I was just a kid with a camera. Luckily, the camera was a Leica 3A.
I’d loaded it with Tri-X and exposed a few views around the Rockland, Maine roundhouse during a visit there with my family in August 1980.
Months later I processed the film in Microdol-X (not the best choice of developers, but it’s what I used at the time) and made a few tiny prints. Then I put the negatives in a paper envelope and mostly forgot about them.
Two years ago, when looking for some other photos, I re-discovered the negatives in a big batch of missing photos, and scanned them at high-resolution with an Epson flatbed scanner.
This photo required a little post processing adjustment to improve tonality and even out contrast, while removing a few dust specs.
One locomotive; Three variations on the Enterprise livery.
In the last 20 years, I’ve crossed paths with old 207 on a number of occasions. Often on the Enterprise,but elsewhere across Irish Rail as well.
To my knowledge it was the only Enterprise201 to receive the large bright yellow patch at the ends, similar to the treatment given to orange 201s (201-205 and 210-215) beginning in 2005. [UPDATE: Kieran Marshall has reminded me that 233 was also treated with the large yellow patch at ends.]
Today, it is one of several locomotives painted in the modern Enterprise livery with asymmetrical purple and scarlet swooshes along the sides.
As part of my 20 years in Ireland/201 numerical retrospective, this is my opportunity to present a few views of Irish Rail 206.
When I first arrived in Ireland in 1998, 201-class locomotives numbers 206 to 209 (as they were then identified) were painted for the cross-border Belfast-Dublin Enterprisepassenger service.
It is my understanding that these four numbers were chosen for the Enterprise201s to pay historical tribute to steam locomotives of the same numbers that had worked the service in an earlier era.
In my time these were painted specifically for the re-equipped Enterprise using De Dietrich carriages (derived from the original French TGV single-level carriages)
Of the four, 206 River Liffey has been my favorite, but until relatively recently it is also one of the more elusive 201s in passenger service (in regards to my photography).
Around 2002, it suffered a fire and was out of traffic for about three years. When it returned, it spent months working freights.
Only recently, have I again found it regularly working as intended. It now wears the latest Enterprise livery, which is laterally asymmetrical and features a giant purple swoop across the side of the locomotive.
In July 2016, John Gruber and I photographed Wisconsin & Southern’s Reedsburg job on its run from Madison to Reedsburg.
Although, I made many digital photographs that day, I also exposed a few photos on Ilford Pan F using a vintage Leica IIIA fitted with a Nikkor f3.5 35mm lens.
Notice how the tonality and texture of the image draws your eye in a variety of directions. The effects of tire tracks in the gravel and the pole shadows are enhanced through use of a monochromatic image making medium.
Brian Solomon’s Tracking the Light Posts Daily and sometimes twice.
Dublin’s Loop Line is a difficult bridge to picture trains upon owing to a high degree of foreground and background clutter, complex lattice girder construction, and brightly coloured graffiti.
Tank locomotive number 4 is an awkward mass and largely painted black that makes for a hard subject to picture satisfactorily, even on a good bright day.
It wasn’t a bright day; the lighting conditions were flat (low contrast) and bland.
Further complicating matters, there wasn’t more than a few seconds warning before the train entered the scene, so I needed to be poised.
Friends on board assisted my timing by keeping me up to date as to the location of the train.
I made my views from the Rosie Hackett Bridge (opened in 2014) looking down river toward Dublin Port.
Rather than work with a zoom, I opted for my fixed focal length 90mm telephoto on my FujiFilm X-T1. This gave me a wider aperture, allowed for shallow depth of field to help distinguish the train from its background, and is a very sharp lens corner to corner.
As the train clattered across the bridge I made several exposures, trying to minimize the distractions of bridge infrastructure and background clutter.
Although these are nice attempts, I’m not 100 percent satisfied, but without better light and an elevated view, I’m not sure how I could have made substantially better photos.
Two weeks ago, I was traveling south on the LUAS Green Line from Marlborough Street to Harcourt Street, when I spotted the one-of-a-kind LUAS Avonmore advertising tram taking the bend around Dublin’s St. Stephens Green.
My Lumix is always at the ready, so I made a few grab shots from the windows of the tram, which was bound for Broombridge.
I’d worked out in my head roughly how long it would take for it to make a return trip, and did some shopping to kill time.
An hour later I returned to the curve and made a few more photos of the same tram going the other way.
Last week, Irish Rail operated a late IWT liner that departed Dublin in the evening, instead on its normal mid-morning path.
A group of my friends went to Cherry Orchard in the west Dublin suburbs to capture this relatively unusual move. While waiting for the freight, I made views of the evening passenger parade.
The sky was clear of clouds and sun was aligned with the Cork line making some interesting possibilities of glint and silhouette photographs.
In the 1990s, I exposed hundreds of images in this type of dramatic lighting conditions. The characteristics of Kodachrome 25 slide film made it well suited to glint photographs and I had my K25 exposures refined to a high art.
Glint photographs are more difficult to capture digitally, and I find that I have to control contrast and use digital masks/digital applied graduated neutral density filters in post processing to obtain the results that I expect.
Key to this exercise is underexposing a raw file sufficiently to retain detail in the sky and glinty areas of the image, than lighten shadows while making localized highlight adjustments in post processing.
I’d use ‘gray’ in place of ‘dark’, but apparently the phraseology has assumed new meanings.
I could just say ‘Dublin in Black & White’, but that isn’t really correct either.
Working with my Nikon F3 loaded with Foma Classic 100 black & white film, I made these photos during March 2018 wintery weather in Dublin.
To keep my camera steady for long exposures, I used various tripods, depending on the surface and circumstance.
My exposures varied, but most were between 1 and 8 seconds. I calculated exposure manually using a Minolta IV Flash meter (in reflective mode).
I processed the Fomapan 100 film in Ilford ID-11 stock mixed 1-1 with water at 68F for 7 minutes 15 seconds, plus pre-soak with a token amount of Kodak HC110, then scanned negatives using an Epson V500 flatbed scanner.
Not as rare to my lens as 202, but not as common as say 201, 205, or the seeming omnipresent 215. Today, views of 204 on the move are still pretty neat since it’s been more than eight years since it turned a wheel.
These are all Fujichrome photos, since I never photographed 204 at work using a digital camera. Maybe someday it will return to service. But even then I might take it on slide film for old time sake.
As a follow-up to my black & white posts: On Sunday, 18 March 2018, I also worked with my two digital cameras to expose a few choice photographs of Railway Preservation Society of Ireland’s The Midlander on its run from Connolly Station Dublin to Maynooth.
All were exposed using Kodak Tri-X black & white film, which I processed in Ilford ID-11 (1-1 at 68 degrees F for 7 minutes 45 seconds, plus extended presoak with very dilute HC110 to pre-activate development.)
I scanned the negatives using an Epson V500 flatbed scanner.
On the way to Belfast from Dublin a couple of weeks ago, the rain lashed down. Instead of changing trains at Portadown, I opted to remain dry a little long and remained on the Enterprise all the way to Belfast Central.
It was still cloudy in Belfast, but the rain had stopped.
I traveled to Great Victoria Street, then changed for an all stops NI Railways train and alighted at Adelaide just as the clouds receded and bright evening light prevailed.
I exposed these views with my FujiFilm XT1 fitted with a Fujinon 18-135mm zoom lens.
So I wasn’t a fool in the end; or was I?
If I’d changed at Portadown, I would have arrived at Adelaide sooner and I may have photographed a train with a rainbow.