The Limbo Connection's photos with the keyword: diminishing perspective

Wednesday, 12th March, 2014. Mid-afternoon and a bright spring day, yet quiet considering that Wells is a favourite place for tourists. Too early in the year, with weather being unpredictable and plans better laid for later days.

The purpose of a day out might be simply to avoid a day in.

Wow! Brick wall and fence, in a Diminishing Perspective sandwich: a Sovereign Remedy for Tired Eyes. Or not, as the case may be. 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.

Nikon D2Xs with a Nikkor AF-S DX 18-200mm lens.

Near the secondary (Combe Park) entrance. The new arrangement of broken kerbs makes this grave appear a bit Greek in character. It is entirely in keeping with the general extravagance and flamboyance of this cemetery. Nikon D40 and AF-S DX Nikkor 18-200mm f/3.5-5.6G ED VRII lens. Focal length 20mm (full frame equivalent 30mm). 400 ISO; f/5; 1/40th. Whilst lacking the clarity of a prime lens, the 18-200mm Nikkor performs strongly and is a pleasure to use. Distortion can be noticeable but is easily corrected when processing. The Vibration Reduction system is spectacular - low shutter speeds hold no fear when using this lens. The Nikon D40, manufactured between 2006 and 2009 and long superseded by several new models, is a joy to use and particularly to carry. It weighs practically nothing. With fewer than 600 shutter actuations, it cost me less than £60 earlier this year. It lacks the latest bells and whistles but does the main job of making images very competently. I set it to under-expose a little; it seems to produce better results that way.

I used an AF-S DX Zoom-Nikkor 18-135mm f/3.5-5.6G lens on a Nikon D50 to take this scene. The lens was at 35mm which would be 50mm on full frame. Despite its versatility, I got rid of this lens because I thought there were better alternatives. Given how little it weighed I rather missed it, but the distortion on a picture like this was bad and took some cleaning up in post processing. I probably overdid the post processing a bit in cropping, accentuating the shadows and reducing the saturation, but as I liked the result I have posted it nonetheless. 1/500th at f/11. I forgot the D50 had been set at 1600 ISO but it seemed to behave itself whatever ISO was selected.

Nikon D40 and Tamron SP 35mm F1.8 Di VC lens. The D40 has a crop sensor and so pairing it with a 35mm lens makes using it like the old days of film when you bought a camera with a standard 50mm lens. 200 ISO; f/8; 1/250th.

Photographed with a Tamron AF 70-210mm f/2.8 SP LD lens on a Nikon D700. This lens was in production from 1992 to 2003. Aperture priority; 800 ISO; f/11; 1/500th; lens at 135mm.

The River Avon at Reybridge sometimes bursts its banks and floods low lying land to the east. This timber causeway keeps walkers' feet dry, and separates them from motorised vehicles as an added benefit. Photographed with a Tamron AF 70-210mm f/2.8 SP LD lens on a Nikon D700. This lens was in production from 1992 to 2003. Aperture priority; 1600 ISO (ridiculously high); f/32; 1/250th; lens at 112mm.

Canon EOS 30D + Chinon 55mm f/1.4 lens.

I've photographed this gate hinge at Lacock Abbey several times. It is a perfect subject to showcase depth of field and diminishing perspective simultaneously. Recently I acquired a manual focus 28mm Nikkor lens with a maximum aperture of f/2.Bjørn Rørslett holds this lens in high esteem, listing it amongst the best performing Nikkor lenses. He remarks that it is excellent for DX, FX, and on film, and here I had it on a DX camera where it provides a field of view equivalent to 42mm on a full frame instrument. More normal than wide angle therefore but nonetheless maintaining the characteristics of a wide angle lens such as close focussing ability and great depth of field capability.

Nikon D2Xs + Nikkor 24-120mm f/3.5-5.6 AF-D IF lens. Even on a crop-sensor camera such as the Nikon D2Xs the Nikkor 24-120mm f/3.5-5.6 AF-D IF lens provides a decent range of focal lengths. When this lens was first introduced it was nick-named the 'street sweeper' because it met nearly all photographic opportunities.

Canon EOS 40D and Canon EF 100-300mm f/4.5-5.6 USM lens.

Anita Corbin's 'First Women UK' exhibition was created to mark the centenary of the Representation of the People Act, which granted the vote to women over 30-years old and paved the way for universal suffrage. Nikon D700 + Nikkor 24mm f/2.8 AF lens. ISO 6400; f/2.8; 1/200th.

Things noticed at the margin of a relief road.

Nikon D50 + AF-S DX Zoom-Nikkor 18-135mm f/3.5-5.6G IF-ED lens.

Nikon D700 + Tamron SP 35mm f/1.8 Di VC lens.