Annie Leibovitz Quotes
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I've never liked the word 'celebrity.' I like to photograph people who are good at what they do.
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I still need the camera because it is the only reason anyone is talking to me.
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I sometimes find the surface interesting. To say that the mark of a good portrait is whether you get them or get the soul - I don't think this is possible all of the time.
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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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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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I've learned to create a palette, a vocabulary of ways to take pictures.
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Computer photography won't be photography as we know it. I think photography will always be chemical.
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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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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.
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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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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 feel a responsibility to my backyard. I want it to be taken care of and protected.
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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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You don't have to sort of enhance reality. There is nothing stranger than truth.
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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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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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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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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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My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.
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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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I was with Tom Wolfe at the launch of Apollo 17, which led him to 'The Right Stuff.'
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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.