In 1991, Vanity Fair stunned viewers with a cover with a naked and pregnant Demi Moore. Her victory in the film  Ghost with Patrick Swayze, the red hot celebrity wanted the picture, which represented her 7-months pregnant with kid Scout (the girl of then-husband Bruce Willis), to show a “anti-Hollywood” mindset. The picture of Annie Leibovitz did that, showing pregnancy’s form for a conversation piece that afforded a reaction that is polarizing. Some thought that the image was amazing, while others believed pregnancy was sexualized by it — and it was contentious that supermarkets refused to take it.

In 2017, Leibovitz rebooted that the cover together with tennis star Serena Williams —  possibly the GOAT (greatest of all time) athlete female or male —  at what will definitely be recalled (or maybe not) as a not as contentious cover by virtue of its own location in history. Let us have a look!

The Moore picture comes in the movie age and can be taken on large format.)


Here is the unadorned image:-LRB-***)

Photo by Annie Leibovitz

picture on grey smooth paper, Leibovitz utilized a very soft light supply camera made which seems to be relatively little in comparison to some of those huge octaboxes in use now. The fall off in light in the face to the legs of Moore is evident. The retouching appears minimal (possibly some in her thighs in buttocks at which we may expect to see stretch marks). Hair, her make-up and accessories are glamorous, and now I am enjoying her glance. The tonality of this picture is beautiful.

The picture resulted in much parodying such as this film poster to The Naked Gun 33 1/3 starring Leslie Nielsen. Oh, the humanity!


It is difficult to jolt with the naked form any longer. Martin Schoeller did it 2012 together with his breastfeeding cover TIME, however, that has been about nudity and about the polarizing remarks about breastfeeding (especially in people…along with your 3-year old). In that respect, Leibovitz’s 2017 picture using Serena Williams is simpler to dissect because we are less distracted by the nudity of it.


For this particular show, we receive an update from seamless into the well-regarded and expensive Oliphant backdrop. With no distracting, the monotony that is monochromatic divides. We are not in a studio, but instead at a backyard, as we could see in the image under. The lighting is quite diffuse and it is quite tough to say exactly what the light pattern is here. Leibovitz enjoys her strobes, and I presume she used some load on front (look in the texture depth of the hair. We might surmise that Leibovitz put a diffusion panel overhead that is huge to dull the sun’s unpredictability.

The positioning of the hands on cool as opposed to over the stomach together with the flowing hair is a lot more empowering pose compared to Moore’s — it is Wonder Woman, except that is no celebrity. It a mixture of homage for her attitude. Unapologetic, athletic, and we ought to also point out that Williams is 35-years older — maybe not the 29-year old which Moore was.  

back into this inset picture, I really like it. Some shadows are created by the feel of this material that is bright. This retouching on the material’s comparison is perfect.

Verdict: ” We shouldn’t to judge a historic image with a modern lens, but I am going to get it done anyhow. From the context of photography’s history that the Moore picture will be more of a stake in the earth. However, I feel the Williams picture is the more powerful (literally) picture of an older, more accomplished person. (******).