A lone loaded auto-rack was spotted in CSX’s Palmer Yard.
CSX’s local freight B740 had arrived from West Springfield Yard.
B740’s crew discussed arrangements with the dispatcher to reverse out of the yard (westward) with the auto-rack on the interchange track and then pull forward onto the controlled siding at CP83.
The reason for this was to avoid using the normal freight connection from the controlled siding into the yard because of the length of the auto rack was at risk of derailing over the tight switches.
The crossover at CP83 from the interchange track to the controlled siding was installed in 1995 to facilitate Amtrak’s Vermonter, which was then operating via Palmer and changed directions here to go between CSX and New England Central’s route on its Springfield, Massachusetts-St Albans, Vermont portion of the run.
The passenger crossover at CP83 has been rarely used, since Amtrak’s Vermont returned to the more direct routing in December 2014 (running north of Springfield on the Boston & Maine Connecticut River line via Greenfield to East Northfield).
It was a fortuitous situation to catch this rare move in nice morning sun.
B740 then continued east to East Brookfield, where CSX autoracks are unloaded on the East Brookfield & Spencer.
The day dawned clear and bright. I spent an hour at CP83 in Palmer making good use of the light. The railroads cooperated and supplied a parade of eastward trains, and these favored the sun for classic views.
I’ve made countless thousands of photos at Palmer, Massachusetts, but it’s always nice to keep the files fresh.
Soon the scene is likely to change since CSX is installing new equipment for its positive train control signaling, and this will likely result in new signal hardware in place of the Conrail-era signals installed during single-tracking in 1986-1987.
Then something unexpected happened, and by shear luck I caught a rare move! Stay tuned for Part 2.
Brian Solomon’s Tracking the Light Posts Every Day.
On November 15, 1987, I followed a loaded PLMT coal train east from Buffalo, New York. This train had operated with Pittsburgh & Lake Erie locomotives and was being handled by Guilford’s Delaware & Hudson via trackage rights over Conrail’s former Erie Railroad.
Try to fit all that on the slide mount!
At the time these coal trains operated about once a week, and while it wasn’t uncommon to find P&LE locomotives, catching the trains on film was challenging.
I made this view on Kodachrome 25 with my Leica M2 with 50mm Summicron Lens. It’s a badly under exposed long pan (about 1/8 of a second) from a hillside off the Canisteo River Road, in the valley of that name, a few miles east of Adrian.
The original slide was made at the very end of daylight, and the slow speed ISO25 film didn’t give me the needed sensitivity to capture the scene with adequate exposure.
That’s a long way of saying; it was dark and I underexposed the film.
Thankfully, I didn’t through the slide away.
I scanned it using VueScan 9×64 (edition 9.6.09) software and a Nikon Super Coolscan 5000 slide scanner. It opted for manual controls; I selected 4000 dpi input, under ‘color’ I used the Kodachrome K14 color profile, and while output was set at 4000 dpi as a TIF file.
I then imported the TIF into Lightroom for color, exposure and contrast adjustment, necessary to compensate for my extreme underexposure. To hold sky detail, I applied a digital graduated neutral density filter.
Although slightly grainy, the results are much improved over the original and captures my intended effect of the train rolling at speed through the Canisteo Valley at dusk.
There’s little left to remind you of the historic building that once served passengers at Berlin, Connecticut.
In December 2016, during construction of the modern building, the historic New Haven Railroad station was suspiciously destroyed in a fire.
Last weekend was my first visit to the new station. This features some impressive looking architecture, elevators and a high glass enclosed footbridge.
However, it seems to be notably lacking a proper waiting room where passengers can get out of the elements, and features only a ‘portapot’ in place of proper toilets.
In place of our friendly ticket agent, there’s a modern CT rail ticket machine to dispense tickets. You can buy your Amtrak ticket on-line, over the phone, or using an App on your smart-phone.
Also on the ‘plus side’ the station is well suited to photography and will make for a nice place to board and photograph trains. Also, with the expanded Amtrak service and new CT rail Hartford Line trains, there’s more service than there has been in many years.
