Earlier this month, I exposed these three views of Pan Am Southern’s autorack train 287 working westward at Buckland, Massachusetts on the old Boston & Maine Fitchburg route.
The color view is a digital photo made with my FujiFilm XT1. This is Jpg using the in-camera Velvia color profile, which I scaled for presentation here, but otherwise left it unmodified in regards to color, contrast, saturation etc.
The black & white photographs are film images, exposed with a Leica IIIA fitted with a 1940s-vintage Nikkor screw mount 35mm lens. I used Ilford Pan F (ISO 50) processed in D76 (1 to 1 with water) and toned in selenium for improved highlights.
Telephoto view made digitally with a FujiFilm XT.Wide-angle view exposed on black & white film.No locomotive in this black & white photo. Is it always important to feature the locomotives?
I like to work with multiple cameras. I have my favorite of the three photos. Do you have your favorites?
It’s the elusive 202, found lurking in my archives!
Here’s the backstory: In the dozen or so years between 1998 and when Irish Rail withdrew and stored a portion of its relatively modern EMD-built 201-class locomotives (numbers 201-205, 210-214), I spent a lot of time wandering the system making photos.
I have many hundreds of photos of the 201s in action, hauling passenger and freight trains all over the Irish Rail network.
Some locomotives were common; I must have a hundred photos of class leader 201 on the roll. And every time I turned around, I seem to find 215 leading a train. Actually, I still do! Old 215 is among the 201-class still on the move, albeit in the modern green and silver paint instead of classic orange, yellow and black.
Of the 35 201s, I found that engine 202 was by far the most elusive. A few years ago when scouring my vast collection of more than 15,000 colour slides picturing Irish Rail, I located just three images of 202.
One was from the window of a Mark 3 carriage at Roscommon, one was an image at Limerick Junction of Bo-Bo 176 towing 202 with flat wheels up-road, and the best of the lot was a rainy day image of 202 with a Tralee-Mallow-Cork service near Rathmore, County Cork.
How 202 so thoroughly eluded me during this period baffles me.
Anyway, the other day I was scanning some previously unprinted 120-size black & white negatives, when I found this view of 202 working down-road at Kildare with Irish Rail’s Mark 2 Airbrake carriages. (Which were withdrawn from active service shortly after this photo was exposed).
Irish Rail 201-class locomotive 202 leads Mark 2 Airbrake fitted carriages and a ‘Dutch-van’ downroad at Kildare on 16 August 2002. Exposed on 120 Tri-K using a Rollie Model T with Zeiss Tessar lens. Engine 202 was distinguished from the others in its class because of the different style of type-face on the road number on the front of the locomotive. Do you have photos of 202 on the move? It still exists, stored at Inchicore with other surplus 201 class locomotives.
There are some other rare images on this roll, but this for me is the rarest!
I’ll need to locate the colour slides from that day and see what I find.
The other morning I noticed the points at CP83 in Palmer on CSX’s former Boston & Albany line were set for the controlled siding.
Since CSX’s local freight B740 from West Springfield, Massachusetts often arrives at Palmer in mid-Morning, I thought it was likely I could make some photos.
Bright autumn sun in this classic location made for excellent conditions.
I didn’t have to wait long at the South Main Street overpass, when I heard the short freight dropping down grade toward the Palmer diamond.
I made this sequence using my FujiFilm XT1 with 90mm Fujinon lens.
CSX local freight B740 takes the controlled siding at CP83 in Palmer, Massachusetts. This will allow B740 to access the leads to Palmer yard and make its interchange.The classic view of B740 arriving in Palmer. Trains on the controlled siding make for a more pleasing angle to photograph because they are further from south side of the cutting. October morning sun is pleasing light.Is this view too close?Trailing view looking toward the Palmer yard.
The other morning at Pan Am’s East Deerfield yard I met up with Tim, a fellow photographer.
He asked, ‘Are you going to take that?’—meaning the sunrise over the yard.
‘Yeah, since we’re here. Why not?’
I’ve only made countless photos of this yard in the morning, but that’s never stopped me before.
For this image, I exposed Ilford Pan F black & white film (ISO 50) using a Leica IIIA with Nikkor f3.5 35mm lens. With handheld meter to gauge the lighting, I exposed this frame at f3.5 1/60th of a second.
My aim was to capture detail in the sky and allow the tracks and yard to appear as a silhouette.
East Deerfield Yard looking east at sunrise. October 2017.
