**A Tribute to Lynda.com and Their Endless Resources**

In today's digital age, it's easy to get lost in a sea of information, especially when it comes to creative pursuits like photography. One resource that has stood out for its comprehensive coverage of various art forms is lynda.com. This platform offers an impressive range of courses, tutorials, and training titles on topics such as visual arts, sound design, music, graphic design, even coding. Whether you're a seasoned artist or just starting to explore your creative side, lynda.com has something for everyone.

As a subscriber myself, I can attest to the value that lynda.com brings to one's artistic journey. They've saved me on numerous occasions, providing me with the skills and knowledge I needed to tackle challenging projects. And now, they're offering an exclusive deal for Art of Photography viewers like yourself. To take advantage of this offer, simply head over to lynda.com/aoP (Lynda.com slash AOP) and use the special URL provided by yours truly.

This deal grants you one week of unlimited access to the entire lynda.com website, giving you the freedom to explore their vast library of courses at your own pace. Whether you're interested in learning software skills such as QuickBooks or Quicken, or exploring more creative pursuits like portrait photography or night photography, lynda.com has got you covered.

One aspect that's worth mentioning is the potential tax benefits of using lynda.com. As a subscriber, you may be able to deduct your educational expenses on your taxes. It's always a good idea to consult with a tax professional to determine if this applies to your specific situation. However, even without this benefit, the value of lynda.com lies in its ability to provide you with the skills and knowledge necessary to excel in your chosen creative field.

**The Study of Influence and Artistic Evolution**

As an artist myself, I've always been fascinated by the concept of influence and artistic evolution. Who are the artists that inspire us? How do their works impact our own creative process? And what can we learn from their approaches to art-making?

To answer these questions, I embarked on a research project examining the influences on Saul Leiter, one of my favorite artists. This study allowed me to delve into the world of French art and explore how different styles and techniques influenced his work. What I found fascinating was the way these influences merged with Leiter's unique vision, resulting in a distinctive artistic voice that continues to inspire generations of photographers.

One of the most striking aspects of this study was the realization that artistic influences can be seen across various mediums and eras. Whether it's the use of composition, color palette, or even conceptually-driven work, these threads of influence weave together to form a complex tapestry of artistic expression. By examining the relationships between different artists and their works, we gain insight into the creative processes that shape our own art.

**A Conversation with Saul Leiter**

While Saul Leiter is no longer with us, his legacy lives on through the numerous documentaries and resources available about his life and work. I encourage all of you to explore these materials, as they offer a fascinating glimpse into the mind of this remarkable artist. From the documentary "Saul Leiter: The Art of Light" (link provided in show notes), we can learn more about Leiter's influences, his approach to photography, and the ways in which he continued to evolve as an artist throughout his career.

This conversation is not just a tribute to Saul Leiter but also a reminder that art is always evolving. By examining the works of different artists across various mediums and styles, we can uncover new insights into our own creative processes and gain a deeper understanding of what makes art truly great. I hope this article has inspired you to explore lynda.com and start your own artistic journey.

**Upcoming Video: Early Black and White Work by Saul Leiter**

In my next video, I'll be diving into the early black and white work of Saul Leiter, exploring how his influences shaped his approach to photography during this period. From his early days as a commercial photographer to his emergence as a prominent figure in the French New Wave movement, Leiter's work is characterized by its innovative use of light and shadow.

I'll be examining some of Leiter's most influential works from this era, including his iconic portraits and landscapes. By delving into his early work, we can gain a deeper understanding of how Leiter's influences merged with his unique vision to shape the course of his artistic career. Stay tuned for my upcoming video on Early Black and White Work by Saul Leiter.

