_ 'The lyricism and intensity of his vision come into fullest play in his eloquent handling of color: to the rapid recording of the spontaneous unfolding of life on the street, Leiter adds an unconventional sense of form and a brilliantly improvisational, and frequently almost abstract, use of found colors and tones. they are depersonalized forms viewed through a filtering layer. Huma n figures are always in his pictures, but rarely they are the “main characters,” the main subjects. He used every color that the city offered. Color intensity is the most characteristic of his works. He was influenced by painting, by the strong colors of Abstract Expressionism and tried to bring to photography the chromatic-ism of this movement. None of his contemporaries (with the only exception of Helen Levitt) have pioneered the use of color as Leiter has.

It is looking at the world and seeing things that you never photograph that could be photographs if you had the energy to keep taking pictures every second of your life.” And it isn’t always just the photos you take that matters. Sometimes it is almost unbearable-it is too interesting. And as you photograph, one of the benefits is that the world becomes a much richer, juicier, visual place. You begin to see things you had never paid any attention to. ” I think I’ve said this before many times-that photography allows you to learn to look and see. He was officially recognized as a “Color” author in 1957 at the MoMa in New York, during the conference “Color Experimental Photography in Color” and was later in his life (his monograph 'Saul Leiter: Early Color' was pubblicated in 2006) that he was discovered by the general public and became known for his vivid, color street photographs. He blurred the subjects through the windows and framed the subjects with precise compositional choices. His early and most well-known photographs are in black and white. 'I admired a tremendous number of photographers, but for some reason I arrived at a point of view of my own.' But he deviated greatly from Diane’s style, finally founding his own way. He developed his career by associating with other contemporary photographers such as Diane Arbus and in the 1940s and 1950s was an important contributor to what came to be known as the New York School of Photography. So he was soon taking black and white pictures with a 35 mm Leica. He was then encouraged to pick up a camera by his friend Richard Pousette-Dart, an abstract expressionist painter, and W.

Colors saul leiter