Photography Basics: Aperture & Shutter Speed // Mornings with Fox 43, WBIR





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Tips for Best Wedding Day Photos | Mornings with Fox 43, WBIR

Hey friends! I’m excited to announce that I’ll be making another appearance on Mornings with Fox 43 this Wednesday morning, July 10, at 8:30am. I’ll be talking with the lovely & fantastic, Abby Ham, providing ‘Tips for Best Wedding Day Photos.” I’m confident it will be a great resource for anyone involved in the wedding planning process, be it brides & family members, wedding planners & other photographers. Also, Wednesday morning, I’ll post my notes from the segment on the blog & stay tuned for a link from the segment that you can pass on to others. Hope you enjoy! Thanks for watching. 




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FAQs Part 1… Camera Equipment & Experience

It appears that many of our readers have questions & we were eager to help provide answers to common questions we receive. Our approach is solely based upon what works best for us, thus, it may not be what is most practical for you. However, this will help you get a better idea of who we are & what we do. It will also reveal more about the mechanics and the fun behind-the-scenes antics that happen around here (intentionally and accidentally). I imagine as this series expands, we’ll find creative ways to answer these questions. Enjoy!

1. What camera equipment do you use?

I’m often asked what equipment I use & that’s a bit of a loaded question. I suppose this Q comes mainly from other photographers. The answer, it depends. It depends upon several variables, (i.e. what type of shoot? am I shooting digital or film? or both? wedding? family? commercial, etc.). However, I do have an ‘essentials’ kit (for digital & film) that accompanies me on every shoot as well as additional equipment for more complex projects, essentially meaning that I take the studio to the client. I let the type of shoot & client preferences help me determine whether I’m shooting digital or film. For example, most commercial & editorial shoots, such as home interiors, the client (often a magazine), prefers high-resolution digital images. For weddings, I tend shoot both.

Digital Kit
I’ll start by unpacking my digital essentials kit; On every digital shoot, I take my Canon 5D Mark III & Canon 1-V w/ battery grip (as a backup or supplement although it’s 35mm film). And in many cases I borrow or rent an additional Canon 5D Mark III as a backup as well. I also take (Pictured: L to R) my 50mm f/1.2, 85mm f/1.2, 24mm T/S f/3.5, & 135mm f/2. For weddings, I often borrow Alan’s 35mm f/1.4 as well, mainly for family formals, a wide auto-focus comes in very handy! As you’ll notice, I do not own a zoom lens. It’s not that I do not think they are useful or easier at times; I made a commitment a few years back that I wanted to take the best photos I could. Prime/fixed lenses are sharper in comparison & I figured I could always ‘zoom with my feet.’ I usually have a Shootsac around my shoulder holding my lenses & have a Thinktank memory card holder & extra battery slipped into the bag pocket. Further, I have my Gossen Starlite Light-meter for shooting film. Here’s an iPhone pic.

Film Kit
You’ll see that some of the items of my digital kit are brought on film shoots. It seems to me that my film setup is a bit bulkier & harder to manage at times, but the extra effort consistently pays off. In addition to the Shootsac, I also bring a larger shoulder Contax camera bag (not pictured) to keep my backup camera, extra film, Polaroid back & 120/220 backs/inserts. Below is an iPhone pic of my film setup. My main camera is a Contax 645. The majority (90% or so) of the time, I’m shooting with the 80mm f/2 Zeiss lens. In addition (L to R), I have the 140mm f/2.8, 120mm f/4 Macro & 55mm f/3.5. I use the zip bags to hold different types of film (I have 3, the largest is not pictured). That way I can keep different film speeds/types separated.

Additional Equipment
I’ll refrain from geeking out & going into too much detail but here’s a list of additional equipment including lighting setups. Much of a photographer’s career is found in the ability to solve problems with lighting. Thus, I always want to be prepared to setup a studio on location if needed, although the majority of my photography is done using available light. The following come in necessary when shooting commercial products, wedding receptions, in-studio portraits, etc.

And, the above does not include all the computer equipment (all Apple of course), portable & desktop hardrives, memory cards & film. Geez, this gets expensive, huh?

2. Did you go to school for photography?

Nope, but I often wish I did. I imagine I would’ve learned some things about the darkroom & printing that I am in the process of & have spent years learning about. I read dozens of books a year on photography & am consistently adding to the library. There are thousands of ways to learn photography these days yet nothing beats standing on the shoulders of fantastic photographers who have paved the way. There is still so much to learn.

