Taxi, 1957 Canopy, 1958 Snow, 1960 Red Umbrella, 1957 Don't Walk, 1952 Tulips, 1954 Postmen, 1952 Newspaper Kiosk, 1955 Grey Umbrella, c. 1954

Without any formal training, Saul Leiter began taking his own photographs on the streets of New York City in the 1940s. His amateur works were quickly recognized by Edward Steichen, who included him in two shows at the MoMA not long later in the 50’s.

For some 40 years after those exhibits, Leiter’s continued to take pictures for his own pleasure, but his personal photography remained just that - his own, not shared with the public.

It wasn’t until the 90’s that Leiter revisited his collection of slides and began to make prints again.

His work is both spatially expansive and confining. What often looks accidental, his framing is almost scientific, as he unconventionally captures moments of tranquility in the frenzied commotion of New York.

His shots are still and serene, but full of life and motion. His color pallet looks carefully curated but also abstract and improvised.

Leiter once said that he usually purchased inexpensive color film that was past its expiration date, because he liked to be surprised by the strange shifts in color that would result.

Above are some of my favorite works by Leiter. His use of negative space and the movement that he conveys is what really grabbed me and first turned me on to his photographs. It’s an inspiring reminder that the camera is an extension of the eye, arm and mind, and that you don’t need to be a trained professional to use one.

- PS

Photos courtesy: Jackson Fine Art

Guggenheim, 2010 Cabs - Aerial View, 2011 Water Tower Skyline, 2012 Brooklyn Bridge, 2011 Statue of Liberty, 2011 James Dean, 2011 Five Boroughs, 2011

It’s near impossible to navigate New York City without one or two or three of the city’s bright yellow metro cards. Everyone’s got one, and everyone’s lost one. WIth that in mind, New York artist Nina Boesch has re-imagined the New York landscape using only discarded metrocards, chopping up the cards to best utilize their limited color palettes (yellow, blue, black and white) for her metrocard collages. Between the cityscape perspectives and some pitch perfect recreations of iconic New York faces, Boesch is on a roll with an incredible effort of artistic reuse.

- Maggie