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Annie Leibovitz: Photos that brought Fairy Tales to Life

Annie Leibovitz: Photos that brought Fairy Tales to Life

  • 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.
  • 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.
  • Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.
  • 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.
  • There are still so many places on our planet that remain unexplored. I’d love to one day peel back the mystery and understand them.
  • 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.

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Annie Liebovitz

Leibovitz’s most recent book, A Photographer’s Life: 1990-2005, includes her trademark celebrity portraits. But it also features personal photographs from Leibovitz’s life: her parents, siblings, children, nieces and nephews, and Sontag. Leibovitz, who has called the collection “a memoir in photographs,” was spurred to assemble it by the deaths of Sontag and her father, only weeks apart. The book even includes photos of Leibovitz herself, like the one that shows her nude and eight months pregnant, à la Demi Moore. That picture was taken in 2001, shortly before Leibovitz gave birth to daughter Sarah. Daughters Susan and Samuelle, named in honor of Susan and Leibovitz’s father, were born to a surrogate in 2005.

Leibovitz composed these personal photographs with materials that she used when she was first starting out in the ’70s: a 35-millimeter camera, black-and-white Tri X film. “I don’t have two lives,” she writes in the book’s introduction. “This is one life, and the personal pictures and the assignment work are all part of it.” Still, she told the Times, this book is the “most intimate, it tells the best story, and I care about it.”

Information and image sources: 1 2 3

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