However, I did go to school & have a Bachelor of Arts in Religion & Communications, University of Mobile; a Masters in Divinity, Mid-America Baptist Theological Seminary; & spent two years in Ph.D. work in the field of Strategic & Organizational Leadership, Regent University (although I did not complete that degree)… sigh. If you want to hear more about this crazy story, we’ll chat over some coffee. It’s been a crazy journey!

3. Do you offer any other services besides photography?

Yes, in addition to Finch Photography, I own/lead The Visible Group, a marketing & design company. Although I spend most of my time pursuing photography, because it’s awesome, we’ve won numerous design awards that we’re quite proud of. TVG focuses primarily on mixed media design (print/web) & branding. I’m also in process of pursuing a few new biz ventures… stay tuned!

I sure hope this has been helpful. Please don’t hesitate to contact me with questions or comments; I’m glad to help.




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Vendor Spotlight: Limestone Films

The photography industry allows us the opportunity to meet & connect with some of the most wonderful people in the world. Today we wanted to feature a couple who have become some of our dear friends & might I mention that they are fantastic videographers! We’ve had the pleasure of working with the great crew at Limestone Films, Robert & Aston Miles. They are a film and production company based out of Chattanooga that focuses on telling stories about peoples lives. It would highly benefit you to check out their work, click here. Fantastic!

The Limestone Crew accompanied by their beautiful kiddos! L to R, Carson, Robert, Lila & Aston. This beautiful pic taken by one of our fabulous photographer friends, Brittany Moncrief of Moncrief Photography!

We thought you’d love to meet this couple. They are a boat-load of fun & highly professional. If you’re looking for a fantastic videographer for your event, look no further! We’re thankful they took some time to sit down for an interview. Enjoy!

Finch Photo: How long have you been in business?

Limestone Films: We began filming in 2010, so we are starting our third year of telling stories.

FP: What are your business goals? Where do you see Limestone in five years?

LF: Our goal as a business is to be the area’s premier storytelling filmmakers and captivate people through the power of film. With that being said, we’re simple people and at the heart of it all lies God and our family. Our 5‐year goal is to make much of God, spend as much time together as possible, and simply continue to live our dream of telling others’ stories.

FP: What services/products do you offer?

LF: We specialize in storytelling through film, whether that be a couple’s wedding story, a corporation’s business story, or the story of an event that is being documented.

FP: What role do you play in the life of a wedding?

LF: There is so much more that can be told on the wedding day through the power of film and audio that cannot be achieved any other way. The tender moment of a dad whispering how proud he is of his daughter, the moment before he walks her down the aisle, the sweet words a groom says to his bride as they see each other for the first time, those once-in-a-lifetime words from a sibling as they toast and celebrate their new life together. These are the words, the emotions, and the story we want to capture and tell.

FP: What do you enjoy most about working with prospective brides and grooms?

LF: We’re saps for the story. We just love love. We want to hear how they met, how they got engaged, what they are looking forward to in their new life together. Getting to know the couple as much as possible helps us to truly relate the story through film in a personal manner that is fit just for them. On top of that, we love building relationships and new friendships with our couples that will continue way past their wedding day.

Here’s one of their recent weddings… Incredible!

FP: How did your business start? What’s your story?

LF: We began Limestone Films out of a long-standing love for film. When I was young, I (Robert) had a high-school job working at Regal Cinemas. For years after that it was just a hobby. It wasn’t until 2009 that we saw a wedding film online that moved us to tears. We had never seen a wedding story told in such a manner that so emotionally connected us to a couple across the country that we had never even met. From that moment on, we knew that’s what we wanted to do. Ever since we’ve put our heart and soul into learning, training, and growing to make films like that.

FP: Do you see any wedding trends you are excited about? How has your business changed/grown over the past 3 years?

LF: We’re ready for the old-school stigma of “videography” to pass. Te get rid of that picture of an old guy who sets up a 50 lb camera on a tripod in the back and does nothing else. That’s the trend we’re most excited about…people being moved by the power of wedding stories through film. People who then get excited about, and make a priority for, having that kind of film for their day. It’s amazing to see how far you can come in just the three years we’ve been in business. When we started the “stories” we told looked more like music-montage films that anything else. We’ve grown a lot in finding the real story of the couple no matter the situation, and relate that to others. We still have a long way to go and we never want to stop growing.

