The Limbo Connection's photos with the keyword: fabric

The subject is the Korean-made, Domke-inspired, David Bailey-endorsed canvas camera bag. I photographed it with a 35-70mm f/2.8 lens on a Fujifilm Finepix S3 Pro camera. I have owned this bag for several years, having bought it on eBay for £25. I have never seen another like it, which is surprising considering that David Bailey's initials are embroidered into the fabric at the front. Maybe the bag only ever appealed to photographers whose initials were also 'DB'. The design owes a lot to the Domke F-2 bag although there are a few differences in detail, such as an all-round zip in addition to the dog-clip hardware. However, the Domke canvas is soft cotton, whereas the fabric of the David Bailey version is slightly thinner and resolutely synthetic.

I like blue jeans. They're tough and practical. Best of all, a wallet in one of the front pockets stays put. No other trousers seem to offer this absolute assurance. Tamron SP 35mm f/1.8 lens on a Nikon D3s at 200 ISO; 1/250th; f/8.

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 and Tamron 35mm f/1.8 lens.

I have discovered that the Fuji X-E1 struggles with accurate recording of blue colours. I don't recall this was always a fault. Maybe my X-E1 is too old. In addition, I am reminded of why the Nikkor-H 50mm f/2 lens (used to take this picture) enjoys such a good reputation even long after it has gone out of production.

Fujifilm X-E1 with a 28mm Soligor C/D Wide-Auto f/2.8 lens.

The Meyer-Optik Gorlitz Orestegor 200mm f/4 Zebra dates from the 1960s. Manual, of course. Heavy too - 2.15 kg. Therefore, either a fast shutter speed or a tripod is necessary. {I went for 1/500th and a high ISO). There are 15 aperture blades, and the bokeh wide open at f/4 is highly regarded. The focus throw is very long, especially so when close to your subject. You can be fiddling with the focus ring for a long time trying to get it just right. I should have put it on a tripod; it would have been a better experience. I didn't pay much for it, which is just as well given the frequency I use it. But in a studio and mounted on a tripod, I think it could produce some very attractive portraits. 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.

Photographed with an old M42 screw lens coupled via an adapter to a Canon digital SLR camera. The subject is a camera bag badged 'Miranda' which was an ebay win in 2012 costing £11 and contained a Nikon FG-20 camera, a Vivitar 28mm f/2.8 lens and a Soligor 80-200mm zoom lens. A lucky day for Limbo. In the early 1980s, the British electrical and photographic retailer Dixons acquired the rights to the Miranda brand and used it on a range of photographic equipment.

And now for some photographs revealing what goes on in Limbo Hall. Nikon D700 and Nikkor-S.C 50mm f/1.4 lens (with a factory AI conversion).

I used a Micro-Nikkor 55mm lens to photograph this.

Canon EOS 30D + Sigma M42 80-200mm f4.5 - 5.6 zoom lens. Neither of these costs much now. The lens goes for pennies, sometimes literally, on eBay.

Fabric photographed with a Canon EOS 40D and a Chinon 55mm f/1.4 lens on a short extension tube.

Nikon D2Xs and Tamron SP AF 17-50mm f/2.8 XR Di II LD lens (type A16).