He’s built his reputation on connections to the stars themselves, and finds that dealing with press reps can mean a lot of “red tape.” While he does get talent tips, his iconic images are frequently the product of research and strategy - and sometimes, like with Tom Holland and Zendaya, also luck. ’ ”ĭiggs personally prefers to keep his publicist circle small. “Then the publicist will tell the client, ‘ Look for the photographer in the plaid shirt to the left of the exit. Can you help? ’ “ says Sue Taylor, a long-time talent publicist and major label rep. They will exit the restaurant together around this time. “A publicist can literally call and say, ‘Hey there, I have Client Jane Doe dining at Hot Spot and she will be with John Doe and she is wearing Designer X. Through this relationship, street style photographers now receive exclusive insights as to where and when talent is going to be.” “If the image was good, the talent and their team either knew a photographer was going to be there or called them directly. “If the image was bad, it wasn’t planned,” says Church. (Miles Diggs, coincidentally, is one of Church’s clients’ preferred on-call shutterbugs.) Finally, their itinerary must be shared with one or two trusted photographers. Next, you optimize their schedule for picture-taking opportunities.
The first step, says Church, is ensuring your client is in hair and makeup. To orchestrate a celebrity “candid,” relationships to a plethora of players must be established - starting with a plugged-in publicist. “A publicist can call and say ‘I have Client Jane Doe dining at Hot Spot and she will be with John Doe and she is wearing Designer X. There are those stars that understand the power of the press.”Ĭhurch agrees: “There’s one thing that talent and publicists don’t have: an editor of a magazine, with a pre-drafted story, just waiting for the image to pop up in their inbox to go live with the story immediately.” “They want to control their story, but they also want to make sure that the public is interested in any news they have or are generating outside their social channels, because not everyone is on every social media platform. “Social media only goes so far - and the savviest celebrities know this,” says Wert, adding that celebrities will willingly show off a baby bump or flash their engagement ring to photographers when they want to reach a bigger audience. But while the merging of many magazines means the price for pictures has plummeted, Wert believes that as long as celebrity gossip retains its value, so too will street photography. Often, he says, these images would incite a bidding war. Kenneth Wert, a producer at Getty Images who worked as a photo editor for OK! and US Weekly at the height of the media’s celebrity monopoly, remembers forking out tens of thousands of dollars for an exclusive set of Kardashian photographs, or $2 million for snaps of a celebrity wedding. Now, celebs can just post on Instagram in real time and the media will pick it up later that day.” “Prior to Instagram, your weekly magazines were reliant on paparazzi to provide images for them to print, and fans were reliant on magazines to see celebrities. “Social media overhauled the celeb photography game,” says Caleb Church, a crisis publicist for high-profile entertainers. “Paparazzi were able to capture moments that would have otherwise never been seen by the regular public, giving everyone access to some kind of voyeuristic pleasure,” she says. This, in turn, has stripped tabloids and classic pap shots of their “gotcha” power, says senior major label publicist Jennifer Taylor. Now, celebrities control their own narratives - they readily offer bikini bodies and makeup-free selfies from their own cameras, which are devoured by fans despite the digital nip-tucks - and call photographers like Diggs to stop by at their own whims. But social media has turned the pap-celeb relationship from one of contention to collaboration.
PAPARAZZI PHOTOS PROFESSIONAL
In the early 2000s, you’d hear frequently about clashes between paps and celebs, from stunts gone wrong to outright violence, and the often-embarrassing photos that landed in “Stars, They’re Just Like Us!” tabloid pages were the result of professional stalking. Hollywood’s paparazzi business used to look quite different. “Having that kind of trust with people is very important to me.” “There are tons of people that I’ve built relationships with over the years and if they’re up to something or feeling extra fly that day, I’ll swing by,” says Diggs, who is contracted to photo syndication platform Shutterstock.
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