Elliott Erwitt may not be a name that rolls off the tongue, but many of the photographs featured in Snaps, Phaidon's delightful retrospective of his work, will be instantly recognisable. And those that aren't, often prove even more eye-catching. Born Elio Erwitz in 1928 to Russian parents, but raised in America, Erwitt was already a member of the elite Magnum photographic agency when he was in his 20s. The mortgage was paid with high-profile, big-budget colour assignments, but he always carried his hobby camera, a Leica, for his alternative canon, so to speak, of black-and-white, one-take wonders. These second sights make up Snaps, a consciously casual title that captures the essence of Erwitt's professional philosophy as perfectly as he captured his subjects, encapsulating the moment as well as the medium. Put simply, he could not take a bad picture, and this uncropped, unmanipulated collection, reactive rather than conceptual, encapsulates the deceptive simplicity of his sustained talent, from a time when photographers just--snapped.