A rainy afternoon in Kennebunkport, Maine.

Nikon D200
Tamron 17-50 2.8
CS5
Photomatix HDR

I've got all my ducks in a row. . . .

The thick fog created a seamless background.

OK, here's another one.

Sunrise, Sandwich Marsh, Sandwich, MA. Enjoy

Bird Houses on the Marsh

Here's a scene I captured on my way to Peaks Island in Casco Bay (The harbor at Portland, Maine). That is "Bug" light in the background. Enjoy.

Want to learn everything there is to learn about lighting?

GO to : http://strobist.blogspot.com/2006/02/welcome-to-strobist.html

You won't regret it.

Your 70-200 and your 18-55 are both extremely sharp lenses. Both are frequently used for portraits. Use what you have and you'll find that they will work perfectly.

You might want to set the 18-55 to about 35mm (hold with gaffers tape). That equates to a "normal" lens. Then try it at 55mm which will equal about 82mm. That makes a nice portrait lens.

Your 70-200 will require you to stand back a bit but it will give you a different perspective that is very pleasing. At 70mm it will equal a 105 portrait lens. Pros frequently use this lens for portraits.

I would not buy another lens until I had learned everything those two can do.

Have fun.

Three Trees in Winter

I've bought grey market lens from Adorama & B&H. The primary reason is that the lens is not available in a US model and I needed it. It comes with a one year sellers guarantee. After that, I would send it to KEH, the original seller or a local independent shop that repairs Nikon.

It the lens were something special and available in a US model, I would certainly get the US model. You can't beat a five year guarantee. I recently had a Tamron (6 year guarantee) that required repair in it's third year. Tamron fixed it gratis and it came back better than new.

Here's a trick that has always worked for me: If you've got a nice clear sky (blue) take you meter reading off of the sky and you will be good to go almost all the time.

Check your histogram and make any minor adjustments as needed.

Have fun.

Keep in mind that good glass will always appreciate in value but good bodies will always depreciate as there will always something new and better.
You will replace many bodies over the years, but you will still be using that same good glass.

Here are two "Spyders" that won't break the bank but will do the job.

The 1st is the Spyder 3 Express: http://www.ebay.com/itm/Spyder-3-Express-/320822691474?pt=LH_DefaultDomain_0&hash=item4ab285c692

It will certainly work. I used one for years.

The 2nd is the Spyder 3 Elite: http://www.ebay.com/itm/DataColor-ColorVision-Spyder-3-ELITE-Spyder3-NEW-/230719952697?pt=LH_DefaultDomain_0&hash=item35b7fb1739

It will adjust the monitors brightness continuously throughout the day.

Good luck.

Don't forget to try www.keh.com

I've run into the same thing on large prints. It's usually caused by humidity (which you can rarely control). To solve the problem, I bought a dry mount press on EBay. It paid for itself the first month I had it. I dry mount everything over 11x14. Takes only a few minutes and is very inexpensive (if you do it yourself).

Most of my stuff is sent to various labs. I do some smaller (up to 8x10) stuff at home on an HP6250 Photosmart. My monitor is calibrated. Prints come out great.

Just a suggestion. Many colors of flowers do not reproduce well in digital (and some film) files. I believe it has to do with the reflectivity of some of the ultraviolet rays of some colors. Maybe not.

A simple way to get around this is to use a handheld meter or a gray card. You want to measure the light falling onto the subject rather than the reflected light off of the subject. It doesn't always work but it does work more times than not.


Good luck.