The Limbo Connection's photos

Nikon D700 wearing a 200mm Nikkor AI lens. An OK lens but I never had much use for it. This was shot at f/8. It wasn't deliberate, but I got a nice blotchiness in the allium behind the only one anywhere near in focus.

Coca Cola slogans vary in catchiness, but 'Things Go Better With Coke' which was used from 1963-69 is perhaps more memorable than most. Or maybe I was simply more naive and suggestible back then. I haven't drunk it since I saw how efficiently it cleaned a copper coin.

Thanks to the couple who said 'yes'. Later, I had the strangest sensation of having had the privilege of meeting Clark Kent and Lois Lane. Nikon D700 with an AI-converted Nikkor-P 105mm f/2.5 from the early 1970s.

Nikon D700 with a Nikkor 20mm f/2.8 AF-D lens.

Press 'z' and enlarge the picture. Stare into the aperture for a few minutes. Your mind will become clear. Your worries will diminish. Have a nice day. Nikon D700 with a Nikkor 20mm f/2.8 AF-D lens.

Nikon D700 with a Nikkor 20mm f/2.8 AF-D lens. The lens doesn't distort noticeably in normal use - I did that with Lightroom for amusement. Nonetheless, this provides a better view of Venus and Adonis (after Cornelis van Haarlem) by Isaac Seeman (fl.1739 – London 1751) in the Dining Room of Lacock Abbey. Oil on canvas. Approx. 79 x 57 inches. 1746. This painting shows Venus trying to stop her lover Adonis from embarking on a hunting trip. She coquettishly raises her leg to tempt him back, as Cupid hovers above. Venus's fears were fulfilled when Adonis was slain by a boar. Where the earth was stained with his blood, anemones sprouted. The prominence of the parrot, which is painted with a surprising naturalism and which does not appear in the story, is unclear. Perhaps a well-to-do person who originally commissioned the work stipulated that their parrot had to be added to the original. At least it makes it immediately clear that this is a copy.

Nikon D700 with a Nikkor 20mm f/2.8 AF-D lens.

Nikon D700 with a Nikkor 20mm f/2.8 AF-D lens.

The Limbo Connection, O.B.E. Sir Limbo Connection, Bart. Lord Limbo of Connection, Connecticut.

I used a 28-80mm f/3.3-5.6 Nikkor G lens on a Nikon D700 to photograph this domestic scene. I set the aperture at f/8. That is where the lens performs best. This lens weighs a bit less than all the coffee granules in a 200g jar. I drink Nescafe Gold Blend if that helps you visualise it. Just the contents - not the jar. So this lens weighs about the same as a dozen mice, give or take a mouse, if you can round them up and keep them on the kitchen scales for long enough. This lens isn't at its best indoors in poor light. Recommendation 1: Use this lens out of doors on a nice day. There are approximately 1,700,000 of these lenses. This was the kit lens for the Nikon F55, F60, and F65 cameras around the turn of the millennium. It comes in black and silver finishes. I have used both. Currently I have black. Oddly, I prefer silver. Recommendation 2: Buy the colour you like, not the colour the merchant has available. I have sold two previous copies of this lens, believing its cheapness and poor construction quality to be unrepresentative of who I am. Recommendation 3: Know who and what you are. This lens will focus as close as 14 inches. That's about a little finger longer than a 12 inch ruler. That is quite close by ordinary lens standards. Good for pretty flowers in the garden, or a close-up of your cat's nostrils. Ken Rockwell always photographs his expensive wrist watch to demonstrate close focus. But he is wealthy and I am not. If you break this lens, it doesn't really matter. You can probably get a replacement for less than 50 (dollars, euros, pounds). But it's unlikely you'll break it because photographers are mostly careful with their equipment. Recommendation 4: Continue being careful.

This is the boiler room of the coat where the valves are adjusted. Canon EOS 30D and Fujinon 55mm f/2.2 lens.

PARIS autumn ready-to-wear grown-up casual pulled-together stops just above the knee LEATHER youth kick new look

I continue to provide accommodation for an old Nikkor-H 85mm f/1.8 dating from 1971. Occasionally I ask it to pay its rent by pointing it in some random direction. Photographed with a Nikon D700. F/5.6; 1/125th.

I continue to provide accommodation for an old Nikkor-S 35mm f/2.8 dating from 1971. Occasionally I ask it to pay its rent by pointing it in some random direction. Photographed with a Nikon D700. F/8; 1/400th.

Strange things interest me. The past. The future. But seldom the present. For example: would my claim that the three Cream albums could fulfil all my musical needs if I were stranded on a desert island be proved if tested? Camera bags: a bit of a personal fetish. Typography. Jennifer Connelly's nose job. Not gardening, though. Nikon D2Xs and AF Zoom-Nikkor 35-70mm f/2.8 lens wide open at 40mm (a field of view equivalent to 60mm on a full frame camera). 1/250th at 200 ISO.

Black and white. Light and dark. Half full or half empty. Hard or soft.

I tried several lenses to photograph this scene: a 28-80mm cheap zoom, mainly at the telephoto end; a 50mm; a 35mm with image stabilisation and close-focus capability; and an old 55mm macro. I thought the 35mm had the best chance of getting the picture, but in the end it was the 50mm. When I started out in photography it was with a 50mm (well, a 58mm to be exact). On all subsequent cameras I first got a 50mm until eventually digital claimed me and I bought a Nikon D60 with an 18-55mm kit lens. But I soon added a 50mm equivalent to take some proper pictures.

I liked the panoramic aspect but the people dynamic led me to create a selective enlargement.