lens that Annie Leibovitz, an American photographer, looked through was the rear-seat window of her parents’ station wagon. Her father was a lieutenant colonel in the US Air Force, and in the late 1960s their family moved from suburban Connecticut to the Philippines. Her first camera came later, she says over Zoom from her home on Manhattan’s Upper West Side.
Glamour is worth documenting, she believes. Her subjects—whether they be politicians , pop-stars , or activists —are captured in an unnervingly realistic way. At the same time, they radiate under the dramatic light she casts over them, enhanced by a glow reminiscent of theMs Leibovitz once hoped to become a painter, but soon ditched that ambition and attended night-school classes in photography. “Abstract painting of the time was too angry and I didn’t have the patience,” she says.
Both she and the subjects in front of it are, she thinks, engaged in an act of performance. Her work is imbued with theatrics. She snapped Angelina Jolie on the front of a hang glider, and Keira Knightley as Dorothy from “The Wizard of Oz”. Ms Leibovitz’s mother was a dance teacher, and always signed her up for classes. “It changed how I look at things around the camera,” she says. There is a rhythm to her process, a one-two of intrusion and retreat.
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