Leiter originally shot for magazines like Vogue.
He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances. The Most Uninteresting in Color: Saul Leiter, the Master of Street Photography. Instead, for him the camera provided an alternative way of seeing, of framing events and interpreting reality. But Leiter’s sensibility - comparable to the European intimism of Bonnard, a painter he greatly admires - placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. The semi-mythical notion of the ‘New York street photographer’ was born at the same time, in the late-1940s. Though he continued to paint, exhibiting alongside Philip Guston and Willem de Kooning, Leiter’s camera became - like an extension of his arm and mind - an ever-present interpreter of life in the metropolis. Leiter moved to New York in 1946 intending to be a painter and through his friendship with the abstract expressionist Richard Pousette-Dart he quickly recognized the creative potential of photography. Although Edward Steichen had exhibited some. Leiter accordingly worked primarily as a fashion photographer, for magazines. Incorporating color and abstraction into his photographs, Leiter played. Choosing to shoot in color when black and white was the norm, Leiter portrayed midcentury New Yorks street life with a gorgeous painterliness that evoked the. Back then color photography was regarded as low art, fit only for advertising. Although Edward Steichen exhibited some of Saul Leiter’s color photographs at the Museum of Modern Art in 1953, for forty years afterwards they remained virtually unknown to the art world. Early Color presented Saul Leiters remarkable body of color work to the public for the first time in book form. Saul Leiters Early Color captures the streets of New York from a new perspective.
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