elle_m

<p>Hello everyone,</p>

<p>I've been very busy this week with some assignments, my "day job" and some family obligations, so I haven't had a chance to read all the responses yet. (I had a bit of a holiday this weekend, so was able to be a bit more active on here then.) However, what I have read has been very helpful and encouraging.</p>

<p>Also, quite a few of you have emailed me with suggestions, which I truly appreciate. It's a little overwhelming, to be honest! I'm very touched so many of you would like to help, though a part of me wonders just how many of you simply want to see my website ;) As I have time over the next few weeks, I will try to respond to those I feel comfortable communicating with.</p>

<p>As a few of you have mentioned, I have valid reasons for staying anonymous on a message board. Some folks are quite alright with the internet in its many forms, and some of us are bit more wary, so I appreciate those of you who have been understanding.</p>

<p>Kevin, I did get your email.</p>

<p>Thanks for all the responses!</p>

<p>Nadine, maybe I will try to contact some of the brides. I had a few interested brides earlier in the year -- a few I even met with -- but they didn't end up booking with me. Perhaps I'll start there. It's not like I'll be losing their business AGAIN.</p>

<p>I was actually pretty strategic in the friends and associates I contacted regarding advice and critiques. I have friends I'm close to who only ever say, "I love your work!" I rarely go to these people for advice -- I don't trust their judgement because they will never say anything critical. They either don't WANT to say something negative, or they don't know enough to do so. So I went to people I have an honest working relationship with. And believe me, when they need to get serious, they do. I'm not opposed to critique -- heck, I spent 4 years having my work torn apart by professors and industry professionals. You get used to it and learn who you can go to in order to grow.</p>

<p>I'll try to answer a few of the other questions as well...</p>

<p>No, I've actually not purchased google ads, though they are relatively cheap, so that's something to consider. I believe my website is supposed to be search engine optimized, though I didn't do it manually - it's supposedly built-in. Perhaps I should investigate this further. Perhaps the system is not ideal...<br>

Key words include "photography" plus my location, venues, style, prominent names, etc.</p>

<p>As I use this site to vent sometimes, I think I'd prefer to not post any of my work or my website, though, once again, I realize that hinders you fine folks in helping me.</p>

<p>Confidence may very-well be an issue. I have a hard time talking myself up in front of others. I feel like I'm bragging. It's a challenge, indeed.</p>

<p>Ted, I'm simply not getting any appointments. I have plenty of students and aspiring photogs contacting me asking for advice, but brides will rarely contact me, and if they do, they never want to set up a meeting -- they want a price list and then they stop returning my emails. Which says to me they are looking for "cheap."<br>

I've had a few appointments: 5 -- 3 booked.<br>

Unfortunately I do not have a photo of my booth. However, I went with a unique approach -- kind of a cozy inviting atmosphere as opposed to a trade-show style set-up.</p>

<p>Thanks again, everyone!</p>

<p> </p>

<p>Hi Cliff and Kevin. Thank you also for your feedback!</p>

<p>Cliff, I didn't sit behind my booth (I think that's Sales 101, no? lol), but I am a more reserved person than others. I am friendly and chatty, but I'm not a "salesman," IYKWIM. Believe me, I've tried so hard to analyze why the booth down the way did better than I did. In fact, I got along swimmingly with all the photographers at the show, and we chatted about our techniques. So far, I'm only able to determine that there's something inherently and irreversibly repulsive about me. I joke, but... that's how I feel.</p>

<p>Kevin, I really appreciate that! I'd love to learn how to re-vamp my marketing efforts. But I feel like I've tried everything short of standing naked on a street corner with a sign above my head lol. I would have thought ONE of my efforts would have paid off by NOW lol.</p>

<p>Anyway, thanks again everyone.</p>

<p>Hi Ted,</p>

<p>Thanks for your thoughts.</p>

<p>I have no idea how I would contact these other brides. It seems rather intrusive on my part, TBH, though I see where you're coming from.</p>

<p>I am only reluctant to change my style, not my business methods. When I say I'm trying to save face, I merely mean I'm trying to maintain a perception that I'm doing well in the community. Perceived failure is not attractive to potential clients.</p>

