Photography in The Books Store

Book Description
“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."
—Annie Leibovitz

Annie Leibovitz describes how her pictures were made, starting with Richard Nixon's resignation, a story she covered with Hunter S. Thompson, and ending with Barack Obama's campaign. In between are a Rolling Stones Tour, John Lennon and Yoko Ono, Demi Moore, Whoopi Goldberg, The Blues Brothers, Arnold Schwarzenegger, Keith Haring, Mikhail Baryshnikov, Patti Smith, George W. Bush, William S. Burroughs, Kate Moss and Queen Elizabeth. The most celebrated photographer of our time discusses portraiture, reportage, fashion photography, lighting, and digital cameras.

In 1977, when Jann Wenner, the editor of Rolling Stone, asked me to prepare a fifty-page portfolio of my pictures for the tenth anniversary issue of the magazine, I decided not to simply make a selection of photographs that had been published. I looked at everything I had done since I started working. It was a revelation. For one thing, I had no idea that I had accumulated so many photographs. You lose track of them when you’re working every day. And you see the work in a different way when you look at it from the distance of time. You get a sense of where you are going. You start to see a life.

I had the opportunity to edit my work most thoroughly when I prepared two retrospective books, Annie Leibovitz: 1970–1990 and A Photographer’s Life: 1990–2005. It was thrilling to see that first book laid out chronologically. To see the pictures historically. The second book, A Photographer’s Life, was assembled immediately after the death of Susan Sontag and my father. Editing the book took me through the grieving process.

The books are pure. They are mine. The magazines I work for don’t belong to me. It’s the editor’s magazine, and the editor has every right to use the material the way he or she wants to. It isn’t just that art directors and editors at magazines make selections that I wouldn’t necessarily make. Which they sometimes do. Or that they run pictures too small. Or that they put so much type on the pictures that you can’t see them anymore. Magazines have quite specific needs. It’s a collaboration only so far, which is true of almost all assignment work.

When I began working on my new book, I thought it would be a pamphlet of maybe forty pages or so. I intended to take ten of my photographs and dissect them. They didn’t have to be my most famous pictures, just pictures that I cared about. But as I began going through the material I realized that I might as well be more ambitious. I started to think that I would try to answer every single question anyone has ever asked about how my work is done. To defuse the mystery, and the misconceptions. To explain that it’s nothing more than work. And learning how to see.

So my forty-page pamphlet became a 240-page book with over a hundred photographs in it. It is written for someone like the person I was at the beginning of my career, when I was in art school. A young me. I didn’t know which road I would take. Whether it would be a commercial road, a magazine road, an artistic road, a journalistic road. It’s written for that person. Someone who is interested in photography but isn’t sure how they want to use it.

The book is more emotional than I had imagined it would be. But, most importantly, it is my edit. No one is going to care about, or understand, your work the way you do, and if you are going to explain it you have to be able to present it the way you want to. That’s what a book can do better than any other medium.

See Annie Leibovitz's 15 favorite photography books.

(Photo credit Paul Gilmore)

Barack Obama’s run for president touched something profound in America, awakening a civic engagement, pride, and passion that many had perhaps given up on. In the course of his campaign, Obama inspired millions of Americans - young and old, rich and poor, rural and urban, and from every racial and ethnic background.

These images, by the only photographer who covered his entire campaign from start to finish, pay heed not only to the man who would be President, but also the people who came to see him, hear him, and vote for him. Yes We Can is a rich portrait of Obama’s historic campaign — a campaign that is as much about Americans and their hopes and dreams as it is about the man that gave them voice.

A Look Inside Yes We Can: Barack Obama's History-Making Presidential Campaign with Photographer Scout Tufankjian

The first time I photographed Barack Obama, I really didn’t want to go. I knew who he was and was interested in him, but I had plans for that weekend — plans that did not involve driving five hours to New Hampshire to photograph what I assumed would be a deadly dull event. But when Kelly Price, my editor at Polaris Images, told me the German newsmagazine Stern would pay me to make that five hour drive, I canceled my plans, climbed into my Camry, and drove up to Portsmouth. It was probably the best decision I ever made. To some extent, my predictions had been accurate. The book signing was a photographer’s nightmare. The building was huge, dark, cavernous, and impossible to find. I showed up late and in a panic. Looking around, I was convinced that there was no way I was going to be able to make a decent picture in that room. When Obama walked into the room, my aesthetic issues with the room became immediately irrelevant. The crowd was transfixed. Hell, some of the other news photographers were transfixed. And this was New Hampshire! New Hampshire photographers are not impressed by politicians. Ever. Immediately after the event was over, even before filing my pictures, I called Kelly and told her that I was going to cover the Obama presidential campaign. I did not offer her a choice. The fact that he wasn’t technically running yet was immaterial. I knew that this was going to be important and I wanted to be there. Despite my complete lack of “on-the-bus” experience, the national editor at Newsweek took a huge risk and assigned me to cover Barack Obama’s announcement tour. For the first two days of the campaign I would be a part of the traveling press corps. I would have to learn fast. And I did. For the next twenty-three months, I followed Obama from event to event, only heading home for quick breaks to meet with editors and to remind my boyfriend what I looked like. I followed him into coffee shops and diners, auto manufacturing plants and bowling alleys. I followed him in a rental car and I flew in his charter jet. I photographed Obama wooing potential voters in huge, expensive houses and on poverty-stricken Indian reservations. I covered small events, where I was the only photographer present, and I covered massive rallies with more than 75,000 people in cities like Denver and Berlin. Even as the campaign stretched from one year to two, and as I marked my third winter photographing the Senator, I have not lost interest in this campaign and the people that have supported it. Whether the audience included a skeptical old farmer from Tama, Iowa, who was surprised to slowly realize that he had something in common with this young black politician from Hawaii or an eight-year-old boy from LA who couldn’t stop saying “He is going to be President! He looks like me and he is going to be President!” the people’s reaction to the Senator and his campaign have fueled my work. The looks on their faces, the questions on their lips, and the ways that they hang on his every word, are a constant reminder of how lucky I have been to document this moment in history. -Scout Tufankjian The Journey of an American Icon: Excerpts from Yes We Can