Quotes from Annie Leibovitz

I feel a responsibility to my backyard. I want it to be taken care of and protected.

I love having the photograph in my hand. I love looking at the photograph. I love looking at a box of photographs. I just love the still photograph.

As a young person, and I know it's hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn't do normally if I was just by myself.

When you are younger, the camera is like a friend and you can go places and feel like you're with someone, like you have a companion.

There's not enough talked about in terms of growing older. You start to lose your body.

At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.

I fell in love with the darkroom, and that was part of being a photographer at the time. The darkroom was unbelievably sexy. I would spend all night in the darkroom.

I feel unbelievably blessed that I have had the opportunity to photograph Malala in her classroom in Birmingham.

I was scared when I went to Conde Nast. I had heard horror stories about how they used you up and then spit you out and went on. But there was this great history of photography that had been done there.

The camera makes you forget you're there. It's not like you are hiding but you forget, you are just looking so much.

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.

As much as I'm not a journalist, I use journalism. And when you photograph a relationship, it's quite wonderful to let something unfold in front of you.

I feel more like a creative artist using photography because there's - the digital work is so interesting now. It's come to that. I have had many different stages of photography - there are many different ways to take photos. But I feel now I'm in that stage of my life where I use the camera, you know, in that way.

What has stayed true all the way through my work is my composition, I hope, and my sense of color.

I am impressed with what happens when someone stays in the same place and you took the same picture over and over and it would be different, every single frame.

I realized I couldn't be a journalist because I like to take a side, to have an opinion and a point a view; I liked to step across the imaginary boundary of the objective view that the journalist is supposed to have and be involved.

Nature is so powerful, so strong. Capturing its essence is not easy - your work becomes a dance with light and the weather. It takes you to a place within yourself.

Most people, especially successful people, are hard-working. They want to participate. They want to do things well.

I feel very proud of the work from the '80s because it is very bright and colorful.

The work which is manipulated looks a little boring to me. I think life is pretty strange anyway. It is wooo, wooo, wooo!

When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't.

When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't true. What became important was to have a point of view.

My father was stationed at Clark Air Base in the Philippines, which had a hospital where they brought casualties straight from the battlefield. My mother was kind of a sophisticated bohemian, and my father was in the military to make a living.

You don't have to sort of enhance reality. There is nothing stranger than truth.