Annie Leibovitz Quotes

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.

One doesn't stop seeing. One doesn't stop framing. It doesn't turn off and turn on. It's on all the time.

Everyone has a point of view. Some people call it style, but what we're really talking about is the guts of a photograph. When you trust your point of view, that's when you start taking pictures.

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.

A thing that you see in my pictures is that I was not afraid to fall in love with these people.

Things happen in front of you. That's perhaps the most wonderful and mysterious aspect of photography.

A lot can be told from what happens in between the main moments.

I wish that all of nature's magnificence, the emotion of the land, the living energy of place could be photographed.

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.

I feel a responsibility to my backyard. I want it to be taken care of and protected.

I'm more interested in being good than being famous.

Nature is so powerful, so strong. It takes you to a place within yourself.

A photograph is just a tiny slice of a subject. A piece of them in a moment. It seems presumptuous to think you can get more than that.

You don't have to sort of enhance reality. There is nothing stranger than truth.

Photography's like this baby that needs to be fed all the time. It's always hungry.

You have trust in what you think. If you splinter yourself and try to please everyone, you can't.

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.

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.

I don't think there is anything wrong with white space. I don't think it's a problem to have a blank wall.

The camera makes you forget you're there. It's not like you are hiding but you forget, you are just looking so much.

I was out there with the White House press squad, and after his helicopter took off, and the carpet rolled up...This wasn't a photograph that others were taking, but I continued to take pictures.

When I take a picture I take 10 percent of what I see.

Most people, especially successful people, are hard-working. They want to participate. They want to do things well.

I was scared to do anything in the studio because it felt so claustrophobic. I wanted to be somewhere where things could happen and the subject wasn't just looking back at you.

There must be a reason why photographers are not very good at verbal communication. I think we get lazy.

I actually love talking about taking pictures, and I think that helps everyone.

What I learned from Lennon was something that did stay with me my whole career, which is to be very straightforward. I actually love talking about taking pictures, and I think that helps everyone.

All dancers are, by and large, a photographer's dream. They communicate with their bodies and they are trained to be completely responsive to a collaborative situation.

A very subtle difference can make the picture or not.

I still need the camera because it is the only reason anyone is talking to me.

Everyone keeps asking you for pictures, and after a while you get tired of that. I always say, They are in the archives.

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.

If it makes you cry, it goes in the show.

My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.

What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.

At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.

When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.

I fight to take a good photograph every single time.

I feel very proud of the work from the '80s because it is very bright and colorful.

It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.

I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.

My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.

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.

The work which is manipulated looks a little boring to me. I think life is pretty strange anyway. It is wooo, wooo, wooo!

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.

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.

Coming tight was boring to me, just the face... it didn't have enough information.

Irving Penn said he didn't want to photograph anyone under 60, and I think there is some truth about it.

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.