How to Shoot From a Moving Platform

Famed photographer and train buff 0. Winston Link had the right idea: when it comes to planes, trains, and automobiles, it's easier to shoot at them than from them. The principal problem for photographers - whether on buses, boats, or B52's - is obvious: even if your vehicle has the suspension of a magic carpet, the risk of blurry pictures due to camera shake or subject motion is always riding with you. Here are a few tips to assure sharp pictures during smooth or bumpy rides.

• Use the fastest film you can. Films with more sensitivity to light give you the option of fast, action-stopping shutter speeds.

• Shoot in shutter priority AE. If your camera offers several AE modes, you may be tempted to choose aperture priority. After all, setting the maximum aperture in this mode would guarantee you the fastest, motion stopping shutter speed possible, right? Think twice before you do it, though, because shooting at your camera's maximum aperture also limits your depth of field. If your subject is out at infinity, minimum depth of field may be acceptable. If your subject is closer in, however, greater depth of field could be crucial, especially if the ride is bumpy enough to prevent you from focusing with any precision. We recommend, therefore, that you don't set the fastest shutter speed, but set one that's fast enough. By doing this in shutter priority, it gives you a motion stopping shutter speed and the greatest depth of field that photographic conditions will allow you.

• Start with 1/500 sec. When shooting in shutter priority, for an average moving platform shot (planes, trains, automobiles, boats, etc.) of a non-moving subject, we recommend a safe shutter speed of 1/500 sec for distant subjects, and 1/1000-1/2000 for nearby ones. Direction counts too: moving towards or away from a subject (rather than crossing laterally in front of it) usually lets you use a slower shutter speed.

• Look ahead. As your moving platform travels forward, keep your eye peeled ahead of you. This lets you see the shots coming and gives you time to set camera controls, focus, frame, and otherwise set up to get your shot.

• Concentrate on distant subjects. Their onfilm images tend to show the blur of camera shake less than nearby subjects.

• Use tripods or monopods - but only when the vehicle is stopped. With the exception of a few spring activated monopods, most of these support systems simply transfer vibrations from the vehicle to your camera. It's better to handhold the camera, and let your body act as a shock absorber between vehicle and camera.

• If you're shooting through a window, a polarizer may cut some reflections. In addition, try placing your lens as close to the glass as possible, and use a rubberized lens shade or your hand to block reflections. Don't press your lens against the glass, however; it will only transfer vibration from the vehicle to your camera - which you don't want. Also, wear dark clothing. It will give you one less reflection to worry about.

• Finally, if you're shooting from public transportation, it helps to have a window seat. As these are often limited and are almost always the first to be taken, move quickly to make early reservations (or get in line first), to assure yourself a picture perfect perch.