FP: What is one of your most memorable moments?

LF: I think one of the most memorable moments was the time when the light bulb finally went off in our heads and we said, “Wow, we can actually do this!” We had shot two weddings and they had turned out decent. But we had just wrapped up our first photographer promo and we surprised even ourselves. It was such a key feeling to see the finished product, be proud of what we’d done, and get that final push to say, “Yes! Let’s do this!”

FP: Do you travel for weddings? If so, how far? How does that work?

LF: Heck yes we do! We love to travel. We’ll travel as far as the couple wants to take us. We have an inquiry in the works for a wedding in India that we’re hoping to film. It’s exciting to us to be able to tell stories visually through different countries, cultures, and couples. For us, we love destination weddings because it becomes more of an experience that a one day event. We get to spend even more time with the couple getting to know them, filming more of them, and telling a more compete story of them. Of course, we have to charge a travel fee to cover costs, but other than that it’s business as usual.

FP: Where are you located and what is the best way to contact you?

LF: We’re located in Chattanooga, TN but we can be reached by phone (423.521.0076), email (, or the interwebs on our website at Give us a shout, we’d love to hear your story!

Thanks Limestone for taking the time to chat with us. We love you guys, respect you & admire your passion for people & translating their lives to film. Looking forward to see what you all do next!

And in case you missed it, here’s the Film they did for our Studio Open House!

  1. Jessica / This is so cool Ben! Congrats on the new studio, you're just down the road. May have to visit and perhaps schedule a session for my little man! :)6.02.12 / 7:50 pm

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Gear Guide & Recommendations {Part 2: Lenses}

Weeks ago was my first in a series, Gear Guide & Recommendations {Part 1: Camera Bodies}. Yet, today’s post may be even more fitting as I hope to recommend lenses for any level photographer, from Beginning to Amateur, Advanced Amateur to Professional.

It used to be the case that I’d recommend investing most of your money into lenses & still, in some cases, I’d say the same. However with the advancement of camera body sensors, autofocus & more, you have to consider the body too. That stated, buy as nice of lenses as you can afford; it makes a big difference. Most of the questions I receive from other photographers has to do more with the lens & it’s capabilities than it does the camera body. And, depending on what you want the image to look like, often depends primarily upon the robustness of the lens.

Today I want to offer recommendations on a variety of fixed focal length lenses. Most, with the exception of just a few, I’ve used numerous times & feel confident recommending. All have limits to their abilities, however, there are a few that seem to do everything I ask them to. I don’t own all of these lenses but I will differentiate the ones that I do (*) & regularly use. As well, I’ll try to offer a less expensive alternative when possible. As a note, about 1.5 years ago I made a decision to shoot primarily fixed length (prime) lenses. I found myself desiring to grow as a photographer & was eager for the extra image clarity when shooting with fixed glass. Although it requires more effort, it’s worth the labor. As I often say, I zoom with my feet! It’s proved a tremendous decision. I’ll begin this 3-part series with Part 1: Fixed-focal length lenses, followed by Part 2: Zoom Lenses & Part 3: Specialty Lenses. Further, I’ll look to find the equivalent for those Nikon users out there.

Lenses Part 1: Fixed Focal Length Lenses

Canon 24mm f/1.4L II*
I love so much about this lens. It’s tremendously fast; probably the fastest focusing lens I own. And, it will allow you to photograph with almost two more stops of light than most zooms. Aside from the 35mm 1/4, it may be one of the most ideal photojournalism lenses. I use it often for photographing architecture & interiors, children & families when indoor & restricted by space, & wedding receptions. You’ll notice some slight distortion on the edges if you’re not careful but it is easily manageable for my preferences. If you’re a Nikon shooter, you’ll want to check out the Nikkor 24mm f/1.4G ED.

Description (from Canon USA): Professional wide-angle lens with an ultra-large maximum aperture of f/1.4. This is the first EF lens to employ both a replicated Aspherical lens element to suppress distortion and spherical aberration, and a UD lens element to correct lateral chromatic aberration. Thanks to the floating construction, excellent corner-to-corner delineation is attained from 10 in. (25 cm) to infinity.

