In an earlier post from the time when I was at Victor Harbor over Xmas I said that:

I even managed to do a little thinking about photography----specifically about Saul Leiter's use of colour as form in photography when I was briefly exploring the possibilities for abstraction in the rock forms along the shoreline.

In his Introduction to William Eggleston's Guide in 1976 John Szarkowski says:

In the past decade a number of photographers have begun to work in color in a more confident, more natural, and yet more ambitious spirit, working not as though color were a separate issue, a problem to be solved in isolation (not thinking of color as photographers seventy years ago thought of composition), but rather as though the world itself existed in color, as though the blue and the sky were one thing. The best of Eliot Porter's landscapes, like the best of the color street pictures of Helen Levitt, Joel Meyerowitz, Stephen Shore, and others, accept color as existential and descriptive; these pictures are not photographs of color, any more than they are photographs of shapes, textures, objects, symbols, or events, but rather photographs of experience, as it has been ordered and clarified within the structures imposed by the camera.