The enigmatic Vivian Maier may be the most street photographer to hide her work from the world, and a while ago I shared an article about Masha Ivashintsova, a Russian equivalent. Here’s another, though Saul Leiter might be a little different; he was still around to see his work finally recognised.
Why Saul Leiter kept his colorful street photography secret for decades – Artsy
Yet except for his inner circle, no one saw Leiter’s personal color work until toward the end of his life. He adopted the nascent medium in the 1940s, when it was relegated to splashy advertisements and amateur shooters, not fine artists. Walker Evans called color photography “vulgar,” and his contemporaries like Robert Frank and Ansel Adams agreed. When William Eggleston, Helen Levitt, and Stephen Shore ushered in the era of color in the 1970s, Leiter, a private man who never sought fame, was barely a footnote. He had made a living shooting fashion during the heyday of Harper’s Bazaar and Vogue, but by the ’80s, he was deep in debt and nearly forgotten.
Leiter wasn’t interested in the human condition, like Frank or Diane Arbus; instead he understood the simple poetry of a stranger’s silhouette, or raindrops on a window pane. “I may be old-fashioned, but I believe there is such a thing as a search for beauty—a delight in the nice things in the world. And I don’t think one should have to apologize for it.”