Cambot mk3 /Lens: 28.0-80.0 mm f/3.3-5.6
Exposure: 0.033 sec (1/30)
Aperture: f/5.6
Focal Length: 80 mm
ISO Speed: 200
Exposure Bias: 0 EV
Flash: No Flash
Window Shade back ground
Florescent lighting
It is something i have been thinking about. I keep coming back to it in my head, must learn more about it
http://www.picturecorrect.com/tips/architecture-photography/
http://www.amateursnapper.com/category/architecture
http://digital-photography-school.com/an-introduction-to-architectural-photography
Anyhoo After a LONG train ride, I arrived at Longbranch, NJ . A beach town, that in the winter, seems Really quite. It was fantastic, there were 4 people on the whole beach as for as the eye could see, at any given time. The morning was a cold but highly enjoyable experience. I learned a lot using all three lenses that I brought with me. Christopher Knapp, Nikon's North Eastern Technical Sales Representative, as he takes you on a tour of the D90, demonstrating the key features and controls of this amazing camera including Picture Control, the Retouch menu, the D-Movie mode and more!On Thursday January 14 2010, i attended Introduction to the Nikon D90 , a class at Unique Photo. The overview was correct. It was a great class with a great mix of people attending. I did not go in as a complete newbie. This class basically affirmed that I was on the right direction with my PhotoFu training. I spent some of the class thinking ‘I know that’ parts of the class going oh ‘I did not know that’, and the rest of the class going ‘oh nifty’. I now have a better understanding of Nikons D-Lighting System . I really want a Nikon MB-D80 Battery grip. I also learned I truly need to put aside cash for a speedlight/flash. I fundamentally learned a lot. The class was well worth it.
“In optics, particularly as relates to film and photography, the depth of field (DOF) is the portion of a scene that appears acceptably sharp in the image. Although a lens can precisely focus at only one distance, the decrease in sharpness is gradual on each side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.” http://en.wikipedia.org/wiki/Depth_of_field The Entry on Wikipedia is a great learning source for this 
I can say I failed in last night’s training. I did not focus completely on the task at hand. I kept screwing around with the lighting instead of just letting it be, and I played with the exposure settings too much, and the raison d'être for this??? MY background and my tripod head. 
Let’s start with the background. I got these nylon backgrounds,which came with my table top photography studio kit thingy. They get wrinkly so easily, but I just HAD to use a white back ground which had wrinkles that could not be ironed out. It was such a distraction. I kept trying to use exposure settings and light to wash it out. FAIL I should of just left it alone. I have to find better backgrounds. Even if they have to be made for me. Sent via the Nikon Learn & Explore
http://www.nikonusa.com/mobile/iPhone/LearnAndExplore
Sent from my mobile device
NEW: What Makes a Great Photo.
"The most important thing I've ever written. Oddly, I don't know if I got it out."
Sent via TweetDeck (www.tweetdeck.com)
Sent from my mobile device
Evening
by William Lisle Bowles
Evening! as slow thy placid shades descend,
Veiling with gentlest hush the landscape still,
The lonely battlement, the farthest hill
And wood, I think of those who have no friend;
Who now, perhaps, by melancholy led,
From the broad blaze of day, where pleasure flaunts,
Retiring, wander to the ring-dove’s haunts
Unseen; and watch the tints that o’er thy bed
Hang lovely; oft to musing Fancy’s eye
Presenting fairy vales, where the tir’d mind
Might rest beyond the murmurs of mankind,
Nor hear the hourly moans of misery!
Alas for man! that Hope’s fair views the while
Should smile like you, and perish as they smile!
Colour is everywhere. We're surrounded by it, we can't avoid it and therefore we tend to take it for granted when we take photos. But take it for granted, and you're likely to end up with mediocre photos. Just because colour is everywhere doesn't mean you shouldn't pay attention to how it affects your images. We see so many average photos each day - in magazines, on the internet, in books - that sometimes it's easy to forget that colour photography can be a magical, evocative medium.
We've put together seven tips to help you get the most out of colour. At the end of the article is a section of links to photographers who use colour to create powerful photos. With a little bit of thought, so can you.
Wow, for such and old discontinued lens, i am impressed, It might become my everyday lens, i have to take it out into the Field. I used it for light box work last night, and really enjoyed it. I am I have some more light box shots to take with it. They pics from this will be seen.
Most digital camera sensors are smaller than film, so any image you see from those cameras is created from a smaller area than film.
The 28-80 mm f/3.3-5.6G AF Nikkor lens is designed for Nikon's range of 35mm and digital SLR camera bodies. This lens is a kit lens that comes packaged with the Nikon N80/F80, Nikon D100, and other kits.
This lens replaces the 28-80mm f/3.5-5.6 AF-D. Its designation as a "G" lens means it has no aperture ring and cannot be used in manual or aperture priority modes on older bodies such as the Nikon F90. They do work fully with these cameras in Shutter Priority or Program mode.
Nothing is more boring for a photographer than paging through a form book of contracts. Nothing is more important for a photographer who derives income from his pictures than having written agreements with his clients.
Hi Gang
We all love making pictures here at DPE . . . and we enjoy sharing what we have learned over the years. In this post, our team (at the time this article was posted) shares with you their top tips – in the order in which they arrived in my in-bin. I’ll update this post as new DPE writers are added. Stay tuned.
Poem: "Cold Poem," by Mary Oliver, from American Primitive (Little, Brown and Company).
Cold now.
Close to the edge. Almost
unbearable. Clouds
bunch up and boil down
from the north of the white bear.
This tree-splitting morning
I dream of his fat tracks,
the lifesaving suet.
I think of summer with its luminous fruit,
blossoms rounding to berries, leaves,
handsful of grain.
Maybe what cold is, is the time
we measure the love we have always had, secretly
for our own bones, the hard knife-edged love
for the warm river of the I, beyond all else; maybe
that is what it means, the beauty
of the blue shark cruising toward the tumbling seals.
In the season of snow,
in the immeasurable cold,
we grow cruel but honest; we keep
ourselves alive,
if we can, taking one after another
the necessary bodies of others, the many
crushed red flowers.
