The Limbo Connection's photos with the keyword: chair

Bien sûr. They met outside the front door of the Old Rectory, a Regency building in need of renovation. He had passed her earlier in his car as she walked up the lane a short distance from the bus stop. He made no reference to that; perhaps he had not noticed her in the fine mist enveloping the landscape. She said nothing either. He said this was unofficial. His mate who worked for the agent handling the sale had lent him the key the previous night. He unlocked the door and led her to a large reception room with dustcovers over the furniture. He extracted a couple of chairs and draped his jacket over one of them. He said he would not take long to set up, and placed his camera on the edge of a large table mostly covered by more dustsheets. He indicated the second chair. ‘You can put your clothes on that,’ he instructed. A small cloud of condensation formed in the air by his face as the words left his mouth. It seemed colder inside than out, she thought. He was precise in directing her in the poses he wanted by the window at the end of the room. They worked quickly as the morning light grew stronger. At one point he said he needed to fetch a reflector from the car. He retrieved his coat and put it round her shoulders. ‘Shan’t be long,’ he told her. She shivered whilst waiting for his return with a flimsy-looking contraption which he quickly put in place. She took off his jacket and replaced it on the chair. He took a few more pictures but by now the cold air on her skin was having an effect beyond her control. He announced he had all he wanted. She got dressed while he packed his stuff away. He restored the two chairs to where they had been underneath the dustsheets and indicated that they should now leave. Outside he locked the door and took an envelope from his coat pocket which he passed to her without a word. In a moment he had started his car and left the grounds. She counted the cash inside the envelope before stuffing it into her handbag. On her walk back to the bus stop she again felt the surface of the badly made road through the worn soles of her shoes. She thought the shoeshop would be open by the time she got back to town. There was a rather nice three-quarter length wool coat in Frobisher’s; maybe she could afford that too.

Nikon D2Xs.

A coat, a chair, a Nikon D700 and a Nikkor-H 85mm f/1.8. For a change I got a few settings more-or-less right. The ISO was 200; shutter speed 1/400th; aperture f/2.8.

This was photographed with an AF Zoom-Nikkor 28-80mm f/3.3-5.6G lens, a kit lens of unexpected optical ability, and inexpensive as well.

Photographed using a Canon EOS 30D digital camera (circa 2006) with a Chinon 55mm f/1.4 lens (circa 1976). This photograph shot at 800 ISO.

Micro-Nikkor 55mm f/3.5 AI lens.

Lens: Cosina Cosinon 135mm f/2.8. M42 mount, This photographer identifies it as better on digital than on film by some margin, and speculates why that might be: 35hunter.blog/2017/02/11/with-eyes-reborn It cost me £10 on eBay. The adapter was twice that! Camera: Fujifilm X-E1.

Lens: Cosina Cosinon 135mm f/2.8. M42 mount, This photographer identifies it as better on digital than on film by some margin, and speculates why that might be: 35hunter.blog/2017/02/11/with-eyes-reborn It cost me £10 on eBay. The adapter was twice that! Camera: Fujifilm X-E1.

Offcuts of fabric stacked on a dining room chair. Photographed in available light using a Nikon D2Xs with a Nikkor AF-S DX 18-200mm lens. 95mm; 400 ISO; f/7.6; 1/250th.

Canon EOS 40D + Chinon 55mm f/1.4 lens. The National Trust puts teasels on the chairs lest visitors cause damage. The only property where the policy differs is Avebury Manor where people are encouraged to try out the furniture.

Nikon D2Xs + Nikkor AF-S DX 18-200mm f/3.5-5.6G ED VRII lens. A Limbo Lockdown Production™.

Nikkor-H 85mm f/1.8 lens on a Nikon D2Xs. 100 ISO; f/6.7; 1/125th.

Nikon D2Xs + Nikkor 28mm f/2 AI lens. ISO 100; f/6.3; 1/160th. 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!

Every day she takes a morning bath she wets her hair Wraps a towel around her as she's heading for the bedroom chair It's just another day.

Nikon D2Xs and Tamron Di II SP AF 17-50mm f/2.8 XR LD Aspherical lens.

Nikon D2Xs and Tamron Di II SP AF 17-50mm f/2.8 XR LD Aspherical lens.

Church of St. Mary the Virgin, Steeple Ashton. Canon EOS 30D and EF-S 18-55mm f/3.5-5.6 lens.