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Fresh from the choking press scrum sparked by Annie Leibovitz's starry presence at the National Portrait Gallery some weeks ago, the gallery's director, Sandy Nairne, emerged bright-eyed and unjaded from a cloud of party-goers at the reception party for the annual Taylor Wessing Photographic Portrait Prize.
This exhibition almost becomes a homage to Annie Leibovitz. This is no bad thing, but it shows how the Vanity Fair photographers – including Cecil Beaton, Edward Steichen, Man Ray and Mario Testino – have played such an integral part in the magazine's history.
Polly Borland’s extraordinary portraits – some taken for this magazine – have made her one of the world’s most sought-after photographers. To mark a new exhibition, Will Self salutes her unique vision
In the announcement of the National Portrait Gallery's forthcoming retrospective of work by the celebrated New York-based portrait photographer Annie Leibovitz, one of the sponsors of the show lets us know how proud he is to be working with Annie (note the personal touch) again. Words such as trust, respect, service are bandied about. These are words that are at odds with what many of us think photographers are up to quite a lot of the time. But surely Leibovitz is not one of these? Surely Leibovitz, photographer of an entire, all-too-well-known world of stars and starlets, is not quite like this?