The Limbo Connection's photos with the keyword: distortion

Frank Black remarked in his song 'Jesus Was Right' that 'I like distortion when I bar chord' and whereas I mostly agree with Frank, on a photographic level I dislike distortion quite a lot. So this picture has been sorted out and its predecessor deleted.

I rediscovered this copy of 'She' magazine dated December, 1966. Capriciously I distorted the photograph in processing. The words are nevertheless legible. The woman in the picture (who had no function to perform in regard to the men's coat under review) now looks even more stricken by something. The magazine gave no credit to the photographer. He or she clearly knew their stuff and maybe couldn't care less about acknowledgement beyond being paid. I should like to see more examples of this photographer's work. 'She' was a British women's monthly magazine that ran for 56 years, from 1955 to September, 2011. having been relaunched in 1988 and revitalised in 2005. It was quite good but the magazine industry is cut-throat. It was unintentional, but it seems to me that the effect of distorting the image has been to make the model look a bit like Victoria Beckham, the former Posh Spice.

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.

Lacock Abbey. Fuji X-E1 and Fujinon 35mm f/1.4 lens.

A mirror high on a wall for a purpose as yet undiscovered. The photograph was flipped to make it easier to read the A frame set out cunningly - as are almost all A frame advertising boards - to trip and injure the blind and partially sighted. In England this is a great sport which has replaced bear baiting for our amusement.

Lacock Abbey, Wiltshire. Nikon D2Xs and AF-S DX Nikkor 35mm f/1.8G lens.