How I Shoot a Hockey Shootout from Behind the Glass

A hockey shootout compresses an entire game into a handful of high-pressure moments. From behind the glass, I am working close to the action, but I still need to anticipate movement, manage reflections and stay ready for a sudden change of direction. The best frames usually come from preparation rather than frantic reaction.

My approach has developed through photographing Queen’s University Golden Gaels events, Canadian university sports and other fast-moving competitions. Hockey adds its own complications: white ice, dark uniforms, quick acceleration and glass that can turn a clean image into a mess of glare.

For photographers in Australia, the same principles apply whether you are covering an AIHL match in Sydney, a local game in Melbourne or a tournament in Brisbane. The rink may be smaller, the lighting may vary and access can differ, but a shootout still rewards patience, timing and a reliable camera setup.

Finding The Best Position Behind The Glass

I usually look for a spot near the end of the rink, slightly to the side of the goal rather than directly behind the net. This gives me a view of the goaltender’s face, the shooter’s approach and the puck’s path. Being too square to the goal can make the player appear flat, while a modest angle creates more depth.

The shootout lane is important. I want to see the shooter enter the frame with enough space around the stick and puck. If I stand too close to the goal, the player may fill the frame before making a move. If I move too far away, the moment loses intensity.

Local rink layouts can be restrictive, especially at suburban Australian venues where spectator areas and safety barriers leave limited room. I arrive early, check where the glass seams and doors are located, and identify a clean section before the shootout begins.

Preparing The Camera And Lens

A fast telephoto zoom is my most useful choice. A 70–200mm lens on a full-frame camera gives me flexibility as the player approaches, while a 100–400mm lens can help from a distant corner. In smaller rinks around Sydney or Perth, the shorter end of the zoom may be more important than extra reach.

I prefer a wide aperture, often around f/2.8 to f/4, because it separates the player from the boards and helps gather light. Ice rinks can be surprisingly dim, even when the arena appears bright to spectators. I also set a fast shutter speed, generally between 1/1000 and 1/2000 second, to freeze the puck, stick and skates.

Autofocus needs to be configured for movement. Continuous autofocus, a responsive tracking mode and a moderate burst rate work better than single-shot focus. I avoid the highest possible frame rate if it causes the camera to buffer just when the decisive play arrives.

Managing Light, Glass And White Ice

White ice can fool a camera into underexposing the scene. I check the histogram and usually add a little positive exposure compensation, then review the highlights on the ice and boards. The exact adjustment depends on the rink, but a slightly bright image is easier to refine than one with faces buried in shadow.

Glass creates three recurring problems: reflections, scratches and colour shifts. I keep the front of the lens close to the glass without touching it, which reduces reflected light and gives the lens hood less opportunity to catch overhead fixtures. A rubber lens hood can help, although it must not press against the barrier during play.

Polarising filters are generally not my first choice for this situation. They reduce light and can interfere with shutter speed, while their effect changes as the camera angle changes. Instead, I wear dark clothing, switch off nearby screens and avoid standing beneath bright signage. Those small details matter in a rink in Melbourne just as much as in a larger Canadian arena.

Shooting concern Practical approach Common mistake
Player motion Use continuous autofocus and 1/1000 second or faster Relying on a slow shutter because the rink looks bright
White ice Check the histogram and adjust exposure Allowing the camera to produce grey ice and dark faces
Glass reflections Work close to a clean section and wear dark clothing Shooting through a scratched or brightly lit panel
Changing distance Use a 70–200mm zoom where possible Locking into a focal length that loses the approach
Decisive moment Track early and use a controlled burst Starting the burst after the puck is struck

Reading The Shooter’s Approach

I begin tracking before the player reaches the centre of the zone. Waiting until the final deke makes it much harder to acquire focus and compose the frame. The approach itself can produce strong photographs: the forward lean, the hands separated on the stick and the eyes fixed on the goaltender all communicate pressure.

The critical moment may be the release, the goaltender’s reaction or the instant after the save. I do not assume the puck strike is always the best frame. A goalkeeper stretching across the crease, a shooter looking toward the corner or a teammate reacting on the bench can tell a more complete story.

Shooters often repeat habits under pressure. Some slow down before the final move, while others keep their speed and rely on a quick wrist shot. Watching the first attempt gives me useful information for the next one. I keep my body and lens position steady so I can respond rather than chase.

A Repeatable Shootout Routine

A simple routine reduces mistakes when the result may depend on one attempt. I keep both eyes open while tracking, which helps me see the approach outside the viewfinder and anticipate where the player will move.

Before the attempt

During the attempt

This routine is useful at an AIHL game in Adelaide or a university fixture in Canberra because it separates technical checks from creative decisions. Once the camera is ready, my attention can stay on timing and expression.

Choosing Compositions That Tell The Story

A tight portrait of the shooter can show concentration, but a wider frame often explains the situation better. Including the goal, crease and goaltender establishes the pressure of the shootout. I vary the composition when the opportunity allows, moving from horizontal images for the approach to vertical frames when the player rises into the shot.

I leave space in front of the skater. That open area gives the image direction and prevents the player from appearing to run into the edge of the frame. At the same time, I avoid leaving so much empty ice that the subject loses impact.

Behind the glass, background distractions are unavoidable. Advertising boards, protective netting and spectators may all appear. I look for moments when the subject’s body, stick or spray of ice separates from the background. A low angle can make the athlete feel powerful, but I still need to keep the goal and puck readable.

Handling The Archive And Usage Rights

A shootout sequence can produce dozens of technically similar frames. I edit for variety and meaning rather than keeping every sharp exposure. One image may show the approach, another the save and a third the reaction. This creates a more useful record for a team, athlete or personal archive.

I keep original files organised by date, venue, competition and opponent. That is particularly helpful when a large archive includes Queen’s athletics, football, bands and hockey alongside events photographed in different cities. Consistent file names and embedded captions make later searching much easier.

For Golden Gaels Photos, photographs are copyrighted and generally available for personal, non-commercial use with attribution. Anyone seeking publication, commercial licensing or promotional use should obtain permission first. Australian clubs, media outlets and event organisers should also clarify whether a requested image is for editorial coverage, social media, sponsorship material or paid advertising, since those uses may carry different terms.

Reviewing Results After The Final Attempt

I review the sequence for more than sharpness. A technically perfect frame can still feel empty if the puck is hidden or the player’s expression is lost. I look for clear action, readable body language and enough context to show that the image came from a shootout.

Noise reduction and colour correction are useful, especially under mixed rink lighting. I correct white balance carefully because ice can pick up green, blue or yellow casts from arena lights. I avoid excessive sharpening, which can make scratches in the glass and fine netting more distracting.

The best photographs usually have a sense of anticipation or release. They show the instant before the decision, the movement of the save or the emotion that follows. When I publish a selected frame, I include accurate event details so the photograph remains useful as part of the sporting record.

A well-planned position, fast shutter speed and patient tracking make the glass far less troublesome. For photographers covering hockey in Australia or Canada, the goal is the same: create a clean, decisive image that preserves the pressure of the moment. Browse the Golden Gaels Photos archive for more examples of sports photography, and contact Jeff Chan for permitted image use or licensing enquiries.