A Quote by Annie Leibovitz

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. — © Annie Leibovitz
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.
In college, all my friends were graffiti writers, but I never wrote graffiti. I wanted to participate and do something cool on the street, so I'd make these portraits of people. I'd isolate them on a white wall, make a silkscreen of it, and do these portraits in bathrooms and all around. That's how I started the Polaroids.
I never wanted to be commissioned to paint portraits. I like to choose my own subject and make a character study from it.
I never wanted to make portraits - to photograph celebrities, beautiful people, beautiful landscapes, beautiful buildings, or people in distressing situations.... I have always been interested in everyman - average, ordinary people in everyday situations.
I was perpetually grief-stricken when I finished a book, and would slide down from my sitting position on the bed, put my cheek on the pillow and sigh for a long time. It seemed there would never be another book. It was all over, the book was dead. It lay in its bent cover by my hand. What was the use? Why bother dragging the weight of my small body down to dinner? Why move? Why breathe? The book had left me, and there was no reason to go on.
Once I discovered the endless fascination of doing the research and of doing the writing, I knew I had found what I wanted to do in my life. Every book is a new journey. I never felt I was an expert on a subject as I embarked on a project.
As soon as I finished the first book, I wrote a second, which I hope to sell this year, and I have just about finished the third book in the series. Two more are already outlined. I'm in this for the long haul.
Women who were housewives, who were pretty miserable ... felt inspired by her book and their life changed. They didn't become megastars, but they became a librarian or something. I've heard women say again and again when the subject of Germaine comes up: 'Well, her book changed my life for the better.' And they'll be modest women living pretty ordinary lives, but better lives.
As time passes by and you look at portraits, the people come back to you like a silent echo. A photograph is a vestige of a face, a face in transit. Photography has something to do with death. It's a trace.
When I read 'Another Country' when I was in my early 20s, you know, as soon as I put the book down, my first thought was, 'I will never be able to write a book like this.' And my second thought was, 'I really want to try writing a book like this for the 21st century.'
In making portraits, I refuse to photograph myself as do so many photographers. My style is the style of the people I photograph.
At first, I thought 'this series is going to be all about death and desecration,' but instead became a more complex landscape of human relationships. I hope I put something of these feelings into the portraits that I made of the characters, which were landscapes in themselves. An irony in the subject of crystal meth is how beautifully it resembles the desert sky.
I think that if you look at all of the books that have ever been written about people working in the White House, they're sort of the opposite of my book. And I think that so many people want to write a book that sort of memorializes their place in history. And I wanted to write something for all of the women who are like me. I grew up in upstate New York, I graduated high school with 70 other people and didn't ever know that anything like this would have really been an option for me. So I wanted other young women — and men — to know that just being you is plenty.
When I finished the Boston race in 1967, there were two things I wanted to do. I wanted to become a better athlete because my first marathon was 4:20. In those days, that was considered a jogging time and I knew people were going to tease me. But I was more fascinated with what women could do if they only had the chance.
I took to photography like a duck to water. I never wanted to do anything else. Excitement about the subject is the voltage which pushes me over the mountain of drudgery necessary to produce the final photograph.
There are two kinds of photographs: mine and other people's. I never think of what I might do myself when I look at someone else's pictures... there is no subject in the world I have ever wanted to photograph. It's the picture, not the object, that is important to me.
I've liked women but I've never felt I wanted to give up my life completely. I've never wanted to go to bed with anybody.
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