Annie Leibovitz
There must be a reason why photographers are not very good at verbal communication. I think we get lazy.Collection: Communication
I didn't want to let women down. One of the stereotypes I see breaking is the idea of aging and older women not being beautiful.Collection: Women
I'm more interested in being good than being famous.Collection: Famous
As much as I'm not a journalist, I use journalism. And when you photograph a relationship, it's quite wonderful to let something unfold in front of you.Collection: Relationship
You don't have to sort of enhance reality. There is nothing stranger than truth.Collection: Truth
A thing that you see in my pictures is that I was not afraid to fall in love with these people.Collection: Love
I wish that all of nature's magnificence, the emotion of the land, the living energy of place could be photographed.Collection: Nature
I went to school at the San Francisco Art Institute, thinking I was going to become an art teacher. Within the first six months I was there, I was told that I couldn't be an art teacher unless I became an artist first.Collection: Teacher
I don't think there is anything wrong with white space. I don't think it's a problem to have a blank wall.Collection: Design
My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.Collection: Environmental
Nature is so powerful, so strong. Capturing its essence is not easy - your work becomes a dance with light and the weather. It takes you to a place within yourself.Collection: Work
I'd like to think that the actions we take today will allow others in the future to discover the wonders of landscapes we helped protect but never had the chance to enjoy ourselves.Collection: Chance
A very subtle difference can make the picture or not.
In a portrait, you have room to have a point of view and to be conceptual with a picture. The image may not be literally what's going on, but it's representative.
The camera makes you forget you're there. It's not like you are hiding but you forget, you are just looking so much.
In a portrait, you have room to have a point of view. The image may not be literally what's going on, but it's representative.
Computer photography won't be photography as we know it. I think photography will always be chemical.
When you are younger, the camera is like a friend and you can go places and feel like you're with someone, like you have a companion.
When I say I want to photograph someone, what it really means is that I'd like to know them. Anyone I know I photograph.
My father was stationed at Clark Air Base in the Philippines, which had a hospital where they brought casualties straight from the battlefield. My mother was kind of a sophisticated bohemian, and my father was in the military to make a living.
Everyone keeps asking you for pictures, and after a while you get tired of that. I always say, They are in the archives.
I fight to take a good photograph every single time.
I've never liked the word 'celebrity.' I like to photograph people who are good at what they do.
When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.
My body was so instrumental to how I took pictures: it was practically a dance. I used to use my legs a lot; now I'm a little more sedentary.
There were some advantages to being a woman photographer. I think women have more empathy with the subject.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't true. What became important was to have a point of view.
I fell in love with the darkroom, and that was part of being a photographer at the time. The darkroom was unbelievably sexy. I would spend all night in the darkroom.
When you are on assignment, film is the least expensive thing in a very practical sense. Your time, the person's time, turns out to be the most valuable thing.
There are still so many places on our planet that remain unexplored. I'd love to one day peel back the mystery and understand them.
When I take a picture I take 10 percent of what I see.
I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.
I still need the camera because it is the only reason anyone is talking to me.
One of the great things about being an older person is that I am very aware of the scope of the work and the historical sense of it. It's bigger than me.
It's hard to watch something go on and be talking at the same time.
If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.
Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.
Those who want to be serious photographers, you're really going to have to edit your work. You're going to have to understand what you're doing. You're going to have to not just shoot, shoot, shoot. To stop and look at your work is the most important thing you can do.
I personally made a decision many years ago that I wanted to crawl into portraiture because it had a lot of latitude.
My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.
I feel more like a creative artist using photography because there's - the digital work is so interesting now. It's come to that. I have had many different stages of photography - there are many different ways to take photos. But I feel now I'm in that stage of my life where I use the camera, you know, in that way.
I was scared when I went to Conde Nast. I had heard horror stories about how they used you up and then spit you out and went on. But there was this great history of photography that had been done there.
I've created a vocabulary of different styles. I draw from many different ways to take a picture. Sometimes I go back to reportage, to journalism.
The work which is manipulated looks a little boring to me. I think life is pretty strange anyway. It is wooo, wooo, wooo!
What has stayed true all the way through my work is my composition, I hope, and my sense of color.
Sometimes I enjoy just photographing the surface because I think it can be as revealing as going to the heart of the matter.
At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.
It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.
The pictures of my family were designed to be on a family wall, they were supposed to be together. It was supposed to copy my mother's wall in her house.
I feel very proud of the work from the '80s because it is very bright and colorful.