<p>It seems silly of me to say, "I'm going to start being a photographer who shoots cheesey over-exposed, poorly composed images because that's what sells," as I would never, ever be happy doing that. I became a photographer because it's what I love to do. If I have to do something I find unprofessional, then I'd rather not do it at all and work in retail. I'm willing to grow and change to become a BETTER photographer... not a worse one.</p>

<p>Hi Raymond. Thanks for your reply.</p>

<p>I'll answer your questions in the order you posed them...</p>

<p>1. I have researched my competition to death lol. To be honest, I'm sick of researching them. My prices are comperable, though slightly more expensive. For others, I'm considerably more expensive. I'm not sure HOW some photographers are offering 4 albums, prints, a 12 hour day of shooting, a second photographer and a DVD for just $1000. Let's just say I'm much cheaper than the long-established studios, and slightly more expensive than the newer vendors.</p>

<p>2. I do offer a DVD of images with all my packages. All my packages, except for the least expensive, also include a high-end ablum and prints, a free engagement session, as well as a second shooter.</p>

<p>3. I shoot more than 50-100 images, but MY selections from each wedding typically fit in that category. I tell every client that before they book, so they know where I stand as a professional. A short day will typically produce 100-300 finished images and a long day will produce 250-500 images. I NEVER shoot over 1000 unless it's a really long day with a lot going on. It's a waste of time, IMO.</p>

<p>I think you're right that my competition is doing something I'm not. But I'm out of ideas as to what it is. We advertise in the same outlets, we know many of the same people, etc. etc.</p>

<p>Your last point has crossed my mind before, but I always dismiss it as my ego getting in the way. But it has been suggested to me...</p>

<p> </p>

<p>Hmm... that makes sense, but I'm not sure if it would be the right move at this point. It would feel and be perceived as a demotion, and I'm trying so hard to save face at this point. I'd essentially be putting 12 hours of stressful miles on my equipment for $200 and not getting any creative control, freedom or rights. Which is not why I became a photographer. I'd almost prefer to just give it up and get a second retail job, if it came down to that.</p>

<p>Hello again,</p>

<p>I've been taking a break from photo.net, as I've been focusing on networking, marketing and building up my business and, quite frankly, I found myself coming away from here more discouraged than optimistic.</p>

<p>I really dug in and worked hard the past few months, harder than I've been working these past 3 years, which is really saying something... I can tell you, I'm exhausted. I offered services and freebies to numerous charities and organizations, I networked CONSIDERABLY with personal projects and social events, and I participated in a fairly expensive bridal show that cost me more than it actually made me.</p>

<p>And still... nothing.</p>

<p>For the bridal show I spent the rest of my savings putting a very nice booth together with a number of really nice albums, samples, prints, cards.... I didn't get a single email, sale or inquiry. Meanwhile, the duo down the way from me had a boring trade-show booth, one mac-made album and a couple underexposed prints, and they were bustling. One of the guys had to refer people TO ME because he was so booked up. I put so much effort into the show. I even got my hair and nails done, I dressed nicely and professionally... it was a beautiful, complete package.</p>

<p>I honestly have been racking my brain for weeks trying to figure out what I'm doing wrong. My business is not growing.</p>

<p>I have booked only 3... that's right, THREE weddings this year. Once again, I will be having a long, difficult, hungry winter. And that's including my day job (I work 36 hours a week in addition to my photography business, but the pay isn't very good -- I just keep it because it allows me the flexibility I need to work on my photography).</p>

<p>ALMOST everyone who has booked a wedding has requested quotes well below my mid-range prices, and most people don't even get back to me. I only had ONE client this year book the best package right away and not complain about the cost.</p>

<p>And yet, my competition is THRIVING. They already have 3-5 weddings under their belt this season, their facebook pages boast upwards of 600 fans, and comments on blog posts are always so heartbreakingly complimentary. But their work is mediocre at best. They usually have one or two very nice shots and then the rest are blown out, over-processed, poorly-composed filler.</p>

<p>Not to say that I don't have filler, too (I mean, we all know brides want more, more, more, these days), but I always produce at least 50-100 album-worthy images that tell a complete story.</p>

<p>I have spent many tearful evenings on the phone with friends working in other cities, sending editor acquaintences my portfolios, researching marketing options. But this only discourages me MORE because, even though they do offer a healthy dose of constructive criticism (which is always desired) the feedback is positive, and I'm still left with no answers. In fact, one associate suggested my wedding and portrait work is better than my editorial work (which is where I started and assumed I would succeed). He said if he worked for a wedding magazine, he'd seriously consider hiring me.</p>

