Total Fence

I am using a Nikon 75-150mm f/3.5 series E zoom lens on a Nikon D2Xs, which gives an angle of view quite a bit longer than the range on a full-frame camera. Notwithstanding that it must be focussed manually, it represents a bargain for its optical excellence - mine cost £31. Where else can you get 150mm at f/3.5 for such a small sum? With this lens plus a 35-70mm and a 20mm I should be ready for anything when the sun shines again. I have substituted a magnifying eyepiece for the original on the D2Xs. It makes what I see 1.2 times bigger. This is very good for focussing. It is called a Nikon DK-17M. I ought to have bought one years ago.

Today I bought a Nikon D70s, a camera dating from c.2005. The D70 models are some of the few SLR cameras with a CCD sensor. These were abandoned because alternative technology was cheaper. It is claimed that CCD technology provides a particular character of rendering and resolution; a vibrancy not always evident in the CMOS sensors which replaced them. Differences in colour and white balance can be adjusted in post processing, whereas the difference between a faintly antiseptic CMOS and a vibrant CCD cannot be replicated after the shutter has been activated. Zack Arias, a photographer who started out with the D70/70s described the skin tone resolving power of the D70, as “mind-blowing”. (I have yet to risk blowing my own mind). I thought it might be instructive to conduct my own tests, a fairly cheap exercise given the secondhand values of 14 year old digital cameras. I hope my D70 holds up long enough to reach a conclusion! Lens at 70mm. 200 ISO; f/4.5; 1/400th.

Today I bought a Nikon D70s, a camera dating from c.2005. The D70 models are some of the few SLR cameras with a CCD sensor. These were abandoned because alternative technology was cheaper. It is claimed that CCD technology provides a particular character of rendering and resolution; a vibrancy not always evident in the CMOS sensors which replaced them. Differences in colour and white balance can be adjusted in post processing, whereas the difference between a faintly antiseptic CMOS and a vibrant CCD cannot be replicated after the shutter has been activated. Zack Arias, a photographer who started out with the D70/70s described the skin tone resolving power of the D70, as “mind-blowing”. (I have yet to risk blowing my own mind). I thought it might be instructive to conduct my own tests, a fairly cheap exercise given the secondhand values of 14 year old digital cameras. I hope my D70 holds up long enough to reach a conclusion! Lens at 70mm. 200 ISO; f/8; 1/400th.

I thought these railings were interesting on their own, and then this runner hoved into view. Suddenly the picture came to life. Nikon D2Xs and Nikkor AF-S 70-300mm lens at 70mm. 400 ISO; f/8; 1/125th..

I don't think I'm finished photographing these railings yet. Nikon D2Xs and Nikkor AF-S 70-300mm lens at 100mm (like 150mm for the same result with a full frame camera). 400 ISO; f/8; 1/320th. This lens is quite good.

More activity with the 'new' Nikon D40 with its 6MP CCD sensor. In this photograph it is accompanied by the Nikkor AF-S 70-300mm VR lens.

More activity with the 'new' Nikon D40 with its 6MP CCD sensor. In this photograph it is accompanied by the Nikkor AF-S 70-300mm VR lens.

East Somerset Railway, Cranmore. Nikon D40 and AF-S Nikkor 28-200mm VR lens. Shot at a focal length of 62mm (multiply that by 1.5 for the equivalent field of view for a full-frame camera).

Weymouth, Dorset. Photographed with my Nikon D40, a newly-acquired camera, practically new in a carton missing only the kit lens. Not bad for £59. And light as a feather (nearly).

Nikon D2Xs at 400 ISO with an AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G lens. Lens at 80mm (equivalent to 120mm in a full frame camera). Camera in aperture priority and set at f/8. Shutter speed 1/250th.

BR Class 108. BR green. In working order. These were introduced during the late fifties. The East Somerset Railway has custody of this two-car set and on occasions visitors can ride in it. This place is the closest I can get to time travel.

Nikon D2Xs and AF-S Nikkor 18-200mm lens.

Nikon D2Xs and AF-S Nikkor 18-200mm lens.

Nikon D50 + AF-S DX Nikkor 35mm f/1.8G at f/8. You probably can't fail if (a) you are in the Lake District with a camera, and (b) the camera has a 35mm prime lens (or, in the case of full frame, a 50mm prime lens).

A sunlit washing line. A red towel. A Nikkor 200mm AI lens coupled to a TC-16A teleconverter on a Nikon D2Xs camera. Assorted sheds, trees, fences, shrubs. A microcosm.

A 6x4" edit.