A Quote by Annie Leibovitz
When I was younger, I did things with a camera I would not do by myself. I remember going down to the docks in San Francisco and asking a fisherman if he would take me out on his boat. I would never do that without a camera.
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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.
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 had these glorified ideas about San Francisco and its drug culture - I thought inspiration would just hit me and I would get these San Francisco drugs in my system and all of a sudden an amazing record would come out. But that's not really what happened at all.
I don't want to carry big things around with me. I'm lazy. The snapshot camera, you just carry it around and take the picture. You don't need to think about anything. People in the street are not going to wait for you with a big camera. They would freak out. With a snapshot camera, they are comfortable.
The camera can represent flesh so superbly that, if I dared, I would never photograph a figure without asking that figure to take its clothes off.
If I had it my way, I never would have left San Francisco, but things change and that's the nature of this business. We have to move on. We hopefully get opportunities down the road that we take advantage of.
With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.
The feeling I have reminds me of New Year’s Eve, when the countdown is coming and I’m not quite sure whether to grab my camera or just live in the moment. Usually I grab the camera and later regret it when the picture doesn’t turn out. Then I feel enormously let down and think to myself that the night would have been more fun if it didn’t mean quite so much, if I weren’t forced to analyze where I’ve been and where I’m going.
I hate it when you are watching a movie where the characters are on the news, and for some reason they shoot it with a 35mm camera or a 4K camera, and they just put it on the TV as if that's the way it would look - it always takes me out of it by putting a filter on certain things. If it's too high quality, you're never gonna buy it.
If I had known things would turn out this way, I would have trained harder. I would have learned to take care of myself. But I guess that's the point, isn't it? You never know what you're going to have to face, so you'd better be prepared.
I could take a cow and implant a camera in it and let it amble around the city or in its own domain (I say a cow because a human being I would not trust). If the camera was programmed to go off at an indeterminate series of moments, the samplings would be fantastic.
I brag like hell when I'm confident of what I'm doing. Back when I was sailing ships for a living, I would take a schooner up to San Francisco - I had my master's certificate at 22 - and I would tell myself, 'There isn't a man in the world can do this better 'n I can.' And I meant it.
I've always had two principles throughout all my life in motion-pictures: never do before the camera what you would not do at home and never do at home what you would not do before the camera.
My parents offered me my first camera for my birthday and I developed an exclusive passion for it over the years. Since I was not the most social kid on the block, the camera helped me to express myself, invent my own language - something like a secret garden. I decided early on I would not write in a diary but take silent photographs instead.
With a camera right in my face, my movements would have to be more subtle; stage techniques would have to be left behind and that would be hard. So many things kept whizzing through my mind, yet I never doubted once that I could do it.
The first dolly track was somebody who had the idea to put the camera on a boat on a canal. So the boat would move very slowly but steadily. So they would see all that surrounds you and you'd see the landscape changing slowly. So that was the first time.
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