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.
Annie LeibovitzRead
Those who want to be serious photographers, you're really going to have to edit your work. You're going to have to understand what you're doing. You're going to have to not just shoot, shoot, shoot. To stop and look at your work is the most important thing you can do.
Interpretation
Serious photography requires careful editing and reflection on one's work.
Annie Leibovitz emphasizes the importance of not just taking countless photographs, but also critically evaluating and editing them. This reflective process is crucial for growth and improvement in the craft of photography, as it allows the photographer to develop a deeper understanding of their work and artistic vision.
In practice
In a photography workshop, to inspire students to take their art seriously.
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 personally made a decision many years ago that I wanted to crawl into portraiture because it had a lot of latitude.
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.
The first thing I did with my very first camera was climb Mt. Fuji. Climbing Mt. Fuji is a lesson in determination and moderation. It would be fair to ask if I took the moderation part to heart. But it certainly was a lesson in respecting your camera. If I was going to live with this thing, I was going to have to think about what that meant. There were not going to be any pictures without it.
A lot can be told from what happens in between the main moments.
My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.
In art as in lovemaking, heartfelt ineptitude has its appeal and so does heartless skill, but what you want is passionate virtuosity.
A poem, as a manifestation of language and thus essentially dialogue, can be a message in a bottle, sent out in the βnot always greatly hopeful-belief that somewhere and sometime it could wash up on land, on heartland perhaps. Poems in this sense too are under way: they are making toward something. Toward what? Toward something standing open, occupiable, perhaps toward an addressable Thou, toward an addressable reality.
It is not sufficient to see and to know the beauty of a work. We must feel and be affected by it.
I'm not afraid of a big studio film; I trust my instincts. But for me, it's not really about box office. It's about looking back on your work and not having to apologize for it.
If you have never wept bitter tears because a wonderful story has come to an end and you must take your leave of the characters with whom you have shared so many adventures, whom you have loved and admired, for whom you have hoped and feared, and without whose company life seems empty and meaningless. If such things have not been part of your own experience, you probably won't understand what Bastian did next.
One has a nose. The nose scents and it chooses. An artist is simply a kind of pig snouting truffles.
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