A variety of pics I’ve taken with the 24mm f/1.4L II:

undefinedundefinedundefinedundefinedundefined Canon 24mm f/2.8
A less expensive alternative. From Canon, the 24mm f/2.8 is a highly popular wide-angle lens featuring a large aperture. Good for casual snapshots as well as perspective shots. Floating rear focusing system corrects astigmatism and gives high contrast and sharp delineation. The Nikon equivalent is the Nikkor 24mm f/2.8D.

Canon 28mm f/1.8
I’ve found it appropriate to recommend this lens on several occasions. I prefer the build quality over the 24mm f/2.8 plus you get 2 extra stops of light… yes! And, it’s a little tighter than the 24mm, but not as much as the 35mm. If I were a beginner or amateur & could own three relatively inexpensive but robust lenses, it would include the 28mm f/1.8, 50mm f/1.4 & 85mm f/1.8. For the Nikon user, consider the Nikkor 28mm f/2.8.

From Canon, with the large maximum aperture, excellent background blur is possible with fast shutter speeds using the Canon 28mm f/1.8. The aspherical lens element makes the lens compact and corrects spherical aberrations. The image is sharp even at the edges.

Canon  35mm f/1.4
This is one desirable lens. As Henri Cartier Bresson stated, “The 35mm is THE CLASSIC Photojournalism lens.” The 35mm will likely be my next lens purchase. You could spend most of your career with this lens, coupled by the 50 f/1.2. I love the story-telling feel of this lens; I highly recommend it. In fact, if I had not bought the 24mm beforehand, I sometimes wonder if I would have ever purchased it. Nikon has an exceptional lens in their Nikkor 35mm f/1.4G.

Description (from Canon USA): L-series professional f/1.4 wide-angle lens with an Aspherical lens element to correct aberrations. The floating system enables high picture quality to be obtained over the entire focusing range. Autofocusing is quick and quiet with rear focusing and ring USM. Full-time manual focusing is also possible.

Canon 35mm f/2
A nice alternative to the Canon 35mm f/1.4. From Canon, this fast wide-angle lens with a minimum focusing distance of only 0.8′ allows you to approach the subject closer and still obtain a more natural wide-angle effect. Excellent background blur for portraits is obtainable. The Nikon equivalent is the Nikkor 35mm f/2D.

Canon 50mm f/1.2*
Let’s just say that I shoot with this lens 75% of the time; it’s my favorite. Until I recently purchased the 85mm f/1/2, the percentage would’ve been even higher. There are some things that I wish would improve with this lens, such as faster focusing & sharper images wide-open. However, when shooting at f/1.8 or f/2, it is somewhat unrivaled in color, clarity & bokeh (background blur). Plus, it fits my style nicely as it can convey an editorial/fashion feel. It is only limited by it’s focal length & therefore, I use it to shoot anything & everything.

Description (from Canon USA): The EF 50mm f/1.2L USM is a peerless new standard lens featuring an ultra-large aperture for a narrow depth of field and soft background blur so loved by photographers everywhere. The EF 50mm f/1.2L USM is suitable for any shooting situation; its lens coating and construction are optimized to minimize the ghosting and flare that frequently occurs when lenses are used with digital cameras. This high-performance, weather-resistant lens delivers all the superb image resolution and contrast you expect in a Canon L Series Lens.

A few examples of images taken with the 50mm f/1.2:

undefinedundefinedundefinedundefinedundefinedundefinedundefinedundefinedundefinedundefined Canon 50mm f/1.4
If all you had available was around $500 for a lens, without reservation, I’d point you here. It’s normally my first recommendation for beginners & amateurs alike. However, many professionals still keep it in the bag. This lens has most of the features of the 50mm f/1.2 yet at a fraction of the cost. It will look it’s best when shooting at around f/2, allowing you to shoot in less than ideal lighting environments. If you don’t have a 50mm, buy this now! From Canon, the 50mm f/1.4 is a standard lens featuring superb quality and portability. Two high-refraction lens elements and new Gaussian optics eliminate astigmatism and suppress astigmatic difference. Crisp images with little flare are obtained even at the maximum aperture. All Nikon shooters, check out the Nikkor 50mm f/1.4G.

