What to wear
Kit is fixed, so the decisions are backgrounds and consistency: same background for every individual, no mixture of home and away strips in one set,…
In short: Kit is fixed, so the decisions are backgrounds and consistency: same background for every individual, no mixture of home and away strips in one set, and sponsors visible if the club needs them for the programme. Ask captains to check laces and collars before the first frame rather than fixing twenty photographs later.
Colour. Kit is fixed, so the only real decision is consistency: one strip across the whole set, never home and away mixed in the same gallery.
Fabric. Modern shiny kit blows out under hard light. Shoot in open shade or diffused light so the sponsor logos stay readable rather than turning into white shapes.
Footwear. In frame for every full-length team photograph, and the one thing nobody checks. Mud on boots is character; odd socks across a row is not.
The thing that ruins frames. Twenty collars, none of them straight. Ask the captain to walk the line before the first frame — it costs a minute and saves twenty edits.
In the bag. Gaffer tape to mark the floor, a step for the back row, spare batteries, and a printed name list so the individual files can be labelled on the day.
Clubs and companies that need everyone photographed in one evening, consistently, while people arrive late and leave early.
Location changes the answer: Somewhere with one clean background and enough room to put the camera five metres back — a sports hall wall, a stand, a hedge line. Indoors, avoid the overhead strip lighting that every sports hall has; bring light or shoot in the doorway.
Planning pressure to account for: Starting with individuals and running out of time for the group. Photographing against a fence covered in advertising. And letting the setup drift between people, so the wall of portraits does not match.
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.
Kit is fixed, so the decisions are backgrounds and consistency: same background for every individual, no mixture of home and away strips in one set, and sponsors visible if the club needs them for the programme. Ask captains to check laces and collars before the first frame rather than fixing twenty photographs later.
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.