"WEBVTTKind: captionsLanguage: enhey everybody Ted Forbes here and welcome back to the art photography in this video I want to talk about Saul Leiter and I want to talk about his influences and some of the things that had an impact on Saul's work which has always fascinated me Saul Leiter is one of my favorite photographers he exhibited such a mature sense of composition and use of abstraction and even simplicity in some cases that just was so much different in more mature in some ways than a lot of the things that were being shot in the 1940s through 1960s and it's always been kind of curious to me as to where this came from and I was doing some research on another episode we're going to do on Saul's early black-and-white work and as I was doing this I ran across several different interviews where Saul had talked about his influences and in several cases he said that they were Edgard Agha Pierre Bonnard and Edward V Arden and all three of these artists being French and all of them being painters now Saul was also a painter and he was never really known for his paintings he did a lot of these big abstract color works that fit right in with Abstract Expressionism what would have been going on in New York at that time but he never really developed a career as an artist doing that it's something he did his entire life he became more well-known as a photographer at first as a commercial photographer and then more recently in 2006 when steidel published the early color book was when he became known for this large body of personal work that he did over the years and a lot of this has come forth and it is just amazing and outstanding work so I want to talk about Saul's influences because I don't know if Saul knew this in his lifetime or not but all three of the artists that he mentioned were well-known painters who were also photographers so I think in some ways you have this case where you have photography influencing painting which influences a painter who is also a photographer so there's a there's an interesting thread that goes across a lot of these images and I want to draw some connections to some things and look at some work and discuss some possibilities in this episode so that's what we're going to do today first I want to look at Edgar Degas and Digga was very interesting he was one of the founders of Impressionism er is considered one of the founding people in the impressionist movement and his work is absolutely beautiful real subjects you know crossing different mediums but with these layers of abstraction through what he's doing with brushwork what he's doing with colors and styles and me that he's painting in is really quite interesting what is really interesting about dead guys that he was also a photographer he picked up a camera and for a period of only about five years he did about fifty photographs that exist today and I want to start with this one because it is one of my favorite images ever in the history of photography and this is a very famous image this was done in about 1895 and this is a dancer adjusting her shoulder strap and I absolutely love this image I love the fact that it is in bad shape that it is filthy and dirty and grungy and high contrast but you can tell it's daga one of his subjects that he visited throughout his career was these ballet dancers and this is just it fits right in with that body work he was absolutely sublime and beautiful and what he was doing was doing these studies of studying the female form and if we look at some of Saul's work and one that comes to mind in particular is this first image this is Johanna from 1947 and Johanna was the four-year-old daughter of a friend of Saul's who was a painter and this is just a beautiful portrait of the back of her head in the way that the hair comes into this ponytail and it brings to mind some of the visuals that Digga was known for where you would have these these own informal portraits sometimes the back of people but they were really more figure studies of the female form and they're just absolutely beautiful another one from 1969 it's just a female form study this is somes somes was a she was a painter and she was a very close friend of Saul's the two never lived together but they were romantically involved in friends until she died and I think 2002 and she was an enormous influence on on Saul and his work but I think you see some of that female form in that study coming out that might be reminiscent of somebody like dick coming out in this image another image from 1958 this is joy and what I love about this image is that your eyes drawn into the gesture in the hand and this is something it's a hand gesture that brings to mind probably more past master paintings in figure Studies than it does necessarily photography and I love the way that that's incorporated in this image and as you can see Saul was the master and these are Far Cry and very different than the color Street images that Saul is probably more known for but they're very beautiful just the same and I think in some ways a lot of this black and white work was even more progressive and more adventurous than a lot of the color work that was being done I want to talk about pierre bonnard and if we are and what's interesting about these two is that saul collected paintings by both of these people and by collected he had a few paintings i mean and they were hanging on the wall of his apartment in this interview that I found Saul was saying that and I will link this in the show notes if you're interested but he was saying that you know these paintings were not expensive at the time and he purchased them and then later when he fell on hard times and they had increased in value he had to regrettably sell them but what's interesting is these two gentlemen were also photographers and if we look first at pierre bonnard pierre bonnard was kind of more of the kodak snapshot school in some ways i think he was fascinated the camera in this sense but if we look historically about the invention of photography and how this changed the way painters worked and all of a sudden rather than having somebody sit for a portrait for hours on end being very still while the painter finished their masterpiece you were able to take photographs to use as reference material and you could even shoot from different angles and let that be the impetus that informed the composition and so what we see with with with Bernards work is a little more snapshot in nature and you can see this with we art as well but what is important about these works and the way they influenced is painting is they bring together two things one and intimacy of the viewer with the chosen