Saul Leiter
Saul Leiter (1923-2013) was the humble genius of street genre who made revolution in color photography. Saul was photographing at the intersection of fashion, street photography and expressionism. His pictures are rather abstractions that reflect the photographer’s love for painting, expired film rolls and unusual frame composition. Because of his innate modesty, Saul showed his color photographs only at the age of 77 and only because he was experiencing financial difficulties.
Saul was born in 1923 in a family of Orthodox Jews. His father was a rabbi and wanted his sons to follow his footsteps. Together with his brothers, Saul from the age of 12 studied theology and eventually enrolled in a theological school. That time was the boy showed interest in painting. Saul began to draw, which caused his first serious conflict with father.
The misunderstanding of the parents did not stop the young man who was interested in the works of Picasso, Vuillard and Bonnard. He was painting by his own, perfecting mastery with every new work. Over time, Saul began to exhibit his canvases at small exhibitions, and closer to 1945 they appeared in the Pittsburgh Gallery, which was the cause of constant drama with relatives. After all, his works were quite successfully selling!
Saul was born in 1923 in a family of Orthodox Jews. His father was a rabbi and wanted his sons to follow his footsteps. Together with his brothers, Saul from the age of 12 studied theology and eventually enrolled in a theological school. That time was the boy showed interest in painting. Saul began to draw, which caused his first serious conflict with father.
The misunderstanding of the parents did not stop the young man who was interested in the works of Picasso, Vuillard and Bonnard. He was painting by his own, perfecting mastery with every new work. Over time, Saul began to exhibit his canvases at small exhibitions, and closer to 1945 they appeared in the Pittsburgh Gallery, which was the cause of constant drama with relatives. After all, his works were quite successfully selling!
Saul Leiter
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«I like it when one is not certain what one sees. When we do not know why the photographer has taken a picture and when we do not know why we are looking at it, all of a sudden we discover something that we start seeing. I like this confusion. Photography is about finding those things».
In addition, he started photography - his mother gave him the first camera. Although she did not share interests of her son, but she still believed that the young man would be able to combine the work of a rabbi and painting and photography. Therefore, she in big secret from the family, presented Saul his first camera. Meanwhile father insisted that the son should abandon his passion for art. Photography, in his opinion, was destiny of losers with a dubious lifestyle. And when a note about Saul’s second exhibition was published in a local Jewish newspaper, his father burst into tears of shame. That was the last straw. The young man packed his suitcase and left the house in the middle of the night. For the rest of their lives, the brothers considered the photographer as "freak", and the father did not forgive his son.
Reaching New York, Saul quickly found new friends there. Friendship with Eugene Smith, who was involved in photography, and the artist Richard Pusett-Dart, who created canvases in the style of abstract art, had a special influence on the genius of street photography.
It was 1949. That time everyone was photographing on black and white film. Saul was capturing quite unusual images. He was not only catching new angles, his collection has works that capture images through misted glass. Saul was photographing and making artistic pictures in fog and snow, heavy rain. He did not seek to convey an accurate picture of what was happening. Leiter preferred abstract works, which give rise to doubts about what you see in front of you.
In 1953, some works of the photographer were presented at an exhibition in one of the New York museums, where they were noticed by employees of Vogue, Esquire and Harper’s Bazaar magazines. They offered Saul job, which lasted 20 years, but the photographer did not achieve big success in fashion.
Reaching New York, Saul quickly found new friends there. Friendship with Eugene Smith, who was involved in photography, and the artist Richard Pusett-Dart, who created canvases in the style of abstract art, had a special influence on the genius of street photography.
It was 1949. That time everyone was photographing on black and white film. Saul was capturing quite unusual images. He was not only catching new angles, his collection has works that capture images through misted glass. Saul was photographing and making artistic pictures in fog and snow, heavy rain. He did not seek to convey an accurate picture of what was happening. Leiter preferred abstract works, which give rise to doubts about what you see in front of you.
In 1953, some works of the photographer were presented at an exhibition in one of the New York museums, where they were noticed by employees of Vogue, Esquire and Harper’s Bazaar magazines. They offered Saul job, which lasted 20 years, but the photographer did not achieve big success in fashion.
Saul felt that he could realize his creative potential in color photography. However, color film was expensive, and even among photographers it was believed that such images are good only for advertising booklets because of the bright colors. But this did not stop Saul, who in the 1950s began to experiment with photography in color. Due to the bad financial situation, Leiter used an inexpensive 35mm camera, and would purposefully shoot with aged or environmentally-damaged film.
After printing the photographs, Saul noticed that the defects of the film only strengthen the impression of abstractions, making pictures even more attractive. He tried to combine photography and painting, skillfully applying paint strokes to his images. Those photographs were never presented to the public. Occasionally, Saul showed them rarely only to few friends.
