Photographer: Annie Leibovitz

Annie Leibovitz

Annie Leibovitz was born in Connecticut in 1949. Her father was a lieutant colonel in the U.S. Air Force so she moved a lot as a child, which allowed her many different scenes to photograph.

In 1970 she began working as a photographer for Rolling Stone magazine.
These are some of her covers.

The third one of John Lennon and Yoko Ono became quite famous, as Lennon was killed 5 hours later. 

Leibovitz was trying to recreate the kissing scene from Double Fantasy album cover.

Leibovitz said this about the shoot: "What is interesting is she said she'd take her top off and I said, 'Leave everything on' - not really preconceiving the picture at all. Then he curled up next to her and it was very, very strong. You couldn't help but feel that he was cold and he looked like he was clinging on to her. I think it was amazing to look at the first Polaroid and they were both very excited. John said, 'You've captured out relationship exactly. Promise me it'll be on the cover.' I looked him in the eye and we shook on it."  

After working at Rolling Stone for 10 years, she then worked at Vanity Fair, where she got to photograph a wider range of subjects.

 Two of her more famous shots at Vanity Fair was her shot of a naked and pregnant Demi Moore and a shot of Whoopi Goldberg in a bath of milk.

Another project she has worked on recently was the Disney Parks "Year of a Million Dreams" campaign for The Walt Disney Company.
Some of her gorgeous shots for said project are below.

Compositions of Photography: Edge of Frame

Edge of Frame

In a shot that features edge of frame composition, the subject and environment are of equal focus. There is more curiosity for the viewer, as their focus can spread, and the eye movement is usually in and/or out of frame.

- Norman Parkinson

In this shot, the use of edge of frame isn't quite easily picked at a glance, but a further look at the shot will make it clear. As the viewer's eye follows the children up the ladder, it soon comes to their attention that they can't see the child at the top. This gives dynamics to the shot, and allows for eye movement to travel from the subject of the unseen child to the other children in the shot and further on to the people and buildings in the background. The contrasting colours of the dark ladder and the white sky also draw attention to the use of the edge of frame composition. 

- Sebastião Salgado

This shot is very much telling a story. Even though the top half of the people in this shot is out of frame, there is still other details for the eye to focus on. Combining the people with the ground they are climbing up, as well as the colours, the use of the edge of frame allows the viewer to see more of the shot than would have been otherwise seen had the subjects been shown in full. 

Compositions of Photography: Closed Format Cropping

Closed Format Cropping

The closed format cropping composition means all information is provided in the shot. It can show the full image, and can provide a narrative type message to the shot.

- Frank Hurley

This shot demonstrates closed format cropping. There is nothing missing from the shot story-wise, as it is a broad, widespread view of the scene, and all the information for the narrative of such is there, available in the shot. 

- Anne Geddes

This example of closed format cropping is shown quite simply. The subject, mother and baby, is the only element in the shot, however it is the only element needed as that one captured moment tells the whole story. If the picture was cropped closer you may not be able to get as good an idea as to what's going on outside the shot, but this way, with closed format cropping, we can clearly get the whole story in one simple shot. 

Compositions of Photography: Worm's Eye Point Of View

Worm's Eye POV

The worm's eye point of view is when the photograph is taken from the ground looking up at the subject. It communicates power and strength the subject holds over the photographer (or seems to).

 - Margaret Bourke White

This shot demonstrates the worm's eye POV composition. Taken from a low vantage point looking up at a very large, strong statue (The Statue of Liberty no less), the power being held over the photographer is quite evident. With the subject being what it is, even visually the colouring and texture shows how strong and powerful it is, and the POV from which the shot is taken from adds to this to portray a very powerful shot. 

Compositions of Photography: Rhythm

Rhythm

A rhythm composition is a repeated motif that leads the eye around the image. It gives a line of sight to follow.

- Ansel Adams

The composition of rhythm is mainly focused on throughout the river in the middle of the shot, which curves through the landscape, drawing the viewer's eye around with it. There is also other curves caused by the river that is similar to the rhythm composition, as the eye can start at one point and follow it all the way around the picture. 

The colouring of the shot is also a tool used to make the rhythm of the river stand out more, with it being the brightest part, whereas the surrounding areas are some of the darkest. 

- Bill Brandt

Similarly in this shot, the main focus of the photo is the rhythm element of the shot, the staircase. As it winds upwards, it draws focus and gives a line of sight for the viewer's eye to follow. The shadows on the walls, especially those of the staircase add more to the rhythm and flow of the shot, rather than detract from it, as the smoothness of the lines is still followed through and it connects the elements of the shot into one beautiful flowing line. 

Compositions of Photography: Pattern

Pattern

The pattern composition in a shot can be either structured (like tiles, giving a set stability) or unstructured or random (like rocks, which can allow for a patterned yet less stiff shot).

Structured:

- Max Dupain

The pattern composition in this shot is the structure of the tiles/framework on the roof. It is a repeated pattern that makes the shot feel more stable, more concrete. Combined with the colouring and depth of field in the shot, the dynamic is quite wide and yet the structured pattern is still one of the first things to catch your attention in the shot. 

- Robert Doisneau

In this shot, the structured pattern is the brickwork of the wall and the steps. The difference between the two is only distinguishable by the people sitting on the steps, giving the depth of field to demonstrate the pattern. The structure is one that combines together, but still pulls focus just as much, if not more than the people on the steps. The colouring and the edging shown by the people on the step is another element that draws attention to the pattern, and can be quite mesmerizing. 

Unstructured:

(x)

In this shot, the random patterning of the pebbles gives a more relaxed, calmed feel to the shot. Combined with the colouring, there is still quite a pattern in the rocks, even if they aren't set out square next to each other. The dynamic created by the different shapes and colours in the pattern is one that can draw a viewer's eye all around the shot all at once, giving for a less tight, structured shot. 

- Ansel Adams

The pattern composition in this shot is one of a slightly different nature, as there is still slightly structured pattern in the breaking of the bark, however it is not set structured enough for it to cause a stiff shot. Combined with the colouring, the varying shades around the shot, it still gives the air of being more slow and untouched, a more natural beauty, rather than a more man-made structure.

Compositions of Photography: One to One Point Of View

One to One POV

The one to one composition is when the photographer is straight on with the subject. It communicates equality as neither shows more power over the other.

(x)

This shot demonstrates One to One POV. The photographer was straight on with the subject when they took the shot, which is established through the position of the body of the subject, particularly her eyes. 

There is no feelings of overpowerment, be it from the subject or the photographer, as by being on the same level/position, there is more of an equal stand between the two, allowing for a more simple, peaceful shot.  This is, of course, added to by the light, bright colours used, making the shot seem even brighter and happier. 

(x)

Similar to the first shot, the one to one POV is mostly distinguished by the position of the subject in the shot, especially, once again, her eyes. The lighting gives a more mysterious, dynamic feel, but there is no sense of strength radiating more from the subject nor the position of the photographer.