Evan Agostini’s photo of Camilla Belle at The Costume Institute Gala
What would a VIP party be without a photographer to document its glamorous guests? Very little, is what any party planner or publicist would tell you. So as the Hollywood and fashion elite prepare for New York’s star-studded Costume Institute gala, we put the spotlight on one of their equally influential red-carpet counterparts. Here, Getty Images event photographer Evan Agostini shares his favorite Met gala memory, recalls pre-digital dilemmas, and reveals what it is that all the shutter bugs whisper about as a star walks down the red-carpet. X S.C.
Evan Agostini
So how was your night shooting the Costume Institute gala?
Late. I was up to about 5 am. I actually stuck around for the departures, which were at around 11. I got home at 12 and was editing photos until the morning.
How many pictures did you shoot?
For the departures alone, over 700. I had to edit it down to about 160 to post online.
How was the event over all?
Pretty good actually. The stars were coming fast and furious at one point, and it became a screaming fest with the photographers as they all tried to get the guests to come over to them.
Who got the biggest yells? Lindsay, Jessica, J.Lo.
Who was the first to arrive?
Funny, I don’t even remember as it becomes such a blur. I think Christina Ricci was there first. And Lara Spencer, that TV reporter, but I don’t really count her.
Who was the last?
Lindsay. She was kind of a mess. Jessica Simpson was pretty late too. She and John Mayer arrive separately, but I got a good photo of them together sneaking out of the coat check area.
Was there anyone that was hard to shoot?
Sometimes the designers wouldn’t leave their guest’s side, and you really need to get a single shot of the girl in the dress. There was one designer who wouldn’t leave his famous guest’s side. It was like he smelled blood: He knew he’d be photographed if he stuck around.
Because of where I was standing, I missed shooting Naomi Campbell, Claire Danes, Gisele too, but she kind of poses in the same strange way every time so it’s OK. And Scarlett kept holding hands with Stella McCartney which was kind of annoying. I got the Olsen twins but they arrived separately; I guess they were tired of being photographed together.
How many Costume Institute galas have you photographed?
This is probably my tenth. At my first one, Princess Diana came. Everyone went really crazy when she arrived. She looked up briefly for the cameras, but didn’t stop.
What happens when a celebrity doesn’t stop for the cameras?
A lot, a lot of yelling. Most people stop—but sometimes it’s someone you want to move on. It’s really bad when some B-list star is lingering and posing up a storm, and someone major like Nicole Kidman arrives and they’re kind of knocked out of the limelight. They tend to move pretty fast in situations like that.
What sets the Met event apart from the rest of fashion events and galas?
There’s more stars and the event itself is more chaotic. They have photographers line both sides of the steps and so everyone ends up screaming to get people on their side of the red carpet.
Ever witnessed a fall on those famous stairs?
Nicole Kidman almost fell once, but that was because Adrian Brody mom’s slipped on the stairs and fell. She knocked into Nicole, but Kidman kept her balance. Lucky as it could have created a domino effects: The museum’s stone stairs are slick, especially when wearing a long gown. Plus, it almost always rains. Tonight is one of the rare times that it’s been clear.
What do you do to prepare for a big event like the Met ball?
During the day I make sure batteries are charged, and equipment in good working order. For an event like tonight, I’ll arrive around 4:30, check in at 5, and take our spot at 6 and wait for people to start arriving.
A view from the Metropolitan Museum stairs as workers roll out the red carpet
What do you do to pass the waiting time?
Read or listen to my Ipod. Really everyone chills out and talks about who is coming to the event, or what the latest news is in the business. Lately there’s been lots of talk about the fact that Getty bought Wire Image.
Do you have to fight for a place the red carpet?
Normally there’s a place allocated for us. We’re pretty lucky at Getty, and always get a good place in the photo section.
How long do you normally stay at an event?
I’ll do the arrivals, wait around in the lull while people eat, then shoot the departures at 10:30. I generally don’t’ shoot departures, but the Met event has such a good list of people, and because they have to go up and down those stairs at the entrance, there’s a lot of time to shoot them. And the gala is really the best event in the city, both for the quality and quantity of guests and outfits.
Do you recognize everyone you shoot?
Yes, pretty much. You have to be up on your pop culture. But sometimes a designer will come to the Met with some models who may not be well known yet and you have to yell to get their name.
Most people aren’t forced to yell at their job; is it difficult to get used to?
Yes and no. I’m not the most outgoing person, but for the job you kind of have to be. And often it’s worth it when you get a good shot. I’m really just about catching moments: A posed shot is good and can sell the outfits, but I like to catch people when they’re more natural, when they’re walking or engaged in conversation.
So how did you first get into photography?
I started as slide filer at a photo agency in the 80s. At that time, you had actual slides and we had to label them all by hand. It was tedious and slide filing was kind of the lowest of the low gig. Then I was an editor at Gamma Liason—the New York branch of the Paris-based photo agency—for 7 years. Back then, people were specialized in what they were shooting: One guy did entertainment, one guy did news, etc. Wanting to get into photography was really a matter of noticing that when all the royalty checks were handed out, it was the celebrity photographer that had the highest number. In 1995 I started shooting part time; by 1996 I was full time.
What kind of camera do you use?
Getty gives us Canons, mainly because we do a lot of sports photography and Canon’s lenses and auto-focus functions are really superior.
Do you use digital or film?
Digital. I started shooting digital in 2000. After 9/11 happened and there were a lot of anthrax scares, many magazines stopped taking packages for while, and started using digital images that were available online. Before that, a lot of magazines and companies were still using hard copies of photos, sending someone to pick up a package once or twice a week. What are the perks of your job?
One perk is that you don’t have to work in an office. And it’s nice just being able to go to places where you would normally not be allowed to go: I’ve been on the field at Shea Stadium, on stage at Metropolitan Opera house, on the court at the US Open. Then there’s the thrill of getting a good shot.
Any drags?
There’s a lot of waiting around. That and when we’re given too small a space and we all have to jam in one tiny box. The schedule—having to work at night and not being able to make a lot of evening plans—can be a pain too. Especially around this time of year when there’s a lot of premieres and parties taking place every night.
So what are you doing tomorrow night?
The film premiere of Linday Lohan’s latest movie. It’s going to be a very different scene.
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