I processed my film as follows: Kodak D76 mixed 1 to 1 for 6 min 30 seconds at 68F, followed by stop bath, 1st fix, 2nd fix, 1st rinse, Permawash, 2nd rinse, then 9 min selenium toner mixed 1 to 9 (one part toner to nine parts water), 3rd rinse, permawash, 4th rinse.
After scanning the negative with an Epson V750 Pro flatbed scanner, I made a few nominal adjustments to contrast using Lightroom, while removing unwanted dust-specs.
Picking the best exposure is an important part of photography.
Today with modern metering, computer guided exposure aids (program modes) and automatic lenses, most photographers don’t spend a lot of time worrying about exposure details.
It might surprise some Tracking the Light readers that in most instances I set my exposures manually, and I only use camera metering in an advisory capacity (In other words I look at the camera meter but don’t necessarily accept its advice).
While I often use my Lumix LX7 in ‘A’ mode, I routinely over-ride the camera’s exposure advice using manual controls. With my FujiFilm XT1 and Canon digital cameras (and film cameras), I almost always set my exposure manually.
Last week, working with my FujiFilm XT1 I made these views of New England Central freight 611 working south of Brattleboro, Vermont. The stunning scenic setting of the Connecticut River backwater combined with dramatic morning cross-lighting and a dark background makes for an excellent illustration of a difficult lighting situation.
Here, many camera automatic modes might grossly overexpose the scene in a misguided attempt to compensate for the dark background.
I’ve metered manually and gauged exposure using the camera’s histogram (set up to show the distribution of pixels in regards to exposure.) I’ve offered two variations here, exposed 1 full stop apart.
A ‘stop’ is a standard increment of exposure. The amount of light reaching the sensor or film doubles/halves with each change of one stop. So going from an aperture setting of f4 to f5.6 (one stop) cuts the light by half. Likewise, a shutter speed change from 1/250 to 1/500 will also cut the amount of light by half.
The darker image was exposed at f5.6 at 1/400th of a second at ISO 400; while the lighter image was exposed at f4 at 1/400th of a second at ISO 400. (In other words the only the aperture setting was changed.)
FujiFilm XT-1 with 90mm lens set at: f5.6 at 1/400th of a second at ISO 400FujiFilm XT-1 with 90mm lens set at: f4 at 1/400th of a second at ISO 400
Both exposures are acceptable, but you may have a preference for one versus the other. The photos here have not been altered for density, color balance or color temperature in post processing; both are scaled versions of the camera produced JPGs.
Last week I made this digital portrait of New England Central 3476 using my FujiFilm XT1 with f2.0 90mm lens.
Soft cross lighting combined with a wide aperture made for pleasing photographic conditions to picture this engine against a backdrop of Vermont colorful autumn trees and distant New Hampshire hills.
The locomotive was working New England Central’s Brattleboro (Vermont) to Palmer (Massachusetts) turn freight, job 611, and was among many images I exposed that day.
This old EMD-built locomotive has a long history, having worked for Southern Pacific and Union Pacific before coming east to New England. I wonder if I crossed paths with it up on Donner Pass, in the Tehachapis, or on former Rio Grande lines in Colorado and Utah?
In March 1987, I exposed this Kodachrome 25 color slide of Genesee & Wyoming GP38 number 51 leading an empty salt train arriving at P&L Junction (P&L infers Pittsburgh & Lehigh) near Caledonia, New York.
At that time Genesee & Wyoming was a New York state short line that had just recently expanded with the creation of the Rochester & Southern to operate the former Baltimore & Ohio (nee Buffalo, Rochester & Pittsburg) 4th Subdivision between Rochester and East Salamanca, New York via Ashford Junction. (R&S had trackage rights on CSX from Ashford Jct. to East Salamanca).
This train was arriving from interchange with the Delaware & Hudson at Silver Springs. (D&H had trackage rights over the former Erie Railroad line to Buffalo.) It would reverse direction at P&L Junction and head southward on G&W’s own line (seen in the immediate foreground) to Retsof, where G&W served a massive salt mine.
Back then G&W 51 had no special significance, but it does for me today.
Professional Kodachrome 25 (PKM) exposed using a Canon A1 with 50mm lens and processed by Kodak in Rochester, New York.
Earlier this month I made a visit to Cork to present a program on railway photography to the Irish Railway Record Society.
Honer Travers and I spent an afternoon in Glounthaune where I made these photos on Kodak Tri-X using my Nikon N90S with f2.0 35mm lens.
