# Why I Will NEVER Be a Pro Photographer



## sm4him (Jul 16, 2013)

...because I have the biggest "official" photo shoot of my non-career happening today and tomorrow and I am about to either throw up or just have a heart attack and be done with it. :lmao:
I am completely, unreasonably, nervous--and it's not even a wedding or any other once-in-a-lifetime, don't screw this up kind of event!

The shoot is for my employer, an ad campaign for public transit. I originally had a thread about it, here, when I was trying to decide whether I should do it or not. We did end up doing a test run; my boss was perfectly happy with it. I saw a lot of little problems, but nothing I couldn't fix before the real thing (glares, ugly background views out the bus window, wrong orientation for the photo, that kind of thing...). At any rate, after the test shoot, she definitely wanted me to do the actual shoots, and I decided to give it a go.

That seemed like a better idea when it was still a month away. Now it's happening TODAY and I'm just a crazy bundle of nerves!  I've tested and retested; I've picked two spots for the bus to park for the shoots; I've looked at ideas, I've reviewed the test photos over and over for how to improve--I've done everything I could to prepare and on one level, I know I don't generally give myself much credit for doing decent work, but I also know I *can* do this, certainly as well as just about anyone else that WE would have hired.  

I plan to use my D7000 primarily, but will have the D5100 as a backup if needed. I've got a 50mm f/1.8 lens, a 17-55 f/2.8 that we ended up renting, and if necessary, could also use my Tokina 100mm f/2.8 or the 70-300 lens, but I don't expect to need either of those. The 50mm worked pretty well for most of the test photos.
I've got two flashes available, but only plan to use one, diffused. I've also got a reflector if I need it, and an assistant lined up to help hold things (although I have a stand for the flash), and to help with posing, making sure people are smiling or looking happy, collars aren't messed up, etc.

This afternoon will almost be like another test run, as we only have two people to do. Tomorrow, I'll have a family of 4 in one shoot, and seven different individuals in the second time frame. Each person will have their own individual featured shoot, with the others serving as "background passengers."

Have I forgotten anything?? Oh yeah, just one thing...WHY did I agree to do this?!?!?!

Okay, taking DEEEEP breaths now...it's going to be JUST FINE...

Seriously, I can't IMAGINE what a basketcase I'd be if I ever lost my mind and agreed to do a wedding!!

That's it...I just wanted to vent and try to de-stress a bit.  You can give advice if you want, or just derail the thread with funny, useless crap that keeps me distracted from thinking too much about it. :lmao:


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## ShooterJ (Jul 16, 2013)

Really.. what's the worst that could happen? It's only your boss... who has some control over your employment... which might be swayed by his like or dislike of you...

Or her ... oooooo... if it's a "she" then mood swings could play into that too...

Well... anyway, I'm sure you won't do anything that would get you fired and forever ruin you as a photographer..

*pat on the back for encouragement*


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## Big Mike (Jul 16, 2013)

This just means that you care about the results....and that's a good thing.  You'll do fine.


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## ShooterJ (Jul 16, 2013)

Damnit... everyone is gonna be nice and make me feel bad now ... ok, ok...

What he said ^^^

:lmao:


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## jamesbjenkins (Jul 16, 2013)

The morning of every wedding I've ever shot, there's a point where I get really anxious about the gravity of my responsibility, how this couple will be looking at these pictures for the rest of their life together, that the work I do that day will be my legacy, my calling card in these people's lives long after I've personally left their lives.

I let that feeling simmer for a moment or two, then I eat it and use it for motivation to kill it that day.

The thought of my work hanging on someone's wall in their home reminding them each time they see it of one of the (hopefully) happiest days of their life is pretty incredible. It's one of the biggest reasons I put up with all the crap that goes with being a wedding photog.

Lots of my photog friends locally say they'd never shoot weddings regularly because it stresses them out. I'm the exact opposite. Shooting a wedding is pure adrenaline. If you miss a shot, IT'S GONE FOREVER. NO REDOS. 

Different strokes for different folks, I guess.


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## PixelRabbit (Jul 16, 2013)

Big Mike said:


> This just means that you care about the results....and that's a good thing.  You'll do fine.



This  you got this covered, breeeeeathe!