Canon 50mm f/1.8
If you only had around $150, this is your lens. Although the build quality seems rather cheap, you get much more than you pay for. Compared to other lenses, it’s light as a feather. From Canon, the Canon EF 50mm f/1.8 II Autofocus Lens is a lightweight lens at a mere 4.6 oz (113.5 g). This compact and high-performance, standard lens features Gaussian optics that provide sharp delineation from near to far focusing distances. The color balance is excellent for a standard lens. The Nikon equivalent is the Nikkor 50mm f/1.8D. Canon 85mm f/1.2*
I love this lens. It has quickly become a competitor to my 50mm f/1.2. This lens produces the highest quality images I’ve been able to achieve. It is certainly costly & a bit of an indulgence but it will produce stunning portraits of your children or family & wonderful professional headshots. I use it throughout wedding days, especially bridal portraits & low-light ceremonies. It effortlessly pulls your subject off it’s background creating the most wonderful bokeh you’ve ever witnessed.  I’m pretty sure I’d sell my car before parting with this bad-boy. Nikon has a really nice alternative in the Nikkor 85mm f/1.4D IF.

Description (from Canon USA): Retaining the impressive optical performance and large aperture of the original EF 85mm f/1.2L USM, this new medium telephoto lens uses a Ring-type USM, high-speed CPU and optimized algorithms to achieve an autofocus speed approximately 1.8x faster than the original. The high-speed AF and circular aperture create a shallow depth-of-field that brings attention to the subject and blurs the background, which is ideal for portraits and weddings. The floating optical system, which includes an aspherical lens element, suppresses aberrations and ensures excellent imaging performance.

Stay tuned for examples of images taken with the 85mm f/1.2.

Canon 85mm f/1.8
If you’re a man or woman of practicality, this is your lens. An excellent alternative to the pricey 85mm f/1.2. Affordable, fast-focusing & strong build-quality are just a few of it’s strengths. From Canon, the Canon 85mm f/1.8 USM Autofocus Lens is a highly practical medium telephoto lens with superb delineation and portability. Images are sharp and clear at all apertures. Through computer simulations, the lens has been designed to give beautiful background blur. Since the front lens group does not rotate during focusing, special filter effects are not affected. Nikon makes the Nikkor 85mm f/1.8D.

Canon 100mm f/2.8 Macro IS*
My goodness this lens is sharp! I was looking for a somewhat wide-aperture mid-telephoto lens, coupled with IS (Image Stabilization), when I ran across this lens. Plus, the Macro feature is hard to beat for ring shots, flowers, & the tiniest of details. When I began shooting it, I really couldn’t believe how sharp the images. Now, for most wedding ceremonies, you’ll find it in use. And, for the price, it’s quite affordable. To my knowledge, Nikon doesn’t manufacture a comparable lens.

Description (from Canon USA): Canon’s newest “L” series lens is its first mid-telephoto macro lens to include Canon’s sophisticated Image Stabilization. With the highest quality optics available, combined with near-silent Ultrasonic focusing and life-size close-up capabilities without an adapter, the EF 100mm f/2.8L Macro IS USM is simply unrivaled. The Nikon user should consider the Nikkor-Micro 105mm f/2.8 VR.

A few examples of images taken with the 100mm f/2.8 Macro IS:

undefinedundefinedundefinedundefinedundefined Canon 100mm f/2.8 Macro
Since I own the IS version of this lens, I haven’t had a need for this lens, although I hear wonderful things about it. Many friends owned this lens before they came out with the IS version mentioned above. From Canon, the 100mm f/2.8 macro lens will focus over the full range from infinity down to life size (1:1 reproduction ratio). This lens will impress any serious photographer with its combination of versatility, image quality and superb handling. A high-performance ring type Ultrasonic Motor provides fast and silent AF throughout its focus range, and even more significantly, allows full-time manual focusing permitting the close-up or macro shooter to instantly override the AF whenever necessary. For the Nikon user, check out the Nikkor Micro 105mm f/2.8 VR or consider the Tokina 100mm f/2.8 Macro.

Canon 135mm f/2
This is a really fantastic lens. I owned it for a season & now regret selling it, often day-dreaming about it while on shoots. It is certainly on queue to be purchased again in the near future. You can easily shoot at f/2 pretty much exclusively & it happens to be one of the sharpest lenses Canon makes. This is a lens that is optically stunning and it’s focus is much faster than the 85mm f/1.2. I miss it! Nikon makes an equivalent, Nikkor 135mm f/2D.

