This morning, along with much of the photo world, I got a little bit of interesting news.
First of all, let me say that once your personal financial situation is splashed across the NEW YORK TIMES, there's not much you can do about keeping things which should be personal... personal.
"It's very discreet," said Ian Peck, a co-owner of Art Capital.
Ummm, or not.
I remember a conversation with Eddie Adams about something like this. Eddie would often find himself in financial difficulties. This was a different time of course, not like our current economic situation. Anyway, shortly (the very next day) after complaining about this problem, Eddie went out and bought a brand new Range Rover.
What are you going to do? Creative people think differently. Their ways often don't make sense to those around them. It's just how it is.
How do you start out with a simple idea, brainstormed by a bunch of big-brained executives and somehow, spontaneously come up with an original or slightly brilliant photograph in the middle of a photo shoot, that no one expected? I don't know. It hasn't been explained, but that's how it often works.
Right now I'm listening to Charlie Parker. An artist who's life and work pretty much sums up the mystery of the creative process.
I don't really know Annie Leibovitz. I saw her last week in London. I can say that she was far too nice and way to polite for anyone who may be going through difficult times.
Which says a lot about her.
She's not only a bit of a genius, but she's fiercely loyal.
The editorial agency we share, Contact Press Images (her for 32 years, me for 22) is a exclusive, and somewhat eccentric little family that is also fiercely loyal. Obviously, Annie could have left this group years ago. There must have been plenty of big money offers during this time, but she has stayed.
Listen, Getty has a global reach. No other agency can compete with that. The idea here, from what I can gather, is to capitalize on Getty's dominate position and secure some international advertising gigs, and there's nothing wrong with that.
Meanwhile, Contact Press Images remains the place to license Annie's archive for editorial work, and Art+Commerce remains the classy place to commission Annie for commercial work.