subjects in other words they're not formally usually see people laughing and acting natural and this mixed with the informality of the subjects that are seemingly unaware of the camera so this isn't what you normally see with 19th century portraiture where the subjects because of the long exposure times would most often not smile and be very stoic looking against the camera you're seeing these images of these kids playing and bathing in and having fun and and there's that intimacy and informality as if the viewer is being brought into the scene and that you're welcomed into this and and that's where the relationship that these images have with the fewer and this did have an impact on Bernards work as well now one of the things that's interesting about Bernard is and I'm going to paint him to be sorry for the pun I'm going to paint him to be a little bit of a contrarian here because Bernard was very improvisational I think in a lot of ways with his work and he would have never come clean or admitted to copying a photograph or something like that but we do see some uncanny resemblances in a couple cases and this first one is really interesting this is a picture he took and entitled Marta standing in sunlight from 1901 the following actually yeah the following year we have Chloe bathing from the story deafness and Chloe which was a drawing that he had done and the resemblance is very striking obviously and I don't think that that belittles Bernards work at all and then certainly is not my intent here but I think more importantly we see that he was influenced by the human form and by photography and and what he was able to capture with the lens and how that influenced his own work another interesting thing are these two self-portraits that Bernard is particularly known for and this first one is from 19 excuse me 1889 the same year we have this portrait of the artists we do not know who the photographer is and there is again a little bit of an uncanny resemblance but I think the key thing that we're going for with Bernard is again that intimacy and informality that we see in the photograph and if we compare this to saw lighters self-portrait from lovely I believe the 1950s again it's not a direct comparison copy necessarily but I think that influence does show up because we have a self-portrait of the artist of Saul and in a very informal pose and we have a little bit of that intimacy of that we could be just in the room hanging out it's not a formal portrait in that sense there's another self-portrait from 1920 taken by an unknown photographer who also translates into what was probably one of Bernards most well-known works was the self-portrait from 1920 and last I want to look at Edward we are and we are it is very interesting to me because we see artists that after coming upon the camera and becoming interested in photography shot the rest of his life and these early pictures are really snapshot in nature and it's really interesting to see what a painter was going for with these snapshots and a lot of cases we see here these families gathered for dinner and apparently the story goes is that he was kind of like the annoying dad who would like jump up grab the Kodak bellows camera asked everybody to hold still and click it and then go back to his business and what he was doing were these character studies that you start to see impacted in his own work like this interesting painting of the family at dinnertime but again like Bernard we have this sense of informality and intimacy that we could be just in the room hanging out I think this translates really beautifully into some Saul's work as well from the early black-and-white in this one that's just titled Kathy and Gloria where we have two people sitting in a room and it's almost like we're just hanging out with them and their that that sense of informality and and and beauty that comes of that through these black-and-white images is absolutely stunning and beautiful as we are continued as a photographer his ability to take photographs definitely improved and I think one interesting photo in particular is this one which is I do not know what year this is from but this is view from a window and we have very much an unconventional view of the time of a scene of people standing on the street below and these wonderful hats and if we compare this to say saw lighters work this is a series of four images that are just titled from the Al that he took from a train platform and again we have just a little bit different uncanny view and what is starting to evolve visually into these forms which we considered a more street photography I think this is an interesting study to do when you consider you know who Saul's influences were in the impact that they had on a lot of his photography and I think you see these a lot particularly in these early black-and-white images mostly people in street scenes I want to take a second give a shout-out to our sponsor today we're the awesome folks over at the lynda.com if you're not familiar with lynda.com they offer one of I believe one of the most extensive and comprehensive training libraries of video tutorials that you're going to find anywhere and most of it is revolving around the visual arts as well as sound design music graphic design even coding so if there's something you want to learn chances are that Linda have you covered if you go browse photography for instance you're going to see that they've got training titles covering pretty much everything from software to concepts such as portrait photography or night photography or whatever you want to learn and they do really have an amazing product I've been a subscriber of Lynda for years and they have saved me on many occasions I'm going to offer something to you today it is almost tax time in the United States and as you're preparing your taxes it can be pretty confusing as most of you know and Linda actually have you covered there too they've got tutorials on how to do your taxes as well as software titles such as quicken or QuickBooks and so this can be a really major asset for anybody who has a hard time doing that and lynda.com have an offer for art of photography viewers where I can give you a special URL to go to and give you a special link and you're going to get one week of unlimited access to the entire website so you can go check these titles out for yourself if you want to do tax stuff or if you want to do photography it's all here the other cool thing is for some of you if you're living depends on this sometimes lynda.com can be deducted as an educational expense and so you need to go look that up everybody's a little bit different but that