It's the patience and persistence that make the good shot. It's really about taking the time to look at a scene and think about the possibilities before raising the camera to the eye. That's what makes the difference. Ken Rockwell (who is a professional) describes the process succinctly with an unforgettable “mnemonic for a creative process,” at http://www.kenrockwell.com/tech/fart.htm This may be where the solo traveler can have an advantage, since he or she need not be distracted by a non-photographer travel companion. Of course, that advantage disappears when the sun goes down, or at meal time.

The other secret to being a “good photographer” is ruthless editing. I typically discard about 90% of the pictures I take. I do the full Photoshop post-processing routine on the remaining 10%, and publish maybe half of those on my Web site. That makes me appear to be a much better photographer than I really am.

In a way, you're perhaps fortunate you couldn't afford the “super-zoom” lens for your D40. An 18-200 range involves optical compromises, usually lack of sharpness at the long end and distortion at the short end. Using two lenses gives you better image quality, at the cost of convenience (I have 12-24 and 28-135mm zooms with a Canon Rebel XT). I mitigate the lens changing problem by making two “passes.” I first explore the possibilities of a location with one lens, and then start over with the other. That's a useful technique, but not a foolproof one. Too often, I'll find a composition that needs the other lens.

I don't keep the camera on a strap around my neck, but in a small camera bag that I call a “man purse.” It's somewhat more discreet that way, and it's easy to get the camera in and out of the bag whenever I need it.