My film processing was very traditional: Kodak D76 (mixed 1 to 1) for 7 minutes 15 seconds at 68F. I agitate very gently to minimize the effect of grain.
Routine operations, such as Irish Rail’s Cork suburban trains, offer great opportunity for creative railway photography. In both of these images, I’ve worked with foreground, middle-ground and background by using shallow depth of field to create a sense of depth.
An Irish Rail 2600-series railcar works toward Glounthaune from Kent Station, Cork.A Cork-bound railcar accelerates away from its station stop at Glounthaune.
A side-benefit for me of transatlantic jet lag is that I’m wide awake for sunrise.
The other day, I drove to Stafford Springs, Connecticut as the sun was rising.
Typically New England Central 608 passes the village between 7 and 730 am. On this day it appeared about 724 am.
Working with my FujiFilm XT1 with 12mm Zeiss Tuoit lens, I made a series of images of the freight passing.
I carefully exposed my RAW files to retain some sky detail, intending to adjust exposure, contrast and color in post processing.
It would be fallacious to suggest that the RAW file represents reality. It doesn’t.
It is important to understand that the camera RAW file is an equivalent of a ‘negative’ in film photography. The RAW file simply represents the raw data as captured by the camera sensor. This data requires interpretation to produce an image that resembled what the human brain perceives.
I made a series of small adjustments to highlights, shadows, color temperature, and color balance, while working with masks in the sky to control detail and color.
My only regret is that my graduated neutral density filters were still packed away in my luggage, as these would have been useful in this situation by allowing for improved sky detail by effectively selective expanding the dynamic capture of the sensor.
I’ve included both the RAW file (scaled for internet) and my interpreted post-processed JPG. To give hints as to what I’ve done, I’ve also included screen shots of the Lightroom work windows.
This the uninterpreted image. It is a JPG because this necessary for internet presentation. My RAW file was about 33MB which is far too large for presentation here. Significant to my interpretation is that there is greater detail stored in the RAW file than immediately evident in its presentation on the computer screen. Specifically, there is more color and detail in the sky than displayed here.This is a screen shot of the Lightroom work window of my RAW file. The red blotch in the sky indicates a loss of data in that area owing to over exposure.This is my finished image following post processing in Lightroom.Screen shot showing the alterations on the sliders in the Lightroom work window. Notice the relative placement of data in the histogram (graph at upper right).
Using my old battle-worn Nikon F3T (yeah, that one) fitted with a 1960s-era Nikkor f.14 50mm lens, I exposed a sequence of images in the evening light at Irish Rail’s Heuston Station in Dublin.
I was especially pleased with this view of one of Irish Rail’s Mark 4 sets beneath the train shed. Low light made for contrasty silhouette with lots of texture and exceptional dynamic range.
This was exposed on Kodak Tri-X (black & white negative film) using a fairly wide aperture.
During early October 2017, I processed the film using two-stage development, initially soaking the film in an extremely dilute mix of Kodak HC110 designed to begin development while allowing great shadow detail and greater overall tonality. For my primary development, I used Ilford ID11, diluted 1-1 with water for 8 minutes at 68 degree F. This was followed by a 30 second stop bath and two fixer baths, 1st rinse, hypo-clear batch, 2nd rinse, then 8 minutes in a weak bath of selenium toner (1 to 9 with water), 10 minute final rinse and drying.
I scanned the negatives using an Epson V500 flatbed scanner, with some very nominal final adjustment using Lightroom.
Although my digital cameras feature black & white modes, and I can easily de-saturate a digital file to make a monochrome image, I don’t feel that digital imaging would yield a completely comparable image to this one made the old fashioned way.
Back in August (2017), I exposed this view of the old Great Northern Railways (Ireland) viaduct at Dromore, County Down using a Leica 3A with a screw mount 35mm Nikkor lens.
My film choice was Kodak Tri-X. Working with this in Dublin, I processed it in Ilford ID11 mixed 1:1 with water.
The negatives were scanned with an Epson Perfection V500 flatbed scanner, then adjusted for contrast using Lightroom and exported as a scaled JPG file.
Honer Travers brought me to the old bridge in her Volkswagen Polo.
It has been many years since the rails were lifted on this old bridge.
Rail tours offer the opportunity to make incidental photos of the railway.
I made these digital photos of Irish Rail while traveling on last weekend’s Railway Preservation Society of Ireland’s Munster Double.
