For years now I have been an admirer of Annie Leibovitz. This book was published alongside her retrospective exhibition last year. Her photo's are beautiful in reality, but this big size book does them justice all the same. I have never before seen her as personal as in these photo's, in which she captured her lover Susan Sontag in their relationship and in her dying, just like her parents, of which her father passed away only a few months after Susan Sontag. Love radiates from these photo's and contrast with Leibovitz' famous glamour photography. ( )

Great photographic portraitists, like Leibovitz, become someone to whom people want to reveal themselves

I opened this book with anticipation. I washed my hands so I would not mar or fingerprint the photos. And I removed the dust jacket to keep it nice. Annie Leibovitz' artistry compels me to treat her artworks with respect and care. I appreciated the book's large size, because I love large, beautiful images.

Some people probably think portrait photographer's are gifted because they know how to stage a great photo. That is probably true. But I think the less often recognized talent is seeing who people become in the presence of a portraiture artist. When people are in Annie Leibovitz' presence, I think they may ask themselves: What images do I want to define me? What images do I want to represent me for a long time? Around Leibovitz, her subjects become regal, considered, relaxed, and sincere. Sure, the comedians are still cheesing it up for the camera sometimes. But most of her subjects realize this may be one of the few times an image will be created that may portray them in a substantive and enduring light.

In the introduction, Leibovitz' notes "But after Susan died, . . ." And when I read those words, the above thought formed in my head. Leibovitz' subjects realize her photos may be a dominant defining, popularly-known image of them after they are dead. So I think her subjects make extra effort to become something larger than 'everyday' in her presence.

I don't like to make criticisms in my reviews, and I tend to only review artworks I recommend. But it takes more than great photographs to make a great photography book. I was frustrated with the number of photographs that were enlarged across the book gutter, breaking up the photos' flows. Bigger is not always better and many of the photos would have been better as smaller images on one page. Alternatively, produce the book in two volumes, one volume in portrait, the second volume in landscape. If we're going to put down $75 for one large book, then we probably would be willing to put down $50 twice for two better shaped volumes that adapted to the needs of the photographs.

Some artists can find great art and photograph it professionally. Some artists can re-interpret or choose a point of view that makes their photograph of something otherwise unremarkable into something artful. And some artists seem to have the effect of making the people, social moods, and environments around them more artfully active and aware. Leibovitz' photos reveal that she does all three of those things well.

The more sensient her subject matter, the better her photography. She draws out great intelligence and creativity from the people she is interacting with. Her photos show not only her subjects' uncommonly revealed personas, but also her encouraging, emboldending, and enlightening effects on the people in her presence. Leibovitz' artistry suggests to portraitists that if you want your subject to reveal uncommon beauty in your image of them, first create an atmosphere where they are want to reveal the same to you. ( )