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Anne Geddes
Infant Infatuation By Tara Swords
Anne Geddes always knew there was something she was meant to do. But it wasn't until age 25 that she considered a career in photography. And it wasn't until she picked up a camera that she knew who her subjects would be.
"I could see the way people photographed babies," she says. "In these photos they were getting them all dressed up and getting in formal poses and you look at them and you say, 'I can't even see myself in there.'"
Geddes was drawn to infants, and immediately knew that snapping frames of these tiniest of humans was what she wanted to do with her camera. Yet her photographer's eye didn't see babies in frilly clothes and shoes, cajoled into rigid poses. Instead, Geddes photographed infants in their natural state – often sleeping and unclothed. Now, her unique style is known the world over.
In fact, the only thing more recognizable than the images she creates is the obvious love heard in her voice when she speaks about them.
"[Babies] represent so much potential because they're brand-new minds," she says. "And nobody's told them that they're not beautiful or they're not clever or that different skin colors can be treated different ways. I see myself as a voice for the babies."
Her book, Until Now (Andrews McMeel, 2003), is a potpourri of some of the most enduring images from her career. Newer fans may be surprised at the artistic span the collection covers; there are plenty of well-known photos of babies dressed as brilliant, laughing flowers and tiny fruits and vegetables. But favorites from her earlier work round out the book with black and white images of tiny infants – sometimes premature babies – sleeping angelically in the most unassuming of poses.
