first is annie leibowitz shooting from the top of a... on the 64th floor of the chrysler builng in 1991. let's see that image. >> that's the chrysler building, one of the eight on the 61st floor. she was going to give a lecture the rochester institute of technology and she wanted to pay tribute to margaret burke white who was a"life" photograph and she d a studio on that floor and always photographed herself on one one of the gargoyles. the thing that interested me is that annie was photographing her friend, a dancer... david parsons who's out of the frame. but the picture she took of parsons that she really likes is one she took in the studio when he was on the floor of his studio balancing on his elbows and one knee. it's a wonderful, wonderful picture. she's right to prefer it to anything else and it proves you don't have to climb on a gargoyle to take a good picture. >> rose: the next we see is richard avedon. >> >> that was in his studio and he... just after a major show that opened at the whitney museum of american art in new york a

first is annie leibowitz shooting from the top of a... on the 64th floor of the chrysler1. 1. 1 . t >> that's the chryslebu diil, one of the eight o tdihe 61st floor. s shwag e gointo give a lecture utofhe rochester init technology and she wanted to pay tribute to margaret burke white who wa a"le"if photograph and she d a stuoon that for and always photographed herself onne one o of the gargoyles. the thing that interested m ines that annie was phoggrainphat her friend, acean d.. didavan parsons who's out ofhe t t fram. but the picture she took of parsons thathe s really likes is one she took in the studio when he was on the floor ofis his studiobaglanncin o o his elbows and one knee. it's a wonderful, wonderful picture. she's right to prefer it to anything else and it proves you don't have to climb on a gargoyle to take a good picture. tos>>exhee:t neee w is richard avedon. >> that was in his studio and he... just after a major show that opened at thend whitney museum of american art in new york and gottener.. surprisingly demiivssiv reviews. >> rose: what year washis? >> oh, 199

first is annie leibowitz shooting from the top of 64thorr building in 1991. sl let's see that image. >> that's the chrysler building one of the eight on the 61st floor. she was going give a lecture the rochester institute of technogyhe and s wantetond pay tribute togaar mtre burket white who was a"life" photograph and she d a studio on that floor andlways photographed herself on one one of the gargoyles. the thing that interested me is nn a ieat was photographing hieer , frienda dancer... david parsons who's out of the frame. but the picture she took of parsons that shelieay llske is one she took in the studhe wns he was on the floor of his n elwso balancing onisbo h and one knee.onderful, wonderful picture. she's right to prefer it to anything else and it proves you don't have to climb on a gargoyle to take a good picture. >> rose: the next sesee i richard avedon. >> andhat was in his studio he... just after ajo ama homa sw that opened at thehi s wtney museum of american art in new york and gotteny.er v w.. surprisingly dismissive reviews. >> rose: what year

beaton, irving penn and annie leibowitz have shot the most influential cover in fashion. >> i like to the vogue stamp but i don't like the idea of them all looking identical. >> reporter: by the '70s and '80s many covers had come to look identical. it was time for a change. when the british-born mother of two took over american vogue in 1988 after running the u.k. version, wintour turned the fashion world upsidedown starting with her very first cover. >> it was certainly unplanned. >> reporter: she used an image never intended for the cover featuring an israeli model wearing jeannes. >> well, let's just try this. off we went. to me it said this is something new. this is something different. i remember the printers called us up because they thought we had made a mistake. just wanting to check that that's actually was the cover. >> reporter: was that radical? >> it was really radical. very much a statement of intent. it broke every kind of prescribed boundary and rule up until then. >> reporter: wintour continued to push boundaries by put celebrities on the cover instead of super models