All posts by brian solomon

Author of more than 50 books on railways, photography, and Ireland. Brian divides his time between the United States and Ireland, and frequently travels across Europe and North America.

HDR versus Manipulated RAW; or Flowers with NI Railways.

My Lumix LX7 has an ‘high-dynamic range’ feature. Otherwise known by its initials ‘HDR’, high-dynamic range is a technique for digital imaging that allows greater detail in highlights and shadows by combining several images of the same subject that were exposed at different values.

The LX7 includes the HDR setting as one of the options in ‘scene mode’ (SCN on the selection dial). This rapidly exposes a sequence of images and combines them in-camera to produce a single HDR JPG. Obviously you need to hold still when you make the photo.

Also it helps to photograph a static scene or the result my get a bit weird.

In this instance, I photographed some flowers on the platform of NI Railway’s station at Whitehead, Co. Antrim (Northern Ireland).

This is my HDR composite photograph. The camera automatically exposes a burst of images at various exposure settings and combines them in-camera to produce a single image with greater shadow and highlight detail than is normally possible with a single frame.

There are other ways of accomplishing a similar result.

So I decided to compare the HDR with some manipulated versions of a camera RAW file that I exposed of the same scene. With the RAW images, I’d adjusted the file with Lightroom post processing software, selectively altering contrast, gamma, and colour saturation and colour temperature to make for a more pleasing photograph.

Specifically I applied a digital graduated neutral density filter, while making global changes to highlights and saturation.

The output of the RAW is also as a JPG, which I scaled for presentation here.

This view is from a single RAW file exposed with the Lumix LX7 and manipulated digitally to maximize highlight and shadow detail. This is my first of two manipulations.
This is a more intensively manipulated file than the image immediately above. Again this image was from a single camera RAW file. This one features slightly darker highlight values.

I made two versions of the RAW interpretation.

In both sets of images I’ve intentionally focused on the flowers and not the NIR train.

Which do you prefer?

Tracking the Light Explores Photography Daily.

Views of a Level Crossing and Some Sheep; Moira—Part 2 (four new photos)

This is a follow up to yesterday’s post on NI Railway’s Moira Station.

I’m always looking for a different angle, and I found a variety of ways to photograph Moira last Sunday.

The vantage points for these photos were all within a one-minute walk of each other.

Exposed digitally using a FujiFilm XT1 with 90mm lens.
Exposed digitally using a FujiFilm XT1 with 90mm lens.
Lumix LX7 digital photograph.
A view from the road near the station. Lumix LX7 photo.

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Sunday at Moira

Last Sunday, I spent several hours photographing NI Railways and Enterprise trains at Moira, a station on the old Great Northern Railway’s Belfast-Dublin route.

The attractions of this location include a preserved signal cabin and a footbridge at the Dublin-end. Another benefit is the level crossing with a local road at the Dublin end. The barriers protecting the road drop 3-4 minutes before trains pass, which provides ample warning to prepare for photography.

This is especially helpful if you are sitting in a car nearby trying to edit texts and photos for a book on deadline.

Moira cabin is preserved. I made several views of the old box including this one with a crow in flight.
A NI Railways 3000-series CAF set approaches its station stop at Moira on its way from Belfast to Portadown, Northern Ireland.
Soft sun accentuates the front of the train and the signal cabin at Moira.

I exposed these photos using my FujiFilm XT1 with 90mm f2.0 telephoto lens.

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Virgin HST at London Kings Cross.

This is among the hundreds photos I chose for final consideration for my book on European Railway Travel. It is not an outtake. Instead this is among my selections for the section on railways of Great Britain.

Exposed on 3 May 2016 using my Lumix LX7. This image was adapted from the camera RAW image for maximum dynamic range.

In the text I discuss the great London terminals, and I use this photo to illustrate Kings Cross. I like it because it features a vintage HST in nice light with a dynamic view of the classic train shed beyond.

The HST (High Speed Train) was introduced by the then nationalised British Railways (BR) in the mid-1970s as the Intercity 125.

As a 125 mph train capable of operating on many existing lines with minimal changes to infrastructure and signaling this represented a significant improvement over older trains that allowed BR to speed schedules and more effectively compete with other modes.

More than 40 years later, many of the old HSTs are still on the move.

