195 ☼ Meeting Elliott Erwitt

+ Process Workshop and Photo Walk

Jun 01, 2025

Dear friends,

This week, I share the story of my visit with the late Elliott Erwitt, and what he taught me about attention, play, and the value of keeping things light without being lightweight.

If you tuned into NPO Radio 1 this morning you might have heard me tell this story on the program De Nacht Is Zwart, in Dutch. If not, you can listen to it here.

Upcoming Process Events

In-Person Workshop — On Saturday, June 28, I’m leading this year’s first in-person Process workshop at FotoFestival Naarden, where I’ll also debut my first solo show in the Netherlands.

The workshop—From Idea to Finished Project—is for photographers of any level who want help finding direction, building a clear plan, and taking next steps. It’s a focused 2.5-hour session, limited to six participants. Tickets are €150. To join, go here, scroll down to my name, and mention you're a Process reader in the note section for a €25-off, or €50-off if you’re a member of the Process Photo Club.
Amsterdam Photowalk + Movie Screening — Join us Sunday, July 6, for the first Process Photowalk of 2025, in collaboration with Analog Club Amsterdam. Only a few spots left, so RSVP here now. We’ll end the walk at Lab 111 for a screening of:
- Or Something (Dutch premiere) — A feature film about a long walk, written by and starring Mary Neely and Kareem Rahma (of Subway Takes).
- Laundromat (world premiere) — A short film shot on film (I’m in it!).
- Followed by a Q&A with writer/director Joseph Frank about making short films independently. Ask him anything.

My Time With Elliott Erwitt

He was 89, had another appointment on the calendar, but gave me exactly two minutes. I pulled my Pentax 67ii out of my bag and made three portraits. But those two minutes came at the end of a full hour.

An hour earlier, his assistant Mio had opened the door to his apartment building on Manhattan's Upper West Side, near Central Park. He walked me through the studio first: iconic prints on the walls, contact sheets, books, and stacks of work on every surface. The space was quiet and focused, almost like a workshop. You could hear the soft hum of the city outside.

In the living room, he pointed to a chair by the window where I could wait. Were it not for the scaffolding, I would have had a perfect view of the park. Even without it, the room felt like a frozen moment of New York City history.

A little while later, Mr. Erwitt came into the room. He moved slowly. His voice was soft. But his gaze was sharp and witty and curious. He broadcast an energy of calm and the quiet authority of someone who spent a lifetime paying attention.

We talked. About photography and work and what remains after it’s all said and done.

Erwitt was born in Paris in 1928 to Russian parents. He spent most of his childhood in Milan. In 1939, his family fled via France to the United States. Years later, in New York, he would become one of the most recognizable voices within the legendary photo agency Magnum.

His photographs are world-famous. Almost always black and white, often with dogs, but also some political or societal figures of note. Frequently funny. What struck me was how precise that humor is. No gags. Just tenderness, and timing.

When I asked him what made a photograph good, he said: "A good photo makes you laugh or cry. It communicates."

Simple. But not simplistic.

His images are funny, but never lazy. Like that iconic photo of a woman in heels, standing next to a tiny dog in a chic little sweater. A visual smile. Everything in place.

Small dog standing by woman. New York City, USA. 1946. (c) Elliott Erwitt | Magnum Photos

Or Provence (Boy with Baguette): a boy wearing a black beret riding on the back of a bicycle, clutching a baguette. The adult in front wears the exact same beret. They disappear down a tree-lined lane. The boy looks back over his shoulder. One moment, and everything's in it.

Boy with Baguette, 1955. (c) Elliott Erwitt | Magnum Photos

When I asked him how he felt about commercial work, he said with a spark in his eyes:

"I love it, because it pays well for relatively little effort."

A wink. But sincere.

He never saw a hierarchy between personal and commissioned work. It was all part of the craft. And he loved the craft. The more complex the job, the more fun it became.

When I asked if photography was a form of self-expression for him, he simply said:

"No. I just liked taking pictures."

That may sound modest, but there’s a worldview in there. A way of seeing that doesn't center the self, but the moment. Not to impress. But to understand.

I also asked him about his favorite photo. He paused and then said:

"It was in Venice. Two men. The composition, the timing... everything was perfect. But I didn't have a camera. And maybe if I had taken it, it would have been a bad photo."

Maybe some photos shouldn’t be taken. Maybe looking is enough.

He told me about his color work, often made under the pseudonym André S. Solidor, a gently parody of the art world. "I do funny things sometimes," he said with a grin.

That’s what stayed with me: his lightness, without superficiality. His clarity, without urgency. His joy, without ego.

So what did I learn in that hour? That humor is a serious form of paying attention. That you can take the craft seriously without taking yourself too seriously. And that maybe looking is more important than capturing.

After our conversation, he stood up. He had another appointment but gave me those two minutes. Three frames. Natural light. The man who had spent decades photographing others now let himself be seen.

Mr. Erwitt passed away in 2023, at the age of 95. His work lives on, not just in museums and books, but in every photographer trying to capture something human.

With a smile. And with care. Thank you, Mr. Erwitt. For everything.

Below is the full contact sheet of this roll, also featuring some portraits of NatGeo living legend Robert Clarke, and my friend Arsie at our neighborhood café.

Next Week — Upcoming Exhibition

In next week’s issue I will share more about my upcoming solo exhibition at FotoFestival Naarden, where I’ll show work from NOTICE Journal, Volume One. The festival runs from June 13 through July 7. More info and tickets can be found here.

It also marks something personal: exactly 30 years ago, to the day, my father exhibited his work at the same festival. Pretty special full circle moment for the both of us.

Below is a photo of myself with Rogier and Jochem from Temple Studios working on the prints. Next week: How it came together, including the practical matters like printing, framing, the curatorial process, and how I was invited to take part.

Thanks for reading. If you enjoyed this issue, I’d love for you to share it with a friend.

Let’s keep shooting, learning, and sharing together—one messy, human step at a time.

Warmly,
Wesley

📷 What I Used This Week

People often ask what I’m using and here’s this week’s setup:

Camera: Pentax 67ii, and Canon EOS R5 and the Canon RF 24-70 mm f/2.8 L IS USM.

Fim Stock: Kodak Portra 400

This issue is supported by MPB.com — my go-to for buying, selling, or trading used photo and video gear. Everything comes with a 6-month warranty, and their support helps keep Process going.

Lab: My film is processed by Carmencita Film Lab. I trust them fully for both their work and their humanity. Use code "PROCESS" for a free upgrade on your next order.

Support Process & Elevate Your Photography

If these Sunday issues give you something—energy, motivation, a new way of seeing—you can support Process by picking up a book or joining the Process Photo Club.

Process Workbook Volume One & Two: Creative prompts and assignments designed to get you out of your head and into action with your camera.
- €8.99 each (free for Process Photo Club members)