Maurice Haas, how did you become a photographer?
It grew out of a hobby. I did an apprenticeship as a draftsman, a blueprint drawer. That job did not really satisfy me. I started saving money. I saved forever to buy a film Hasselblad and used darkroom equipment.
And why photography?
It’s the love for photography that attracts me, and also the doubts. There is always the question whether you can capture a good moment. For a recent exhibition of my work they had to convince me. Nothing to do with coquetry. The sceptic is in my nature.
How you get hold of Hollywood stars?
Most I meet during the Zurich film festival.
What’s your equipment?
I use a Canon EOS 1D Mark III. It’s now more than six years old but good for me. And I don’t have the best lenses. Pictures nowadays are so incredibly sharp.
You once said there are too many bad photographs.
It’s more of a thought. So many things are thrown out today. Sometimes I miss passion for the “best possible.” There are too many pictures and too many bad pictures. Pictures have become mass commodity. There will always be good photography. Chances are you won’t find it so easily anymore amongst the daily deluge of images.
With millions of pictures taken every day, isn’t every picture taken already? Asked another way: is there anything left you’d like to capture?
My aim is not to create something unique, unprecedented. I guess every succession of notes has already been played. In spite of it beautiful new songs are written. I’d really like to photograph Thom Yorke of Radiohead, now that’s an interesting head.
Talking democratization of photography, is it something anyone can do today or still an art some do better?
Today anyone can. It has become the most natural thing to take pictures. Everyone’s a photographer today. All you need is a telephone. And what’s done by everyone loses value and esteem. At some point, that worries me a bit. When I’m photographing I’m not trying to produce art. On the other hand I defend myself against the common belief photography is mere pressing of the shutter button.
Creative work can be very exhausting. After an intense shoot I’m as tired as if I’d crossed two mountain passes with my racing bike.
Your best photographs, you plan them in detail or they’re more of a “decisive moment” in time?
Hmm, guess it’s maybe a mixture of both. But sometimes there’s this feeling in my spine telling me, “That’s it” — a good moment given the circumstances, the right moment. My encounters are often brief and elusive. My profession is as technical as observant — for the moment when everything fits together. Sure I have to prepare a bit. But if you plan too much you might miss what’s essential. Perhaps it’s not so much about exactly knowing what one wants, but to let go and recognize and capture what that moment or person reveal.
Your images though imply the opposite of flurry and haste. They exude calm and earnestness. Take the portrait of Sean Penn…
It was shot in less than a minute. I may have pressed the shutter button 25 times, the bodyguard already tapped on my shoulder. Well, I didn’t have to do much to be honest. Mr. Penn is a multiple Oscar laureate who put my few humble stage directions perfectly well into action. Additionally, he has such a super noggin, I couldn’t do much wrong.
Are you trying to convey any message with your images?
I’m never looking for the loud and noncommittal. I’m content if someone’s looking at my photographs and something stays in mind.
Any advice to the aspiring photographer?
Everyone aims differently. I guess honesty makes it in the end. Don’t forget the photography business is in agony sometimes. It’s not such an easy job to do in the end. I really try to give everything I have. And I try to learn from mistakes. They do happen.
For more on Maurice Haas visit mauricehaas.ch.