Black Women’s Critique of Annie Leibovitz: What’s Causing the Uproar?

Law Roach recently discussed his collaboration with Annie Leibovitz for Zendaya’s American Vogue cover on ‘The Cutting Room Floor’ podcast.

Host Recho Omondi expressed skepticism about Leibovitz’s ability to capture Black subjects effectively.

Omondi, starts the line of questioning with a statement saying “I would never trust Annie Leibovitz to take my photo ever. I feel like it’s a high risk opportunity.”

Roach admitted he hadn’t paid much attention Leibovitz’s work of Black women, but praised her recent portraits of Coco Gauff and Zendaya, drawing shock from the host.

“Coco (Gauff) was beautiful and Zendaya was stunning,” Roach shares of Annie’s recent work.

“Coco was a no,” Omondi quips back.

Roach responds back stating he asked for Annie. It was part of his vision of grandeur for the iconic moment.

Omondi doesn’t think he made the right choice critiquing Leibovitz’s recent work of Coco (Gauff), Simone (Biles), Lupita (Nyongo) and Viola (Davis).

Omondi argues that these portraits lacked the vibrancy and proper lighting needed to showcase the beauty of Black women.

This critique echoes broader concerns about Leibovitz’s approach to photographing Black subjects, highlighting issues of representation and colorism.

Annie Leibovitz is a renowned American portrait photographer known for her “dramatic intimate” style. She gained prominence in the 1970s as a staff photographer for Rolling Stone Magazine.

Critics have pointed out that Leibovitz’s style may inadvertently contribute to Black women appearing dull or ashy in her photographs, emphasizing the importance of diversity and inclusivity in photography.

The critiques have also opened up conversations around colorism in the black community. A comment on instagram from model and activist Bethann Hardison, asks “How bad could a Zendaya photo be based on complexion alone?”

Another comment references that Zendaya passes the brown paper bag test, a term that dates back to a colorist discriminatory practice within the African-American community in the 20th century, in which a person’s skin tone is compared to the color of a brown paper bag.

Could this be an issue of colorism rearing it’s head or is Leibovitz photography style the culprit here?

Ultimately, it’s important to consider both factors when evaluating the critiques of Leibovitz’s work with Black women. It’s also important to recognize that Leibovitz may not be intentionally perpetuating biases in her work.

By addressing issues of colorism and reassessing her photography style, Leibovitz can work towards creating more inclusive and impactful portraits of Black individuals.