Sensitive to the city’s found geometry, he shot by design around the edges of things: vistas are often seen through rain, snow or misted windows. People are often in soft focus, shown only in part or absent altogether, though their presence is keenly implied. Leiter’s photographs are slices fleetingly glimpsed by a walker in the city. “Saul’s were much more oblique than that.” Leach, the filmmaker, said in an interview on Wednesday. “Lots of people we think of as the famous photographers, particularly American photographers of the time, their photos are about something, quite overtly,” Mr. He was largely self-taught, and his work resembles no one else’s: tender, contemplative, quasi-abstract and intensely concerned with color and geometry, it seems as much as anything to be about the essential condition of perceiving the world. Leiter was considered a member of the New York School of photographers - the circle that included Weegee and Arbus and Avedon - and yet he was not quite of it. “The images he made communicated the sense of rhythm and movement and being caught up in the city.” “He is one of the most important early color photographers of the 20th century,” Lisa Hostetler, the newly appointed curator of photography at George Eastman House in Rochester, said in an interview on Tuesday. “I’m not carried away by the greatness of Mr. “What makes anyone think that I’m any good?” he says in Mr. Leiter bemused, bothered and at most slightly pleased. It has been shown at film festivals throughout the United States and Europe, including the DocNYC festival in Manhattan this month.Īll this left Mr. A feature-length documentary, “ In No Great Hurry: 13 Lessons in Life With Saul Leiter,” by the British filmmaker Tomas Leach, was released this year to glowing notices.
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