Herman Leonard was born in 1923 in Allentown, Pennsylvania to Romanian immigrants. At the young age of 9, he first witnessed an image being developed in his brother's darkroom and became enthralled with the magic of photography.
As the official photographer for his high school, Herman quickly learned that with a camera in hand, he had an
"open sesame" to people and events, that his shyness might have prevented him from experiencing. When it came time for college, Herman chose Ohio University,
"The only university at the time that could offer me a degree in Photography." His college studies were interrupted from 1943-1945, as Herman joined the United States Army and was sent to Burma with the 13th Mountain Medical Battalion. He had hoped to be a field photographer, but was ironically assigned as a combat anesthetist when he failed a test, which required him to identify the chemical ingredients of film developer. After the war, Herman returned to college and graduated in 1947 with a Bachelor of Fine Arts Degree.
Upon graduation from Ohio University, he took a chance and drove to Ottawa, Canada in hopes of working with a famed portraiture photographer,
Yousuf Karsh. Karsh was impressed with his determination and took him on as an apprentice. Herman assisted Karsh in the darkroom and with photographic sittings including,
Martha Graham,
Harry Truman, and
Albert Einstein. Karsh's photographic advice to Leonard,
"Tell the truth, but in terms to beauty." During a portrait session with Albert Einstein, Leonard questioned the professor about the connection between a musician and a mathematician. Einstein's response,
"Improvisation." Leonard was inspired by these two influential men and applied their credos to his work.
In 1948, Herman's passion for jazz brought him to New York City's Greenwich Village, where he set up a small studio at 220 Sullivan Street. He made his way into the swinging clubs of Broadway, 52nd Street and Harlem. With his camera as his free ticket, he offered to shoot publicity stills at the jazz clubs for admission. While shooting at
The Royal Roost and
Birdland, he quickly developed friendships with the some of the greats of jazz royalty, including
Duke Ellington,
Miles Davis,
Dizzy Gillespie,
Charlie Parker,
Lena Horne,
Billie Holiday,
Louis Armstrong,
Quincy Jones and many more. His stunning photographs began appearing in
Downbeat and
Metronome magazines, and on the covers of albums while working for jazz producer
Norman Granz.
In 1956, he was hired by
Marlon Brando as his personal photographer and traveled with him on an extensive research trip throughout the Far East. Upon his return to NYC, he was offered a position at
Barclay Records in Paris, France. He continued to photograph the prolific jazz scene, with many of the American jazz artists now living there, he also photographed many French recording artists such as
Charles Aznavour,
Jacques Brel,
Eddy Mitchell and
Johnny Hallyday. Paris would be his home for the next 25 years, working from his studio in Paris's Neuilly-sur-Seine neighborhood. He also had a successful career working in advertising, for fashion houses
Yves St. Laurent and
Dior, as well as many international magazines including
Life,
Time and early
Playboy.
In 1980, he left France for a more tranquil life, and moved his family to the Spanish island of Ibiza. During that time he rediscovered his jazz negatives that had been stored in a box under his bed, and in 1985 released his first book,
The Eye of Jazz, published by Hachette/Filipachi Publications. In 1988 he moved to London where he had the first exhibition of his jazz photographs at the
Special Photographers Company. After rave reviews by the
London Times and the
BBC, he became an overnight sensation, with 10,000 people coming to the small Notting Hill gallery to view his unseen images. The following year he premiered his first US show, which toured nationally.
After living in Europe for over thirty years, he returned to the U.S. In 1992, an exhibit in New Orleans would change his life. He fell in love with the city and moved there to immerse himself in its vibrant and lively jazz scene. He continued to exhibit his work around the world in numerous solo shows. In 1995, Leonard released his second book,
Jazz Memories, published by Editions Filipacchi, and in that same year was awarded an "Honorary Masters of Science in Photography" from
The Brooks Institute of Photography. Other awards received at this time included the "Milt Hinton Award for Excellence in Jazz Photography," from
Jazz Photographer's Association, the "Excellence in Photography Award" from the
Jazz Journalists Association, and a "Lifetime Achievement Award" from
Downbeat Magazine in 2004.
In August 2005, Hurricane Katrina destroyed his home and studio when it was flooded with over 8 feet of water. The storm claimed his life's work, some 8,000 silver gelatin photographs that had been hand printed by him, a master printer in his own right. As the storm blew in, Leonard's crew had gathered the negatives and securely placed them in the care of the
Ogden Museum of Southern Art, where they were stored in an upper level vault. At the age of 82, and with his city in ruins, he decided to move with his family to Los Angeles to reestablish his life and business.
In 2006, he released his third book,
Jazz, Giants, And Journeys: The Photography of Herman Leonard, published by Scala Publishers, Ltd. In the forward to the book, Quincy Jones wrote,
"When people think of jazz, their mental picture is likely one of Herman's."
Herman Leonard's photographs, now considered fine art collector's items, are a unique record of the jazz scene in the 1940's, 50's and 60's. Throughout his long life, he traveled and lived around the world, capturing images with his distinctive style. Whether he was photographing
Miles Davis,
Frank Sinatra,
Louis Armstrong or a street musician in his home in New Orleans, Herman's smile, warmth and engaging personality continued to open doors for him and his camera; to reveal a world we might have missed. Certainly Herman Leonard's iconic photographs will long be remembered not only for their enduring historic significance, but also for their breathtaking artistic beauty. They are part of the permanent archives of the
Smithsonian Museum in Washington, D.C., where they are considered as essential to American music history as Benny Goodman's clarinet or Louis Armstrong's trumpet. His legacy has continued to be honored with major touring exhibitions of his work including the
GRAMMY Museum in Los Angeles,
Jazz at Lincoln Center in NYC, the
San Francisco Jazz Center (SFJAZZ), the
National Portrait Gallery in Washington, DC, and
The Clinton Presidential Center.
President Bill Clinton has called Herman Leonard,
"The greatest jazz photographer in the history of the genre."
In the last years of his life, Herman Leonard's goal was to bring his entire jazz collection, comprising a visual documentation of America's original art form, back to life and preserve it for future generations.
Source: hermanleonard.com