For more than forty years my family has been visiting the Connecticut Trolley Museum at Warehouse Point in East Windsor.
I made these views last weekend.
I’ve always enjoyed the nostalgia of the trolleys and the leisurely ride through the forest. What’s interesting is that the trolleys I knew as a kid are largely inside and pending restoration, while today’s operable cars were largely out of service when I was younger.
The other day I found this Fujichrome color slide in my archives. I exposed in on a subway tour with my father back in November 1998.
Working with a Nikon F2 with 28mm lens, I made this photo from the end of a platform on the Flushing Line’s elevated structure. I like the subtlety of the autumn sky. For me this brings back memories of long ago.
I recall the water color painter Ted Rose telling me about how a yellow sky stirred his memories. That was in regard to a painting he made of a wintery Midwestern scene. His memories, not mine. Similar sky though.
My dad claims that my first railway trip was on the Flushing Line in Queens, New York. That was about 1968. All I remember was the dirty floors on the subway cars, and being held up to look out the front window as we rattled along. I made no photos on that day.
Irish Rail 215. Is this my least favorite of the 201 class locomotives?
It’s probably my most photographed.
My first recognition of the 215-effect was on a trip to Galway many years ago. Friends were visiting from America and we were traveling on the Mark3 International set.
Soon after departing Dublin Heuston, it was evident that the train was in trouble. We weren’t making track speed. When we got to Hazelhatch, our train took the loop. Old 215 had failed. We waited there for about 40 minutes until 203 was summoned for a rescue.
Some months later, I returned from Boston to Dublin, and on the front page of the papers was 215 at Heuston Station—on its side! It had derailed.
And which loco worked the very first publically scheduled Mark IV set from Dublin to Cork?
Out for the down train, take a guess which loco I’m most likely to catch!
Uh! There it is again. Damn thing is a like a shadow.
It was a lucky shot. I was changing trains at the Köln Hauptbahnhof in 1999, when I made this photo from the platforms at the east side of the station.
A DB Class 120 electric had been specially painted by or for Märklin model trains to commemorate the 70thanniversary of Disney’s Mickey Mouse.
One of the great things about exploring German railways is a tremendous variety of trains complete with unexpected surprises in the form of specially painted locomotives, antiques on the roll, and special trains.
I rolled down the passenger-side window of my friend’s Golf, and exposed a series of photos with my Lumix.
I’ve described this technique previously; I adjusted the f-stop (aperture control) manually to its smallest opening (f8), my ISO was at its slowest setting (80), and I put the camera to aperture priority.
I intended this combination of settings to automatically select the appropriate shutter speed for ideal exposure, while using the slowest setting to allow for the effect of motion blur.
I kept the camera aimed at the locomotive while allowing for ample foreground to blur by for the effect of speed.
This works especially well to show the large diesel working long-hood forward, which is not its usual position.
This is a grab shot; I didn’t have time to do what I intended (and the sun went in).
We arrived at the small cemetery at West Northfield, Massachusetts minutes before Amtrak 56 (northward Vermonter).
The brush along the railroad has recently been cut. Unfortunately, a brush cutting/removal machine was awkwardly (as in non-photographically) positioned by the tracks, foiling my intend angle for a photo. I was going to try ‘plan b’.
I’d heard the crew call ‘Approach’ for East Northfield, I was hoping for time to swap to a wide angle lens, when I saw the headlight.
No time: so instead, I hastily composed this vertical view using my FujiFilm XT1 with 90mm lens.
I like the American flags, placed for Memorial Day. I wonder about my placement of the front of the locomotive relative to the gap in the brush. Should I have let the locomotive continue a few more feet to the left?
Just three prints remain for sale! Order one today!
I’ve made five traditional 11×14 black & white prints of my recent photograph of the former New Haven Railroad electrification and drawbridge at Westport, Connecticut.