Exposed on 3 May 2016 using my Lumix LX7. This image was adapted from the camera RAW image for maximum dynamic range.

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Czech Outtakes Part 1

On my  more than a half dozen trips to the Czech Republic I’ve made hundreds of photos of Czech Railways in action.

Here are a couple of outtakes from the selection of Czech photos considered for my book on European Railway Travel.

Both were exposed digitally in October 2016.

Czech class 380 electric in a nostalgic livery at Breclav, Czech Republic.
CD trains on the move at Grygov, Czech Republic.

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Finland Outtakes-1

This morning I’m posting from a NI Railways train en route Bangor, County Down.

I’m reviewing Scandinavian photos for my book on European Railway Travels.

This view of a Finnish intermodal train near Oulu didn’t make the cut.

I exposed it on Fujichrome slide film using my Nikon N90S with 135mm lens.

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Great Southern & Western Station at Portlaoise.

I could have titled this ‘Dusk in the Rain’.

As it happens I was at Irish Rail’s Portlaoise Station on my way up to Dublin and I needed a few potential illustrations of the 1840s buildings for my book on European railway travel. I thought, ‘what better time than now to make some up to the minute photos?’

Working with my Lumix LX7 I made these views that I feel capture the atmosphere of the station.

Looking down road toward Cork.
An Irish Rail Portlaoise commuter train arrives during light rain.

Any favorites?

 

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Swiss Outtakes Part 3; Rhätische Bahn on a dull day

I’m still editing photos for my European Railway Journeys book.

There were more tough choices and this one had to go!

This photo has drama but the light is flat.

Flat light and dead snow just don’t make the cut.

This photo was exposed the narrow gauge Swiss Rhätische Bahn at Küblis .

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Hanging Viaduct-German Outtakes Part-3

I’ve been reviewing hundreds upon hundreds of photos for my book on European Railway Travel.

Here’s a view I  like but it didn’t make the cut because I’m using a similar angle that works better. It was one of several views that I made on film, although was also working with my digital cameras that day.

This pictures the famous ‘Hanging Viaduct’ in the Mosel Valley near Bullay.

Exposed on Fujichrome Provia 100F using a Canon EOS3 with 100mm lens.

Two years ago I visited this unusual railway construction with my friends Gerry Conmy, Stephen Hirsch and Denis McCabe.

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Train with Castle Rejected! German Outtakes Part 2.

Another example of some photos that didn’t make the final cut for my book on European Railway Travel.

You might think that catching a train with medieval castles in the background is pretty neat.

It is.

But I have many photos at this curve at Oberwesel on the busy Rhein left bank route. I’ve selected several potential candidates from this excellent German location and these two just didn’t seem book worthy.

Exposed using my FujiFilm XT1.

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French Outtakes—Part 1

Perusing my photos of France and French railways for my up-coming book on European Railway Travel, I was surprised  to find how many excellent images I had in my collection.

I’ve made about a half dozen trips through France over the years, and I’ve generally had good weather.

In reviewing my selection I’ve decided to cull these two images from consideration for the book.

This train photo is of an SNCF train but it’s not in France, and rather in Basel, Switzerland. More to the point, the lighting isn’t wonderful, and the setting is awkward.

I chose it because it’s a contemporary photo of an SNCF locomotive-hauled passenger train (which are becoming increasingly rare in France.) I have better SNCF photos than this one for the book.

Exposed on Fujichrome using a Canon EOS3.

I liked this Eiffel Tower image because it shows the scale of the structure. However, I have some really stunning views of this Parisian icon that better capture its majesty. This one gets the axe.

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German Outtakes-1

As mentioned last week, I’m in the final lap of assembling a book on European Railway travel.

This image is among my ‘outtakes’ from the section on Germany.

I have hundreds of photos along the Rhein. I like this one because it shows the twin tunnels on the right bank opposite Oberwesel, but the wires in the sky annoy me, as does the clutter in the river at right and shrub on the left.

There’s better photos to select from for my book.

A Swiss Cargo freight works forward along the Rhein in September 2015. Really? That was two years ago? Gosh, where does the time go? Exposed with a FujiFilm XT1.

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Steam and Rain—shallow focus and black & white.

