Café, Paris, 1959.A café table, shot from across it and slightly above.
Untitled (C-002373), 1959.Most of this photograph is given over to something you can't quite see: a soft, creamy slab of out-of-focus car that swells up from the bottom of the frame and takes the whole middle, a dark window…
Untitled (C-000744)You wait the longest time for the people to arrive, and when they do they're almost not there.
Untitled (C-002405)Consider what this print actually is. A chromogenic photograph: an image born in the coupling of dyes within a gelatin emulsion, color summoned chemically out of light.
Untitled (C-003061)Bleeding. The lower third of this chromogenic print is dissolving into a vertical smear of greens and bruised slate, the wet street and a near pane of glass collapsed into one another until the…
Untitled (C-003063)A slab of dark polished stone runs straight down the centre of the frame and splits the picture in two.
Untitled (C-004310)Two planks of rust-red wood stand so close to the lens that they cease to be wood at all and become emulsion: grain dissolved into a wash of oxblood and bruise-brown, the right plank carrying a…
Untitled (C-004607)Saul Leiter saw the city the way a painter sees a wet canvas, in veils and fragments, through glass and rain.
Untitled (C-005678)A taxi is the one place in a city where you're moving and stuck at the same time.
Untitled (C-006255)For decades the colour stayed in the boxes.
Untitled (C-009100)Saul Leiter made some of the most beautiful colour photographs of the twentieth century while scarcely seeming to try, and for decades almost no one noticed.
Untitled C-008930)A man stands at the center — pale suit, dark glasses, soft cap pushed back, a cigarette lifted to the lips and held there — yet this is not, in the end, a portrait.