A&E Television Networks Essay

consort to Annie Leibovitz, the picture that was chosen for the c altogether over of the magazine was not intentionally or deliberately interpreted. The picture, according to Leibovitz, was only a meter reading. (Leibovitz) However, in the end, it was comfort chosen to be cover shot for the magazine because of the run acrosss candor and unpretentious nature. We all know that John Lennon was a component of The Beatles, one of the greatest music icons of all beat.Being a component of rock band during that date meant adapting a public image or reputation that resound the rock and roll kind of life, behavior, and attitude, especially because Lennon was highly known during that time. However, Leibovitz photograph of Lennon was far from the established image of a famous musician who just happened to be part of The Beatles. The image was plain and unpretentious in the sense that in that location were no heavily implied messages or impressions.Although flock would not know who Lennon was veridically as a person, the picture seemed to portray who he was unbounded by fame and stardom. Leibovitz was successfully sufficient to capture a certain air of Lennons honest, intense but tacit efficacy and influence. Leibovitz ability to bring a certain kind of powerful, individual, distinctive, and honest personality, as reflected in Lennons image, have solidified who she was, as well as her vision and creativity, as an artist and a photographer. The Rise to FameAfter both years of working for the peal rock n roll, Leibovitz became the magazines chief photographer. From the dewy-eyed and realistic image that she took of John Lennon, she was fitting to go beyond what she knew of picture taking and evolve portrait picture taking into something distinctive and creative. (A&E television system Ne iirks, p. 1) Leibovitz had the liberty to develop and remediate her talents, but at the same time deliver photographs that bordered on inventiveness and creati vity. She began taking glamorous and clarify images as opposed to the simple and lackluster image of Lennon.John Lennon and Yoko Ono furled Stone (22 Jan 1981) By Annie Leibovitz <http//www. rollingstone. com/photos/gallery/5392223/1981_rolling_stone_covers/photo/1/large/elvispresley> The images interpreted by Leibovitz from then on were bold and modern. The picture that she took of Lennon and his wife, Yoko Ono, for the cover of Rolling Stone in January 2981, represented Leibovitz exploration of the contemporary styles and approaches to portrait photography. some other key feature of Leibovitz works was that the focus is always on incompatible kinds of bloods, personality, and emotions.In this particular image of Lennon and Ono, Leibovitz wanted to bring turn out the unbendable ties that bind the two people together as partners. Lennon and Ono also portrayed different roles within the kind of relationship illustrated in the image by dint of body language. Leibovitz sa w the esthesia and vulnerability of Lennon as he sound to Ono, and Onos strength in withstanding the cold. (Leibovitz, 2) The honest and unpretentious element represented in the picture was the strong and immovable love or warmheartedness between Lennon and Ono.As Leibovitz career advances, her works also become rabble-rousing on a grander, larger scale. Some say that Leibovitz photographs were merely image framing the glamour and glitz of a cross between Hollywood and Rock-and-Roll lifestyle as most portraits taken by Leibovitz were extremely forceful and ambitious. (Stevens, p. 99) As Leibovitz received criticisms and recognition for her works, the attention on the photographs taken by her escalated, and so did her artistic visions and inspirations.If one would take the most disputable photographs taken by Leibovitz throughout the years of her career, one common radical that brings those images together beneath a singular theme would be insidious yet artistic nudity. The e xistence of nudity in Leibovitz pictures has been one of the primary feather reasons why her works have received much attention from diverse groups and individuals, but also the reason why her visions and inspirations remain to be that of the comment of honesty and regularity through art. C Bette Midler Whoopi Goldberg (1979) (1984)New York Magazine, 1983 The Wall highway Journal, 2008 Coming to Terms with the True Essence of Portrait Photography However, disdain the artistic creation and radical messages that Leibovitz shot through her photographs, her talents were quickly categorized and judged under provocative images, which were sold and captured attention only if because of nudity. Leibovitz suddenly realized that there was something amiss from her works and she felt that she lost the ability to capture relationships, real emotions, strong messages, and such in her photographs.She believed that portrait photography should also mark the relationship of the subject to the camera and the photographer in order to set about images that are real and engaging, and not plain and empty. For this reason, Leibovitz stopped working for a month in order to figure out how she can improve her craft. (New York Magazine) Narelle Brennan Narelle Brennan As a Showgirl in Las Vegas As a fuss with her Two Children (1999) (1999)Women, 1999 Women, 1999 Taking time off work has helped Leibovitz get linchpin on her heels. Although she continued to take high-profile glamour photographs of famous celebrities for Rolling Stone and even Vanity Fair, she also focused on the non-commercial aspect of photography. In one book that Leibovitz and Susan Sontag were able to publish in 1999, she presented the depth of her artistry by taking photographs of real women from different walks of life.In this particular collection, Leibovitz was able to recapture her trademark and style in taking photographs building a relationship between the subject/subjects and the camera and the phot ographer, building a relationship among the subjects, portraying real and strong emotions, integrating images of power, strength, and influence, reality and simplicity, and personality. From the images taken of Narelle Brennan, Leibovitz was able to capture who Brennan was as a person, unbounded by her being simply a showgirl, but also as a mother of two children.The pictures were honest in such a way that it portrayed how the personalities of women budge depending on the various roles that they play. Leibovitz successfully depicted freedom, nonconformity, and the need to put blast biasness or prejudice when it comes to tagging individuals because of what they do or what they become. Furthermore, she was able to express her sensitivity in answering for Brennan, that her being a Showgirl in Las Vegas does not stand for her entire person. ConclusionLeibovitz artistry and creativity in photography have evolved through time. One may simply categorize Leibovitz skills and talents as u nsettled or inconsistent judging from the diversity of the subjects and themes of the photographs that she has taken over time. However, despite Leibovitz irregular and erratic display of her talents and skills and photography, the changes that she had to see through all those years of building her career as a photographer primarily defined her artistry and style.Leibovitz art has certainly improved through time and she was able to take advantage of all the opportunities to take photographs, make mistakes, experiment, and sympathize drama, emotions, passion, relationships, and such, into photographs, in order to develop her skills and talents as a photographer. Therefore, Leibovitz photography may be defined as flexible or adaptable, but at the same time reprehensible, strong, provocative, and forceful.She understood how the relationship between the subject, the camera, and the photographer should be developed in order to capture genuine emotions and feelings, relationships and co nnections, and bring out the dominant personalities of her subjects to add meaning to the photograph. The results were timeless and unforgettable images that would resound her inventiveness and adaptability as a photographer.Works CitedA&E idiot box Networks. Annie Leibovitz Biography. Retrieved from A&E Television Networks. 27 Apr 2009. http//www.nytimes.com/library/photos/leibovitz/brennan.html