The Limbo Connection's photos with the keyword: cottage

Canon EOS 30D and Chinon 55mm f/1.7 lens, mounted via an M42 - EOS adapter.

Nikon D700 + Micro-Nikkor 55mm f/3.5 AI lens.

Nikon D2Xs + 28mm Nikkor f/3.5 AI lens. Interviewed for ‘Camera & Darkroom’ magazine during the 1980s, Sally Mann (https://en.wikipedia.org/wiki/Sally_Mann) said she had supported her artwork by doing lots of small freelance jobs. For this work she often used a 40mm Zuiko lens on a 35mm camera. She felt that 40mm was "about right." The field of view provided by a 28mm lens on a crop sensor camera is very close to 40mm. Therefore it might suit photographers who felt that, for their purposes, 50mm was a bit too long and 35mm was a bit too wide.

I love chocolates.

Nikon D700 + Nikkor 28mm f/2 AI lens.

The land rises sharply here as the geology changes from the Avon Vale. The Wiltshire and Berkshire Canal, currently under restoration, hugs the foot of the escarpment. Further up is Melsome Wood, a dense deciduous plantation of ancient origin. The local farming is mixed; Thornend does beef, I have observed, and nearby the strong smell of rape will be encountered as the weather warms up. Nikon D2Xs and Tamron 70-210mm F/2.8 LD SP lens.

I bid successfully on eBay for an old Nikkor-H 85mm f/1.8 lens. They made this lens from 1964 until 1975 and then inexplicably replaced it with a lens universally agreed to be its inferior (a bit like the Ford Motor Company when it replaced the Escort in 1990; you can probably think of other good examples of bad marketing). The construction quality, fit and finish of this lens is exquisite. Nothing like this is made now and even the current lens offerings will mostly be gone before this lens breaks. If you want to safely use a lens like this on a Nikon digital camera which isn’t ‘entry level’ you need to check it has been modified to AI compatibility, or you could wreck your camera. None of them was ever made to the new standard which Nikon introduced in 1977. It was a lens like this that David Hemmings used to photograph Veruschka in the studio scenes of the 1966 film ‘Blow-Up’. You can appreciate therefore that owning a lens like this will enhance your style credentials as well as instantly make you a better photographer.

1969.

Canon EOS 40D + Soligor C/D 28mm Wide-Auto f/2.8 lens. The field of view of a 28mm wide-angle lens on a Canon crop sensor camera is 45mm. You get a standard lens experience but with the depth-of-field advantages a wide-angle lens provides.

Nikon D50 + Tamron SP AF 17-50mm f/2.8 XR Di II LD Aspherical lens.

Canon EOS 30D and EF-S 18-55mm f/3.5-5.6 lens.

Nikon D2Xs and AF Nikkor 24mm f/2.8 lens.

The last surviving thatched cottage in Trowbridge, Wiltshire. Nikon D90 and Nikkor 18-135mm f/3.5-5.6G ED DX lens.