is a possibility and so what I would encourage you to do is go check out the free trial and see if Linda's for you what you want to do to get that is you want to head over to lynda.com slash AOP that's Lynda with a wide comm /ao P that lets lend a note that I sent you and you're going to get one week of free unlimited access to the entire website so once again I want to give a special shout out to the folks at lynda.com and thank them for once again sponsoring another episode of the art of photography this is a fairly interesting study to do with any artist I believe and particularly Saul because you know being such a complex person in a complex artist himself and I'll be the first to admit this is just guesswork on my behalf just to find out who he quoted as his influences were and to go in and look at comparisons and threads between their work and what those relationships are like I don't know if these are things that happen on a conscious level sometimes with artists or subconscious level probably both they certainly do with me and some of the people I've influenced or I'm influenced by there are times where I you know it's like what would they do and there are other times where it's probably on some kind of subconscious level influencing the work that I do and so I encourage you to think about this with your own work and who your influences are and how that thread is being moved between generations and I didn't even talk about that aspect of it because there is that too if you look at the differences between you know it's all a generation removed from you know the three artists that I mentioned and he's also in a different country in a different time period and how that impacts the work too but I think with the interesting takeaway here is these threads that we've talked about whether they're compositional whether they're figure study whether they're conceptual whether it's a color palette whatever that is to see how this transfers between artists into different styles and things of that nature and it's absolutely fascinating I think and this would be such a wonderful conversation to have with Saul Leiter himself and unfortunately we're several years too late on that because Saul passed away there is a wonderful documentary that was done on Saul I will link up to all the stuff in the show notes I again I encourage you guys to go look at the stuff if you're interested and kind of formulate some of your own conclusions to it too because this is what makes art really interesting to talk about I think when it's at its best and I think certainly with the three French artists we've looked at in Saul Leiter I think that we're seeing it at its best anyway if you guys enjoyed the show remember to like it and share it with your friends and as always remember to subscribe for more videos we're going to be doing a lot more videos on saw lighter in the coming month I have a big thing prepared on this early black and white body of work that actually I was scheduled to do today but I wanted to talk about these influences first it's something that came up in my research that I thought was just really particularly interesting and you know I hope I've exposed to something new and remember subscribe for more anyway once again guys has been another episode of the art of photography I'll see you guys in the next video laterhey everybody Ted Forbes here and welcome back to the art photography in this video I want to talk about Saul Leiter and I want to talk about his influences and some of the things that had an impact on Saul's work which has always fascinated me Saul Leiter is one of my favorite photographers he exhibited such a mature sense of composition and use of abstraction and even simplicity in some cases that just was so much different in more mature in some ways than a lot of the things that were being shot in the 1940s through 1960s and it's always been kind of curious to me as to where this came from and I was doing some research on another episode we're going to do on Saul's early black-and-white work and as I was doing this I ran across several different interviews where Saul had talked about his influences and in several cases he said that they were Edgard Agha Pierre Bonnard and Edward V Arden and all three of these artists being French and all of them being painters now Saul was also a painter and he was never really known for his paintings he did a lot of these big abstract color works that fit right in with Abstract Expressionism what would have been going on in New York at that time but he never really developed a career as an artist doing that it's something he did his entire life he became more well-known as a photographer at first as a commercial photographer and then more recently in 2006 when steidel published the early color book was when he became known for this large body of personal work that he did over the years and a lot of this has come forth and it is just amazing and outstanding work so I want to talk about Saul's influences because I don't know if Saul knew this in his lifetime or not but all three of the artists that he mentioned were well-known painters who were also photographers so I think in some ways you have this case where you have photography influencing painting which influences a painter who is also a photographer so there's a there's an interesting thread that goes across a lot of these images and I want to draw some connections to some things and look at some work and discuss some possibilities in this episode so that's what we're going to do today first I want to look at Edgar Degas and Digga was very interesting he was one of the founders of Impressionism er is considered one of the founding people in the impressionist movement and his work is absolutely beautiful real subjects you know crossing different mediums but with these layers of abstraction through what he's doing with brushwork what he's doing with colors and styles and me that he's painting in is really quite interesting what is really interesting about dead guys that he was also a photographer he picked up a camera and for a period of only about five years he did about fifty photographs that exist today and I want to start with this one because it is one of my favorite images ever in the history of photography and this is a very famous image this was done in about 1895 and this is a dancer adjusting her shoulder strap and I absolutely love this image I love the fact that it is in bad shape that it is filthy and dirty and grungy and high contrast but you can tell it's daga one of his subjects that he visited throughout his career was these ballet dancers and this is just it fits right