The Limbo Connection's photos with the keyword: music

Nikon D700 and Micro-Nikkor 55mm f/3.5 AI lens.

Looking back; Oh, way back - So long ago now - I would say Without a moment's hesit Ation That I have been fascinated With bus stops for Oh, a long long time. With buses, Less so.

The drawer where I store CDs is full; overspill lives in cardboard boxes and redundant camera bags. I suppose I should celebrate the streaming of music which has replaced CDs but just as I was annoyed at having to replace my vinyl collection, I feel similarly robbed by the end of the CD. These two orphan CDs just hang around like guests who won't leave the party. With fewer opportunities for photography during the pandemic, subjects which would never before be considered are getting exposure. I used a Nikkor 28mm f/3.5 lens on a Canon EOS 30D camera.

The full colour version - and uncropped (save for minor straightening) - of an unremarkable street photograph taken in Spring 2016 which has until now languished on a hard drive. Heed the wise words of Old Owl who counsels not to delete photographs too readily*. I like all kinds of aspects of this picture which I failed to appreciate at the time it happened. I even like the lamp post because it helped me place the location to the Antica Restaurant in Argyle Street near Pulteney Bridge. I don't know if it's any good; I try not to get hungry in Bath on account of the inflated tourist level prices. The tall woman appears to be carrying someone's coat and the msf brochure in her hand suggests she and her companions are involved in some way with the Mid Somerset Festival of music which runs events at this time of year in several venues including the nearby Central United Reformed Church and the Guildhall. (I was entirely ignorant of this at the time). The diners inside the restaurant provide another focus although it lacks any meaningful visual clues other than the time of day (just after 2 pm on Wednesday 16th March, 2016). And then there was this photographer in the locality ... Fujifilm FinePix S3 Pro + Tamron 55-200mm f/4-5.6 lens. * Old Owl has remarked elsewhere, "I'm constantly surprised at the way we can, as we gain experience, look at a photograph we deemed to be a failure and discover a picture worth creating. This is also a damned good reason to never delete so-called failures."

Fujifilm FinePix S3 Pro + Tamron 55-200mm f/4-5.6 lens. This is a severe crop resulting in a very small file, made smaller still as a result of conversion to black and white. The Tamron 55-200mm f/4-5.6 lens is not bad. There is no image stabilisation, but that would have been no use here with people on the move, and its omission means a cheaper price and less tech to go wrong. Very good value on the used market. The building houses the Antica Restaurant, Bath.

Nikon D3s and Tamron 35mm f/1.8 lens.

Nikon D2Xs + Nikkor 28mm f/2 AI lens. Interviewed for Camera & Darkroom magazine in the 1980s, photographer Sally Mann said she used Olympus OM cameras, and that, if she were going to do any art work using 35mm film, she would use the 40mm Zuiko. She felt 40mm was ‘about right’. There have never been many 40mm lenses on the market. Professionals tend to prefer 35mm for general work and amateurs have provided the market for the ubiquitous 50mm standard. And for many years now, manufacturers have provided zoom lenses with consumer cameras, and people take photographs without having to move to a better viewpoint. However, one thing the digital crop sensor has done is to breathe some life into the 28mm prime lens, the old wide-angle stalwart from the days when an outfit consisted of 28mm, 50mm, and 135 mm lenses. On a crop sensor a 28mm lens provides a field of view of 42mm (or 45mm in the case of Canon sensors which are even smaller). 42mm is exactly the diagonal of a full frame sensor. It is as normal a viewpoint as it is possible to get for photography. Ah! The joy of being normal!

Nikon D90 + AF-S DX Nikkor 35mm f/1.8G lens wide open.