<p>So WHAT AM I DOING WRONG? Why am I barely getting by? My prices are fair and suit the quality of my product. I'm a decent photographer. I'm nice and relatively well put-together...</p>

<p>At this point I can only come up with two things (unrelated to photography) which differentiate me from my competition:<br>

1) I am not married nor do I have children, which is rare for women my age where I live.<br>

2) I have a day job in addition to my photography job (however, this does not mean I put in fewer hours, I just distribute them differently throughout the week).<br>

But these seem silly, and I'm likely reading into things... maybe.</p>

<p>Also, my style is more "editorial" than "bubblegum."</p>

<p>Advice? Thoughts? Similar experiences?</p>

<p>I'm not sure where to post this, since it really applies to all categories of photography...</p>

<p>But...</p>

<p>How are you dealing with colour management in a world where your images are being viewed and printed on a vast array of products?</p>

<p>For example, I process all the images on my calibrated mac. I then send them to a client (bride, commercial client, whatever) and they say they look washed out and blue, due to the fact that they're viewing them on an uncallibrated Windowos Vista monitor.</p>

<p>How do you compensate for that when you a) cannot view them on that monitor and b) you will not be printing the photos yourself and therefore have no way of consulting with the printing house on proofing matters?</p>

<p>If I handled all my printing, this would be a moot point, as my entire system would be set up to produce an optimal result. But in many cases where the bride or the client will be doing their own printing at places unknown (whether photo prints, albums, flyers, brochures, posters, etc.) there's just no way you can accomodate every situation.</p>

<p>So... how to resolve this issue?</p>

<p>And even more frustrating to me -- brides gushing over (and sometimes choosing over mine) the underexposed work of my competitors when viewing it on an uncallibrated monitor... but I digress...</p>

<p> </p>

<p>Thanks everyone. I do have some experience in this field, though it's not my business's primary focus. I find in my community, people are often looking for something for nothing, and the professionalism I offer isn't valued, which is why I tend to over-think these things.</p>

<p>On location food photography.</p>

<p>I was just wondering how you handle a client requesting a "test run" to "see what you can do with the situation" even after viewing your portfolio?</p>

<p>I'm inclined to ask for compensation for the time involved, but I know that sometimes you have to "bend over," as my best friend says, to get and keep a client.</p>

<p>I'm not sure how to go forward with this without a) alienating a potentially lucrative client (POTENTIAL being the operative word) and b) avoid feeling (like I SO often do) that I'm just being taken advantage of.</p>

<p>The test run would probably be 6-12 hours of my time, including travel, post production, etc.</p>

 

<p>And I should ad, I'm completely fine with negotiating if I have time to go back and think about it, or if I'm prepared to negotiate (i.e. I've planned options/lowest I'm willing to go/etc. before hand).</p>

<p>I see what you're saying, Nadine. That actually makes sense. Hmmm... I wonder if maybe having one or two packages, and then kind of "build your own" coverage through a la carte items, would work...</p>

<p>Thanks Lilly! In any case, I plan to work on my negotiating skills. I'll never be great at it, but I think I can learn to get by.</p>

<p>Thanks for your thoughts as well, Dave!</p>

<p>Thanks Nadine!</p>

<p>Usually they don't come with suggestions, per se. They just say, "we don't want this aspect of the package anymore, or this. And what if you change this a bit so it's over thataway, and then move this to here.... Oh and we want more of this. How much will it be now?" And they sit there and look at me while I write it all down, silently mocking my calculator lol. Ugh... I think it's because I often deal with corporate big-wigs who are used to heavy-handed negotiation tactics. I, on the otherhand, need time to think about these things. lol.</p>

<p>So packages aren't the typical thing anymore? I thought they made it easy for people, for the most part -- shooting + a freebie of somethingorother + photos + prints + album + + +... = final total. Is a la carte pricing more effective? As in, saying a day of photography will be $x and anything else is an added cost?</p>

<p> </p>

<p>How are you with on-the-spot negotiating? And should this be a skill wedding photographers excel at?</p>

<p>I ask because a few times now, I’ve had clients book a session, but when they show up to sign the contract (which I’ve typically put together based on the session and package they’ve booked), they want to re-negotiate the terms. This has been a surprise, because I’m very careful in my wording to be clear that they have “booked _____________ on ____________ for $_______________ , which will be finalized with the signing of the contract next ___________,” or something to that effect.</p>