It’s undoubtedly all wrong. It was nearly dark and raining steadily when I exposed these photos of former Great Northern Railway (of Ireland) V-Class 4-4-0 number 85 Merlin at Lisburn.

This is a follow up post from my digital views of the same evening titled Steam in the Rain: RPSI Steam & Jazz at Lisburn—25 August, 2017 that appeared on Tracking the Light a couple of weeks ago. Honer Travers had brought me down to Lisburn to watch 85 arrive and introduce me to the crew.

Working in low light, exposed these photos on Fomapan 100 Classic using my battle worn Nikon F3 with an old non-AI f1.4 50mm lens.

My exposure times ranged from 1/30th to 1/8th of a second, and all photos were made handheld. I processed the film in Ilford Perceptol stock solution for 5 minutes 45 seconds at 71 degrees F.

By panning vertically I aimed to convey a sense of motion. Notice that the buffer beam on 85 is sharp.
Trailing view at the footbridge in Lisburn.

1/8th of second at f2.

By using the lens wide open, I was working with shallow depth of field and a comparatively soft overall view. While the slow shutter speed allowed for motion blur. These are not conditions conductive to making razor sharp images. So I had no intentions of doing so.

Sometimes making softer, more interpretive images better conveys the spirit of the scene than clinically sharp images with over the shoulder light.

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In the Rain at the Famous Biaschina Loops—Swiss Outtakes Part 2

Here’s another view that won’t appear in my book on European Railway travel. (Are you missing the mist? Facebook viewers will need to click on the post to get the whole picture).

I’m just days away from submitting my final chapters.

Believe it or not, I substituted a film photo from this same location for consideration in the book instead of this digital photo.

Why?

I felt the film image captured the scene more effectively.

This is a digital photo at the three-level Biaschina Loops; for the book I went with a film photo of an SBB Re4-4 at the same spot.

I like the way the mist and rain add depth to this famous location at the Biaschina Loops on the south slope of Switzerland’s Gottard Pass.

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Wassen Curves on a Dull Day— Swiss Outtakes Part 1

An outtake (spelled with two ‘t’s) is a portion of a work removed during editing.

I’m in the final lap of assembling a book on European Railway travel.

Among my ‘outtakes’ from the section on Switzerland is this digital image that I made last year at the famous Wassen curves on the Gotthard Route.

Exposed digitally using a FujiFilm XT1 digital camera.

I was traveling with my friends Gerry Conmy, Denis McCabe and Stephen Hirsch.

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How Many Lighting Conditions Do You Work With?

Think about it? How many different type of light will you work with?

I know a fair few sunny-day photographers. No sun, no photo.

I know others who only come out at night.

I have my favorite types of light and preferred angles, but I’ll photograph in a variety of situations.

There’s your old standby; ‘over the shoulder three-quarter sun’.

But there’s lots of types of sun and angles; clear cloudless mid-morning sun is nice; how about side-lit midday sun? Or hazy backlit sun?

Hazy cross-lit sun with white sky.

Then there’s; low sun, glint, and the full back-lit sunset silhouette.

Of course with glint, you can subdivide it any number of ways; hard glint (silver glint), soft glint, golden glint, etc.

Likewise with overcast lighting. Not all cloudy days cast the same light.

Perhaps the most difficult is when the darkest cloud is above you and the rails glisten silver and the sky is white (but bright) off in the distance.

Then there’s rain; light rain, hard rain, driving rain, and ‘#@*#@@!!!! what am I doing out in this?!’ rain. Then there’s; sun and rain, and rainbow with dark sky.

Also; light falling snow, falling powdery snow, heavy falling snow, and one of my favorites; heavy falling snow with cross-lit sun’.

Then the next day: light snow on ground, heavy snow on ground, VERY heavy snow on ground. Then after it warms up; dead dirty snow.

Evening dusk with a hint of blue; evening dusk with stars twinkling. Evening dusk with comet (I’ve got it!), and even better, morning twilight with comet (got that too).

Then you have your mists and fogs; light fog, heavy fog, and mist clinging to top of hill in distance with full morning sun in foreground (another old favorite).

Night with stars; night with half moon, night with full moon; sodium vapor light, mercury vapor light; florescent light; incandescent light; and mixed electric light.