in with that body work he was absolutely sublime and beautiful and what he was doing was doing these studies of studying the female form and if we look at some of Saul's work and one that comes to mind in particular is this first image this is Johanna from 1947 and Johanna was the four-year-old daughter of a friend of Saul's who was a painter and this is just a beautiful portrait of the back of her head in the way that the hair comes into this ponytail and it brings to mind some of the visuals that Digga was known for where you would have these these own informal portraits sometimes the back of people but they were really more figure studies of the female form and they're just absolutely beautiful another one from 1969 it's just a female form study this is somes somes was a she was a painter and she was a very close friend of Saul's the two never lived together but they were romantically involved in friends until she died and I think 2002 and she was an enormous influence on on Saul and his work but I think you see some of that female form in that study coming out that might be reminiscent of somebody like dick coming out in this image another image from 1958 this is joy and what I love about this image is that your eyes drawn into the gesture in the hand and this is something it's a hand gesture that brings to mind probably more past master paintings in figure Studies than it does necessarily photography and I love the way that that's incorporated in this image and as you can see Saul was the master and these are Far Cry and very different than the color Street images that Saul is probably more known for but they're very beautiful just the same and I think in some ways a lot of this black and white work was even more progressive and more adventurous than a lot of the color work that was being done I want to talk about pierre bonnard and if we are and what's interesting about these two is that saul collected paintings by both of these people and by collected he had a few paintings i mean and they were hanging on the wall of his apartment in this interview that I found Saul was saying that and I will link this in the show notes if you're interested but he was saying that you know these paintings were not expensive at the time and he purchased them and then later when he fell on hard times and they had increased in value he had to regrettably sell them but what's interesting is these two gentlemen were also photographers and if we look first at pierre bonnard pierre bonnard was kind of more of the kodak snapshot school in some ways i think he was fascinated the camera in this sense but if we look historically about the invention of photography and how this changed the way painters worked and all of a sudden rather than having somebody sit for a portrait for hours on end being very still while the painter finished their masterpiece you were able to take photographs to use as reference material and you could even shoot from different angles and let that be the impetus that informed the composition and so what we see with with with Bernards work is a little more snapshot in nature and you can see this with we art as well but what is important about these works and the way they influenced is painting is they bring together two things one and intimacy of the viewer with the chosen subjects in other words they're not formally usually see people laughing and acting natural and this mixed with the informality of the subjects that are seemingly unaware of the camera so this isn't what you normally see with 19th century portraiture where the subjects because of the long exposure times would most often not smile and be very stoic looking against the camera you're seeing these images of these kids playing and bathing in and having fun and and there's that intimacy and informality as if the viewer is being brought into the scene and that you're welcomed into this and and that's where the relationship that these images have with the fewer and this did have an impact on Bernards work as well now one of the things that's interesting about Bernard is and I'm going to paint him to be sorry for the pun I'm going to paint him to be a little bit of a contrarian here because Bernard was very improvisational I think in a lot of ways with his work and he would have never come clean or admitted to copying a photograph or something like that but we do see some uncanny resemblances in a couple cases and this first one is really interesting this is a picture he took and entitled Marta standing in sunlight from 1901 the following actually yeah the following year we have Chloe bathing from the story deafness and Chloe which was a drawing that he had done and the resemblance is very striking obviously and I don't think that that belittles Bernards work at all and then certainly is not my intent here but I think more importantly we see that he was influenced by the human form and by photography and and what he was able to capture with the lens and how that influenced his own work another interesting thing are these two self-portraits that Bernard is particularly known for and this first one is from 19 excuse me 1889 the same year we have this portrait of the artists we do not know who the photographer is and there is again a little bit of an uncanny resemblance but I think the key thing that we're going for with Bernard is again that intimacy and informality that we see in the photograph and if we compare this to saw lighters self-portrait from lovely I believe the 1950s again it's not a direct comparison copy necessarily but I think that influence does show up because we have a self-portrait of the artist of Saul and in a very informal pose and we have a little bit of that intimacy of that we could be just in the room hanging out it's not a formal portrait in that sense there's another self-portrait from 1920 taken by an unknown photographer who also translates into what was probably one of Bernards most well-known works was the self-portrait from 1920 and last I want to look at Edward we are and we are it is very interesting to me because we see artists that after coming upon the camera and becoming interested in photography shot the rest of his life and these early pictures are really snapshot in nature and it's really interesting to see what a painter was going for with these snapshots and a lot of cases we see here these families gathered for dinner and apparently the story goes is that he was kind of like the annoying dad who would like jump up grab the Kodak bellows camera asked everybody to hold still and click it and then go back to his business and what he was doing were these character studies that you