Annie Leibovitz Quotes
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You don't have to sort of enhance reality. There is nothing stranger than truth.
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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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There must be a reason why photographers are not very good at verbal communication. I think we get lazy.
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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 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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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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I still need the camera because it is the only reason anyone is talking to me.
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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 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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I feel unbelievably blessed that I have had the opportunity to photograph Malala in her classroom in Birmingham.
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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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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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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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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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I love photography. And I just eat it up. I feel like I'm an encyclopedia, you know, inside.
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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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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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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 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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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.
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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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When I take a picture I take 10 percent of what I see.