<p>Creatively speaking, I’m very adept at thinking on the spot, but mathematically speaking, I am not. I have a learning disability which makes math difficult for me. I have developed methods to accommodate this, but it still shows when I’m under pressure. And it looks unprofessional.</p>

<p>In both cases, when I went over the numbers later, I realized I was taking a pretty big hit.</p>

<p>I guess it kind of irks me because I’ve spent countless hours putting together packages and sessions to be fair to myself and the client, and when a client requests a unique quote, I do the same. So when I’m forced to do some on-the-spot finagling because the client hadn’t made up their mind after all, I buckle. I want them to be happy, most of all, but I also have to think about myself and my business</p>

<p>I will say that the business side of the business is the most stressful for me, but I’m doing alright, especially in an oversaturated market.</p>

<p>Perhaps this is another reason to take another look at this as a career choice? Lots of crappy photographers succeed because they’re good business men. And lots of great photographers fail because they don’t have business instincts. Or perhaps I’m worrying over nothing?</p>

<p>Thanks Nadine!</p>

<p>I think the problem is that I tend to shoot, even if I'm pretty certain the photo won't turn out. Why, I still don't know. My dream is to shoot 500 photos, and deliver 500 photos, but my ratio is not that perfect just yet.<br>

I also have pretty high standards when it comes to post production, so if my contract says I deliver 200 images, I deliver 300 and any more is excess time and hours I'm not being paid for.<br>

I'll see what moments they think are missing, and see if I actually have them, or if they were deleted on-site.</p>

<p>Cheers.</p>

<p>I know this has been discussed on here before, but I'm having trouble finding those discussions through the search field...</p>

<p>What are your thoughts on giving a disc of images that you decided were unfit (not your style, out of focus, people blinking, whatever) after you have already fulfilled (and even exceeded) your contract?</p>

<p>I shot a wedding at the beginning of this past summer for a <em>very</em> discounted rate (long story, but I felt good about the decision). They were very pleased with the images. I thought it was all wrapped up and done with. However, they are now looking for more photos that they feel are missing from the collection.</p>

<p>I'm not sure how I feel about a) taking the time to go through the images AGAIN, process the ones I feel are adequate, and burn another disc (not a task I take on cheerfully, since after countless hours combing through and editing the images the first time, I can say it would be quite tiresome) and b) handing out images I'm not professionally happy with, for whatever reason.</p>

<p>At the same time, I'd like to keep these folks as future clients. Theirs is some of my best, most thorough work to date.</p>

<p>How have you folks handled such situations?</p>

<p>For some strange reason, lately I have a lot of people under 18 contact me to do photos to give as gifts to their parents. I'm assuming it's an expendable income thing.</p>

<p>How do I go about doing these, since they can't very well get their parents' signature for a release/contract?</p>

<p>I don't want to insult these obviously intelligent, mature individuals, but... I need to protect myself and business as well.</p>

<p>I never, ever would have guessed this issue would come up.</p>

<p>Advice?</p>

<p>To be honest, these three instances have come completely out of left field, considering (as I mentioned) I make a point of giving the same amount of coverage to both the bride and groom in terms of what photographs I take. If I take a photo of the bride alone, I take a photo of the groom alone, and so forth.</p>

<p>Thanks again, Nadine! I always try to accommodate requested photos at the time, and I do usually chat with all parties involved, but my job is to fulfill the wishes of the bride and groom first, and anyone else's, as Jerry says, come second, if time permits. Perhaps I will try a new approach in the future, to avoid any similar "complaints."</p>

<p>I spoke to a photographer friend of mine this evening, and she said she's had similar cases. She suggested that it may be a jealousy issue, though I'm not sure about that.</p>

<p>David, you always seem to get in a passive aggressive jab at most posters, myself included. I usually try to ignore your veiled insults... And now I'm almost inclined to just skip over your posts altogether because they make me feel bad. It's unfortunate, because you often have good advice.</p>

<p> </p>

<p>I was wondering if anyone else ever runs into this problem: the bride and groom are excited about the photos -- thrilled, even -- but a few weeks later you get a call from the mother of the groom or a third party with "complaints" (though always very veiled and passive aggressive). The gist is usually that there aren't enough photos of their son, nor enough formal/staged photos, nor enough photos of them.</p>

