This volume considers the film-stills of Ernst Haas, one of the most accomplished photographers of the twentieth century, transgressing the borders between static photography and the moving image. Haas worked with a variety of directors &#8211; from Vittorio de Sica to John Huston, Gene Kelly and Michael Cimino &#8211; covering movie genres from suspense (The Third Man; The Train) to the Western (The Oregon Trail; Little Big Man), and from comedy (Miracle in Milan; Love and Death) to musicals (West Side Story; Hello Dolly). While the photographic reference system known as the film-still has existed since the birth of cinema, inherent to the genre are precisely those parameters that are essential qualities of Haas&#8217; photography, and which interact in a striking manner with his images made independently of film. On the one hand, we find photographs documenting shoots and depictions of individual scenes. On the other hand, it is Haas&#8217; clear ambition to inscribe a temporal dimension into these images; to impose filmic principles into the stills which, viewed in a sequence, generate movement and narrative. Indeed, so great was his mastery of colour, light, and motion that Haas was frequently called upon to photograph large group actions &#8211; from the battle scenes of Charge of the Light Brigade and the dances of West Side Story to the ski-slopes of Downhill Racer. While adding a fascinating new take on the sets and the stars he photographed, Ernst Haas&#8217; On Set will also introduce readers to a little-known but crucial dimension in the work of this celebrated photographer.