This represents the first time I’ve printed one of my ‘stand processed’ black & white negatives. The prints are signed in pencil and numbered 1/5 to 5/5.
I’m selling the remaining three prints for $100 each plus shipping. First come first serve. If you are interested please contact me via email at: firstname.lastname@example.org
I exposed the photograph using a vintage Rolleiflex Model T with Zeiss 75mm lens on 120 black & white film. I processed using the ‘stand processing’ technique to obtain maximum tonal range with deep shadows and delicate highlights.
I made these silver prints in the traditional way on Ilford double weight 11×14 photographic paper, fixed and washed to archival standards. These have been pressed and are suitable for matting and framing.
I chose the Westport drawbridge because it is graphically engaging and historically significant. This bridge and electrification are examples of early 20thcentury infrastructure in daily use on one of America’s busiest passenger lines.
Working with a Leica and Visoflex reflex-viewing attachment mounted on a tripod, I exposed this Kodak Kodachrome 64 slide with a 200mm Leitz Telyt telephoto lens.
I calculated the exposure using an old GE handheld light meter, which I promptly dropped on the floor of the famous New York City terminal, destroying the device’s sensitive electro-mechanical photocell and needle.
That was back in 1986.
It turned out that my meter had been giving me hot readings. After I bought a new meter a couple of days later, I began obtaining more accurate daylight readings and better overall Kodachrome exposures.
However, because the meter had been encouraging me to ‘over-expose’ (allow more light to reach the film than I intended), I actually produced a better color slide here at Grand Central Terminal, because slight over-exposure was necessary to balance the lighting and bring out the grandeur of the architecture.
If I’d exposed as I intended, my photo would have appeared darker. So, what makes this photo effective was the result of accidental relative over-exposure. How about that?
This pair of photos depict Irish Rail class 201, engine number 214 at work on passenger and freight.
The top photo was exposed in July 2005. I wanted to make a photo of the 0700 (7am) Dublin-Cork passenger train departing Dublin Heuston, before the service was changed to one of the new Mark4 sets.
My theory was that this service was rarely photographed leaving Dublin owing to the early hour and backlit sun. I had months left to do this, but by July the days were getting shorter, and by the following summer the Mark 4s would be in traffic. (It pays to think ahead).
So I went to my favorite spot on the St. John’s Road, and used my Contax G2 with 28mm lens and exposed a few frames of Fujichrome Sensia (100).
The bottom photo was exposed at Mallow on 18 July, 2003 at 0622 (6:22am). I’d gone out for another train, but instead caught this late running cement that was carrying some containers at the front. The train paused for three minutes at Mallow to change crews.
These are part of my continuing series on the Irish Rail 201 class locomotives aimed to mark my 20 years of railway photography in Ireland (1998-2018).
I’d heard complaints about this. You’ll find my solutions are the very end of this blog text.
Pan Am Railway’s 7552, a former CSX General Electric-built DASH8-40C (sometimes simplified as ‘C40-8’), features modern white light-emitting diode (LED) headlights.
The problem is that these white LEDs viewed head-on are much brighter than ordinary incandescent-bulb headlights. Unnaturally bright headlights may have some advantages; they undoubtedly offer better illumination and can be spotted from greater distance.
However they tend to be mesmerizing, which may have something less than the desired effect from a safety point of view.
I first encountered these headlights about 10 years ago photographing an electric locomotive in Munich, Germany.
For photography bright LED headlights pose a couple of problems. They can confuse both auto exposure and auto focusing systems, and as a result may contribute to under exposed and/or out of focus digital photos.
Also, many digital cameras only have a limited ability to handle extreme contrasts, resulting in an unappealing effect that I’ll call ‘light-bleed’, when bright light appears to spill over to adjacent areas of the image. A similar problem is a ghosting effect caused by reflections from external filters or inner elements on some lenses.
So what do you do?
I found that these LEDs are only unacceptably bright when viewed head-on, so by moving off axis, you can greatly reduce the unpleasant visual effects of these bright lights. That’s one solution, anyway.