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## sm4him (Jul 16, 2013)

ShooterJ said:


> Really.. what's the worst that could happen? It's only your boss... who has some control over your employment... which might be swayed by his like or dislike of you...
> 
> Or her ... oooooo... if it's a "she" then mood swings could play into that too...
> 
> ...




Oh good, thanks. I feel MUCH better now. :lmao:
Fortunately, I'm really not worried about that. I've been here long enough to know what will happen if I screw this up. The worst that's going to happen is we both end up saying "well, THAT was a bad plan" and hiring a real photographer to start over. And if it ruins me forever as a photographer...well, not much of a loss there.


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## ShooterJ (Jul 16, 2013)

LOL.. I was just being me.  In all seriousness, I agree with the above.  If you care enough to consider these things you'll do fine.


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## sm4him (Jul 16, 2013)

Thank you all for your comments! Your perspective and encouragement really help!

And a special thanks for Shooter whose refreshing honesty at least made me laugh out loud. Hey, what's the worst that could happen? They fire me? There's plenty more jobs where THIS came from...
...oh wait. No there's not. CRAP. :lmao:



jamesbjenkins said:


> The morning of every wedding I've ever shot, there's a point where I get really anxious about the gravity of my responsibility, how this couple will be looking at these pictures for the rest of their life together, that the work I do that day will be my legacy, my calling card in these people's lives long after I've personally left their lives.
> 
> I let that feeling simmer for a moment or two, then I eat it and use it for motivation to kill it that day.
> 
> ...



Great perspective! I seem to be stuck in the anxious moment instead of the "use it for motivation" mode... 

I would be FAR more worried if I didn't do this exact same thing before every speaking engagement I have. I lead a women's ministry and do speaking engagements for other area women's ministries and retreats. About 24 hours before the event, I always start thinking the whole thing is a really bad idea and that I'm a terrible speaker and I should just cancel...there is almost always food before these events, and I can never eat anything. Then I start, and the minute I get started, all the nerves and anxiety disappear completely. I'm hoping that how this goes too!


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## ShooterJ (Jul 16, 2013)

Happy to help ... :thumbup: :lmao:


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## vintagesnaps (Jul 16, 2013)

My best friend just did a presentation at a club she's in, had to pack and unpack a ton of stuff and was a nervous wreck etc. etd. and it all went fine. And she got some nice pictures of it too! 

I've done presentations (work related) and beforehand is the worst, once you get going you'll be fine. I think people are pretty understanding if all is not perfection, if you hit a glitch just adjust and continue on and it'll be fine. 

When I was first taking pictures for a local team and got out on the ice for the first time to photograph a pregame puck drop with a celebrity what was the worst that could have happened?? I could have slipped on the ice and landed on my butt in front of thousands of people, that's all! LOL but nothing imagined actually happened and I got my photos and had a blast! 

Just remind yourself to breathe...


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## runnah (Jul 16, 2013)

It's just like making love for the first time. You're all nervous and it will go way too fast and probably be disappointing to both parties. But as time goes on you'll get better and learn what makes you and your partner happy. Eventually you will get to the point where you can knockout a session in no time at all and leave both parties very satisfied.

Of course things will become boring and you'll need to bring in extra equipment and more drama to feel the same excitement you did at first. Heck you might even bring in a second shooter or perhaps just doing sessions in public or with groups. But it won't work and eventually you start looking at other art forms, maybe dabble with painting or throw a pot here and there.


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## DarkShadow (Jul 16, 2013)

Just pretend you shooting Osprey with out wings or talons.


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## KenC (Jul 16, 2013)

I'd be right there with you if I were involved in something similar.  That's probably why I rarely volunteer to do any kind of special project, especially in photography.  By now I'm sure you're in the middle of it, doing fine and not even aware of being nervous.


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## cgipson1 (Jul 16, 2013)

runnah said:


> It's just like making love for the first time.



Really.. Pain, blood and screaming? Wow.. Sharon, you are in for it.... lol!


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## tirediron (Jul 16, 2013)

Mehhh...  based on your previous work, I see no issues.  You'll knock it outta the park!


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## runnah (Jul 16, 2013)

Sharon, watch these.


