Martin Evans |
| 1997 | Paris | Love in the 20th Century | F. Montreynaud |
| 1997 | Munich | Willy Fleckhaus | Michael Koetzle & Carsten M Wolf |
| 2000 | New York | Cross | Kelly Klein |
| 2000 | U.S. | Emerging Bodies / Polaroid | Barbara Hitchcock |
| 2004 | Piermont, New Hampshire | Mary McFadden, High Priestess of High Fashion, A Life in Haute Couture | Mary McFadden & Ruta Saliklis |
| 2004 | Paris | Belles en Vogue | Florence Müller |
| 2006 | Paris | Nus : Les plus grands photographes du monde | Anthony LaSala |
| 2007 | London | Nudes : The World's Top Photographers series | Anthony LaSala |
| 2007 | Paris | Livres de nus | Alessandro Bertolotti |
| 2008 | Sydney | 10 Years of Fashion Photography | Harper's Bazaar |
| 2008 | New York | Horse | Rizzoli |
| 2008 | Milan | photo20esimo (maestri della fotografia del XX secolo exhibition) | Silvana Editoriale |
| 2009 | Munich | Nude Visions (Münchner Stadtmuseum exhibition) | Kehrer Verlag |
| 2010 | Buriton | 25 Years of colouring in (Paul Martin Design Company) | Grantchester Editions |
| 2012 | New York | Mary McFadden by Mary McFadden | RCS MediaGroup (under Rizzoli imprint) |
(1) The Art Director's Index is a paid entry publication but on this occasion the publishers requested editorial material from Sam.
Sam Haskins - Art history and criticism [edit]
| Year | City | Book Title | Author | Publisher |
|---|---|---|---|---|
| 1976 | Paris | La Photo | Chenz & Jeanloup Sieff | Denoël |
| 1980 | London | Photography in the 20th Century | Petr Tausk | Focal Press |
| 1983 | London | How Famous Photographers Work | Jack Schofield | Watson-Guptil |
| 1985 | Prague | Creative Colour Photography | Petr Tausk | Focal Press |
| 1986 | Frankfurt | Modern Colour Photography '36-'86 | ||
| 1987 | London | Masters of Photography | D. Mrazkova | Hamlyn |
| 1996 | New York | Art Fundamentals - Theory & Practice | Otto Ocvirk | McGraw Hill |
| 1997 | Oxford | The Story of Photography | Michael Langford | Focal Press |
| 1998 | Munich | Nude Photography - masterpieces from the past 150 years | Peter-Cornel Richter | Prestel |
| 2001 | New York | Masters of the 20th Century(1) | Mervyn Kurlansky | Graphis Inc. |
| 2004 | Gothenburg | The Open Book - A history of the photographic book from 1878 | Andrew Roth | Hasselblad Center |
| 2005 | Switzerland | The World's Top Photographers - Nudes | Anthony la Sala | Rotovision |
(1) Masters of the 20th Century is a book featuring graphic designers and typographers with the work of only two photographers, viewed in this context as photographic illustrators; Sam Haskins and Rankin Waddell.
Awards [edit]
| Year | City | Award | Presented for; | Award Organisation |
|---|---|---|---|---|
| 1964 | Paris | Prix Nadar | Cowboy Kate and other stories | Prix Nadar |
| 1969 | Jerusalem | Silver Medal | African Image | International Art Book Competition |
| 1974 | New York | Gold Award | Haskins Posters | The One Show |
| 1980 | New York | Book of the Year | Photo Graphics | Kodak |
Solo exhibitions [edit]
| Year | City | Exhibition | Location |
|---|---|---|---|
| 1960 | Johannesburg | Photographic Illustration | Orrco Theatre |
| 1970 | Tokyo | Sam Haskins | Pentax Gallery |
| 1970 | Tokyo | Sam Haskins '70 | Isetan Gallery |
| 1972 | London | Haskins Posters | Photogephers Gallery |
| 1973 | Paris | Haskins Posters | FNAC Gallery |
| 1973 | Tokyo | Haskins Posters | Isetan Gallery |
| 1974 | Amsterdam | Haskins Posters | Canon Gallery |
| 1974 | London | Pentax Calendar '75 | Pentax Gallery |
| 1976 | Tokyo | Scandinavian Landscapes | Isetan Gallery |
| 1976 | London | Calendar '77 | Pentax Gallery |
| 1979 | London | New Work | Pentax Gallery |
| 1980 | London | Photo Graphics | National Theatre |
| 1980 | London | Photo Graphics | Kodak Gallery |
| 1980 | Norwich | Photo Graphics | Sainsbury Centre |
| 1980 | Bath | Photo Graphics | RPS Gallery |
| 1981 | Glasgow | Photo Graphics | Hillhead Gallery |
