Seeing an entry on photography in the New Review always whets my appetetite. Reading through this article I imagined the images would be more of an indexical trace and that Leibovitz was employing semiotics to tease us with.

Then I looked at the on-line gallery http://www.guardian.co.uk/theobserver/gallery/2012/jun/03/annie-leibovitz-pilgrimage-photographs-gallery#/?picture=391035018&index=7  and was surpised. I had expected something along the lines of Rosy Martin’s work ‘Too close to home’ but sadly this was not the case. It may be so on a larger volume in the body of work but not so in the short slide show.

One of my eternal questions on making it is photography is ‘How to be found?’. Clearly Leibovitz has mastered the art of how not to get forgotten. Apart from expending vast sums of money pursuing her career, something I can sympathise with in a scaleable (downwards) way, I doubt I’ll ever become the master/mistress of invention and re-invention. Was her break really Rolling Stone? How does one sustain a  supply – because you really do need me to take your photograph – business for so long and stay at the top of the tree?

I am convinced that the answer lies in networking and patronage. Get both of those right and I might just be able to justify a Hasselblad.