start to see impacted in his own work like this interesting painting of the family at dinnertime but again like Bernard we have this sense of informality and intimacy that we could be just in the room hanging out I think this translates really beautifully into some Saul's work as well from the early black-and-white in this one that's just titled Kathy and Gloria where we have two people sitting in a room and it's almost like we're just hanging out with them and their that that sense of informality and and and beauty that comes of that through these black-and-white images is absolutely stunning and beautiful as we are continued as a photographer his ability to take photographs definitely improved and I think one interesting photo in particular is this one which is I do not know what year this is from but this is view from a window and we have very much an unconventional view of the time of a scene of people standing on the street below and these wonderful hats and if we compare this to say saw lighters work this is a series of four images that are just titled from the Al that he took from a train platform and again we have just a little bit different uncanny view and what is starting to evolve visually into these forms which we considered a more street photography I think this is an interesting study to do when you consider you know who Saul's influences were in the impact that they had on a lot of his photography and I think you see these a lot particularly in these early black-and-white images mostly people in street scenes I want to take a second give a shout-out to our sponsor today we're the awesome folks over at the lynda.com if you're not familiar with lynda.com they offer one of I believe one of the most extensive and comprehensive training libraries of video tutorials that you're going to find anywhere and most of it is revolving around the visual arts as well as sound design music graphic design even coding so if there's something you want to learn chances are that Linda have you covered if you go browse photography for instance you're going to see that they've got training titles covering pretty much everything from software to concepts such as portrait photography or night photography or whatever you want to learn and they do really have an amazing product I've been a subscriber of Lynda for years and they have saved me on many occasions I'm going to offer something to you today it is almost tax time in the United States and as you're preparing your taxes it can be pretty confusing as most of you know and Linda actually have you covered there too they've got tutorials on how to do your taxes as well as software titles such as quicken or QuickBooks and so this can be a really major asset for anybody who has a hard time doing that and lynda.com have an offer for art of photography viewers where I can give you a special URL to go to and give you a special link and you're going to get one week of unlimited access to the entire website so you can go check these titles out for yourself if you want to do tax stuff or if you want to do photography it's all here the other cool thing is for some of you if you're living depends on this sometimes lynda.com can be deducted as an educational expense and so you need to go look that up everybody's a little bit different but that is a possibility and so what I would encourage you to do is go check out the free trial and see if Linda's for you what you want to do to get that is you want to head over to lynda.com slash AOP that's Lynda with a wide comm /ao P that lets lend a note that I sent you and you're going to get one week of free unlimited access to the entire website so once again I want to give a special shout out to the folks at lynda.com and thank them for once again sponsoring another episode of the art of photography this is a fairly interesting study to do with any artist I believe and particularly Saul because you know being such a complex person in a complex artist himself and I'll be the first to admit this is just guesswork on my behalf just to find out who he quoted as his influences were and to go in and look at comparisons and threads between their work and what those relationships are like I don't know if these are things that happen on a conscious level sometimes with artists or subconscious level probably both they certainly do with me and some of the people I've influenced or I'm influenced by there are times where I you know it's like what would they do and there are other times where it's probably on some kind of subconscious level influencing the work that I do and so I encourage you to think about this with your own work and who your influences are and how that thread is being moved between generations and I didn't even talk about that aspect of it because there is that too if you look at the differences between you know it's all a generation removed from you know the three artists that I mentioned and he's also in a different country in a different time period and how that impacts the work too but I think with the interesting takeaway here is these threads that we've talked about whether they're compositional whether they're figure study whether they're conceptual whether it's a color palette whatever that is to see how this transfers between artists into different styles and things of that nature and it's absolutely fascinating I think and this would be such a wonderful conversation to have with Saul Leiter himself and unfortunately we're several years too late on that because Saul passed away there is a wonderful documentary that was done on Saul I will link up to all the stuff in the show notes I again I encourage you guys to go look at the stuff if you're interested and kind of formulate some of your own conclusions to it too because this is what makes art really interesting to talk about I think when it's at its best and I think certainly with the three French artists we've looked at in Saul Leiter I think that we're seeing it at its best anyway if you guys enjoyed the show remember to like it and share it with your friends and as always remember to subscribe for more videos we're going to be doing a lot more videos on saw lighter in the coming month I have a big thing prepared on this early black and white body of work that actually I was scheduled to do today but I wanted to talk about these influences first it's something that came up in my research that I thought was just really particularly interesting and you know I hope I've exposed to something new and remember subscribe for more anyway once again guys has been another episode of the art of photography I'll see you guys in the next video later\n"