Selection

Micro-Nikkor 55mm f/3.5 AI lens on a Nikon D3s. A bit of adjustment in Lightroom. 200 ISO; f/3.5; 1/400th because of the breeze.

Canon EOS 40D camera with a Chinon 55mm f/1.4 lens on an extension tube. f/4; 1/90th; 1600 ISO.

This is a new edit of an old photograph which is memorable for being the day I got locked in to the grounds of Lacock Abbey. I recall it was only a few minutes after 5pm but the duty shift was working to rule that evening. It's easy to get out of the Abbey grounds; climbing a fence is all that's involved. I think it was worth the inconvenience to get this sunset. It would be a good idea to sound an alarm at places like this when they are about to close but I suppose that's a bit too obvious. Nikon D700 + AF Zoom-Nikkor 35-70mm f/2.8 lens. 58mm focal length; f/11.

Nikon D2Xs with a Nikkor 28mm f/2 AI lens, made circa 1981, and said by Bjørn Rørslett to be excellent for DX, FX, and on film. Rørslett commented that the lens offers outstandingly sharp images and these are produced at all aperture settings from f/2 to f/8. Rørslett found it unusually resistant to flare and ghosting and eminently suitable for shooting directly into the sun.

Micro-Nikkor 55mm f/3.5 AI lens on Nikon D2Xs.

AF-S DX Zoom-Nikkor 18-135mm f/3.5-5.6G IF-ED lens at 26mm on a Nikon D90. That lens is truly sharp. Significant editing in several applications and a massive crop, the latter turning this into a very small file. Yet it has been instructive in several ways, especially in opening up possibilities for future projects.

I was photographing Pulteney Bridge when this person unexpectedly emerged from the coffee shop, This is a tiny selection from the original photograph rendered in subdued monochrome tones. Photographed in 2010 using a Nikon D50 and 18-135mm f/3.5-5.6 G lens.

During the 1970s amateur photography was dominated by the 50mm lens, partly because that's what came with the new camera you bought, partly because a different or additional lens cost as much as a secondhand car, and mostly because it delivered satisfactory results. You can photograph most things with a 50mm and no 50mm is bad; there are only grades of excellence. This photograph was made with a Nikkor 50mm f/2 on a Nikon D700. It is a modest little thing of quite stupendous resolving ability.

Nikon D2Xs, Nikkor 50mm f/2 AI.

Nikon D700 + Nikkor-O.C 35mm f/2 lens.

Nikon D40 + AF-S Nikkor 18-70mm f/3.5 - 4.5 G DX lens. Inspired by a Bartok string quartet.

People buying fruit and vegetables in the open air, in circumstances where they can reach in and explore the texture and rub the soil remaining on the surface, are doing something pretty primal. There is a dichotomy between what they are doing now and what they did an hour or two previously when they put on designer clothes and elevated sunglasses above their forehead. Metaphorically - and for real - they are returning to their roots. Converted from colour with a Tri-X filter simulation. Tri-X provides a rich, grainy texture and tonal response to certain colours such as skin tones.

Nikon D2Xs + Micro-Nikkor 55mm f/3.5 lens. 100 ISO; f/11; 1/125th.

If you know a cure, please post it in one of the slots. The slot on the right-hand side is better from my point of view.

Nikon D3s + Tamron SP 35mm f/1.8 Di VC USD lens.

Being modelled, a Per Una white linen jacket ex British Heart Foundation, priced at £6.99.

Nikon D700 + AF Zoom-Nikkor 70-210mm f/4 at 90mm.

Photographed using a Fujinon 55mm f/2.2 lens in M42 screw mount on a Fujifilm X-E1 camera via an adapter.