Description (from Canon USA): The fastest 135mm telephoto lens in its class. Ideal for indoor sports and portraits with background blur. Two UD-glass elements correct secondary spectrum for outstanding sharpness and color. Compatible with Extender EF 1.4x II, 1.4x III and 2x II.

Canon 200mm f/2L IS
Everyone has the right to dream don’t they!? If I could afford a luxury lens, this would be my jewel. Coupled with a low aperture of f/2 & Image Stabilization, gives plenty of reason to spend more cash on this lens than my first vehicle. It’s ideal for indoor sports, theater work, fashion, and candids at events. Just consider the wedding ceremony images this lens could capture… wow! Nikon is well matched with their Nikkor 200mm f/2 G ED VR II.

Description (from Canon USA): This ultra-fast telephoto, a new member of Canon legendary L-series lenses, has totally new optics to provide better image quality. It uses fluorite and UD lens elements for excellent chromatic aberration correction and consists of 17 elements in 12 groups. The built-in Optical Image Stabilizer gives it up to 4 stops of stabilization correction. The inner USM and optimized AF algorithms result in fast and quiet autofocusing, and the circular aperture can even produce beautiful out-of-focus images. This ultra-high-performance lens also improves its durability – better dust- and water-proofing. The EF 200mm f/2L IS USM is outstanding for many available-light applications, including indoor sports, theater work, fashion, and candids at events.

Canon 200mm f/2.8
Back to reality now, the 200mm f/2.8 is a nice length with a fairly wide aperture. For my style, I find any lens that isn’t a f/2.8 or wider is too dark. Because I consistently find myself in low-light situations, I don’t own anything except f/2.8 or faster. I may consider adding this lens on down the road due to it’s focal length, affordability, & somewhat wide-aperture. Nikon boasts their Nikkor 200mm f/2.8 D ED-IF.

Description (from Canon USA): The EF 200mm f/2.8L II USM employs Canon’s famous rear-focus telephoto optical design that delivers outstanding picture quality throughout its entire focusing range. Like its high-end siblings, this lens also uses two ultra-low dispersion glass elements to ensure maximum image sharpness and accurate color fidelity. Canon’s advanced ultrasonic focusing motor & rear focusing design give silent, high speed autofocusing. It is perfectly suited for Canon’s EOS system cameras, placing special emphasis on manual focusing capabilities.

You may be asking, “Is 200mm as wide as you’re going?” As of right now, yes. Because I’m primarily a wedding, lifestyle & editorial photographer, I don’t usually find myself beyond these focal lengths. As you can see, there is no paucity in options. Lenses can be very expensive & in some cases, only worth the extra cash if you’ll have a return on the investment or can afford the nicer equipment. I’m a firm believer to buy the best lenses you can afford. If not, as you grow as a photographer you may find yourself frustrated with the limits of your lenses. When I started investing in fast, high-quality lenses, I was set free from many limits & only rarely find myself prohibited except by my imagination. In the near future I’ll share Part 2: Zoom Lenses. It will be particularly helpful for the majority of my readers who would rather invest in one or two all-purpose lenses. I’ll be glad to recommend my favorites! Stay tuned. Was this helpful? If so, let me know. Thanks!

  1. Jared Wilson Photography / We have very similar tastes. :)4.05.11 / 4:30 pm
  2. DeAnn / Thanks for the recommendations! My friend Heather McElligott introduced me to your blog. I have a Canon 5D Mark II and recently purchased an 85/1.2. I like it alot, but I seem to have difficulty mastering the focus. Any recommendations (other than practice)?4.05.11 / 5:01 pm
  3. Alan Brock / Nice post with good information! Everyone should own a 50mm of some sort.4.05.11 / 6:00 pm
  4. Tommy Botello / A 50mm is a definite must for anyone beginning in photography. Even if it's an inexpensive f1.8, it's great to learn with. In regards to a comparable Nikon Macro lens, Nikon has the 105mm f2.8. / 12:39 pm
  5. Ben Finch / @Jared, thanks my friend, that means I'm in good company! @DeAnn, I just sent you a message, hope it helps! @Alan, thanks, I agree, the 50mm is a staple for me! @Tommy, absolutely... the 50mm is my 1st recommendation & thanks for the link for the 105, I updated it in the post. I appreciate your Nikon knowledge... keep me updated!4.06.11 / 1:15 pm

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