Leigh A Wiener
August 25, 1929 - May 11, 1993
Home page: http://www.leighwiener.com
Archive contact:
Devik Wiener
email: devik@leighwiener.com
Tel: (818) 259-7310
Leigh Auston Wiener was an award-winning American photographer and photojournalist. In a career that spanned five decades, he covered hundreds of people and events. His images captured the public and private moments of entertainers, musicians, artists, authors, poets, scientists, sports figures, politicians, industrialists, and heads of state, including every U.S. president from Harry Truman to Ronald Reagan and illustrated every sector of industry including farming, steel mills, auto manufacturing, aerospace, medicine, research, early computing and semi-conductor manufacturing.
Leigh A. Wiener was born in New York City to Grace and Willard Wiener. Wiener's lifelong love of cameras and photography began at an early age. Willard Wiener was a newspaper man who frequently brought family friend and colleague Arthur Fellig — the news photographer better known as Weegee — to the house for Sunday dinner. Felig always had a packet of his latest pictures with him which he would lay out, asking a young Leigh for his opinion. By the age of 14, Wiener sold his first commercial photograph to Collier's Weekly.
In 1946, he moved to Los Angeles. While attending UCLA, where he majored in Political Science, Wiener also worked as a news photographer for The Los Angeles Times. After college, he joined the Times as a staff photographer, but his years there were interrupted by military service in Europe as an Army photographer for Stars and Stripes.
During his decades-long career as a photographer and photojournalist, Wiener consistently produced front page pictures and photo essays for the world's most prestigious newspapers and news magazines such as Life, Paris-Match, Fortune, Time, The Saturday Evening Post, and Sports Illustrated.
Wiener formed his own company in 1958. He became noted for his innovative combination of cameras and lenses; setups he designed himself to achieve the images he desired.
He wrote, "In many ways, innovation is a photographer's lifeblood. He has an idea and wants to obtain a certain look. Just because there is no ready-made equipment available doesn't mean you can't develop the idea. Make it yourself. Sometimes innovation doesn't require special hardware or equipment; it might just involve a different method of lighting or a new technique. Try it. The worst that can happen is that you fail. On the other hand, there can be the excitement of success. It is no accident that great photographers are also great innovators."
When photographing people, Wiener had the keen ability to capture the context of the moment while focusing squarely on the subject, inherently isolating the essential from the non-essential; the emotional state of the subject at the precise moment of the shutter-click expressed. This was the hallmark of his work.
On assignment for Life during the 1960 presidential primaries he would capture iconic images of John F. Kennedy and Lyndon Johnson. He extensively documented Kennedy's bid for the presidency when the senator retained him to record his campaign. Wiener traveled with Kennedy on the campaign trail through the Pacific Northwest.
He later expanded into the world of TV documentaries. The Eddy Award-winning "A Slice of Sunday" was his 1967 production on professional football shot with camera-optical systems of his own design. It would serve as the prototype for many of the sports programs on network television in the years to follow such as The NFL Today. In 1979, the Motion Picture Editors Guild recognized it as one of the three most innovative documentaries in the prior 25 years of broadcasting.
In 1975, Wiener created and produced the Emmy award-winning NBC-TV series "Talk About Pictures." He co-hosted the program with George Fenneman. The series featured an eclectic cross-section of photographers and photo enthusiasts exploring photographs and photography. Guests included professionals such as Ansel Adams, Alfred Eisenstaedt, Edmund Teske, and Mario Casilli and buffs such as Edgar Bergen, Betty White, Richard Chamberlain, David Cassidy and Bob Crane.
In considering the decisive moment, he said: "Since the beginning of time, there has never been a decisive moment — or an indecisive moment, for that matter, as I told the film producer Dore Schary. Moments are like minutes and hours, days and weeks: one just follows another. It is people who are decisive or indecisive; not the moments in time. As a photographer, you created the image. You decide when to release the shutter. You, the photographer, are the decisive element in the taking of the photograph, not some hyped-up moment. Your sensitivity and your understanding of the subject matter, and your point of view, will determine whether your photograph is decisive or not."
In 1987 he was selected by the Vatican to photograph Pope John Paul II's visit to Los Angeles during his trip to the United States.
He produced nine books including Here Comes Me, Marilyn: A Hollywood Farewell; The Death and Funeral of Marilyn Monroe, How Do You Photograph People?, and Tijuana Sunday.
Wiener's work has been spotlighted in photographic art circles, viewed in solo and group exhibitions in museums and galleries across the U.S. and the world. The National Portrait Gallery acquired his photographs of Sandy Koufax, Willie Mays and President John F. Kennedy.
He taught classes in photography at UCLA, and held lectures and seminars in the U.S. and abroad.
Leigh Wiener passed away on May 11, 1993 in Los Angeles after a long illness. He died from complications of Sweet's Syndrome, a skin disease. His doctors attributed the disease possibly to radiation exposure he received while photographing atomic isotopes and atomic bomb tests in the Nevada-Utah desert and in the Pacific after World War II for Life Magazine.
Images, video clips, publications, awards, exhibitions and more information about the photography of Leigh Wiener can be found at http://www.leighwiener.com.