What to wear
A coat that photographs — colour, texture, structure — and shoes that survive. Avoid white and pale grey, which merge with a wet street and a flat…
In short: A coat that photographs — colour, texture, structure — and shoes that survive. Avoid white and pale grey, which merge with a wet street and a flat sky. Bring a towel and a full change; the session lasts as long as people are comfortable.
Colour. Anything but pale grey and white, which merge with wet pavement and a flat sky. A coloured coat and a coloured umbrella are the two most useful objects available.
Fabric. Wool and waxed cotton photograph well wet; technical shells reflect every light source and read as hiking gear.
Footwear. Waterproof and already broken in. Wet feet are the reason rain sessions end early.
The thing that ruins frames. A black umbrella. It shadows the face completely and disappears against a grey sky — the one accessory worth buying in colour.
In the bag. A microfibre cloth for the lens, a plastic bag for the camera between frames, a towel, and a full change of clothes so the session can run its length.
Anyone whose shoot day arrived wet, and photographers who have worked out that rain is an advantage rather than a cancellation.
Location changes the answer: Lit streets after dark, arcades, station entrances, anywhere with cover a step away. In London, wet pavement plus shop lighting is the most photogenic condition the city offers and nobody is out in it.
Planning pressure to account for: Cancelling. Not protecting the camera — a bag and a cloth are the whole kit. And shooting rain against a bright sky, where it simply does not appear.
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.
A coat that photographs — colour, texture, structure — and shoes that survive. Avoid white and pale grey, which merge with a wet street and a flat sky. Bring a towel and a full change; the session lasts as long as people are comfortable.
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.