Shooting angles in tennis on different courts

Serghei Visnevschii
Oct 27
4 min read

To work successfully at a sports arena, you need to know the most advantageous shooting positions. At Roland Garros, on Court Philippe-Chatrier, one of the best spots is the “shutters” at court level

Angle in tennis photography is not about finding a “good spot next to the court.” It is a choice that changes the meaning of an image. The same rally can show power, space, drama, speed — or, on the contrary, look dull and unimpressive. Everything depends on where the photographer stands. Below are the most common shooting positions that create different visual meanings and are actually used at major tournaments.

Sideline

The position along the sideline, opposite the umpire’s chair, is the most universal and commonly used angle. From here you get most of the classic shots: rallies, serves, attacking strokes, diagonals. Player interaction is easy to read, and the frame looks professional, but sometimes too “routine.” The main task from this position is to clean up the background, since advertisements and spectators are usually behind the player. A wide aperture helps isolate the subject and remove visual noise. More experienced photographers also shoot from the service line level — creating striking images where the player reaches for the ball, forming a strong line of “ball — racket — athlete.”

Behind the baseline

This angle is optimal for showing the power of a shot, the serve, and footwork of the player on the far side. The only constant risk is the net, which can easily break the composition. A slight upward shift or a move along the axis usually solves the problem. Sometimes the net can actually help when the player moves forward — it becomes part of the story. Naturally, this angle requires a good telephoto lens, typically 400–600 mm.

Court-level openings

At Grand Slam tournaments, there is something that most arenas do not have: technical openings at court level. For example, they exist at the US Open and Roland Garros, but not at the Australian Open. The camera is almost on the surface, creating a tight frame, a direct perspective, and a strong sense of presence. The most expressive moments are when the player hits the ball and turns 180°, bringing the face, racket, ball, and crowd together in one frame. Maximum visual drama happens when both players are at the net and the ball flies between them.

High-angle shooting

Shooting from above is a rare angle. Drones over the court are prohibited — if the umpire sees one, the match will be stopped immediately. The most iconic high-angle point is at the Australian Open on Rod Laver Arena, where there is a special platform for photographers under the roof. Access is restricted and paid, and every piece of equipment must be secured with safety cables. The result, however, is tennis as pure geometry: lines, light, shadow, symmetry. At most arenas, such access does not exist, and photographers must rely on upper rows, which can still work for composition, but without the same depth.

Stands

Do not ignore shots from the stands — interesting angles are possible here, especially when you consider the individual specifics of each player’s strokes. At major events, access to VIP areas is restricted, and all authorized positions are marked. It is important to follow these rules.

Practice courts

There is more freedom and fewer limitations here. You can experiment: wide angles, low perspectives, unusual viewpoints, movement along the fence or court edges (within etiquette). Paradoxically, the character of a player is sometimes more visible in practice than in a match. Such images are increasingly in demand — the athlete, the team, the interactions — a true backstage of tennis.

The stands offer excellent shooting angles, but they require powerful telephoto lenses

Corridors, tunnels, mixed zone

The life of a tournament is not limited to the baseline. A player walks on court, leaves it, talks to the coach or fans, gives interviews. The light may be difficult and the space tight, but the emotions are raw. These moments often become the most memorable, because they show the person, not the technique.

And the most important thing

You photograph tennis, but not only tennis itself. Look wider. Fans, unexpected incidents, and moments no one expects can be stronger than a winner or an ace. I remember the Zverev–Nadal semifinal at Roland Garros 2022: many photographers left, expecting a long five-set match. Minutes later came the injury — the shot that defined the match — and only a few had it. Luck in tennis photography is attention and instinct. You must see deeper than the serve.