Sunrise with the DART as v viewed from RPSI’s Munster Double Railtour departing Connolly Station on the morning of 14 October 2017. Lumix LX7 photo.Irish Rail Mark4 departs Kent Station in Cork on October 17, 2017. FujiFilm XT1 photo.Kent Station, Cork. Lumix LX7 photo.Irish Rail ICR departs Tralee on 14 October 2017. FujiFilm XT1 with 28-135mm lens.
Saturday 14 October was a great day out; Railway Preservation Society of Ireland operated its Munster Double Railtour from Connolly Station in Dublin to Cork and Tralee.
The attraction of this trip was the highly unusual multiple-unit operation of two class 071 diesels together. Both of Irish Rail’s 071s in heritage paint were selected for the trip, which was an added bonus for photographers.
Honer Travers and I joined the trip at Connolly Station and during the course of the day I made dozens of digital images. Below is just a small section.
Connolly Station, Dublin. Lumix LX7 photo.Connolly Station, Dublin. Lumix LX7 photo.Island bridge Junction, Dublin, looking toward the famous ‘box’ along the St. John’s Road where many of my sunny day photos are made. Lumix LX7 photo.Kent Station, Cork. FujiFIlm XT1 with 28-135mm lens.FujiFilm XT1 photo.Mallow, County Cork. Lumix LX7 photo.Mallow, County Cork. Lumix LX7 photo.Mallow, County Cork. Lumix LX7 photo.Irish Rail 073 detailed view at Killarney.Killarney. County Kerry. Lumix LX7 photo.Tralee. FujiFilm XT1 with 28-135mm lens.Tralee. FujiFilm XT1 with 28-135mm lens.Tralee. FujiFilm XT1 with 28-135mm lens.Tralee. Lumix LX7 photo.Tralee. FujiFilm XT1 with 28-135mm lens.Paused at a red signal in Killarney, Lumix LX7 photo.Connolly Station in the evening. Lumix LX7 photo.
Tomorrow I’ll focus on the passengers and people participating in operations.
Back in April (2017), on the advice of Stephen Hirsch I visited the tram junction at Porta Maggiore in Rome, and those photos appeared in an earlier Tracking the Light post.
On my recent trip to Rome with Honer Travers in September we revisited this interesting location where several tram routes cross against the backdrop of a 3rd century Roman Wall and the Porta Maggiore city gate.
For added interest, the approach to Rome Termini runs on the east side of the wall and there’s a constant parade of Trenitalia passenger trains.
I like to use the Roman Wall as a frame.
Lumix LX7 photo. Note the FS train on the far side of the arches.An out of service tram glides along the wall.That’s the Porta Maggiore (old city gate) behind the tram.A few of the older trams still feature this unusual style of pantograph.A vestige of a narrow gauge interurban line runs through the wall at Porta Maggiore.
I made these photos using my Lumix LX7 digital camera, but also exposed a few colour sldies.
The tram junction sits in the middle of a roundabout (traffic circle) with some of the most irrational driving I’ve ever witnessed. Despite the road chaos, we were able to nip across the street for a gelato (ice cream).
Today, 14 October 2017, is the date of the long anticipated Munster Double tour (operated by the Railway Preservation Society of Ireland in conjunction with Irish Rail), so I thought I’d run these images from 2006 when I photographed Irish Rail 080 working a Dublin-Tralee passenger train passing Limerick Junction.
On Friday, 13 January 2006, David Hegarty and I had been photographing Irish Rail’s sugar beet trains. Toward the end of the daylight we found ourselves at Limerick Junction in time to catch the Friday only ‘down Kerry’ that was still regularly worked with steam-heated Cravens carriages.
At the time, the new Mark4 trains were still being tested and hadn’t yet entered regular traffic.
Exposed on Fujichrome slide film using a Nikon F3 with 180mm Nikkor lens.Exposed on Fujichrome slide film using a Nikon F3 with 180mm Nikkor lens.
Call it a ‘Retro-Metro’. The Rome metro trains are still covered in graffiti. How 1980s is that?
I made these views using my Lumix LX7 on my visit to Rome with Honer Travers in September 2017.
I’d set the ISO at 200 and 250, and the white balance to ‘auto’, which I’ve found from experience photographing subways tends to yield some of the most effective photographs.
My Lumix is handy for underground railway photography because it’s compact, lightweight, minimally obtrusive, and has a very fast (f1.4) Leica lens that yield sharp images wide open.
