shootdrawwrite

Whenever you can, get different angles, different framing tight to wide, landscape and portrait, of the same scene/subject, work it thoroughly to give your client options. Frame a little loose for flexibility in cropping.

If some of the event is during daytime definitely get all you can then, it sounds like it might be a challenge to get good stuff after dark, but the parade itself might provide something you can work with.

If you have to use flash, try off camera with a cord or wireless, held as far away from the camera as you can reach either above or at 45 degrees or to the side and pointed back at the subject, whatever makes sense, always higher than their nose (nose shadow should always go at least slightly downward, never up).

Journalistic shots = a clear and obvious subject/center of interest, bold compositions, peak action (the most demonstrative moment of a movement or gesture), a story (juxtaposition of subject and scene, what's happening and the people experiencing what's happening; people interacting, emotions, reactions).

Newspapers don't like printing too much black or high contrast, try to keep your shots bright and balanced in terms of exposure across the frame, or snap a brighter alternative to a must-have but dark shot.

As it's for a newspaper that deprioritizes single candids/portraits, they want more of a story--unless it literally is the story, like the mayor or a participant, or if they are themselves a story, like a local celebrity.

Look at similar events from past editions if you can, to see what kinds of pictures they ran.

Really try to avoid providing the client with any previews on the spot if asked, they may just want to know if you got a particular shot, if you did, describe it and reassure them that you got it. Maybe that's just me.

Formally end the coverage with your handler/contact if they are on site, find them or call them (not text) and say thanks, do you need anything else, so they know you're done or in case they have any last minute requests. If they are not on site I usually shoot an (time-stamped) email or text to say I'm done. I do not ask if they need anything else if text is the only way to communicate.

Who is your client and/or what are their expectations? The benefit of knowing what you can ignore is immeasurable. And then, remember to ignore it.

Become familiar with the route and if possible the itinerary. Go there in person ahead of time at the same time of day as the event. It will be hard to line up shots and have them actually occur as planned, it's a moving subject and things just happen (the subject may arrive as scheduled but YOU may not be there at the required moment for whatever reason), don't rely on planning lines of sight (and don't promise them) unless you know exactly where a needed shot will be, or if there is a must-get background, just be ready for anything.

I could shoot the whole thing with just those two primes, barring any required reach or FOV advantage. At 1.2 it just opens up the possibilities, at the expense of depth of field of course, so I would prioritize more shots at a greater subject distance to avoid overwhelming bokeh in every shot for a client that wants to convey the presentation and atmosphere of the event.

Medium teles force you to make space between you and your subject, so manage your working distance--only consider subjects/scenes >X feet away and position yourself accordingly, look for opportunities to layer interesting foregrounds and backgrounds to open up your compositions and create depth and space, compose with bright lit-up backgrounds, and just think on a larger scale in terms of subject distance than a wide-angle would afford, you will see the great shots if that's what you focus on. Of course get the great closer-up bokeh shots too, just don't get hypnotized by aesthetics when the job you need to get done requires more. If you do have a wider lens it's probably larger and not as fast. I would opt for the faster speed and smaller lenses over the greater field of view.

There will be plenty of holiday vibe family and performer portrait opportunities everywhere you look. If these are on your shot list, prioritize a flattering direction of light on the subjects' faces for all portraits. Running around, cuteness abounds and you want to get it all, but if it's a streetlamp directly over their heads it's not going to be a keeper. Get it if that's what you have in front of you, but plan and think ahead of time as you move around where the great light is, everything shot in it tends to also look great, especially portraits.

Get a shot list, underpromise and overdeliver

Wear comfortable shoes that will perform as needed

Keep your hands and batteries warm

Watch out for condensation when moving your equipment from warm to cold air

Take advantage of moments to pause and take in the event without a camera in your face

This sounds fun, good luck.

Yeah, sorry, you have to grind like they did, like we all did. You just have to.

While a customer of mine was renting equipment from me for his small gigs, he was sending postcards to travel magazines. When one of their go-to photographers didn't pick up the phone, he got the call, and now he's working a lot. That's how it works.

A buddy of mine has been shooting California beach lifestyle for years, and still hasn't gotten a call, as far as I can tell from his portfolio.

There are no empty seats. You have to stand until someone gets up.

While you're up there, build your portfolio, build your industry relationships, and spam everyone who does the thing you like, creatively, respectfully, and consistently. Be ready for that call. And have a backup plan in case this doesn't work out. You do seem to have some hustle. Most people don't, and people do notice and remember.

Crazy ex? You're a business, he's (purportedly) a business. You wouldn't be bothering him, he's bothering you by not fulfilling his promise. Do give the benefit of the doubt to a point, shit happens, people go through stuff. Communicate on a human level as much as on a business level.

Reshooting if you have time is definitely an option, sometimes you have to cut bait and move on, I've been hired a few times to reshoot work done by a photographer who ghosted the client—once, it was for school photos!

Working commercial photographer here. I don't have this problem, but maybe refer them to another photographer you would recommend. If they insist because it would be free, well that's just a slap in the face and I would probably stare back at them in silence or change the subject.

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I thought you liked photography? It doesn’t take much time, does it?

"I do. It does." Don't prolong the interaction. Be terse. Be professional all the time: reserve the right to refuse service to anyone for any reason. It's only awkward the first time.

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My schedule is incredibly busy.

This sounds good to me!

Example?

IKR instead of picking me and dragging me down to your level, why don't you call someone who's already down there with you or like you said DIY.

You’re framed really nice between those lamps.

Most people, particularly anyone with a passing fancy for photography, will return the favor of expanding their brain in this manner with a few seconds of their time for your photo. It's not a compliment; it's insight into your process that they can try themselves, or if they already knew it, they will realize you have some idea of what you're doing.