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

It was a mystery tour in a cream and red Bedford OB coach. There were people there who wanted to be characters in my forthcoming novel. The coach driver said he'd received an e-mail saying that I had not paid my fare. He drove off and left me here. I thought, 'It's 1956, how could he have received an e-mail?' When my gaze returned to this avenue of trees there was an elderly man with a beard sitting at an easel with a child's paint box, a tin one, like you got at Christmas in 1956. I told him about the e-mail thing while he used up the last of the raw sienna. He shrugged and replied that he had no experience of industrial processes. 'Do you know,' he said, 'I have asked for another paint box like this for my Christmas present this year. But most unfortunately I shall die before the feast.' That man was Claude Monet. His calendar was 30 years out. But he couldn't care less. Note to people of the USA: It is quite illogical to say, 'I could care less', when you mean you don't care at all. Think about it.

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.

Photographed with a Nikon D700 and Nikkor 20mm f/3.5 AI-S lens.

Photographed with an AF Zoom-Nikkor 35-70mm f/2.8 lens made in the late 1980s.

This and other sculptures by Ruth Moilliet are currently on show in The Courts Garden at Holt, Wiltshire. I used an AF Zoom-Nikkor 35-70mm f/2.8 lens made in the late 1980s on a Nikon D700 camera. The old 35-70mm has a macro feature which is handy for this kind of shot.

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

My subscription to ipernity has lapsed. Even though the transfer of the business to a members' association has now been authorised, communication with members is poor. The former management increased the price of subscription shortly before relinquishing the reins; I wondered why that was necessary if he was passing the website to new people. Nor did I think the new price represented particularly good value from my personal point of view. So I am left in limbo with access to only a fraction of my catalogue. Fortunately my photographs are stored elsewhere anyway. I am thinking seriously of deleting my account. Should I do so, I would like to thank the many ipernity members who have warmly and politely exchanged opinions and information with me. The quality of this site is very good, but it is a small community which would benefit from the activity and breadth of experience that more people could bring to it.

This old-fashioned parkland fencing separates a new-ish path between the village and the National Trust car park from the stone circle, and more remote, the village cricket field. Parkland fencing is quintessentially English. It is utilitarian without being ugly. It is designed to last and won't blow over in a gale. It keeps livestock out effectively. Yet no-one really notices it except in an abstract sense of feeling it simply 'fits in'. From a child's viewpoint, parkland fencing is an ideally positioned ladder for moving easily beyond prescribed limits and enabling serious exploration to continue unhindered.

Steam engine at East Somerset railway. Nikon D2Xs + Nikkor 28mm f/3.5 AI lens.

Photographed with a Canon EOS 20D and a 50mm Carl Zeiss Jena f/2.8 Tessar lens.