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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.
Annie Leibovitz
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Annie Leibovitz
Age: 75
Born: 1949
Born: October 2
Fashion Photographer
Photographer
Waterbury
Connecticut
Anna-Lou Leibovitz
Happens
Somewhere
Anything
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Subjects
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Wasn
Things
Happen
Claustrophobic
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Studio
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Studios
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Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.
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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 very subtle difference can make the picture or not.
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My early childhood equipped me really well for my portrait work: The quick encounter, where you are not going to know the subject for very long. These days I am much more comfortable with the fifteen minute relationship, than I am with a life long relationship.
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When you involve people, they come out, you see them, you get to see their sense of humor.
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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 go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.
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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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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.
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Most people, especially successful people, are hard-working. They want to participate. They want to do things well.
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If it makes you cry, it goes in the show.
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The subjects felt more comfortable if they played the role than if they had to be themselves.
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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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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 shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.
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I love having the photograph in my hand. I love looking at the photograph. I love looking at a box of photographs. I just love the still photograph.
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It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.
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In this day and age of things moving so, so fast, we still long for things to stop, and we as a society love the still image. Every time there is some terrible or great moment, we remember the stills.
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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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