Annie Leibovitz Quotes
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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.
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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.
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I feel a responsibility to my backyard. I want it to be taken care of and protected.
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I've learned to create a palette, a vocabulary of ways to take pictures.
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I'm a huge, huge fan of photography. I have a small photography collection. As soon as I started to make some money, I bought my very first photograph: an Henri Cartier-Bresson. Then I bought a Robert Frank.
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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.
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What has stayed true all the way through my work is my composition, I hope, and my sense of color.
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There must be a reason why photographers are not very good at verbal communication. I think we get lazy.
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A thing that you see in my pictures is that I was not afraid to fall in love with these people.
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I feel unbelievably blessed that I have had the opportunity to photograph Malala in her classroom in Birmingham.
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I still need the camera because it is the only reason anyone is talking to me.
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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.
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When I take a picture I take 10 percent of what I see.
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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.
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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.
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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.
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I love photography. And I just eat it up. I feel like I'm an encyclopedia, you know, inside.
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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.
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Everyone keeps asking you for pictures, and after a while you get tired of that. I always say, They are in the archives.
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I realized I couldn't be a journalist because I like to take a side, to have an opinion and a point a view; I liked to step across the imaginary boundary of the objective view that the journalist is supposed to have and be involved.
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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.
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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.
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My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.
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My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.