As the 50 offers slight magnification, it's not perfect by any stretch. As I mentioned, my instructor insisted on single-lens usage for a lot of assignments. I used everything from 28mm, up through and including, the 200mm as "normal". I knew several photographers at the local newspaper. Their "normal" lens was the 105mm f2.5. This was a short telephoto. However, it allowed the photographer to get "up close and personal", without getting up too close and too personal. Since Tri-X was usually pushed to 800 or 1200, the f2.5 aperture worked.

"Normal" is really a misnomer. There are ideal focal lengths for most any shot, and use of a zoom does make the job easier.

Since my photography class was an art elective, it was all about lighting, composition, and exposure. A lot of folks used Yashica TL Electro's, Canon QL RF's, almost any camera that wasn't point and shoot.

Some years ago, either Modern or Popular Photography published a photo of a Nikon with a bullet hole through the lens. The photographer did not survive.

Although the Nikkor 50mm seldom gets much use anymore, it was invaluable when I took photography classes in the '70's. My instructor would insist on us using the 50 for learning how to frame, working out distances, angles, etc. We would get assignments in which we could use only one lens, usually the 50.

It's not a do-all, see-all lens. It is a quite useful tool in learning the basics. Before 35mm became so popular, and fixed lens cameras were the majority of what was sold, people did learn how to use them effectively. That stated, there are an awful lot of bad photos out there taken with a 50, when another focal length would be far better to use.

Wein makes a device which fits your hot shoe, and it protects the circuitry of your camera. All the older handle mount Strobonars have fairly high trigger voltages. I wouldn't risk any modern camera with them.

A Sunset tripod, with a geared center column in the early '70's. The geared mechanism was so poor, that the crank would skip cogs, etc. My dad looked at it, and took it to his maintenance shop, and had a machinist repair it. He ended up making new bushings, gears, etc., and I ended up with a custom-built tripod. Next opportunity was to buy a Leitz Tiltall.

Lesson learned: Never skimp on quality!

After upgrading, in June, from a Nikon D200, to a D500, I realized I needed a FX camera, and it came to me in the D750. Great camera, and I use it most of the time now. It seems I learn something new about it every time I take it out.

After selling my F5, N90s, and FE a couple of years ago, I really missed having at least one film camera. A few months back, I found a mint condition F6. It's in "test mode" with Fujichrome 100 right now. Since I also have a D750, I already have a battery of FX/35mm lenses.

I also use a Mamiya 645 TL, and a C330s for medium format.

After being a bit idle in photography for several years, I decided to dive in again, and upgrade, with a different focus on the art. I bought a D500 and a D750; and added several lenses specific to DX format. I already had a number of FX/35mm format lenses, and have still added a few. No regrets for the chosen format. However, the clarion call of film hasn't gone away, despite having sold all my film equipment a few years ago. I remedied that by locating a Mamiya 645 Pro TL kit, and now I've added a number of lenses for it. I also like shooting a TLR, and a local shop had a very nice C330s, which I bought just for the 6x6 format.

The Mamiya even with a larger screen and split image, is still a bit difficult to use, but I owe that to the laziness of using nothing but AF on the Nikons.

I've gotten some test results back from 120 transparencies scanned, and I'm headed out this week to shoot more film.

Oh, and by the way, 35mm is back in play for me. A local seller had a mint condition F6, and it's getting its initial shake out now.

I've owned both, currently only the 70-200mm f4 VR. I traded in the 80-200 on the 70-200, weight being the prime consideration. Both are excellent optics, but the 80-200 is quite a bit heavier, and I couldn't see any real difference in the images from both (I shot photos with both at the photo shop and viewed on their computer). I added a Vello tripod collar for those occasions when I use a tripod, but mostly it's hand-held. I don't shoot sports or action, so the extra stop isn't a must, and with the D750 or D500, pushing the ISO compensates for the one-stop loss.

The 80-200 is the Humvee compared to the 70-200 SUV.

For me, the color. The b&w gradation is a bit busy, and the background becomes a bit distracting; the color brings out the subtlety in the image, both fore- and background. Normally, I'd go with the b&w because of the "age" of the image, but you've captured the image very nicely!

Nice, especially the view angle!

Even though most don't think of these as "real" lighthouses, they're fascinating to photograph. When the wind howls in off Lake Michigan, they make very interesting subjects. I got soaked more than once trying to "stand my ground".

Before this horse bleeds out, it's always a good idea to have one's flintlock powdered, loaded, and primed, along with a fresh flint in the lock.

Adorama didn't not err, and Helen has gone an extra 100 miles in her attempt to satisfy the customer. Kudos to her.

UPS does have issues with delivery on occasion. That's a fact of a package delivery business.

The customer should have taken a couple of business law courses if he went to college. It's absolutely necessary if you want to survive in the world of business.

The customer's wife should b$%!@ slap him for even mentioning this to her. As an attorney, regardless her specialty, this stuff is taught to 1L's, and it's the basis for contract law, as well as tort law.

The Japanese appropriately named them "Whistling Death".

Did you take into consideration the value of the $7K+ value of the leather case?

The "F" designation on Nikon cameras denotes the Nikon "F" lens mount first introduced in 1959 with the Nikon F. The F mount has survived, mostly intact. With the discontinuance of the Nikkormat, Nikon used FA, FE, etc., to designate their "non-pro" or amateur/enthusiast models, and then the "N" series. In Japan, however, they continued to use the "F" designation for Asian-sold products.

The Japanese, whether in photographic, automotive, or other, doesn't use Webster's or the OED as the basis for naming their models. They will make up words that "sound good" to English-speaking customers. Thus, Honda uses the name "Acura", Toyota uses "Lexus" only because the made-up names had a sound of quality to U.S. customers. They use marketing research extremely well, and seldom make a mistake in naming their products for western-aimed products.