The Limbo Connection's photos with the keyword: gravestone

Near the secondary (Combe Park) entrance. The new arrangement of broken kerbs makes this grave appear a bit Greek in character. It is entirely in keeping with the general extravagance and flamboyance of this cemetery. Nikon D40 and AF-S DX Nikkor 18-200mm f/3.5-5.6G ED VRII lens. Focal length 20mm (full frame equivalent 30mm). 400 ISO; f/5; 1/40th. Whilst lacking the clarity of a prime lens, the 18-200mm Nikkor performs strongly and is a pleasure to use. Distortion can be noticeable but is easily corrected when processing. The Vibration Reduction system is spectacular - low shutter speeds hold no fear when using this lens. The Nikon D40, manufactured between 2006 and 2009 and long superseded by several new models, is a joy to use and particularly to carry. It weighs practically nothing. With fewer than 600 shutter actuations, it cost me less than £60 earlier this year. It lacks the latest bells and whistles but does the main job of making images very competently. I set it to under-expose a little; it seems to produce better results that way.

I discovered this broken piece of an 1828 headstone lying flat and almost under the boundary hedge of a country churchyard. Time passes; even stone deteriorates and fractures. Dust to dust, etc. AF Nikkor 24mm f/2.8 on a D700.

After the morning rain, a damp afternoon in a cemetery during autumn, the season of sleep and death. Photographed with a Nikon D2Xs and an AF Zoom-Nikkor 35-70mm f/2.8 lens.

September, 2015: Viewed from a country churchyard. Nikon D2Xs + Nikkor-O.C Auto f/2 35mm lens.

September, 2015: Viewed from a country churchyard. Nikon D2Xs + Nikkor 200mm f/4 AI-S lens on a TC-16A teleconverter.

A warm day in June in a neglected cemetery.

I photographed this at the 18mm end of an 18-55mm lens. In general, I prefer to stand off a bit from my subject, but occasionally it is satisfying to get up close and fill the frame with foreground interest. However, you can't really use this technique on strangers in the street. They tend to be unnerved by it, and rightly so. I turned down the saturation a bit; it seemed somehow inappropriate to make memorials to the departed vivid. I am beginning to think I overdo the saturation a bit generally, but the effect of Fuji Velvia is memorable.