How to Photograph Celebrities with Giulia Parmigiani

One of the world's leading celebrity photographers, Giulia Parmigiani's star-studded career is marked by impressive collaborations. Giulia Parmigiani has combined her passion and talent for celebrity photography with a great deal of hard work and sacrifices. Her intense and warm portraits have just a touch of drama, making them cinematic and at the same time incredibly human.

In this guide to celebrity photography, Giulia Parmigiani discusses her journey, camera gear, and techniques that have made her photography services in such high demand around the world.

Giulia Parmigiani's Background: Becoming a Celebrity Photographer

How did you get into photography?

My start in photography was completely by chance. While studying mathematical sciences at university, I chose an optional three-credit course in photography. After this, I bought some basic camera gear and started working at events, but only at a little more than an amateur level. Once I graduated, I decided to take a 3D animation course, and I received an offer for a permanent position in lighting and surfacing at L’Accademia di Animazione 3D e VFX per il Cinema, the prestigious Rainbow Academy in Rome. My whole family was delighted. But frankly, I wasn't thrilled about having to spend ten hours a day behind a computer.

Then one day, by chance, I heard about a temporary job as a photographer on a film set in Switzerland. My first real opportunity. I immediately seized it and turned down the permanent contract at the Academy.

Were you already passionate about on-set photography?

I grew up on film sets. Dad was an executive producer, he would take me with him to Cinecittà [Europe's largest film studios, in Rome]. There, I became skilled at moving around the set and recognizing and respecting the 'hierarchies'. I always learned by watching. Everyone could see I was very talented, so they started calling me to work on Italian films. I really wanted to be a DOP on sets, but I was advised against it—women in Italy didn't work much as DOPs. To this day, I regret listening to those voices.

How did you get your first international work?

After my first pregnancy, I left the world of film sets. I returned a few years later, thanks to an agency that introduced me to the world of premieres and festivals, from the production side.

From then on, my name started circulating among the agency's clients. Unfortunately, I had signed an exclusive contract, which I always advise freelancers against, because our freedom is invaluable. With great difficulty, I freed myself from this contract and began to work hard to stay in this world. I went to the Venice Film Festival during the pandemic, and with my second child very young, so it wasn't easy. I had invested everything into it, but it was worth it. The following year, Universal Italy entrusted me with all the photographic work for three international films.

From there, Universal Italy put me directly in touch with Global Photography at Universal, who greatly appreciated my work, in Los Angeles. From there, we started various collaborations. Including the set of Fast and Furious. My name started circulating in LA until it reached Netflix US, Searchlight, and I became their go-to person in Europe. Three years after that meeting, Universal called me to go to LA and cover the Oscars. I'm really proud of that.

Tips and Techniques for Celebrity Photography

Could you give us some tips on how to get started in celebrity photography?

I would definitely say experience. Lots of experience. You have to build a portfolio gradually, one event at a time. The equipment will change year after year, along with your professional growth. You have to learn to accept rejection. And most importantly, you should never give up. That's the real secret, because there are many difficulties and many will try to bring you down. There are really tough moments, but even then, you have to really push yourself to make it.

To paraphrase the Italian singer Ultimo: among my most beautiful work victories, live your plan A without any plan B, and live within your passions.

How should a photographer act on the red carpet?

Act with respect towards those who have been there, as photographers, before you. The photographers in that situation all know each other. So, carving out a space in that forest of cameras can be tough unless you're polite. You have to adapt to their rules. Don't worry about which spot or location you're assigned, the best photo isn't always made by where you're placed.

How do you capture the attention of celebrities and capture the best moment?

At film festivals, speed is everything. The agencies send the shots to the editors remotely, who then put them online straight away, without too many modifications. I've managed to combine speed with quality. I deliver slightly more elaborate and artistic photos in a quick turnaround. And I don't have an editor most of the time, because, for me, post-production is 40% of the photo.

I don't like to shoot in bursts. I prefer to act a bit more like a sniper, waiting for the right moment, the right expression. So, the post-production work is quicker.

Along with speed, I would say discretion is important. Having the utmost respect, especially on sets or when you are in direct contact with the actor, because actors are overwhelmed by photographers. Actors really appreciate photographers who don't intrude too much, who are gentle. I think that's what they appreciate most about me. After Emily in Paris, Lily Collins wrote me a letter to thank me—I really appreciated that recognition.

Giulia Parmigiani's Best Camera Gear for Celebrity Photography

When you were starting out, which camera gear did you use?

Back then—if I remember correctly—I’d say a Canon EOS 60D, maybe? And honestly, I don’t remember the lens or other equipment. At that stage, I hadn’t invested much yet. If I had the time to teach, sometimes I give advice to a friend, I’d always say to start with what you have. The rest is up to you.

Which camera gear do you use now?

I’m with Sony, I have a great relationship with them. It’s an incredible brand. I use the Sony A1 II and Sony A9 II with Sony lenses. I shoot with two or three cameras, and I mainly use fixed lenses with wide apertures because I don’t want to use flash. I use the Sony FE 35mm f/1.4 GM, Sony FE 50mm f/1.4 GM and Sony FE 135mm f/1.8 GM. I use the Sony A1 II more for posed shots and marketing shoots, because it has higher resolution, ideal for photoshoots aimed at print. The A9 II handles ISO very well, so it’s perfect for on-set photos and reportage in dark situations.

How do you keep your equipment organized?

It’s tough. Camera gear requires physical strength, which I don’t think I have. I always have two or three lenses with me to change depending on the distance I need, and then I use a leather harness made in Australia, which everyone envies. But shoulder aches are inevitable.

What about lighting?

I do reportage, without flash, when possible. Unless it’s a catastrophic situation. For me, privacy and discretion come first. So I prefer to use natural light and remain discreet. I'm like a ninja!

My shooting method has evolved, and it’s become more and more precise. I know the market, I know what they want, so I can be fast and precise.

Which camera would you recommend to beginners for portraits?

When I’m traveling and want to take some shots of my kids on holiday, I always have a Sony A9. It still shoots incredibly well. I never leave it at home.

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