> I learning from the responses to my post that no doubt I will be wanting more lens in the future.
Beware the slippery slope! Take this from someone still at the bottom of the pit looking up! (See my profile if you're intrepid enough to find out where this can lead...) My advice to a beginner: don't buy anything until you have actually experienced the problem that the potential purchase is intended to solve. For example, in this case, the 18-200 or 18-300. Try things with your 18-105. If you find that you are often thinking "gee, the subject is a little dot in the middle of the frame" you need a longer lens - so then go searching for one. There are nearly 200 lenses now offered for Nikon F mount, and probably close to 400 or so that have been produced since 1959. If one buys things on feared potential, it's easy to end up with a closet full of gear and an empty wallet.
Pros can't really afford to do this, because running into the situation and not having a solution for it quite possibly means not putting food on the table. But for amateurs, missing a shot is an option, and such a policy can save you a LOT of money over time.
> I am very much interested in architecture
Then one thing you should know about is something called optical distortion, such as barrel distortion or pincushion distortion. The all-in-one lenses usually have a fair amount - more than merely detectable. In extreme cases, you can get the horizon or another long straight line to bend like a banana. It's correctable, but you need post processing software to do that. In my experience, it's very occasionally a problem with landscapes (a seascape with a long horizon being the primary example), but with architecture, it is a constant companion. Even many of the high-end lenses (the $1800 24-70/f2.8, for one) have surprisingly large amounts of optical distortion these days. Virtually all of the ultra-wides have this issue too, to varying degrees. Optical designers permit it these days because it is the easiest thing to correct later, so if it comes down to a choice between resolution, versatility or distortion, distortion usually loses.
Full disclosure: I'm not like most people. Within reason, I don't make most decisions based on sharpness. But I ***hate*** seeing barrel distortion, and to me it's like a red flag in front of the bull.
> Regarding a camera bag ... great bag, maybe next time.
Bags are almost worse than lenses. They seem to proliferate in the dark!
_____ Brian... a bicoastal Nikonian and Team Member
My gallery is online. Comments and critique welcomed any time!