What to wear
Fitted, so the line of the body reads — that is the whole subject. Plain colours against a plain background for portfolio frames. Avoid anything that…
In short: Fitted, so the line of the body reads — that is the whole subject. Plain colours against a plain background for portfolio frames. Avoid anything that hides the shoulders or the hips, since those are what a company assesses.
Colour. Plain and fitted, in one tone that separates from the floor and the backdrop. The subject of a dance photograph is the line of the body, and a pattern hides it.
Fabric. Something that moves with the dancer — chiffon, jersey, a skirt that trails. Fabric in the air is half of what makes a dance frame read as motion.
Footwear. The actual shoes, in condition. Pointe shoes and taped feet are part of the story rather than something to hide.
The thing that ruins frames. Loose straps and untucked layers. At 1/1000 everything is frozen, including the strap that slipped.
In the bag. Rosin or tape for the floor, a second pair of shoes, and a towel — a dancer four jumps in photographs differently from a dancer at the start. Safety pins, because straps move at 1/1000 and everything shows.
Dancers building a portfolio and schools documenting a show, in venues where the lighting is designed for an audience rather than a camera.
Location changes the answer: A studio with a mirror wall and window light, or a stage with the house lights up for rehearsal frames. Performance lighting is high contrast and coloured, so expose for the face and accept the background going black.
Planning pressure to account for: Using flash in a performance, which is distracting and usually banned. Shooting at 1/125 and wondering why everything smears. And photographing only the performance, when rehearsal is where the better pictures are.
Bring each proposed outfit as a complete look, including its shoes and accessories. The final choice is made against the actual background and light rather than from a generic colour rule.
Fitted, so the line of the body reads — that is the whole subject. Plain colours against a plain background for portfolio frames. Avoid anything that hides the shoulders or the hips, since those are what a company assesses.
For a one-hour session, plan one complete look and one quick variation such as a jacket, shoe or jewellery change. Two hours can normally support two or three resolved looks. More changes reduce shooting time, so photograph the most important outfit first and treat extras as options rather than promises.
Choose colours that separate clearly from the location and suit the intended use of the pictures. Solid tones and controlled texture are reliable; very fine checks, tiny stripes and reflective logos can distract or produce moiré. Send phone photographs of the options with the brief if you want a decision before the shoot.
Bring the garments on proper hangers, matching underwear, the shoes for every full-length look, a lint roller and simple touch-up products. Pack one neutral backup layer. Steam everything beforehand, but keep a small steamer nearby for travel creases and final adjustments on set.
Send the date, location and what you need photographed.