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Photography, Seattle: Bay Press, 1990.ELLIOTT ERWITT
American
Elio Romano Erwitt was born in Paris of Russian
parents in 1928. His first name was later American-
ized to Elliott. The family spent some time in Milan
and Rome before returning to Paris after his Jewish
father, Boris, who had a doctorate in architectural
engineering and was a partner in a management
consulting firm, had offended the fascist regime.
On 1 September 1939 they escaped the new Eur-
opean war by emigrating to New York. After a few
years there, he and his father moved to California,
the marriage having disintegrated. He had begun
teaching himself photography as a teenager while
living alone after his father moved to New Orleans.
After graduating from Hollywood High School, he
held exhibits of his work in Los Angeles and New
Orleans. His photographic work had been part of a
series of odd jobs he had tried in order to support
himself. He studied photography at Los Angeles
City College (1942–1944) and moved to New York
in 1948 when he came to the attention of Edward
Steichen and several other notables in photography.
He was hired by Roy Stryker to work on a project
about Pittsburgh for the Mellon Foundation. After
Robert Capa viewed his photographs in 1951 and he
subsequently was drafted into the Army, he was
invited to join Magnum Photos in 1953.
Erwitt proved himself to be a master photojourn-
alist, adept at handling a wide variety of equipment
and assignments, often requiring imagination and
quick, intuitive responses to stories rapidly unfolding
before his eyes. He began doing documentary photo-
graphy and news stories. One of his most famous
early series, while on assignment for Westinghouse in
1959, recorded the ‘‘kitchen cabinet debate’’ between
President Richard Nixon and Soviet Premier Nikita
Khrushchev in Moscow. He photographed around
the world for Holiday and other magazines and
produced advertising and commercial photographs
as well. From 1950 to 1952, Erwitt was a freelance
photographer forCollier’s,Look,Life,andHoliday.
He became a Magnum associate in 1953 and a full
member in 1954. Erwitt has shot journalistic essays
throughout the world and numerous commercial
assignments for Air France, KLM, and Chase Man-
hattan Bank, among many others.
Erwitt has made a good living with advertising
and commercial photography, but he has always
done his personal work in tandem with it, his perso-
nal photographs in large measure having been made
possible by his globe-trotting journalistic and com-
mercial assignments. Something of a purist as a
candid photographer, he almost always uses black-
and-white film, composes in the viewfinder, seldom
crops, and demands unposed subjects. Although hisERWITT, ELLIOTT