That time a genre of street photography was becoming popular. Works depicting the post-war poverty and suffering of people were at the peak of popularity. Leiter wasn’t a classically humanist photographer. He didn’t seem that interested in using his camera as an instrument for social change or moral imperatives. Instead, his photography can best be understood as quasi-abstract, more concerned with light and interpretations of geometry.
After printing the photographs, Saul noticed that the defects of the film only strengthen the impression of abstractions, making pictures even more attractive. He tried to combine photography and painting, skillfully applying paint strokes to his images. Those photographs were never presented to the public. Occasionally, Saul showed them rarely only to few friends.
That time a genre of street photography was becoming popular. Works depicting the post-war poverty and suffering of people were at the peak of popularity. Leiter wasn’t a classically humanist photographer. He didn’t seem that interested in using his camera as an instrument for social change or moral imperatives. Instead, his photography can best be understood as quasi-abstract, more concerned with light and interpretations of geometry.
«Some photographers think that by capturing human suffering, they solve serious problems. I don’t think that poverty is deeper than happiness».
Saul roamed the streets looking for beautiful images that would please the eye. He did not expect to make money on those photographs. Saul was satisfied with what he was receiving from commercials and the sales of his paintings.
In the early 1980s, Leiter found it more difficult to find work. He fell into debt and had to sell-off his studio, life became hoarder for him.
Once on the work of then unknown photographer drew attention art curator Howard Greenberg. Their paths accidentally crossed in 1998. Howard asked if Saul had some more color photographs. He silently sent boxes of unprinted film rolls.
Howard later told: “For prepare those films for printing I literally had to remove layers of dust. It turned out that nobody touched them for almost 50 years! ”
Opened boxes and reluctant "yes" of Saul Leiter to publish photographs brought him international exhibitions, 3 photo books, biographical movie and a whole generation of fans over the world. At the peak of fame, the 77-year-old Saul, out of habit, lived the same modestly.
“When I am listening to Vivaldi or making spaghetti at 3 in the morning and realize I don't have the proper sauce for it, fame is of no use.”
The photographer died in 2013 at the age of 89. Saul Leiter will be remembered as one the great pioneers in the history of photography – a bedrock for anyone interested in how colour can be arranged in a frame.
In the early 1980s, Leiter found it more difficult to find work. He fell into debt and had to sell-off his studio, life became hoarder for him.
Once on the work of then unknown photographer drew attention art curator Howard Greenberg. Their paths accidentally crossed in 1998. Howard asked if Saul had some more color photographs. He silently sent boxes of unprinted film rolls.
Howard later told: “For prepare those films for printing I literally had to remove layers of dust. It turned out that nobody touched them for almost 50 years! ”
Opened boxes and reluctant "yes" of Saul Leiter to publish photographs brought him international exhibitions, 3 photo books, biographical movie and a whole generation of fans over the world. At the peak of fame, the 77-year-old Saul, out of habit, lived the same modestly.
“When I am listening to Vivaldi or making spaghetti at 3 in the morning and realize I don't have the proper sauce for it, fame is of no use.”
The photographer died in 2013 at the age of 89. Saul Leiter will be remembered as one the great pioneers in the history of photography – a bedrock for anyone interested in how colour can be arranged in a frame.
Main rules of photography by Saul Leiter
Play with focus
Saul often took pictures out of focus on the main object in the photograph, and minor things on the contrary made in focus. Such photographs seem wrong, but at the same time it’s impossible to watch them just for a moment. They magnetize your eyes and make you consider them longer.
Shoot through
Taking photographs through the window, the leaves of the trees, a hole in the fence or even through the crowd, when focusing on one subject, we as if stealthily watching the life of the city or an individual object. It's a favourite Leiter's “trick” that sparks interest and curiosity in looking at a photograph.
Experiment with formats
In the middle of the last century, photographers preferred horizontal oriental images. Sall brought his vision here too. Leiter almost always shot vertically. This format reminded him of Japanese painting, which he had been a fan of since childhood. This later became one of the hallmarks of his work.
Edit your photographs
Saul never used editing programs, but he literally processed some photographs using gouache. The photographer deliberately left ink stains on the film and added color to the printed images.
Play with focus
Saul often took pictures out of focus on the main object in the photograph, and minor things on the contrary made in focus. Such photographs seem wrong, but at the same time it’s impossible to watch them just for a moment. They magnetize your eyes and make you consider them longer.
Shoot through
Taking photographs through the window, the leaves of the trees, a hole in the fence or even through the crowd, when focusing on one subject, we as if stealthily watching the life of the city or an individual object. It's a favourite Leiter's “trick” that sparks interest and curiosity in looking at a photograph.
Experiment with formats
In the middle of the last century, photographers preferred horizontal oriental images. Sall brought his vision here too. Leiter almost always shot vertically. This format reminded him of Japanese painting, which he had been a fan of since childhood. This later became one of the hallmarks of his work.
Edit your photographs
Saul never used editing programs, but he literally processed some photographs using gouache. The photographer deliberately left ink stains on the film and added color to the printed images.