1. No white backdrops
"They underexpose the subject and overexpose the background," says Dennis Van Tine, a photographer for photo agency London Features International. "Good colors are yellow, orange, red. But blue is the best. Editors like to see their pages jump with color. You'll see more stuff published with darker-colored backgrounds." And don't just hang a curtain: Make sure the backdrop is taut and non-reflective. "If it's shiny and has waves in it, everyone will get a really bad reflection," says Wireimage photographer Larry Busacca. "Keep it flat and keep it matte."
2. Give them space
Van Tine suggests giving still photographers at least 10 feet between the barricade and the backdrop for head-to-toe shots. Anything less enables only headshots, making it less likely the logos on your backdrop will make it into the picture. But don't waste space: If you need a second or third tier behind the first row of photographers, make them no more than three feet deep. "The tier should only be big enough for a chair and the photographer's feet in front of the chair," says Busacca. For video crews, leave room for a camera tripod (which takes up at least two square feet), the cameraperson, a reporter and maybe a producer.
3. Keep them separated
Don't mix camera crews with still photographers. A common red carpet set-up will place camera crews behind still photographers, but it's a recipe for conflict. Fox News producer Roger Resnicoff says, "Their flash bulbs screw with our cameras. When they're all shooting at the same time, it's like a disco. Our camera's light meter doesn't know what to focus on." And order counts, too. From the beginning of the red carpet, place still photographers first, then camera crews, then reporters. Camera interviews always take more time that posing for stills, and celebs are often worn out by the time they're done with interviews. "There's no better time to photograph than when they just step out of the car and they're fresh," says Van Tine. "The fake smiles only last so long."
4. Identify lesser-known celebs
J-Lo needs no introductions, but what about some of the B-Listers? "What is very helpful is when a PR person introduces the celeb and gives a card with proper spelling of that person's name, especially if the person is up-and-coming," says Jennifer Niejadlik, associate producer at CBS Newspath. And make sure someone can escort the celeb to each crew. A red carpet area will be more civilized when camera crews aren't all jockeying for the same person. "It can get ugly," says Resnicoff. "But if crews know they're next in line, everyone will be a lot nicer."
5. Let there be light
Don't assume that camera flash will suffice. "It's better to have lights in any situation," says photographer Phillippe Noisette of the Star File Photo Agency. "Bounced" light-an indirect light source that never faces the subject but creates atmospheric light-is ideal. Van Tine adds: "Any lighting that can be diffused a little bit is nice. If it's indoor, off the ceiling is good."
—Suzanne Ito
"They underexpose the subject and overexpose the background," says Dennis Van Tine, a photographer for photo agency London Features International. "Good colors are yellow, orange, red. But blue is the best. Editors like to see their pages jump with color. You'll see more stuff published with darker-colored backgrounds." And don't just hang a curtain: Make sure the backdrop is taut and non-reflective. "If it's shiny and has waves in it, everyone will get a really bad reflection," says Wireimage photographer Larry Busacca. "Keep it flat and keep it matte."
2. Give them space
Van Tine suggests giving still photographers at least 10 feet between the barricade and the backdrop for head-to-toe shots. Anything less enables only headshots, making it less likely the logos on your backdrop will make it into the picture. But don't waste space: If you need a second or third tier behind the first row of photographers, make them no more than three feet deep. "The tier should only be big enough for a chair and the photographer's feet in front of the chair," says Busacca. For video crews, leave room for a camera tripod (which takes up at least two square feet), the cameraperson, a reporter and maybe a producer.
3. Keep them separated
Don't mix camera crews with still photographers. A common red carpet set-up will place camera crews behind still photographers, but it's a recipe for conflict. Fox News producer Roger Resnicoff says, "Their flash bulbs screw with our cameras. When they're all shooting at the same time, it's like a disco. Our camera's light meter doesn't know what to focus on." And order counts, too. From the beginning of the red carpet, place still photographers first, then camera crews, then reporters. Camera interviews always take more time that posing for stills, and celebs are often worn out by the time they're done with interviews. "There's no better time to photograph than when they just step out of the car and they're fresh," says Van Tine. "The fake smiles only last so long."
4. Identify lesser-known celebs
J-Lo needs no introductions, but what about some of the B-Listers? "What is very helpful is when a PR person introduces the celeb and gives a card with proper spelling of that person's name, especially if the person is up-and-coming," says Jennifer Niejadlik, associate producer at CBS Newspath. And make sure someone can escort the celeb to each crew. A red carpet area will be more civilized when camera crews aren't all jockeying for the same person. "It can get ugly," says Resnicoff. "But if crews know they're next in line, everyone will be a lot nicer."
5. Let there be light
Don't assume that camera flash will suffice. "It's better to have lights in any situation," says photographer Phillippe Noisette of the Star File Photo Agency. "Bounced" light-an indirect light source that never faces the subject but creates atmospheric light-is ideal. Van Tine adds: "Any lighting that can be diffused a little bit is nice. If it's indoor, off the ceiling is good."
—Suzanne Ito
