Best 73 quotes of Annie Leibovitz on MyQuotes

All dancers are, by and large, a photographer's dream. They communicate with their bodies and they are trained to be completely responsive to a collaborative situation.

A photograph is just a little, teeny-weeny, small piece of life. I feel like I see so much more than what I can actually get.

A photograph is just a tiny slice of a subject. A piece of them in a moment. It seems presumptuous to think you can get more than that.

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 you get older, you have different tools, and you learn to use photography differently.

A thing that you see in my pictures is that I was not afraid to fall in love with these people.

At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.

A very subtle difference can make the picture or not.

Coming tight was boring to me, just the face... it didn't have enough information.

Computer photography won't be photography as we know it. I think photography will always be chemical.

Everyone has a point of view. Some people call it style, but what we're really talking about is the guts of a photograph. When you trust your point of view, that's when you start taking pictures.

Everyone keeps asking you for pictures, and after a while you get tired of that. I always say, They are in the archives.

I actually love talking about taking pictures, and I think that helps everyone.

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.

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 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’d like to think that the actions we take today will allow others in the future to discover the wonders of landscapes we helped protect but never had the chance to enjoy ourselves.

I don't think there is anything wrong with white space. I don't think it's a problem to have a blank wall.

I don't try to overintellectua lize my concepts of people. In fact, the ideas I have, if you talk about them, they seem extremely corny and it's only in their execution that people can enjoy them...It's something I've learned to trust: The stupider it is, the better it looks.

I feel a responsibility to my backyard. I want it to be taken care of and protected.

I feel very proud of the work from the '80s because it is very bright and colorful.

If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.

If it makes you cry, it goes in the show.

...I gave up on being a journalist - I thought having a point of view was more important than being objective.

I'm more interested in being good than being famous.

I'm pretty used to people not liking having their picture taken. I mean, if you do like to have your picture taken, I worry about you.

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.

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.

I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.

I sometimes find the surface interesting. To say that the mark of a good portrait is whether you get them or get the soul - I don't think this is possible all of the time.

I still need the camera because it is the only reason anyone is talking to me.

I think self-portraits are very difficult. I’ve always seen mine as straightforward, very stripped down, hair pulled back. No shirt. Whatever light happened to be available. I’d want it to be very graphic – about darkness and light. No one else should be there, but I’m scared to do it by myself. I’ve been thinking about it for a long time. The whole idea of a self-portrait is strange. I’m so strongly linked to how I see through the camera that to get to the other side of it would be difficult. It would be as if I were taking a photograph in the dark.

It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.

It's hard to watch something go on and be talking at the same time.

I've always cared more about taking pictures than about the art market.

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.

I’ve said about a million times that the best thing a young photographer can do is to stay close to home. Start with your friends and family, the people who will put up with you. Discover what it means to be close to your work, to be intimate with a subject. Measure the difference between that and working with someone you don't know as much about. Of course there are many good photographs that have nothing to do with staying close to home, and I guess what I'm really saying is that you should take pictures of something that has meaning for you

I was out there with the White House press squad, and after his helicopter took off, and the carpet rolled up...This wasn't a photograph that others were taking, but I continued to take pictures.

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.

I wish that all of nature's magnificence, the emotion of the land, the living energy of place could be photographed.

Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.

Most people, especially successful people, are hard-working. They want to participate. They want to do things well.

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.

My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.

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.

Nature is so powerful, so strong. It takes you to a place within yourself.

One doesn't stop seeing. One doesn't stop framing. It doesn't turn off and turn on. It's on all the time.

Photography is not something you retire from.

Photography's like this baby that needs to be fed all the time. It's always hungry.

Sometimes I enjoy just photographing the surface because I think it can be as revealing as going to the heart of the matter.