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安妮？莱博维茨著的《安妮在工作(精)》细致的讲述了她的摄影经历――那些赫赫有名的照片的背后故事。从1974年的美国总统尼克松辞职到2007年的英国女王伊丽莎白二世那具有争议的画像，莱博维茨诚恳而真实的描述了专业摄影师是如何拍摄这一切的。书中记录了精选遴选的90多张经典图片当时的拍摄状态和拍摄技巧（使用了什么样的相机、什么设置，如何照明以及场景设计）。你将随着安妮？莱博维茨的记忆，看到1975年滚石乐队巡演中台上的疯狂和台下的迷茫，被枪杀前的约翰？列侬和爱人小野洋子很后的拥抱，怀孕中的黛米？摩尔全裸着登上《名利场》的封面，萨拉热窝、卢旺达骇人的屠杀，好莱坞明星们充满想象力的奇幻秀……这些照片和故事按照时间顺序由远及近的复活着往事，莱博维茨也从胶片迎来了数码时代。在阅读中，你会看到一个摄影师是如何发现故事并捕捉下这些精彩时刻的，这是令人振奋的记录，不仅仅献给安妮？莱博维茨的追随者，更献给每一个热爱摄影的人。

序言

尼克松辞职

滚石乐队

约翰？列依和小野洋子

概念摄影

广告拍摄

阿尔弗雷德？夏普顿

阿诺德？施瓦辛格

舞蹈

黛米？摩尔

表演艺术

运动之巅

战争

辛普森案

即兴拍摄

帕蒂？史密斯

时尚

人体

合影

气质和魅力

在场

我的母亲

萨拉

苏珊

好莱坞

英国女王

竞选过程

西部之路

朝圣

地点的氛围

后记

器材

被问得最多的十个问题

作品年表

安妮年表

致谢

莱博维茨1969年还在旧金山艺术学院求学时，即为《滚石》杂志拍片。以名人肖像摄影享誉摄影界，1983年成为《名利场》杂志首席摄影师，并长期为《VOGUE》杂志供稿。获奖无数，作品在世界各地巡回展出。出版过数本里程碑式的画册，如由苏桑·桑塔格撰文、1999年由兰登书屋出版的《女性》，以及由派蒂·史密斯和罗斯安妮·凯斯撰文的2003年由兰登书屋出版的《美国音乐》等。除名人肖像外，莱博维茨也拍摄战争题材，如战火中的女性、波斯尼亚萨拉热窝和卢旺达等地的军事冲突等。2005年，《美国摄影》杂志称其为“至今仍在进行拍摄工作的唯一的最具有影响力的摄影师”。2006年，美国杂志协会在评选40年来最优秀的杂志封面照时，头两名都属于安妮·莱博维茨--《滚石》的约翰·列侬封面和《名利场》的黛米·摩尔封面；她也曾三度入围《美国摄影》“100位在摄影领域有重要影响的人”。

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I have often said that I don't have a favorite picture, although, as time passes, that portrait of my mother means more and more to me. It's probably my favorite picture. It's honest. My mother is looking at me as if the camera were not there.

The camera gave you a license to go out alone into the world with a purpose.

He said to me, "You can't get every picture." That was comforting advice. You do miss things. You're attached to this machine. To its timing. （你依赖于<图片1>一台机器，依赖于它的节奏）Things are moving in front of you and you're supposed to capture them, but it's not always possible. Robert Frank didn't seem to be missing anything, though. He was tireless. He never stopped working.

Full of himself.

Cindy Sherman had not been photographed as herself very often. She was something of a mystery personally.

We were told the best important thing a young photographer can do is learn how to see. It wasn't about the equipment we were using. I don't remember being taught any techniques. A camera was only a box that recorded an image. We learnt to compose, to frame, to fill the negative, to fit everything we saw into the camera's rectangle. We were never to crop out pictures. We went out every morning and took pictures and developed them in the darkroom the same day. Since the prints were washed in communal trays and everybody's pictures were lying there with everybody else's, you tried hard to come back with something good. In the evening, we would sit around and discuss our work. We were a community of artists.

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