The Limbo Connection's photos

I bought a Zenit-E to get the Helios-44 lens which was with it. This is the original lens that the Soviets copied from the Carl Zeiss Jena Biotar 58mm f/2. It's a pre-set lens and takes a bit of getting used to. Received wisdom is to shoot it wide open at f/2 for the distinctive bokeh, but the contrast suffers when you do this. At f/5.6 it becomes a nicer lens to use. The Prayer Book is Victorian, although the year of printing is not given by Cambridge University Press. Nor is the typeface. I should have liked to know both, but for £2 secondhand I can't really complain.

I bought a Zenit-E to get the Helios-44 lens which was with it. This is the original lens that the Soviets copied from the Carl Zeiss Jena Biotar 58mm f/2. It's a pre-set lens and takes a bit of getting used to. Received wisdom is to shoot it wide open at f/2 for the distinctive bokeh, but the contrast suffers when you do this. At f/5.6 it becomes a nicer lens to use. The Helios-44 was on a Fujifilm X-E1 camera set at 3200 ISO and 1/160th shutter. The lens was set at f/5.6.

It is determinedly lo-fi but as a tighter framing of this double exposure it is more representative of what I had in mind. There is a photograph elsewhere in my stream of this charming lady whom I met by chance for anyone who finds this arty approach a bit frustrating. www.ipernity.com/doc/341635/49733028/in/keyword/4725036/self

I bought a Praktica MTL 5 chiefly for the Pentacon 50mm f/1.8 lens it had screwed into it. I've used that lens on a couple of digital cameras, sometimes, but not always, with a happy outcome. I often miss focussing, and (less critically) exposure. But because of misjudgment of exposure, I will occasionally end up with a photograph that I would never have made with a modern lens. This is an example of that.

Lens: Cosina Cosinon 135mm f/2.8. M42 mount, This photographer identifies it as better on digital than on film by some margin, and speculates why that might be: 35hunter.blog/2017/02/11/with-eyes-reborn It cost me £10 on eBay. The adapter was twice that! Camera: Fujifilm X-E1.

It was a Tuesday afternoon during August. The sun shone. August is a time for Philosophy and Growing Up, Far more than any other month.

Fujifilm X-E1 and Carl Zeiss Jena 50mm M42 screw-thread standard lens.

Canon EOS 40D + Chinon 55mm f/1.7 lens.

Travelling on the railways was a different experience when compartments were preferred to open plan. Are there any advantages in open plan? Nikon D2Xs and Tamron SP AF 17-50mm f/2.8 lens.

End of the line - Mendip Vale. We get out and mill around a bit. There does not seem to be a waiting room or restaurant. No lavatories. No magazine stand. No announcements about when the next train is expected. The engine driver waits for the fireman to uncouple the locomotive and undertake switching the points, so that he can couple at the other end. Sometimes the footplate personnel includes ladies. That was hardly ever the case in the 1950s. Fujifilm FinePix S3 Pro with a Tokina 50-135mm f/2.8 lens.

A secondhand Canon PowerShot compact camera bought for no other reason than it would fit into a coat pocket. When framing this scene the camera slipped just as I pressed the shutter. I've posted the picture before, but not in B&W, which fascinates me more and more these days.

East Somerset Railway.

Nikon D700 and Nikkor 70-210mm f/4 AF lens.

Fujifilm X-E1 & Fujinon 35mm f/1.4 lens. Bought three matching plates of differing designs secondhand in Malmesbury. Malmesbury is an enclave for wealthy folk, and so I may have got a bargain. Looks like continental pottery. I photographed it only so I could post the image here and learn from the EXIF data how many shutter actuations the X-E1 (another secondhand bargain) had taken place. I did not learn the number. The X-E1 keeps it secret, if it records it at all.