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## cgipson1 (Jul 16, 2013)

Sharon, your skills far exceed the vast majority of entry-level pro's out there... so you are capable. Your biggest issue will be slowing down and forcing yourself to think about what and how you are shooting. Very common issue with people new to shoots like this. Avoid the urge to spray and pray, hoping that you will get some that will work (this is way too common, as evinced by the 500 image 2 hour sessions on a cd offered by many of a certain ilk (yes.. I said ILK! lol!)

Just slow down... use the skills you have worked on, and you should do ok.


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## sm4him (Jul 16, 2013)

runnah said:


> It's just like making love for the first time. You're all nervous and it will go way too fast and probably be disappointing to both parties. But as time goes on you'll get better and learn what makes you and your partner happy. Eventually you will get to the point where you can knockout a session in no time at all and leave both parties very satisfied.
> 
> Of course things will become boring and you'll need to bring in extra equipment and more drama to feel the same excitement you did at first. Heck you might even bring in a second shooter or perhaps just doing sessions in public or with groups. But it won't work and eventually you start looking at other art forms, maybe dabble with painting or throw a pot here and there.





cgipson1 said:


> runnah said:
> 
> 
> > It's just like making love for the first time.
> ...


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## sm4him (Jul 16, 2013)

DarkShadow said:


> Just pretend you shooting Osprey with out wings or talons.



:lmao: ...and now, I'm gonna go out there to do these shoots and I'm gonna suddenly imagine these people WITH wings and talons. That's awesome! 



KenC said:


> I'd be right there with you if I were involved in something similar.  That's probably why I rarely volunteer to do any kind of special project, especially in photography.  *By now I'm sure you're in the middle of it*, doing fine and not even aware of being nervous.



Oh no...NO such luck. Scheduled for the very end of the workday, just to torture me and prolong the anxiety...
Well, possibly to allow the participants to get here after work, but still... 



tirediron said:


> Mehhh...  based on your previous work, I see no issues.  You'll knock it outta the park!



Thank you for the vote of confidence!



runnah said:


> Sharon, watch these.



I gotta admit, I fully expected that video to be some sort of hilarious parody filled with sexual innuendos, not an actual emotionally-packed, touchy-feeling segment of motivational moments. A couple of them almost made me cry. Almost.  Thanks, runnah!


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## imagemaker46 (Jul 16, 2013)

Once you start to overthink the shoot it is natural to get nervous.  I don't know too many pros that still don't worry about what they are shooting.  I've been doing this a long time and I still get into overthinking and stressing over some shoots.  It will all come together, but it also means the next one will be just a little easier.


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## manaheim (Jul 16, 2013)

runnah said:


> It's just like making love for the first time.



How would you know???


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## manaheim (Jul 16, 2013)

You'll do awesome Sharon!

Key to remember... Only other photographers see 90% of the issues you will see, and you care enough to minimize even those.


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## cgipson1 (Jul 16, 2013)

manaheim said:


> runnah said:
> 
> 
> > It's just like making love for the first time.
> ...



How would Runnah know?


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## runnah (Jul 16, 2013)

manaheim said:


> runnah said:
> 
> 
> > It's just like making love for the first time.
> ...



I learned from watching you! 

Is it normal to cry so much before, during and after?


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## runnah (Jul 16, 2013)

sm4him said:


> I gotta admit, I fully expected that video to be some sort of hilarious parody filled with sexual innuendos, not an actual emotionally-packed, touchy-feeling segment of motivational moments. A couple of them almost made me cry. Almost.  Thanks, runnah!


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## sm4him (Jul 16, 2013)

cgipson1 said:


> Sharon, your skills far exceed the vast majority of entry-level pro's out there... so you are capable. Your biggest issue will be slowing down and forcing yourself to think about what and how you are shooting. Very common issue with people new to shoots like this. Avoid the urge to spray and pray, hoping that you will get some that will work (this is way too common, as evinced by the 500 image 2 hour sessions on a cd offered by many of a certain ilk (yes.. I said ILK! lol!)
> 
> Just slow down... use the skills you have worked on, and you should do ok.



Again, thanks for the vote of confidence; I'm glad SOMEone has confidence in my abilities, since it ain't ME. 

