1. The only thing Leiter, Haas, and Eggleston share is the use of color. Do you see something of Leiter or Haas in Ivo’s pictures(please don’t say color?)
While Eggleston is noted for using color, I think his rise is owed as much to Frank, Winogrand, Friedlander, and rest. They all used short lenses, while Leiter seemed to prefer a longer view, setting him apart, maybe.
I do think Leiter is still relevant, but Haas less so. Another question; 2. Do you think Pete Turner was influenced by Leiter?
1. Really? I was referring, initially, to the manner in which gallerists decided (possibly even believed, bless their souls) that Eggleston was the first guy to use colour in photographing the human habitat and the human mess. Far from the reality.
Like Leiter, Haas shot a lot of street art, too, but as I have mentioned elsewhere when commenting on his book
Color Correction, his work strikes me as a lot more clinical, in the sense of things often being very sharp, whereas Leiter's work is not like that at all. That said, some of Haas's shots remind me of Frank: shots in car mirrors, for example, but colour in the case of Haas...
2. To an extent, I think that all people working in the same general time slot will influence one another, though I do not mean in the sense of actively copying. You can't, really, because your circumstances will be different, as will your own, native predilections. That said, I believe that where you see something specially attractive in another's work, that does get injected into your own sense of what works, and what does not; stored within your own taste bank, as it were?
I think Turner was a very different animal, given to a far stronger graphic "look" with strong, saturated colours rather than Leiter's reasonably muted ones. I don't know about Turner, but don't forget that Leiter did a lot of black/white work too, and that also affects the way you see. Turner was apparently no slouch at darkroom magic, and knew how to copy transparencies, double expose them, sandwich etc. and I'm pretty sure the polarizer filter was no stranger to him. Leiter doesn't strike me as technical wizard at all; he strikes me more as a slightly reluctant photographer (much like HC-B ?) who got more pleasure from paint and pencil.
People seem to rivet Leiter to the Kodachrome mast. I'm not at all that certain. From what I've been able to pick up, Leiter was generally pretty broke, and his "personal" work was often made on out-of-date stock, whatever he could find that was cheap. I don't believe he was limited to Kodachrome or even able to major on it. He even said that he quite enjoyed the slightly unpredicatable nature of old stock...