<p>I've experienced this maybe 3 times over the past season, but can't really figure out why, since a)I try to get ample coverage of both the bride and groom and their families (though the groom's family always seems to be less into it and if they opt out of "getting ready" coverage, the bride automatically gets more) and b)most weddings are focused on the bride anyway -- hard not to miss the gal in white.</p>

<p>Anyone else experience this oddity? Wondering if maybe it's just a random fluke of odds.</p>

<p>Hello Everyone!</p>

<p>Thank you ALL so VERY, VERY much for the kind words, encouragement, sympathy, advice and comradeship. It's obvious that I'm not alone in feeling this way, and that does, in some respects, make it a bit easier. I appreciate that so many took the time to read and reply to my self-involved pity-party!</p>

<p>I apologize for disappearing. Something I didn't mention in my original post is that I also have a 9-5, so on top of finishing up 2010's weddings and trying to do some marketing, I haven't had a chance to respond the way I wanted to.</p>

<p>This is actually part of my problem. I work between 60 and 90 hours a week, and I am no farther ahead financially than I was 3 years ago. I'm exhausted. I'm discouraged.</p>

<p>Neither my 9-5 nor my photography are able to pay the bills on their own. If I dropped photography as a career, I'd have to find another secondary gig to make ends meet, and my photography would suffer. I could actually probably work LESS with a secondary part time job and make MORE... but... that's passion for ya.</p>

<p>I've decided to give it one more year as a professional wedding/portrait photographer, investing as much as I possibly can (time and money-wise) into marketing myself as a unique option.<br>

<br /><br />I may even revisit the editorial sector. I have been paying less attention to that area because I don't live near a major urban market right now, and found the commuting to be both a hindrance and exhausting. Many of my photographer friends are struggling -- good ones, too -- because the market is dying. You REALLY have to stand out these days, as most editors have their go-to artists.<br>

<br /><br />I think, as many of you pointed out, the market here (where I am right now) isn't really able to support "unique," especially with an influx of "cheap." I don't really feel as though I'm at a point to tackle the big markets yet, but I will see how this year goes. If things do not pick up, I will diminish my pro gear and continue with photography as a hobby.</p>

<p>I also wanted to clarify a few things. I never, ever, EVER meant to imply I am "That Good." I tried to be very careful to say that I have LOTS of room to grow. And I want to, which is what I think makes me a good photographer. I've been torn apart by employers and mentors -- in much less-kind ways than I've even seen on here -- and I think THIS is what has helped me to become the 'tog I am. I am not even close to touching the perfectionism I want to reach in my art, but I'm willing to get there and I'm not inclined to just listen to friends and brides say how pretty I make them look... which is one of the reasons I decline from posting work in an online forum.</p>

<p>Of course the emotional me feels like I'll never, ever be GREAT -- that I'm a hack... Oh to not be plagued with crippling self-doubt every other day...</p>

<p>Anyway. Thanks again to you all and best of luck with your own endeavors.</p>

<p>I'm sure a lot of established photographers are feeling this way these days, with a sudden influx of "uncle bobs" taking it "pro."<br /> However, I've only been doing this for a few years, and I'm beginning to wonder if there's even a point in making the effort.<br /> Let me explain why...</p>

<p>First, a bit about myself so you can understand what type of photographer I am since, as I've mentioned in the past, I don't really feel comfortable posting photos of my clients in an online forum.</p>

<p>I'm a professional commercial and editorial photographer, but I enjoy photographing weddings and portraits and, quite frankly, with the magazine industry dying, I kind of saw this as being my final destination in my photography journey. They are also convenient based on my current living situation.</p>

<p>I am not a so-called "Uncle Bob" I have spent a lot of time and money making sure I offer a HIGH END product. If anything, my goal is to offer photography that would be viewed as editorial-quality, and I think I'm at that point, though there is always, ALWAYS room for growth.</p>

<p>I am NOT "The Best" photographer. I know that. I have no delusions of grandeur. But, if I'm going to be honest, and if I'm going to believe my mentors, I am a good photographer. I don't care if that sounds conceited. I'm eager for my next family shoot or wedding to see what new exciting photos I can get... to see how much better I can be. This is my passion.</p>

