Annie Leibovitz: AT WORK

ANNIE LEIBOVITZ: “AT WORK”
I know, I know. I chose two fashion photographers to review, but I will
sincerely say that this particular book has aided me in becoming a more diverse
photographer. The book is written in first person, narrated of course by Miss
Leibovitz herself. The book contains 197 richly printed color photographs,
highlighted with valuable information, culminating into 235 pages. The text in
“At Work” is entirely different than the text in “UNTITLED 116.” The content
describes the photographer’s process, serving more as a documentary. The
details given are not necessarily technical. Leibovitz quotes Arnold Newman
saying, “…Photography is one percent talent and ninety-nine percent moving
furniture.” Annie Leibovitz is infamous for her obsessive compulsive nature,
even more so for her insanely expensive photo shoots. It is ironic that she
humbles the importance of equipment and focuses directly on her subjects
throughout the book. The photographs are divided into chapters such as
Conceptual Pictures, Groups, John and Yoko, and Nixon’s Resignation. Each
chapter taught me why photography is interesting; The circumstances are
always different, the places are always changing, plain and simple. You see the
world through a frame, and once you learn to see, unordinary circumstances will
allow creative perfection.
The photograph that inspired my fascination with the medium is entitled
“Natalia Vondianova, Stephen Jones, and Christian Lacroix, Paris 2003.” The
image is, but of course, from an Alice and Wonderland-themed Vogue photo
shoot. Designers were incorporated as characters and stars one of fashion’s
beloved supermodels: Natalia Vondianova. I learned how compositionally a
photograph can be complex, but in order for the subject to translate the frame
must contain a simple structure. This viewing was not my first time seeing the
spread; I had seen it in Vogue when I was only 14 years old. Seeing the image in
a book altered the image’s reality. I see it now as a moment in fashion history
instead of a glimpse of fantasy. Seeing photograph’s from fashion magazines
re-bound into a hardback coffee table book makes the images seem more
important somehow. Leibovitz comments on details such as how she had to
consider the gutter of the page when placing her subjects. The chapter, “The
Rolling Stones,” reveals portions of the photographers work for Rolling Stone
magazine when she toured with the band. She made the job seem so easy and
claimed that she barely knew a thing when she set out on the assignment. I wish
the 1970s Almost Famous era hadn’t ended- it was so easy for photographers
to gain access. A recent graduate being able to spend weeks with the Rolling
Stones? Such luck is unheard of because photographers are not trusted
anymore. Another interesting focus of Leibovitz’s is her emphasis on gaining the
subjects trust. No one is going to want to show anything to you if you seem
uninterested. The chapter on Arnold Schwarzenegger shows the then body-
builder naked in a hotel room with his friend. Another chapter shows the most
famous photograph the artist is known for: The image of John Lennon and Yoko
Ono taken the day John Lennon was shot. Leibovitz talks about how she was
only sent to take the picture because she was the cheapest option. Yoko Ono
told her later that she was impressed that Rolling Stone let someone like her
photograph people who were so famous. She asked them to take their clothes
off and pose nude in an embrace. Yoko refused to take her pants off, but John
said having Yoko on the cover was really important. That night, John was shot
when returning home from a recording session. Photography is a series of
instances that mutate into a single result.
I always come back to this book because it is interesting. The text’s only
purpose is to give background information. In order for background information
to be relevant, the reader must be interested in the photographer. I am learning
that a book is different than a magazine or exhibition because the images offer
an intimate explanation of the photographer’s intent. I do not plan on giving
outside details about my photos in my book, but I want people to sincerely
enjoy looking at it.


Walker Evans, “American Photographs”

Lincoln Center- Quinn Library
TR 653 .E78 1975 Copy 1
East River Press New York, 1975
With an essay by Lincoln Kirstein
Reprint of the edition published by The Museum of Modern Art
Copyright September, 1938 by Walker Evans
1903-1975
Part One and Part Two consist of 90 photographs.
The book is 192 pages.

My favorite part I when Kirstein discusses the innocent amusement in practical
exploitation in photography, and its need for human judgment and creative
selection.