Zitat des Tages von Annie Leibovitz:
I feel very proud of the work from the '80s because it is very bright and colorful.
No one ever thought Clint Eastwood was funny, but he was.
I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.
As soon as you put something to bed like the 'Women' book, you're never finished. There were portraits of people that I wanted to photograph - it's an endless subject.
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.
I still need the camera because it is the only reason anyone is talking to me.
There must be a reason why photographers are not very good at verbal communication. I think we get lazy.
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.
The work which is manipulated looks a little boring to me. I think life is pretty strange anyway. It is wooo, wooo, wooo!
As a young person, and I know it's hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn't do normally if I was just by myself.
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.
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.
Coming tight was boring to me, just the face... it didn't have enough information.
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.
As fantastic as it is to have 'Vogue' and 'Vanity Fair' as places to work, I don't often get to shoot the kind of things I like to photograph in the way I like to photograph.
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
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.
I was with Tom Wolfe at the launch of Apollo 17, which led him to 'The Right Stuff.'
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 feel a responsibility to my backyard. I want it to be taken care of and protected.
I can't stand the word 'celebrity.' It's such a brash word.
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.
My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.
Sometimes I enjoy just photographing the surface because I think it can be as revealing as going to the heart of the matter.
I went to Yosemite as an homage to Ansel Adams. I could never be Ansel Adams, but to know that's there for us - there's so much for us in this country.
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.
If it makes you cry, it goes in the show.
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.
I am impressed with what happens when someone stays in the same place and you took the same picture over and over and it would be different, every single frame.
I wish that all of nature's magnificence, the emotion of the land, the living energy of place could be photographed.
When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.
Computer photography won't be photography as we know it. I think photography will always be chemical.
What has stayed true all the way through my work is my composition, I hope, and my sense of color.
Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.
I don't think there is anything wrong with white space. I don't think it's a problem to have a blank wall.
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.