A Quote by Annie Leibovitz

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. — © Annie Leibovitz
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.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
I walk in the park every day, and when people come and ask for a photograph, I say, "Oh, my God!" It means they recognize that I have been doing something right and they want to have a photograph taken with me.
I didn't really know what I was looking at when I first came across Man Ray's 'Dust Breeding,' his photograph of a work by Marcel Duchamp called 'Large Glass.' It looked like an aerial photograph or a view through a microscope.
Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.
When you photograph someone, you have to make them feel good, and you know that they want to look good. It's the same relationship that you have when you apply makeup on somebody. We're almost like shrinks.
A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
We know by now how to photograph poor people. What we don't know is how to photograph affluence - whose other face is poverty.
At the end of the day, it's only a photograph and if someone is going to get really upset about a photograph, then they have a lot of issues. I just roll with it and see what happens.
I like to photograph anyone before they know what their best angles are.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
I know what I like to use myself. I use Leicas, but when I look at the photograph, I don't ask the photograph questions. Mine or anybody else's. The only time I've ever dealt with that kind of thing is when I'm teaching.
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
I always wanted to make an abstract photograph. I would photograph walls, sports interiors, marks on the walls people made. Even looking back it makes so much sense. It's like it was a fight against the photograph.
Photographers usually want to photograph facts and things. But I'm interested in the nature of the thing itself. A photograph of someone sleeping tells me nothing about their dream state; a photograph of a corpse tells me nothing about the nature of death. My work is about my life as an event, and I find myself to be very temporal, transient.
I don't think that there's that much difference between a photograph of a fist up someone's ass and a photograph of carnations in a bowl.
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