The Limbo Connection's photos with the keyword: love

I saw a scene from a fairy tale and got one shot of it. It is processed so as to accentuate that nuance. I hope their happiness endures.

A chance observation of a charitable endeavour. I don't yet know why the scene reminds me of the work of Sir Stanley Spencer. He once said' "Love is the essential power in the creation of art and love is not a talent. Love reveals and more accurately describes the nature and meaning of things than any mere lecture on technique can do. And it establishes once and for all time the final and perfect identity of every created thing." Another word for "charity" is "love". QED.

Her grandchildren in her back garden, 1987.

Designed by John James & Partners and constructed in 1998. Now occupied by a major TV station. The building follows cues from the Pompidou in Paris but is even more avant garde.

In folklore, cornflowers were worn by young men in love; if the flower faded too quickly, it was taken as a sign that the man's love was not returned.

It seems a long time ago that film processors used the term 'selective enlargement', but it is a perfect description. This is something of a test of the Tamron SP 35mm f/1.8 Di VC USD lens which I used to make the bigger photograph of which this is a selective enlargement. Nikon D700; ISO 200; 1/80th; f/4.5.

I visited Avebury in August after the heatwave had ended. It was a bright day, but not unbearably hot. As I rounded the Devil's Chair en route to the beech clump by the Marlborough Road junction, I chanced upon this couple and impulsively asked if I could take their picture. I'm still getting used to using the 35mm fixed focal length, and my first shot was too much stone, too little people. The second was better, but not much. This was my third and final photograph; the couple remained good humoured throughout and I hurried off lest my intrusion became boring. I can never assess at the time I make a picture if it is going to be good. So many technical things can be wrong; I sometimes find features which I did not notice in the viewfinder; and with people, their eyes can be closed or I accidentally catch a funny expression. I was glad, therefore, that I cheekily persisted for this third shot. I prefer it in black and white.

I visited Avebury in August after the heatwave had ended. It was a bright day, but not unbearably hot. As I rounded the Devil's Chair en route to the beech clump by the Marlborough Road junction, I chanced upon this couple and impulsively asked if I could take their picture. I'm still getting used to using the 35mm fixed focal length, and my first shot was too much stone, too little people. The second was better, but not much. This was my third and final photograph; the couple remained good humoured throughout and I hurried off lest my intrusion became boring. I can never assess at the time I make a picture if it is going to be good. So many technical things can be wrong; I sometimes find features which I did not notice in the viewfinder; and with people, their eyes can be closed or I accidentally catch a funny expression. I was glad, therefore, that I cheekily persisted for this third shot

Bath, Somerset: a wet day at the start of August. Nikon D50 + Tamron AF Zoom 55-200mm f/4-5.6 lens. The detail of the 2012 visit to the city by Kristjana and Hauke was picked out with the aid of a Minolta Close-Up Lens No.1 screwed into the filter ring.

'Summer Poem' by Heather Holden. Note the absence of punctuation. Adrian Henri met Heather Holden, who was raised in Haslingden in the Rossendale valley of Lancashire, in 1964. He was a lecturer for foundation course art in Manchester and she was a student on the course who looked beautiful, painted beautifully, and wrote beautifully. Henri was smitten; Heather was flattered. Henri’s ‘Tonight At Noon’ and ‘I Want to Paint’ are directly about Heather Holden. In Adrian Henri’s early poems, Heather Holden was his muse