How the Accreditation System Works at Grand Slam Tournaments

Every time I hang an accreditation around my neck that reads Roland Garros, Wimbledon, or US Open, something inside clicks.

You step again into a world where every move is governed by strict rules, where everything breathes history, and where one badge opens doors that an ordinary spectator could never enter.

Many assume that accreditation is just a form on a website and a badge on a lanyard. In reality, it’s a layered system of filters, checks, and trust built over years. All four Grand Slams now operate under common standards: matching application structures, unified experience requirements, and similar rules of conduct on court.

At every tournament there are two distinct departments — a press department for writers and a photo department for photographers. The latter is led by the Chief Photo Manager, who decides who receives accreditation, for how long, and at what level of access: just qualifying rounds, the first week, or final rounds.

Photographers are granted different levels of access. During qualifying, movement is more flexible, but once the main draw begins every position is predetermined. Photo pits along the courts — especially on the center courts — are sacrosanct. Each spot has its own number and is assigned to an agency, tennis association (ATP / WTA), or a specific photographer.

The strictest enforcement is at Wimbledon, where if you violate protocol — for example, take someone else's spot — you may be removed from the court immediately. Roland Garros, the US Open, and the Australian Open adhere to the same principles, though with slightly more leniency.

Working at a major tennis tournament gives you both rights and responsibilities.

Every accredited photographer receives a plastic card with a QR code that contains all their information: name, country, access level, and validity period. This card is not just a badge but your tournament passport. Lose it — and likely no replacement will be issued. Without it you cannot pass security, enter the media center, or access any court. Loss of the credential essentially ends your tournament.

One interesting feature: each day a certain credit is loaded to the accreditation, usable at the media restaurant or food court — for example, to buy the famous Honey Deuce at the US Open. So the card is worth safeguarding not just for access but as a mini “wallet” during the tournament.

At all four Slams, Canon Professional Services (CPS) and Nikon Professional Services (NPS) centers are on site. You can rent an objective lens or a camera if your own gear fails, or test needed equipment. Many photographers intentionally avoid lugging around bulky “super-tele” lenses — instead borrowing them from the tournament’s official services. It’s practical, reliable, and eases logistical burdens.

Accreditation is not a prize for talent; it is an advance of trust. You’re obliged to follow the rules and respect your colleagues. The key principle: don’t interfere with the players — be discreet, attentive, and understand timing. Everyone knows: the player’s job is to play, the photographer’s job is to shoot.

Tips for up-and-coming tennis photographers:

– Start with local and challenger tournaments — these initial credits help strengthen your case for a Slam accreditation.

– Build a portfolio filled with lively, emotional images — these often speak louder than technically perfect but sterile shots.

– Work through an agency or media outlet — group accreditation applications usually carry more weight.

– Apply early: Grand Slam deadlines usually fall 2–3 months before the tournament begins.

– Protect your credential with your life. This is not just a plastic card — it is your key to the world of Grand Slam tennis.

Grand Slam tournaments are not just tennis. They are living organisms where everything hums like a Swiss watch. And when you first walk past security with Photographer engraved on your badge, you feel it: you're part of something larger—even if just for two weeks, you're closer to tennis than anyone else.