Excellent reminder though, to SLOW down.  I can have a tendency to let careful plans fly out the window and just shoot, shoot, shoot if I get too nervous and forget to just stop and think.
I have a plan, I know the basic sorts of shots I need for each person. The ad campaign is basically "how do you use your commute?" promoting all the things you can do while riding the bus that you can't do if you're driving yourself to/from work.
We have a multitasker, a reader, a people watcher, a student involved in research, a mom who enjoys spending the time with her son, etc.  I have a pretty good idea of how I want to portray each of them, and I've already asked them to bring appropriate "props."

Tonight I'll have more time with each person, if I need it, so I'm hoping that will serve to make me more comfortable and not feel rushed (which is when I can tend to just start clicking away!) and in turn, I'm hoping tonight goes well enough that by tomorrow evening when I've got a lot more people to get through in the same time frame, I won't be nearly as stressed and will still take my time. I really only need maybe 3 or 4 GOOD shots for each person, for us to choose from, and I should have about 15 minutes with each one. Once the first one is done, I shouldn't have to do much in the way of tinkering with settings and flashes, so I'm thinking that will be plenty of time to just concentrate on getting the really good shots, instead of just trying to take 100 shots *hoping* for a few good ones.


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## manaheim (Jul 16, 2013)

(misquote)


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## manaheim (Jul 16, 2013)

runnah said:


> I learned from watching you!
> 
> Is it normal to cry so much before, during and after?



Yes but my wife says not to take her crying personally.


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## baturn (Jul 16, 2013)

Wear camo and waders and pretend they are herons and egrets.


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## squirrels (Jul 16, 2013)

Let us know how it went!
 :smileys:


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## manaheim (Jul 16, 2013)

Monkey!

Oh wait... wrong thread.


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## Steve5D (Jul 17, 2013)

sm4him said:


> That seemed like a better idea when it was still a month away.



I can't begin to tell you how hard this made me laugh...


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## sm4him (Jul 17, 2013)

Day One is in the books. It went...well, it went. I did try to slow down and take my time with the shots, but we ended up using more time than expected, which makes me very concerned about TODAY's shoot, when I've got six people to get through in less than two hours.
One thing that was both good and bad--my boss was there during the shoot. Good, because we could review as we went and be sure I was getting the shots SHE wants, since ultimately, the ones we use are her decision. So now I at least know SHE is happy with what we've got. The downside was that it did take more time, and I ended up shooting more than I would have otherwise because she kept wanting "a few more" in every position.

I had a few issues; most of them were brain-fade problems (you know, those moments when your brain just seems to fade away and turn to mush...) like when the first pictures were too dark, even at something like 1/125 and wide open (2.8 in this case) and it took me longer than I'd care to admit to even THINK about just changing the ISO from where it was set at 100. Good grief...

I also had an issue with the rented lens occasionally seeming like it was missing focus, and also a little CA on a few of the pictures with that lens (Nikkor 17-55 f/2.8). 

But the BIGGEST issue by far, and one that I could use any thoughts, suggestions, opinions on is simply the challenge of shooting ON a bus. It's crowded and narrow and you can't ever seem to get the right angle for anything decent. There are metal bars EVERYwhere, and big windows with distracting elements (both outside elements and things stuck ON the windows like the decal about securing wheelchairs). It seems like no matter WHERE you have the subject sit, there is either a pole in front of them, blocking them, some distracting element behind or beside them, or something appearing to stick out of their head somewhere.

I don't plan to post many of these here, but I think just as an example I can get away with one--this is not necessarily the BEST shot I took or even one we'd be likely to choose, but I chose to post it because it does show a lot of the distracting elements and the bright windows.  There's nothing I can do to *eliminate* these elements (poles, the ugly backs of seats, etc), and we WANT to have it be obvious that they are on a bus, but I'm trying to minimize the distracting elements as best as I can. (EDIT: And yes, my light stand is in the picture here. Like I said, this isn't necessarily my best shot...my assistant had wandered off here, I guess...)



So: If this was what you had as the photoshoot location, what would you do? Any thoughts?

Notes: Almost all of the final pictures will need to be in landscape orientation because of the way the ad design has been done.  Most will be closer crops than the above picture, that's just to show more of the bus interior I'm working with.

