Why I Always Bring a Second Body to a Rugby Match

Rugby is a demanding subject for any photographer. The action moves quickly, contact happens without warning, and the best moments can unfold at the far end of the pitch in the space of a few seconds. At a Queen’s University Golden Gaels match, I may be following a break down the sideline one minute and turning towards a try-scoring drive the next.

That is why I always bring a second camera body to a rugby match. It is not about carrying impressive equipment for its own sake. A spare body gives me a practical way to manage changing light, different lenses, sudden failures and the simple fact that there is no pause button when the match is underway.

The same principle applies whether I am photographing Canadian university rugby, a local club match in Sydney or a winter fixture in Melbourne. Rugby photography rewards preparation. A second body is one of the most useful forms of preparation I have found.

Rugby leaves no room for a camera problem

A rugby match can produce important images during any phase of play. A tackle may create a turnover, a kick may lead to a chase, or a forward may crash over the line after a long sequence of carries. If the camera stops working at that moment, there is rarely time to diagnose the fault.

Battery issues are an obvious risk, particularly during a long day that includes warm-ups, the match itself and celebrations afterwards. Memory card errors, a shutter problem or a dropped connection between the lens and camera can be just as disruptive. Even a minor fault becomes serious when the action is moving towards the in-goal area.

A second body means I can keep photographing while dealing with the first camera. I may switch immediately and continue tracking the play, then check the problem during a stoppage. That peace of mind affects how I work. I can concentrate on positioning and timing instead of wondering whether the next frame will be the one that ends the day.

Two bodies make lens changes faster

Rugby photography often requires a long telephoto lens for action on the far side of the ground and a shorter lens for nearby players, huddles and sideline moments. Changing lenses in the middle of a match is slow and exposes the camera sensor to dust, rain and accidental knocks.

With two camera bodies, I can keep a longer lens mounted on one and a shorter zoom on the other. At a Queen’s football or rugby event, this might mean having a telephoto ready for play and a wider lens available for the band, coaching staff or supporters. The same setup works at an Australian ground, where the gap between the touchline and the crowd can be narrow and the pace of play can feel relentless.

The arrangement is particularly useful when the light changes. I might use a 70–200mm lens on one body and a 300mm or longer lens on the other. If the ball suddenly moves towards me, I can change cameras rather than stop to change glass. That small saving of time often produces the difference between a clean action frame and a missed moment.

Australian grounds bring their own complications

Photographing rugby in Australia can mean dealing with intense sun, hard shadows and bright reflective surfaces. A match at North Sydney Oval, Ballymore in Brisbane or a suburban ground in Canberra can look completely different from one another. The background, available light and working space all influence the equipment I choose.

Weather can change quickly as well. A wet afternoon in Melbourne, a humid evening in Brisbane or a sharp coastal breeze in Sydney creates extra pressure on cameras and photographers. A second body lets me keep one camera protected while continuing with the other when rain starts to fall. It also reduces the temptation to expose the inside of a camera bag during a sudden downpour.

There is a practical difference between photographing a professional fixture and covering community or university rugby. At many club grounds, I am working close to players, spectators and advertising boards, sometimes moving around a pitch with limited shelter. People may call the sport “footy” and assume the photographer knows the local rhythm. Carrying a backup body helps me work discreetly and safely without constantly stopping to reorganise equipment.

The second body is about matching the moment

Different parts of a rugby match call for different photographic approaches. A long lens is valuable for tackles, line breaks and tries at the opposite end of the field. A shorter lens is often better for team talks, player reactions, handshakes and the atmosphere around the match.

I also like having different camera settings ready. One body may be configured for continuous autofocus and a fast shutter speed, while the other is set for portraits or wider environmental images. That saves time when the whistle goes and the visual story shifts from physical action to emotion.

This approach is useful at university sport, where the event includes more than the eighty minutes on the clock. At a Golden Gaels match, the marching band, alumni, student supporters and opposing teams all contribute to the story. Australian university competitions and club rugby have their own versions of that atmosphere, from packed grandstands to volunteers working beside the canteen. A second camera makes it easier to record those details without dismantling the action setup.

Carrying backup gear requires discipline

A second camera body does add weight, so it needs to earn its place. I use a secure strap or harness, keep spare batteries and cards organised, and check the equipment before leaving for the ground. A backup that has an empty card or a flat battery is not much of a backup.

I also try to keep the two bodies configured in a familiar way. The controls do not have to be identical, but the essential functions should feel predictable. When a player breaks into space, I should be thinking about composition and focus, not searching for a button.

The body that is not in use still needs protection. I keep it covered when conditions are wet and avoid placing it on damp grass or a muddy sideline. At an Australian winter match, the problem may be rain and mud; during a dry afternoon, dust and grit can be just as unwelcome. Good equipment habits are less exciting than photographing a try, but they preserve the opportunity to do so.

A backup body protects the story

Sports photographs are often judged by their sharpness and timing, but the larger value comes from the story they preserve. A single match can include nervous preparation, fierce competition, disappointment, relief and celebration. Missing one sequence can leave a gap in that record.

This matters when working for a personal archive as much as when supplying images to a publication or team. My photographs of Queen’s University athletics, Golden Gaels football, bands and U SPORTS events are part of a wider record of campus life. The same is true for a club rugby photographer documenting a season in Sydney, Perth or Adelaide. A reliable second body increases the chance that the archive reflects the whole occasion rather than just the moments when everything went perfectly.

It also protects the photographer’s confidence. I can move around the ground, respond to changing play and make creative decisions knowing that one equipment problem will not erase the rest of the match. That freedom is the real reason I carry two bodies. The extra camera is there so I can focus on the players, the contest and the character of the day.

If you enjoy rugby, university sport or the atmosphere around a match, browse the Golden Gaels Photos archive for action, supporters, bands and event moments. Photographs are generally available for personal, non-commercial use with attribution, while commercial requests can be discussed directly. Share the images that capture your team’s day, and credit the photographer when you do.