| 1981 | Rotterdam | Photo Graphics | Pentax Gallery |
| 1981 | Zurich | Photo Graphics | Pentax Gallery |
| 1981 | Tokyo | Photo Graphics | Pentax Forum |
| 1981 | New York | Photo Graphics | Neikrug Gallery |
| 1984 | Bologna | Sam Haskins a Bologna | Galleria d'Accursio |
| 1985 | Tokyo | The Best of Sam Haskins | Pentax Forum |
| 1986 | Osaka | The Best of Sam Haskins | Printemps |
| 1987 | London | Graphic Work | Saatchi & Saatchi |
| 1987 | Tokyo | Calendar '88 | Pentax Forum |
| 1990 | Tokyo | The Image Factor | Pentax Forum |
| 1990 | Osaka | The Image Factor | Pentax Forum |
| 1991 | Auckland | The Image Factor | Conference Centre |
| 1991 | Sydney | The Image Factor | Conference Centre |
| 1991 | Hong Kong | The Image Factor | Conference Centre |
| 1992 | Tokyo | Remember Barcelona | Pentax Forum |
| 1992 | Osaka | Remember Barcelona | Pentax Gallery |
| 1992 | Glasgow | Now & Then | MNS Photocolor |
| 1993 | Tokyo | Hearts | Pentax Forum |
| 1993 | Osaka | Hearts | Pentax Gallery |
| 1996 | Tokyo | Sam Haskins - Monochrome | Pentax Forum |
| 1996 | Osaka | Sam Haskins - Monochrome | Pentax Gallery |
| 1999 | London | Innovations & other stories | Focus Gallery |
| 2000 | Berlin | Image² | Gallery Argus Fotokunst |
| 2003 | New York | Sam Haskins | Michael Gallagher Gallery |
| 2004 | Paris | Sam Haskins | Marlat |
| 2004 | Amsterdam | Sam Haskins | Gallery Wouter van Leeuwen |
| 2006-2007 (8 December - 22 April) | Canberra | Sam Haskins - Portraits & Other stories [1] | National Portrait Gallery |
| 2009 (19 September - 26 October) | New York | Sam Haskins - Fashion Etcetera | Milk Gallery |
| 2010 (9 July - 21 August) | Paris | Sam Haskins - Calendars & other stories | Ofr. Bookshop & Gallery |
Group exhibitions [edit]
| Year | City | Exhibition | Gallery |
|---|---|---|---|
| 1970 | Cologne | 4 Masters of Erotic Photography | Photokina '70 |
| 1970 | Europe | 4 Masters of Erotic Photography | (Toured Europe) |
| 1972 | London | Who Are You | Gimpel Fils Gallery |
| 1973 | Hamilton (Canada) | Top 10 Photographers | McMaster University |
| 1979 | Venice | Photography/Venezia '79 | Municipality of Venice |
| 1985 | Munich | Das Aktfoto | Münchner Stadtmuseum |
| 1986 | Germany | Das Aktfoto | (Toured Germany) |
| 1986 | Cologne | 50 yrs. Modern Colour Photography | Photokina |
| 1989 | Prague | 150 Years of Photography | Narodni Gallery |
| 1995 | Munich | Twen Magazine | Münchner Stadtmuseum |
| 2005 | New York | The Open Book: A History of the Photographic Book from 1878 to the Present [2] | International Center of Photography |
| 2007 | London | Fashion [3] | Michael Hoppen Gallery |
| 2008 | Lugano | maestri della fotografia del XX secolo [4] | Museo d’Arte |
| 2009 | Munich | Nude Visions | Münchner Stadtmuseum |
Works in public collections [edit]
- Victoria and Albert Museum, London
- National Portrait Gallery, London
- National Portrait Gallery, Canberra
- City of Bologna, Italy
- Munich City Museum, Germany
- Museum of Art, Lugano, Switzerland
Documentaries [edit]
| Year | City | Title | Production Company |
|---|---|---|---|
| 1973 | London | Sam Haskins | William Webb[disambiguation needed] |
| 1987 | Locarno | Grandii Fotografi | Polyvideo SA |
| 1990 | London | Sam Haskins - Pentax 67 | Luke Jeans |
| 2002 | London | Oral History of British Photography | British Library Sound Archive |
Notes [edit]
- ^ Haskins Posters on Haskins' site.
- ^ Fashion shoot, anniversary.
- ^ Photo Graphics at Haskins' site.
- ^ Sam Haskins á Bologna at Haskins' site.
- ^ Exhibition National Portrait Gallery - Canberra. First retrospective show.
External links [edit]
- Haskins' site
- Haskins' blog
- Haskins' news site
- Sam Haskins on Twitter
- CNN Video
- New York Times video and article
- Eye magazine
- Professional Photographer magazine
- The New Yorker
- Sam Haskins - a talk by his son Ludwig at Coventry University, 2011
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