A couple of weeks back, I made these views of Belmond’s Grand Hibernian luxury cruise train at Islandbridge Junction in Dublin.
What’s a Kodachrome sky? The old Kodak Kodachrome had the ability to capture a sunny day with vivid contrast; so when you had over-the-shoulder light with fluffy clouds dotting a blue sky we called it a ‘Kodachrome Sky’.
It think it’s safe to say that no one has ever photographed the Grand Hibernian on Kodachrome slide film! And if they have, they will never see their results in vivid colour. (Kodachrome is no longer commercially processed).
I wonder how Belmond’s navy-blue train would have appeared on Kodachrome? The film’s spectral sensitivity tended to render blues with less saturated colour than appeared to the human eye. Yet this was also one of the reasons why a ‘Kodachrome sky’ appeared so vivid on the classic slide film.Exposed using a FujiFilm XT1 digital camera. Locomotive 088 moves into place to shunt the Grand Hibernian and haul it across to Dublin’s Connolly Station.Led by Irish Rail 088, Belmond’s Grand Hibernian is seen on its way toward Connolly Station.Irish Rail 216 in Belmond navy view paint trails the Grand Hibernian on its way over to Dublin Connolly Station.
A couple of weeks ago I made these views of some colorful Trenitalia trains at Roma Termini.
Bright Mediterranean light is pleasant to work with. In this situation I’ve taken the classic approach with the sun over my left shoulder. It was nice to have some interesting, yet static subjects to work with.
I made several digital views with my Lumix LX7, but also exposed some 35mm color slides on Fujichrome Provia.
Lumix LX7 photograph.Lumix LX7 photograph.
These are the digital images. We’ll need to wait to see how the slides turned out.
Rome’s largest station is a vast stub end terminal aptly named ‘Roma Termini’. In addition to nearly 30 platforms, this features a huge shopping mall that is integrated with the terminal facilities.
Rome’s metro lines cross here and there’s a surface tram terminus on the west side of the station.
in late September 2017, I exposed all but one of these photos using my Lumix LX7.
My aim was to capture the bustle and atmosphere of this enormous transport node. At peak times 30 trains an hour depart the station.
Roma Termini is one of more than a dozen major railway stations featured in my upcoming book on European Railway travel.
One hour’s worth of arrivals and departures.
Close up of an FS electric exposed with my FujiFilm XT1.
I’ll display a great variety of railway images exposed in Ireland and elsewhere, with an emphasis on photos of Irish Rail in counties Cork, Kerry, Tipperary and Limerick.
The program will be aimed at enlightening the audience on precisely I how I made images (with detailed technical explanations as required). I’ll take questions at the end.
Class J15 number 186 works near Millstreet, Co. Cork in 2006. Exposed on Fujichrome slide film.
I’ll display a great variety of railway images exposed in Ireland and elsewhere, with an emphasis on photos of Irish Rail in counties Cork, Kerry, Tipperary and Limerick.
The program will be aimed at enlightening the audience on precisely I how I made images (with detailed technical explanations as required). I’ll take questions at the end.
Kent Station, Cork. Exposed on black & white film.Cobh Junction at sunrise.Semaphores at Kent Station, Cork. Digital photograph.
Rome’s tram line 19 still uses some pretty old streamlined cars.
Not only do these make interesting photographic subjects, but because they have opening windows the make for a great way to see (and photograph) Rome’s neighborhoods.
I wonder how many cities in Europe still have trams in daily revenue service that are more than 65 years old?
I made these photos in September 2017 using my Lumix LX7 and FujiFilm XT1 digital cameras during a spin on the 19 while exploring Rome with Honer Travers.
It was a bright morning last week when I exposed this view of a Trenitalia double-deck suburban train approaching its station stop at Rome Trastevere en route to Roma Termini (Rome’s main station).
I worked with my FujiFilm XT1 with 90mm f2.0 lens for this photo.
Exposed using a FujiFilm XT1 fitted with a Fujinon f2.0 90mm lens.
Regular readers may have noticed that I’ve been making regular use of this camera/lens combination.
I have four lens for my FujiFilm XT1; 12/27/90mm fixed focal length (prime) lenses, plus an 18-135mm zoom lens. Lately the 27 and 90mm primes have been the most useful.
Why not use the zoom lens more? Here’s three reasons:
1) The 18-135mm zoom not as fast as the primes. My 90mm f2 is 2.5/3 stops faster that the 18-135mm.