Each ad will focus on a different commuter and what they like to do during their commute.  
This afternoon I have two different shoots: first, a family of four that will focus on "heading to Game Day" to watch a UT football game; they'll be decked in Orange and white, I imagine.

In the second shoot, the one I'm concerned about time constraints on, I'll have six people, five separate "shoots":
A mom and her son, who like to read and spend time together on the bus.
A young man who likes to rock out to his favorite music during his commute
A young lady who likes to "people watch."
A business woman who walks to and from her bus stop to get her daily exercise in (she'll be wearing tennis shoes, but otherwise, we'll struggling with how to relay the exercise theme here)
A college student who uses her time to study


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## Big Mike (Jul 17, 2013)

Looks like you're doing pretty well.

As for shooting in amongst all those bars...two options would be to shoot really wide and get close to your subject, or shoot tight with a longer lens, and show less of the subject (probably not the best option).  

But really, the bars are part of the bus and that is part of what you're trying to show.  So as long as they don't ruin the shot (cut across someone's face) they may be OK.  

I don't suppose you could have someone remove one or two bars to give you room to shoot?  

You might even consider removing a bar in post (just try to shoot so that it's not cutting across anything busy or unique).


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## sm4him (Jul 17, 2013)

Big Mike said:


> Looks like you're doing pretty well.
> 
> As for shooting in amongst all those bars...two options would be to shoot really wide and get close to your subject, or shoot tight with a longer lens, and show less of the subject (probably not the best option).
> 
> ...



Shoot really wide but get close to the subject is a good idea. I shot some wide yesterday with the intent of cropping, but didn't really think to go wide and then get closer. I'll experiment with those.

Most of the bars that actually tend to get in the way (the ones closest to the aisles--it's hard to pick the right seats for the subject to sit in, where they don't get obstructed by one of the bars) can't really be removed without a good bit of work. I actually looked at them last night to see if maybe we could get maintenance to take a couple of them down--BUT, we're also using one of the nicer, newer buses, which means the minute we're done shooting the bus needs to get back to the lot so it can be put into service--no time for maintenance to take it back and put the poles back in.

I did have a couple of shots from last night where I was able to place the most distracting pole behind the head and against a pretty simple background (the back of the bus) so that it could be easily removed in post-processing. That worked pretty well for that particular shot.


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## cgipson1 (Jul 17, 2013)

Sharon... I would shoot the location without the subject, exposing for the windows... and then merge that exposure with your subject exposures. Makes for prettier images, unless you are wanting the contrast.

It would be difficult to use flash to expose the subjects while exposing for the background... although it could be done (lighting all the bus evenly would be fun!). Much easier to just shoot the windows separately.


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## snowbear (Jul 17, 2013)

sm4him said:


> There are metal bars EVERYwhere


A hacksaw or oxyacetylene torch will take care of these.  Come to think of it, the torch can also take care of those annoying wheelchair stickers and bosses, as well.  

I think you did well - at least you can see what the problems are and are trying to think around them.  Good luck with the rest of your project.


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## Derrel (Jul 17, 2013)

Well, THAT seat location looks good--plenty of clear, unobstructed view for one person, and an onlooker. So....use "that seat" for two of the pictures, maybe even three of them. It will add some continuity. In the shot shown, it seems like the man's shoe is in the best focus. Yes, I see some green CA around the edges of high-contrast edges.

What I like is that the in-bus overhead fluourescent light fixture is rendered perfectly! The outside windows appear just blown out enough to show "bright light outside", yet still retain the window supports and stuff. Despite the missed focus, the exposure looks okay, but I wish there were a bit more depth of field. I would not use autofocus on these.

MAYBE you could shoot from outside, off a ladder, thru an open window? I dunno. Not sure if that's even possible, and it would be a pain too, but it might allow you some viewing distance and positioning that is JUST NOT possible. Can you get into position in any wheelchair tie-down areas and shoot people in the seats right behind or off to the side of those spots? Are "all" the buses equipped equally, with identical aisles, seats, bars, and poles?

