Grace Kelly, New York, 1955
Grace Kelly, New York, 1955
North Carolina, USA, 1950
North Carolina, USA, 1950
Wyoming, USA, 1954
Wyoming, USA, 1954
New York CIty, 1974
New York CIty, 1974
Provence, France, 1955
Provence, France, 1955
Valencia, Spain, 1952
Valencia, Spain, 1952
Marilyn Monroe, New York, 1956
Marilyn Monroe, New York, 1956
New York City, 1955
New York City, 1955
Santa Monica, California, 1955
Santa Monica, California, 1955
New York City, 1955
New York City, 1955
Managua, Nicaragua, 1957
Managua, Nicaragua, 1957
New York City, 1946
New York City, 1946
Bratsk, Siberia, USSR, 1967
Bratsk, Siberia, USSR, 1967
New York City, 1969
New York City, 1969
Versailles, France, 1975
Versailles, France, 1975
Paris, France, 1989
Paris, France, 1989
Paris, France, 1989
Paris, France, 1989
Metropolitan Museum, NYC, 1989
Metropolitan Museum, NYC, 1989
Kent, England, 1968
Kent, England, 1968
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Elliott Erwitt on PDN's Photography Blog

December 18, 2013

Scotch whisky producer The Macallan announced the latest release in its “Masters of Photography” series—a book of photographs Elliott Erwitt made on commission in Scotland. The book, Elliott Erwitt’s Great Scottish Adventure, features 158 images the Magnum photographer made during an open commission to photograph in Scotland.

Erwitt is the fourth photographer to work on “The Macallan Masters of Photography” series; Rankin, Watson and Annie Leibovitz preceded him.

For the full article, please visit PDN.

Elliott Erwitt in The Wall Street Journal

December 14, 2013

Ansel Adams famously compared the different prints that could be made from an individual negative to the various possible performances of a score of music. (Adams trained as a concert pianist.) Black-and-white prints can vary in size, in the texture of the paper used, in their contrast, and several other characteristics, but the most important may be the medium used to capture the image—silver gelatin, platinum or platinum-palladium. Platinum prints are expensive because the material is costly and they are labor intensive, but they are valued because platinum is capable of subtle shades of gray, it is very stable and so not susceptible to deterioration. And, since the surface is nonreflective, there is an illusion of depth. A platinum print of a good negative is a physical object of great beauty. The Houk Gallery has up platinum prints of 13 of Elliott Erwitt's best-known photographs.

For the full review, please visit The Wall Street Jounal.

Elliott Erwitt in The Telegraph

November 1, 2013

Elliott Erwitt prides himself on taking pictures of things that are real. He loathes Photoshop, and he thinks the best thing about photography is that ‘it’s about what you see, not what you construct’. But for his latest project, a photographic study of Scotland, he made an exception: he took a picture of the Loch Ness monster. ‘It’s a real photograph – your basic monster,’ Erwitt, 85, insists. ‘It’s not digital manipulation.’ But isn’t he capturing something that isn’t there? ‘No. It’s the real Loch Ness. And magic, of course.’



For the full article, please visit The Telegraph.

Elliott Erwitt in Vanity Fair

October 24, 2013

To capture the essence and character of Scotland, photographer Elliott Erwitt traveled the country, shooting people, places, and even Scottish dog breeds for Macallan’s “Masters of Photography” series.



For the full article, please visit Vanity Fair.

The New Yorker

Sep 18, 2008

Fifty miles north of Frankfurt lies the small German town of Solms. Turn off the main thoroughfare and you find yourself driving down tranquil suburban streets, with detached houses set back from the road, and, on a warm morning in late August, not a soul in sight. Nobody does bourgeois solidity like the Germans: you can imagine coming here for coffee and cakes with your aunt, but that would be the limit of excitement. By the time you reach Oskar-Barnack-Strasse, the town has almost petered out; just before the railway line, however, there is a clutch of industrial buildings, with a red dot on the sign outside. As far as fanfare is concerned, that’s about it. But here is the place to go, if you want to find the most beautiful mechanical objects in the world...

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Elliott Erwitt

b. Paris, France, 1928

Elliott Erwitt is one of the leading figures in magazine, advertising, and commercial photography. A member of photography’s elite, Magnum, since 1953, he also began making film documentaries in the 1970s. But he is best known for the warmth, humor, and wry observations in his personal work, which he has continued to produce in tandem with his commercial practice, and which are collected in best-selling volumes such as Personal Exposures (1988) and Snaps (2001).

Born in Paris to Russian émigré parents, Erwitt and his family spent several years in Milan before returning to Paris, in 1938, when he was ten years old. The following year they moved to New York, before settling finally in Los Angeles in 1941. Erwitt has been an enthusiastic traveller ever since. His first experience of photography was in a commercial dark room, where he helped produce “signed” photos of movie stars. He began taking pictures shortly afterwards, whilst travelling in France and Italy, and by 1953 he had been invited to join Magnum by its one of its founders, Robert Capa.

His early career, when he was an accredited Whitehouse photographer, yielded some famous images, including those of the “kitchen cabinet debate” between Nixon and Khrushchev in 1959, and images of Jacqueline Kennedy at John F Kennedy’s funeral in 1963. He has produced portraits of Marilyn Monroe, Grace Kelly, Humphrey Bogart and Fidel Castro. In the 1970s he began producing films, television commercials and documentaries, including the award-winning Glassmakers of Herat (1977). Throughout his career he has continued to shoot his own personal work, always in black and white. He likes it noted that he adores children and dogs, and his pictures of them over several decades attest to that.

Elliott Erwitt lives and works in New York. The author of twenty books, he has had solo exhibitions at the Museum of Modern Art; the Smithsonian Institution, Washington, D.C.; the Musée d’art moderne de la Ville de Paris; the Reina Sofia, Madrid; and the Museum of Art of New South Wales, Sydney. His work is held in major public and private collections across the world.

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