![]() ![]() ![]() Then they came back to light in 2006, with “Saul Leiter: Early Color,” a monograph published by Steidl. ![]() But Leiter didn’t court fame, and though he continued to work, his photographs almost vanished from public view. His bold chromaticism, off-center composition, and frequent use of vertical framing attracted attention-the work reminded people of Japanese painting and Abstract Expressionism-and he was included in “Always the Young Strangers,” an exhibition curated by Edward Steichen at the Museum of Modern Art in 1953. Leiter was perhaps the most interesting of the fifties color photographers in his use of form. This was the generation of the photographer Saul Leiter, the Pittsburgh-born son of a Talmudic scholar, who photographed the streets of New York City for six decades and died this week at the age of eighty-nine. Alfred Stieglitz and George Seeley soon began experimenting with it, but it was not until the nineteen-fifties that color photography began to come into its own as an artistic medium, in the work of Ernst Haas, Helen Levitt, and others. ![]() The first commercially available color photographic process, Autochrome, was introduced in the United States in 1907. ![]()
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