<p>My photography: I offer clean, emotive docu-style photographs. A few of mentors and/or inspiration include Jose Villa, Kate Headley, Still Motion, Jeff Ascough and Jasmine Star. CREATIVELY, I approach every family shoot or wedding like it was shoot for an editor or art director, but of course with fewer amenities, and of COURSE with the family's desires in mind.</p>

<p>Now onto my discouragement...<br /> Over the past few weeks, I've really started to market my services. Business has been slow. I've had a lot of feedback, but the response is ALWAYS, "your work is amazing, but we don't want to pay that much." This has taken me a bit by surprise. I have raised my prices slightly this season, but only enough so that I can start actually making a decent profit. The last few years I was just breaking even. And I'm even including some CHEAPER options in new areas. I completely re-worked my budget so that I COULD offer less expensive options.</p>

<p>So I did a little sleuthing. I always have my finger on the pulse of the photo industry in my town (it's a pretty small town, capping at about 80,000 I think), and it is bustling. Every week there's a new "professional photographer" advertising their services somehow. There are a handful of good ones -- photographers I admire, whose work I, personally, would be proud off. I would hire them. I view these as my creative competition.</p>

<p>The 70-80 OTHER photographers, are not. They are O.K. (and I'm being generous). Lots of poorly exposed/composed shots, over-editing -- student stuff that mimics pro stuff. Maybe people can't tell the difference?</p>

<p>The thing is, after a bit of this recent research, I've discovered I'm actually considerably CHEAPER than my handful of favs. and only SLIGHTLY more expensive than the O.K. photographers... in some cases, I'm actually cheaper than them in the long run.</p>

<p>So what is the point? I've worked my budget... and re-worked it some more... trying to find ways to make a profit and charge less. I've had some people ask me to shoot their engagement photos for $100. I've done it, since they were friends, of friends, but I didn't tell them that I made about $5 an hour after all was said and done. I shot a few weddings for $500 and made zero dollars (assistant/2nd shooter: $250; travel expenses, extra back-up gear, insurance, gas etc: $300). For reference, my weddings don't go above $3000 and they don't go below $900. My portrait photography is the same type of ratio, but under $300.</p>

<p>I don't know what people are expecting when they email me... "Oh yes, it's only $50 for a 3 hour family shoot, plus countless hours of post work so the images have that style and feel you want to hire me for..."</p>

<p>Sure I could pump out lesser quality work faster, for maybe a bit less, but that's not the kind of photographer I want to be. I want to offer GREAT work. So there is no point. If people want mediocre for a perceivable cheaper price, then...</p>

<p>Well, I'm seriously considering giving up my studio...</p>

<p>Hey John,</p>

<p>My comment was meant in jest, so please don't feel slighted.<br>

Only you know for sure how these dudes were acting, and I can certainly say I've seen my fair share of unprofessional "professionals." You know them when you see them.</p>

<p>I just wanted to point out to everyone in the thread (many of whom were quite critical of diffused flash outdoors) that every photographer has their own unique ways of getting the shot. I know I've tried to replicate certain techniques I've observed, and failed miserably.</p>

<p>If it was ME shooting at that scene, I'd probably bump up the ISO so that I could get an ap. of between f4 and f8 (depending on the number of people being photographed). I'd likely only use the diffused flash if there was any form of backlighting. Otherwise, I'd probably just enjoy the overcast day. OR I'd use a lower ISO and very minimal fill flash with the diffuser.<br>

The reason I don't like to point my flash directly at my subjects, is that I find it too flat.Sometimes it's alright, but others I prefer the diffuser. I don't use a bracket, and the diffuser allows me to control where the light is a bit easier, and it softens it considerably (surprisingly).</p>

<p>Hope that helps your experiments tomorrow.</p>

<p>How quick you all are to judge! What is that joke about photographers and lightbulbs?</p>

<p>I've seen people shooting in ways that surprised me, too. And I've been even more surprised at the amazing results!</p>

<p>To weigh in: I often shoot outdoors with my 580EX and Gary Fong (or similar device) on camera. It provides a more diffused fill than straight flash (either off or on camera), and adds just a slight catch light. I don't typically shoot with a lot of aux. lighting, so I don't want photos to look "lit," most of the time. But sometimes you just need that little "kick," and I've found this to be an easy method of getting it if you're a) strapped for time b) unable to do a proper set-up or c) just wanting very casual, minimal fill.</p>