You are facing some simple challenges. Limited space. Limited camera placement options. Can you get the camera "up" at all, using a stepladder or clamp or tripod, anything like that? I dunno...I hope it all works out great. I know you will give it your all, your A-Game!!


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## manaheim (Jul 18, 2013)

Can you mount the camera on a tripod and stick it RIGHT up against the opposing wall of the bus?


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## sm4him (Jul 18, 2013)

Thanks, everyone! I actually got a LOT more help with this than I imagined this thread inspiring; I was mostly just venting my nervousness and anxiety, but you all came through with some things that I think actually helped me improve the shots.

Yesterday's shoots went better than I feared, I think--I was a little worried about the time factor after the first day, but by the second day, I pretty much knew the areas on the bus that would work and the areas that wouldn't, so we didn't have to move them around as much.



Derrel said:


> Well, THAT seat location looks good--plenty of clear, unobstructed view for one person, and an onlooker. So....use "that seat" for two of the pictures, maybe even three of them. It will add some continuity. In the shot shown, it seems like the man's shoe is in the best focus. Yes, I see some green CA around the edges of high-contrast edges.
> 
> What I like is that the in-bus overhead fluourescent light fixture is rendered perfectly! The outside windows appear just blown out enough to show "bright light outside", yet still retain the window supports and stuff. Despite the missed focus, the exposure looks okay, but I wish there were a bit more depth of field. I would not use autofocus on these.
> 
> ...



I don't know WHAT was going on with the focus on that lens. My focus point was the eye, EVERY time, yet sometimes it seemed to focus on the shoe and sometimes on the face of the person behind him.  Actually, I *think* I do know what was going on--I *think* I was not used to the focus ring being so close to the focal-length adjustment, and I'd go to zoom in or out a little and accidentally change focus instead. I think that issue was resolved the first day and the second day's shots were better in that regard.

I did end up using that seat location A LOT, along with one other that seemed to work pretty well for the pensive "looking out the window" shots. At first, I didn't want to use the same two seat locations for everyone, but in the end...who cares? One bus seat is very like another.

Derrel: I do not DO ladders. I especially would not do a ladder while holding my camera and a RENTED lens, trying to shoot.  It's not a fear of heights--I have balance issues due to some inner-ear stuff and I do pretty well just to manage to NOT fall off the ground. :lmao:

However, I WAS able to get some different angles by standing in bus seats in front of the subject or on the other side of the bus, as well as sitting up on a little ledge up at the front of the bus that helped get me up above them. So, for several of them, I've got some pretty decent shots from straight on, as well as shooting up at them, down at them and from the side. We reviewed shots as we went, so I feel confident that--whether anything meets MY standards or not--we have photos of each person that will meet my boss' standards.

I had to go with a narrower DOF than I really wanted to because we wanted people in the background but they needed to be as blurred out as possible. So, I was aiming for the DOF that would get the subject as in focus as possible, while blurring everything right behind them. I didn't do quite as well with that as I'd like, but again, I think the results were pretty passable.



manaheim said:


> Can you mount the camera on a tripod and stick it RIGHT up against the opposing wall of the bus?



I tried the tripod, but could never seem to find a way to make it work well and ended up ditching it.


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## sm4him (Jul 18, 2013)

cgipson1 said:


> Sharon... I would shoot the location without the subject, exposing for the windows... and then merge that exposure with your subject exposures. Makes for prettier images, unless you are wanting the contrast.
> 
> It would be difficult to use flash to expose the subjects while exposing for the background... although it could be done (lighting all the bus evenly would be fun!). Much easier to just shoot the windows separately.




The windows REALLY frustrated me. I kept everyone on ONE side of the bus, because the other side was just TOO bright, with nothing but a white concrete wall which made matters even worse.

I did try your suggestion on some of the shots, but for the most part, the windows are probably just going to be somewhat blown out.  I found it too time-consuming to try to remember to shoot the window separately for every different angle with each subject. Plus, I suspect my exposure-merging skills are pretty subpar...

Again, thanks for all the encouragement and advice!! All in all, I think it went pretty well, AND...at least I did not keel over from a heart attack just from the anxiety of it!!

One more session on Monday with two or possibly three more people, and then it'll be a wrap! I may post one or two pictures here when I get started editing them...


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