The Limbo Connection's photos with the keyword: hole

Focal length 80mm; f/5.6;1/125th; ISO 900.

Focal length 66mm; f/5.6;1/125th; ISO 800.

You often find this with gates: the hardware is not mounted straight; screws are missing, or replaced by non-matching unsympathetic screws; even, as in this case, the hardware is wider than the post on which it is mounted. Here the carpenter shaved off the left-hand side of the post to match the bevels on three other sides. Yet someone has driven screws into the shaved edge rather than get a smaller latch which would make a better fit. Canon EOS 30D + Chinon 55mm f/1.4 lens.

Posted previously in colour. B&W is an improvement, I think. A macro lens can open up photographic possibilities when you're out and about. I imagine some people carry only a macro lens. According to Mike Johnstone, who was a leading light of the independent quarterly ink-on-paper magazine called 'The 37th Frame' for people who are really "into" photography, they are "Great hobby lenses, as macro photographers are among the only happy photo enthusiasts." Nikon D700 + Micro-Nikkor 55mm f/3.5 AI lens.

Nikon D40 + Nikkor 18-200mm lens at 80mm (equivalent to a field of view of 120mm in a full frame camera). 800 ISO; f/5.3; 1/50th.

Carl Zeiss Tessar 50mm f/2.8. I dare say pretty much any standard 50mm lens could have provided this result, yet I think it is a triumph for an old simple Tessar. Another oddity is that the Tessar - at least this particular version - feels like a perfect marriage with a Canon EOS 30D.

Camera: Fujifilm X-E1. Lens: Fujinon 35mm f/1.4 XF R.

Nikon D40 + Nikkor 18-200mm lens at 80mm (equivalent to a field of view of 120mm in a full frame camera). 800 ISO; f/5.3; 1/50th.

'Soul of the Man' is the B side of 'Rescue Me' by Fontella Bass (1965). Photographed with a Chinon 55mm f/1.4 lens liberated from an old Chinon CX camera of circa 1976 and installed via an adapter on a cheap secondhand Canon EOS 30D digital SLR.

Nikon D300s + Tamron 17-50mm f/2.8 lens.

The oak is not as common as the other deciduous trees in the places I frequent, and so when I saw this pair of leaves I brought them home and photographed them with the Chinon 55mm f/1.4 on a Canon EOS 30D via an M42 - EOS adapter. A Minolta Close-Up Lens No.1 helped with close focus.

Nikon D700 in aperture priority set at ISO 400. AF Zoom-Nikkor 35-70mm f/2.8 lens at 35mm, f/5.6, 1/250th.

Artemis was worshipped as one of the primary goddesses of childbirth. Nikon D300s + Tamron 17-50mm f/2.8 lens.

Nikon D2Xs + Tamron 70-210mm f/2.8 LD SP (67DN) lens.

Nikon D700 + Nikon 75-150mm f/3.5 series E zoom lens.

Photographed with a Nikkor-H Auto 85mm f/1.8 lens mounted via an adapter on a Canon EOS 30D camera.

I bought an old Chinon CX camera from a seller on eBay. I didn't want the camera, I wanted the fast 55mm lens on it. In 1976, when this Chinon model was being sold for around £70, you could pay an extra tenner for a slightly faster lens (f/1.4 instead of f/1.7). Normally that's not a difference worth paying a premium for, but in this case the f/1.4 was almost certainly manufactured for Chinon by the Tomioka company. All these years later the lens is a bit compromised by dust and opacity inside the optics, yet is capable of turning in a decent performance.