I have been pursuing a project in Instagram, under Kerteszian, to bring simplicity onto a photograph with a sense from André Kertész‘s The Polaroids. a kind of emotional Haiku in a simple photo, be it made to look like a Polaroid or BW. the main thing is to reduce the visual noise when looking, before a photograph is taken. aside from the simple composition, there is André Kertész‘s use of shadows. while he was more graphic in the use of shadows, as in not necessarily used to obscure or create a negative space, my use is more into the negative space use of the shadow. none of this quite in the dominant language from Saul Leiter, as his negative space seems to be derived from obstructionism of other objects. (I think that both photographers also strive from that emotional Haiku.) however, it seems that in using too much shadow, the photograph (as shown below) goes to some place between André Kertész‘s and Saul Leiter‘s signatures. (NB: this is not an allusion to a similar quality, as that is not the point of my photos, rather to have an incomplete description as “photograph= photographer1 + photographer2 + « je ne sais quoi » “)
sometimes, luck strikes. for Saul Leiter himself, I am not sure, as he was dismissive of praise, but lucky for us, because it is the rare instances in art when a talent makes it through despite how they approached a road to fame. since Early Color was released in 2006, and now on its 6th printing, the embracing of Saul Leiter has been one of those rare moments of happiness in art that a deserved talent has a reach. we can realize this rise by noting how people have come to identify the indelible Leiter style: misty windows, big negative spaces, and more importantly, a big room for the imagination by cropping. (mind you, this is cropping by elements in the scene, and not some André Kertész style cropping of the negative.) aside from the obvious taste in composition and elements that have made Leiter such a favorite among many, it is the cropping that makes the biggest impression on me. below is, perhaps, my most favorite photo from him.
link: Gallery 51 (Antwerp), an early proponent of his work.