2) The 18-135mm zoom isn’t as sharp.
3) I find that the discipline of working with a fixed focal length lenses lends to stronger images. This is an abstract notion, but often seems to be true.
Over the years I’ve gone back and forth between a preference for zooms over primes. It’s the toss up of convenience over image quality. There’s no one ‘right’ solution. But when I look back at my images that I prize the most, many of them have been exposed using prime glass.
Rail-connected airports have become common on the European continent.
The ability to walk directly from your terminal to a waiting train that takes you directly to your destination is a very civilized way to travel.
Trenitalia’s first class Leonardo Express rests to the left of our double-deck local train (R22112) at Fiumicino Airport.On board the double-deck I photographed this display screen.My view of the lower level of the double-deck train.A photo of the top deck before the train filled up.The FS (State Railways) Roma Trastevere Station at the time of our arrival. Handheld photo made with my Lumix LX7 in ‘night mode’. (which assembles a composite image in-camera.)
In recent months I’ve learned the intricacies of navigating Trenitalia’s automated ticket machines.
While these have an English language option, to buy a ticket typically requires more than a dozen steps, including ‘continuing’ through various warnings that advise you about pickpockets, unauthorized persons supplying information, and reminders to validate your tickets (you’ve been warned!).
So last week (September 2017) when Honer Travers and I arrived at Rome’s Fiumicino Airport, we were well armed with the knowledge to obtain the correct tickets. We rapidly paged through the automated machine and without difficulties had tickets in hand in just minutes.
We boarded our double-deck local train and were on our way to Roma Travestere.
Buying local transit tickets the next morning wasn’t as painless, as the automated machines we found did not seem to work as intended.
The other day on the way to Dublin Airport with Honer Travers, I spied a LUAS trial making its way northward on O’Connell Street on recently completed CrossCity trackage.
This made for an unplanned photographic opportunity. I posed near the Larkin Statue that I featured on the cover of my illustrated E-book on Dublin titled Dublin Unconquered (designed for viewing on Apple iPad and similar Apple devices).
I used a similar silhouette of the famous Jim Larkin statue on the cover of my E-book Dublin Unconquered. The irony of the image is that Larkin’s pose relates to his influential role in the 1913 tram driver’s strike that was something of a prelude to the 1916 Easter Rising.
After making a silhouette that mimics my book cover, I turned to make a few going away views of the tram passing Dublin’s iconic General Post Office.
The GPO is a symbol of Irish independence owing to its roles in the 1916 Easter Rising.
Lumix LX7 photo of a LUAS Citadis tram passing the GPO.Citadis isn’t a destination; it’s the family of trams built by Alstom.Exposed with a Lumix LX7
Later Honer and I boarded the 747 Bus, which gave me another opportunity to catch LUAS trial trams working CrossCity trackage.
This new LUAS line forms a link between the Green Line and Red Line routes that were formerly completely isolated from one another.
A view from Dublin Bus route 747 at Parnell Square.
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If you have access to an Apple iPad, iPhone, iPad, iPod touch, and Mac and are interested in my E-book Dublin Unconquered you can download the book from Apple iTunes for roughly the price of a sandwich. The book features many carefully crafted photographs along with detailed text and a lovely map.
The main event at Dublin Connolly Station last Monday (25 September) was the launch of the 2017 Emerald Isle Express. I featured those photos in yesterday’s post. See: Emerald Isle Express at Connolly Station, Dublin.
While on the platforms at Connolly I also made photo of Irish Rail’s ordinary trains.
I have a feeling that these images may age well. Often the common becomes fascinating over time.
Exposed using a FujiFilm XT1 fitted with a 27mm f2.8 lens.Exposed using a FujiFilm XT1 fitted with a 27mm f2.8 lens.Exposed using a FujiFilm XT1 fitted with a 90mm f2.0 lens.Exposed using a FujiFilm XT1 fitted with a 90mm f2.0 lens.Exposed using a FujiFilm XT1 fitted with a 90mm f2.0 lens.Exposed using a FujiFilm XT1 fitted with a 90mm f2.0 lens.Exposed using a FujiFilm XT1 fitted with a 27mm f2.8 lens.An a glimpse of the main even. Exposed using a FujiFilm XT1 fitted with a 90mm f2.0 lens.
In addition to these digital photos, I also made a few choice colour slides on Fujichrome Provia 100F with my old Nikon N90s and 35mm f2.0 lens. Those are still unprocessed.
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