The Limbo Connection's photos with the keyword: Nikkor 24mm f/2.8 AF

Knapweed. Mountain cornflower. Bachelor's Buttons. Perennial cornflower. Centaurea Montana. Nikon D50 and Nikkor 24mm f/2.8 AF lens.

In my photographic endeavours this is the most use the Cokin filters have turned out to be. Nikon D90 and Nikkor 24mm f/2.8 AF lens. 1/125th and f/2.8. 800 ISO.

The much-married Alexander Keiller was born in 1889. When he was nine, his father died, leaving him the sole heir to the great marmalade fortune. He pursued many interests, but the greatest contribution he made was his work in exploring and restoring Avebury Stone Circle.
He arranged for the removal of many of the buildings that were within the circle. Most of the displaced inhabitants were re-located to nearby Avebury Trusloe, which his great wealth enabled to be built from scratch. Keiller's intention was to remove all the modern buildings from within the henge; other events prevented that from being seen through. The buildings that remain within the henge now exist in a juxtaposition with the stones. Some of them appear to be built of materials raided from the stones; the locals developed good techniques for heating the stone and breaking it into small pieces for building. Oddly, it is not considered a particularly good building material by those in the know, but it had the advantage of being readily available. Nikon D2Xs and Nikkor 24mm f/2.8 AF lens.

The much-married Alexander Keiller was born in 1889. When he was nine, his father died, leaving him the sole heir to the great marmalade fortune. He pursued many interests, but the greatest contribution he made was his work in exploring and restoring Avebury Stone Circle.
He arranged for the removal of many of the buildings that were within the circle. Most of the displaced inhabitants were re-located to nearby Avebury Trusloe, which his great wealth enabled to be built from scratch. Keiller's intention was to remove all the modern buildings from within the henge; other events prevented that from being seen through. The buildings that remain within the henge now exist in a juxtaposition with the stones. Some of them appear to be built of materials raided from the stones; the locals developed good techniques for heating the stone and breaking it into small pieces for building. Oddly, it is not considered a particularly good building material by those in the know, but it had the advantage of being readily available. Nikon D2Xs and Nikkor 24mm f/2.8 AF lens.

On this day in history: I travelled across the county and part-exchanged a Benbo Trekker tripod for a Nikon MB-D10 grip to fit my Nikon D700. Returning, I stopped at Avebury and took a few photographs, using just two lenses: 24mm and 50mm. This one was shot with the 24mm. Shooting with the D700 was a bit like when the automatic focus multi-mode instruments came in during the late 1980s except it was digital and the AF was much better. It was like Christmas and birthday and holiday all rolled together.

Nikon D50 and Nikkor 24mm f/2.8 AF lens, giving a field of view akin to 35mm on full frame. Aside from the excellent colour rendition provided by the D50, it was the last of the entry-level digital Nikons capable of providing the automatic focus mechanism for screw-driven AF Nikkors.

Converted to B&W. Nikkor 24mm f/2.8 AF lens.

Nikon D700 with a Nikkor 24mm f/2.8 AF lens.

Nikon D700 and Nikkor 24mm f/2.8 AF lens. 1/400th, f/11, ISO 200.

Nikon D700 and Nikkor 24mm f/2.8 AF lens. 1/320th, f/11, ISO 200.

No baptisms or weddings here. Photographed with a 24mm Nikkor f/2.8 AF on a Nikon D2Xs, a crop sensor camera where 24mm equates to something like 35mm on full frame. 1/250th at f/5.6; 200 ISO.

Photographed with a 24mm Nikkor f/2.8 AF on a Nikon D2Xs, a crop sensor camera where 24mm equates to something like 35mm on full frame. 1/125th at f/5.6; 200 ISO. Converted to black and white.

Photographed with a 24mm Nikkor f/2.8 AF on a Nikon D2Xs, a crop sensor camera where 24mm equates to something like 35mm on full frame. 1/80th at f/5.6; 200 ISO. Converted to black and white for an ethereal effect.

Photographed with a 24mm Nikkor f/2.8 AF on a Nikon D2Xs, a crop sensor camera where 24mm equates to something like 35mm on full frame. 1/125th at f/2.8; 3200 ISO.

Photographed with a 24mm Nikkor f/2.8 AF on a Nikon D2Xs, a crop sensor camera where 24mm equates to something like 35mm on full frame. 1/125th at f/4; 400 ISO. I think the red berries are from a rowan tree.

Photographed with a Nikon D2Xs and Nikkor 24mm f/2.8 AF lens. On a crop format this is like using a 35mm lens on full frame: modest wide angle.

I have owned a good few cameras and never lamented the sale of any of them. This one I would not sell. Photographed with an AF Nikkor 24mm f/2.8 lens on a Nikon D700.

Nikkor 24mm f/2.8 AF lens on a Nikon D2Xs, which provided a field of view equivalent to 35mm on full frame. I like the sign being positioned so that it runs parallel to the eaves of the shed behind. It really is a gardening shed - at Lacock Abbey. Perhaps it served as some servant's dwelling in earlier times. Or perhaps the wealth of the Talbots enabled them to specify the best even if it was merely a shed.