Annie Leibovitz

By: Allen Jeffries | All photographs © Annie Leibovitz. From “Annie Leibovitz: At Work” (Random House, 2008) | December 02, 2008 | Art Profile

MM: That’s so amazing.
AL: It was amazing to be on the lawn there. I think what was interesting about the particular set of photographs, of course, was that Nixon was Hunter’s nemesis that whole time, and the thing he wanted to happen was for Nixon to fall, and when it had finally happened, Rolling Stone had left a whole section of pages open for his story to come back, and he just blocked up and couldn’t write it. Then, they ended up taking my pictures and blowing them up and running them large.

MM: Is there a particular experience in which you didn’t have a camera to capture a moment, but you wish you had?
AL: I think that happens every day.

MM: I can imagine.
AL: You know, if you’re a photographer going on 38 years, you can’t help but sort of frame things, and you’re always seeing pictures and you can’t get them all, so you have to decide when you’re on and when you’re not. It’s not so much missing a photograph because there are so many different photographs to take. It’s nonstop; there are so many pictures you could take anywhere, anytime. The question is how to take the photograph, and I think that the book, after all the abundance, production and equipment, lighting and assistance, everything that you could imagine that you have in the longrun, shows that. There’s a chapter at the very end called, “Being There,” which talks about going to look at Philip Johnson’s house — the Bass House in Connecticut. Philip Johnson actually got me an appointment out there, but I didn’t know he was going to be there. Actually, I was kind of grumpy when I saw him there. I’m very interested in architecture, and I just wanted to photograph the house. So, I was grumpy that he was there and he was grumpy that I was grumpy, so we were all grumpy. I ended up taking a very simple picture of him standing at the windows looking out. It’s a very strong picture about just being there, and is a reminder that it’s not about the equipment; it’s about how you see.

MM: How do you consistently harness the varying personalities of your subjects and how large of a role does psychology play in professional photography?
AL: You have to remember I’m coming from a place where not too many people go running to have their picture taken. They’re not very excited about it. It’s all very psychological. But what interests me about it is that it can go either way, and it goes every way, so it’s never-ending what could or couldn’t happen. But, yes, psychology plays a big role. I’m not a master at it other than just trying to let things roll. I do try to pre-think what could go wrong beforehand, though.

MM: Has dealing with your subjects and their emotions become easier for you as your career has progressed? I mean, your stature as a photographer at this point must help ease a lot of situations.
AL: Honestly, I think it works so many different ways, but I think sometimes being so well known and doing this for so long actually scares people, and they are actually relieved when they see that I’m just pretty normal, beyond normal, below normal when they finally meet me! What you think is a positive thing may not necessarily be a positive thing for that person. It’s not any different than in life — just being nice. Really, what you’re doing is you are meeting someone every day. I don’t necessarily believe that you’re supposed to make someone comfortable, but what I do is try to just help them with the picture-taking process by just being very direct and do what we are there to do.

MM: By the way, I watched your documentary that was recently released. It was really well done.
AL: Oh, thanks!

MM: If you hadn’t chosen photography, what kind of career path do you think you would have taken?
AL: I was just talking to someone about that. I’m working on a new list right now of 10 to 20 [other options].

MM: What’s on the top of the list?
AL: Actually, I have always loved architecture and landscaping. I think it would be very hard to be an architect, though, because I don’t know if I could please anyone else. I can’t imagine a harder job, but I do love architecture.

MM: That’s kind of interesting because it seems to relate to your visual perspective once again. Do you think seeing life through a lens gives you a different perspective than to those of us who have to walk around viewing the world with these big dumb eyes of ours?
AL: No, I think it helps organize things if you think about it, and you get a chance to be more interested in the details if you see things like this, but I think everyone sees differently. Then, of course, the art of it is trying to get it into that rectangle, which of course David Hockney showed us that you can break that rectangle and the sides —which of course, I remember when his collage work came out, that was really strong. You know, I think that we all see differently. It’s not any different from how other people see. I’m thankful that I’m a photographer because I’m glad to have some of the imagery later on to remind me of what I just did or where I was or who I knew or who I loved. I love having photography for mementos and memories.

MM: Well put. You just mentioned one, but are there any other particular artists who have consistently inspired you throughout the years?
AL: What I like about the book is that if you go through it you will see all of the influences that, in photography particularly, have meant a lot to me: Robert Frank, Henri Cartier-Bresson, Richard Avedon. Besides being a photographer, I’m actually a very big fan of photography. I have my own little photo collection of all these photographs I have always loved and I collect photography books. There’s a lot there that I just love and admire. There’s a lot of talking in the book about other photographers and when they come into play. On Amazon.com, I actually have a list of 15 books that mean a lot to me and it’s a nice history done in chronological order of books that had a great influence on me.

MM: Has it been difficult balancing your family life with such a demanding career, and what kind of sacrifices have you been forced to make?
AL: Well, I think it’s hard being a single mom. It’s all about time, and I work really hard to have weekends and evenings at home, but it doesn’t always work out that way. As they get older, I miss them more. I have to go out and travel and come back, but I’m making it work, and the most important thing is that they know I love what I do. They see that. I have a wonderful career; I love it. I have beautiful children. I feel pretty lucky and I have nothing to complain about.

MM: That’s nice to hear. What do you think is next? Any major leaps or different directions you plan on taking in the near future?
AL: No. I’m still working on all this digital work. I still feel like I’m at the beginning of it, trying to figure out how to process and to output in order to get what I like. It’s very exciting and I love it because you need less light. It’s faster. I’m trying out new ideas with the digital work, as people can move faster in the pictures. When I first started shooting color, people had to stay still and not move. (Laughs.) I’m trying not to change things too much, but you can’t help yourself. That’s where I’m at now.