What to wear
Dark and matte for the photographer, because you appear in the tank and the fairings. For the rider, proper gear rather than a t-shirt: it…
In short: Dark and matte for the photographer, because you appear in the tank and the fairings. For the rider, proper gear rather than a t-shirt: it photographs better and it does not date the picture the way fashion does.
Colour. Dark and matte for whoever is behind the camera, because a bike's tank and fairings reflect the entire environment including the photographer.
Fabric. Proper riding gear over casual clothing: it photographs better, it suits the machine, and it does not date the picture the way fashion does.
Footwear. Boots, visible in every low-angle frame — which is most of them, since bikes are photographed from hub height.
The thing that ruins frames. A high-vis jacket anywhere in the vicinity. On curved painted metal it appears three times in a single frame.
In the bag. Two microfibre cloths, quick detailer, chain cleaner, and a black jumper to hold beside the lens as a reflection blocker on the worst panels.
Riders photographing a bike properly, and anyone selling one who has noticed that good photographs change the price.
Location changes the answer: Open, uncluttered, nothing tall and bright nearby to reflect. Multi-storey top decks, empty industrial estates, wide lay-bys. Check what is behind the photographer as carefully as what is behind the bike.
Planning pressure to account for: Shooting in bright sun. Standing too close with a wide lens, which bends the frame geometry. Forgetting to turn the front wheel. And photographing a dirty chain, which is the first thing a buyer looks at.
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.
Dark and matte for the photographer, because you appear in the tank and the fairings. For the rider, proper gear rather than a t-shirt: it photographs better and it does not date the picture the way fashion does.
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.