Generally I find them to be impersonal, and a bit sneaky when taking photos of strangers. I have never been a fan of using telephoto lenses in street photography. In anticipation for the DVD release of his film “ In No Great Hurry” I wanted to write this article about lessons in street photography (and life) I have learned from Saul Leiter. He lived a simple life and even now with his sudden rise in fame, his ego hasn’t inflated one bit. At his late eighties, he is very down-to-earth, and has no interest in legacy or fame. I then started to research more on Saul Leiter and have not only appreciated his images, but his philosophy of life. It was much more romantic, poetic, and full of expression. It was unlike any street photography I had seen before.
When I flipped through the pages, I was overwhelmed by the beautiful colors, reflections, and abstractions of Leiter. When I left Marseille back to America, he gave me a beautiful Saul Leiter book. But upon hearing this, I didn’t dig into it too deeply.Ībout a year ago when I was in Marseille, I re-discovered Saul’s work through a good friend of mine, Yves Vernin. I think I remember seeing some link on the internet about the discovery of one of the earliest “pioneers” in color street photography.
I can’t remember the exact moment that I discovered the work of Saul Leiter. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to. If you would like to reproduce text from a MoMA publication, please email. For more information about film loans and our Circulating Film and Video Library, please visit. For access to motion picture film stills for research purposes, please contact the Film Study Center at. Motion picture film stills cannot be licensed by MoMA/Scala. All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at. At this time, MoMA produced video cannot be licensed by MoMA/Scala.
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