Another way to suppress headlight bleed is to select a smaller aperture (larger f-number). I work my cameras manually, so this is easy enough to accomplish. If you are using automatic modes, you’ll need to select an aperture priority setting that allows you to control the aperture. Just mind your shutter speed or you might suffer from motion blur.
It was three years ago that Pat Yough and I traveled to Manassas, Virginia, where we were joined by our friends Vic and Becky Stone, and spent several days with Norfolk & Western J-Class locomotive 611 under steam.
Although I largely worked with digital cameras, I also exposed some color slides to capture the spirit of the event.
These images were made using Fujichrome Provia 100F with my Canon EOS-3, I scanned the slides yesterday (June 5, 2018) using a Nikon Super Coolscan5000 using VueScan software.
As far as transit is concerned, Lisbon is the San Francisco of Europe.
Ok, you can nitpick about the methods of propulsion, cables versus juice, but with steep hills, outstanding urban panoramas and quirky twisting trackage in narrow streets and fully functional antique cars, Lisbon’s tram system has lots in common with San Francisco’s famous cable cars.
These cities have lots of parallels too, certainly in layout and appearance, and weather.
I made these photos in the Portuguese capital on a brilliant day in April.
There’s seemingly endless opportunity for photographs. But do you work with the shadows or in the shadows?
For the tourist, Lisbon’s trams are both transport and an attraction.
1) Use your foreground. Unless you’re a ballast enthusiast, avoid emphasizing the ballast. Too many railroad photographs suffer from excessive foreground clutter and other distracting elements, so when you’re composing an image pay attention to the bottom of your frame.
2) Watch your focus. Although most modern cameras have auto focus systems, too many use center-weighted auto-focusing sensors. These produce an unfortunate side-effect of encouraging novice photographers to center their subject, which tends towards bland and ineffective composition. More advanced cameras have tools such as variable focus points and focus locks that help you get around the centering problem.
3) Avoid Flare. One of the reasons traditional photography technique stressed over the shoulder lighting was to avoid the unpleasant effects of lens flare. This is caused when the primary light source hits the front element of your lens and cause streaks and patterns across your image while lowering overall contrast. You can make successful backlit photographs by finding ways to minimize direct sun or other primary light sources; stand in the shadow of a tree, building or other object; no shadows available? Make your own with a flat piece of cardboard, book, or spare copy of TRAINS magazine. One last point: while you should avoid flare, this doesn’t necessarily mean you should eliminate it entirely. In certain circumstances, a little flare can improve a photo. Watch the way Hollywood uses flare for dramatic effect.
After intercepting Amtrak’s southward Vermonter on the Connecticut River Line, I drove to Pan Am’s East Deerfield yard(near Greenfield, Massachusetts) to see if anything was moving.
Fortuity and patience combined enabled me to make photos of Pan Am Railways POED crossing the Connecticut River Bridge (immediately east of the yard).
In the lead was 7552, one of two (soon to be three) former CSX DASH8-40Cs wearing Pan Am Railways paint, plus one of the railroad’s last remaining 600-series six motor EMDs (619, that began its career as a Southern Pacific SD45) still in traffic.
Catching this pair of locomotives together is a coup. I’ve always found transition periods make for interesting photographs; during the last year, these second-hand GE’s have sidelined many of Pan Am’s older locomotives.
Will this be the last time I catch one of the 1980s era GEs working together with a 1960s era six-motor EMDs in Pan Am blue paint?
In my early days, picturing former Pennsylvania Railroad GG1 electrics was one of my main photographic interests.
I held Amtrak’s newer E60 electrics is disdain. These modern, boxy electrics appeared to be supplanting the GG1s. For me they lacked the historic connections, the elegant streamlined style, and the character of the GG1. They were bland and common.
I may not have been fond of the E60s. But I always photographed them. They were part of the scene, and important elements of modern operations.
Recently I rediscovered these E60 photos along with some other long-missing black & white negatives.