The Limbo Connection's photos with the keyword: pink

Nikon D40 + Micro-Nikkor 55mm f/3.5 AI lens.

Nikon D40 and AF-S DX Nikkor 18-200mm f/3.5-5.6G ED VRII lens. Focal length 82mm (full frame equivalent 123mm). 400 ISO; f/5.6; 1/60th.

Nikon D2Xs + Nikkor 28mm f/2 AI lens. Interviewed for Camera & Darkroom magazine in the 1980s, photographer Sally Mann said she used Olympus OM cameras, and that, if she were going to do any art work using 35mm film, she would use the 40mm Zuiko. She felt 40mm was ‘about right’. There have never been many 40mm lenses on the market. Professionals tend to prefer 35mm for general work and amateurs have provided the market for the ubiquitous 50mm standard. And for many years now, manufacturers have provided zoom lenses with consumer cameras, and people take photographs without having to move to a better viewpoint. However, one thing the digital crop sensor has done is to breathe some life into the 28mm prime lens, the old wide-angle stalwart from the days when an outfit consisted of 28mm, 50mm, and 135 mm lenses. On a crop sensor a 28mm lens provides a field of view of 42mm (or 45mm in the case of Canon sensors which are even smaller). 42mm is exactly the diagonal of a full frame sensor. It is as normal a viewpoint as it is possible to get for photography. Ah! The joy of being normal!

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).

Shot using a Nikon D40 with a Nikkor AI 50mm f/2 lens made sometime between March 1977 and January 1979.

More activity with the 'new' Nikon D40 with its 6MP CCD sensor. In this photograph it is accompanied by the Nikkor AF-S 70-300mm VR lens.

The dying Nikon D70s was returned to the dealer who agreed to a refund. Meanwhile, I researched the 6MP CCD Sony sensor which Nikon were using at that time (2004 - 08) and observed it was also fitted to the Nikon D40 of that period. And so I found a nearly-new D40 at a different dealer which is teamed up here with the Nikkor 18-70mm lens which was contemporaneous. I tried the D40 with a much more recent Tamron 35mm prime lens as well, but curiously it performed nowhere near as well as the venerable 18-70mm. ISO 200; focal length 25mm (37mm FF field of view); 1/100th; f/5.

The dying Nikon D70s was returned to the dealer who agreed to a refund. Meanwhile, I researched the 6MP CCD Sony sensor which Nikon were using at that time (2004 - 08) and observed it was also fitted to the Nikon D40 of that period. And so I found a nearly-new D40 at a different dealer which is teamed up here with the Nikkor 18-70mm lens which was contemporaneous. I tried the D40 with a much more recent Tamron 35mm prime lens as well, but curiously it performed nowhere near as well as the venerable 18-70mm. ISO 200; focal length 60mm (90mm FF field of view); 1/640th; f/6.3.

Another example of the clarity available from the Nikkor AF-S 18-70mm f/3.5-4.5 G lens, in tandem with a Nikon D2Xs.

Nikon D2Xs + Nikkor 50mm f/1.4 AF-D lens. Aperture-priority; 100 ISO. 1/500th at f/5.

The military do not waste words. But maybe it was the film people who were making the feature film 'Downton Abbey' who were responsible for this sign. Who cares? It's crisp and pink. Nikon D300s and Tamron Di II SP AF 17-50mm f/2.8 XR LD Aspherical lens.

Working with a Nikkor-H Auto 85mm f/1.8 lens made sometime between 1964 and 1972 and on the day I made this photograph rather perversely mounted on a Canon digital camera via an adapter. The field of view was thus more like 135mm in old money. Processed in Lightroom. 100 ISO. 1/125th sec.

Nikon D2Xs + AF-S Nikkor 35m f/1.8 DX G lens.

Carl Zeiss Jena Tessar 50mm f/2.8 lens on a Canon EOS 30D. This lens was the cheaper option to the 50mm f/1.8 Pentacon when you bought a Praktica MTL5. The plant is Nerine bowdenii 'pink', known as Guernsey lilies.

Nikon D700 + AF Nikkor 70-210mm f/4 lens.

Photographed with a Nikon D700 and a Nikkor 50mm f/1.4 AF-D lens. f/1.4.

Photographed in Lacock Abbey Botanic Garden using a Canon EOS 40D + Soligor C/D Wide-Auto f/2.8 28mm lens. I don't think Soligor actually made any of the lenses bearing their name. Like Vivitar, and several others, they drew up specifications and contracted optical glass people to produce the lenses with their badge on them. From the serial numbers it is possible to discover the manufacturer: in the case of the one I own (£21 on eBay) it was Sun who made the lens, in 1980 - see eastave5.wordpress.com/2013/10/29/soligor-serial-numbers It's not a stellar lens but it's well built and fun to use. I like to use vintage kit now and again. I even bought into the Canon EOS digital system for this purpose. Their mid range two-digit models from a few years back are well made and perform decently, and can be bought for quite modest prices.