The Limbo Connection's photos with the keyword: perspective

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.

I took the photograph into the early morning sun using an old Nikkor-H Auto 300mm f/4.5 lens on a Nikon D2Xs. There is a lot of flare but I like the compressed perspective and muted colours. This is a fresh edit of the photograph I posted six years ago. I have increased exposure, particularly in the shadows, and made other minor changes. The subject is the flight of locks on the Kennet and Avon Canal at Caen Hill, near Devizes. There are 29 locks providing a rise of 237 feet in two miles.

Nikon D40 + AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G IF-ED lens at 300mm. The full frame equivalent would be using a lens of 450mm focal length. The effect is to make the perspective appear compressed and packed up. Had I taken this photograph with a wide angle lens instead it would have appeared quite different but the perspective would not have altered. Curiously Bob Newman, who is Professor of Computer Science at the University of Wolverhampton, and a photography enthusiast, camera nut, and regular contributor to the magazine 'Amateur Photographer' ('AP') took a more liberal attitude to perspective in 'AP' of 24 August 2019. But think about it: perspective can depend only on where the viewer is and where the thing being viewed is.

Nikon D40 + Nikkor AF-S 70-300mm f4.5-5.6 VR lens. Using this lens at full stretch in combination with a D40 provides the full-frame equivalent of 450mm focal length.

Photographed with an AF-S DX Nikkor 35mm f/1.8G lens on a Nikon D2Xs. 400 ISO; 1/250th; f/5.6. Processed in Lightroom.

Jennings Funfair, Melksham, Wilts. Deserted. Canon EOS 40D and 18-55mm kit lens.

Photographed in Avebury, Wiltshire, using a Nikon D2Xs with a Nikon TC-16A teleconverter and a Nikkor-H Auto 300mm f/4.5 lens from around 1971. The TC-16A is compatible with only a small number of cameras and although Nikon doesn’t officially recognise the D2X as one of them, it nevertheless operates successfully. The Nikkor-H has been factory AI converted, making a functional set of instruments never really envisaged to harmonise. The TC-16A adds 1.6x to the lens it is mated with, so in this case the focal length was 480mm. You really need a fast shutter speed and a bit of stabilisation using a rig this long. I put it on a monopod and the shutter speed was 1/1500th. Mostly you’re forced into using maximum aperture and ISO even in decent light. The results can be mediocre, but now and again you get a sensation of unusual packed perspective. Of course, perspective depends on where you stand, not which lens you use, but you might never choose a tiny area of a picture to enlarge and get this view.

Avebury stone circle, Wiltshire. Tightly framed for perspective effect with a Nikon TC-16A teleconverter between a Nikon D2Xs and a Nikon 75-150mm f/3.5 series E zoom lens at full stretch. Thus the field of view was about 360mm using full-frame as the yardstick.

Photographed with a Nikon D2Xs and a 55mm Micro-Nikkor f/3.5 lens.

Photographed with a Nikon D2Xs and Tamron 17-50mm f/2.8 SP lens.