Ilaria, I am in NO WAY an expert with this camera! I probably never will be. But I had trouble photographing my paintings, too. I finally had success when I:

1) used tripod
2) set up incandescent photography lights on either side of painting
and turned them until there was no glare
3) switched white balance to "incandescent"

There may be other better ways, but that was what worked for me. The lighting was just a cheap kit with two flimsy tripod stands with sockets and aluminum shades, and two "incandescent lamp" bulbs.

Thank you Alexandra,
I'll try that one, as soon as I'll remember WHERE I put my tripod (shouldn't be that difficult to find it, but I have searched the whole house and I only have a vague memory of thinking once: I'll put it here, and now I just have no idea...).
Also thank you for your comments on the painting, I can see your point very well and am thinking if I want to go all the way with such extensive rework, or perhaps save the lesson for the next work...
Ilaria

Llaria:

If I were you I would remove the "focus closest" setting. You may have to put your dial setting into the "P" mode to do this.

Also, you need to be very careful to keep the surface of the painting perpendicular to the line of site of your lens. This would be especially important if you are in "focus closest" mode. If the painting is slightly tilted back at the top it would be focusing on the bottom close edge, or visa versa.

I have my best luck when I photograph my paintings outdoors under the cover of an awning (shade, not direct sunlight). Another helpful tool is to lay a black cloth behind the painting, such that the only thing that enters your view finder is your painting surrounded by black.

Of course the tripod is a very handy tool for this project.

Mike, thank you very much, I wil try again, today is overcast, thanks to the cloud of smoke over here!

I also find that using spot metering (I have the Nikon D70) aimed at the light side of the face in a portrait gives me a good overall exposure also. I notice the example you indicated seems too washed out and this might help.

I'm considering the D50 but have a question on lens. So far they're all greek to me. If I were to purchase two lens, which ones would you recommend? I do have a limited budget, so please don't suggest a thousand dollar lens.

Jean :bewildere

Hey Jean:

I believe that the D50, like the D70, comes in a kit form which includes an 18-55 mm lens. I think this lens is a good choice for indoor work. Nikon also offers an 55-200 mm lens for about $250. The extra telephoto is my lens of choice when working out of doors.

If I could only have one lens for portrait work it would be the shorter one. While out of doors you can usually walk closer to your subject, but, while indoors you don't always have the option of backing up.

Having both is nice.

Thank you Mike, I really appreciate your advice! When I started reading about all the different lens, I got so confused I gave up. I will go with your suggestion. I like to shoot outdoors because of all the beautiful nature out here, and have wanted a telephoto lens for a long time. Last fall I watched (and tried to photograph) a set of cranes in a field near here and all I have is blurry crane type images. I just couldn't get close enough. But there are too many lens to choose from. Thanks again.

Jean

Like Mike, I also have the D70, and I agree with his recommendation about which lenses to use. I love my camera and I'm sure you'll love the D50 too.

Jean, as you might have read I found difficulties at taking pictures of one of my paintings, which was quite large, but I took very good reference photo with my D50 and kit lens, even in this dreadful January light. Worked very well inside with natural light.
Ilaria