I like some of the specialized lighting effects such as ‘cathedral light’ where daylight is allowed to pierce shadows indirectly from the side, with no direct daylight in the scene. (Best accomplished in a snow shed, under a highway bridge, or in a train shed.)

There’s; train lost in shadow of its own exhaust backlit by rising sun.

And; everything in scene covered in hoar frost, backlit by rising run.

Not to mention; train in silhouette against fog bank in front of hill backlit by rising sun.

There’s more, but I bet I’ve lost some readers already.

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Glint, Flare and Clouds; Evening in the Gullet.

I realize that today’s title might not catch everyone’s eye.

How about: ‘Clean GM Diesel on a Freight’?

Or, ‘Irish Rail at Rush Hour’ ?

‘Gullet Glint’?

Anyway, this post is about light.

I was waiting on the Up IWT liner (International Warehousing & Transport Ballina, County Mayo to Dublin Northwall container train)with recently painted Irish Rail 071 class diesel number 082.

Just ahead of this Dublin-bound freight was the Up-Galway passenger train with a common set of ICRs (InterCity Railcars).

I was photographing into the sun. My intent was to work the glint effect. (That’s when the sun reflects off the side of the train).

Usually, I find this is most effective when you shade the front element of the lens to minimize flare. Notice the two variations with the ICR.

By shading the front element I’ve prevented the rays of the sun from directly hitting the front element of my lens, thus minimizing the effects of flare.
In this view, exposed moments after the photo above, I’ve allowed the sun to hit the front element to show the effects of flare. This small adjustment can produce very different results. Often I aim to control the amount of flare; a little bit lightens shadows and adds some colour to the scene but too much can result in unpleasant and unnatural looking light streaks or light fog.

By the time the freight reached me clouds had partly shaded the sun leaving only a hint of back-lighting.

All the photos were made using my FujiFilm XT1 with 90mm f2.0 lens. The camera RAW Files were all adjusted for colour balance, colour saturation and contrast using the same ratio of change. (In other words, although I’ve manipulated the final result, all the photos have received the same degree of alteration).

The clouds shaded the sun for me here.
In this image, I adjust the exposure on site to compensate for the clouds blocking the sun.

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Lumix LX7 at Belfast Central.

I had a few minutes between trains at Belfast Central, so in the interval I made a few photos with my Lumix LX7.

To compensate for less than ideal lighting I made nominal adjustments to the RAW files in post processing using Light room.

Essentially I lightened the shadows, brought down the highlights in the sky, and boosted colour saturation while slightly increasing overall contrast.

Douglas Adams once wrote something to the effect: ‘There’s no language that has a word that means “as pretty as an airport”‘.
An inbound NI Railways train.
Red ‘tail lamps’ indicate that this is a trailing view.
NI Railways 8209 on the Belfast-Dublin Enterprise.
No flash was used in the exposing of this photo.

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Irish Rail Class 071 Works the IWT Liner.

Last week Irish Rail class 071 worked the IWT Liner.

Dressed in the 1970s-era heritage livery, this locomotive has been a popular topic with local photographers.

The bright orange locomotive glistens even on a dull day.

Digital photograph exposed using a FujiFilm XT1 with 27mm lens.

I exposed this view on Friday (1September 2017) from Conyngham Road in Dublin (at the entrance to the Phoenix Park Tunnel) using my FujiFilm XT1 with 27mm pancake lens.

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Telephoto versus Wide angle: Picturing Irish Rail’s Tara Mines Run at Drogheda.

A few days ago, my daily Tracking the Light post featured a long distance telephoto view of Irish Rail’s Tara Mines zinc ore train crossing the Malahide causeway.

See: Long View: Tara Mines Zinc Ore Train at Malahide. 

In that photo the train is relatively small in a big scene.

Three days later, David Hegarty and I were again out along the old Great Northern line, this time at Drogheda, to photograph the Tara Mines on the move.

In contrast to the distant view in the earlier posting, the photographs displayed here  focus tightly on the locomotive and train using more classic three-quarter angle.

In the top photograph, I used my FujiFilm XT1 with a 90mm fixed telephoto for a tight compressed view (what some photographers might term a ‘telewedgie’).

While in bottom photograph I used my Lumix LX7 with zoom lens set with a wide-angle perspective that approximates the angle of view offered by a 35mm focal length lens on a traditional 35mm film camera.

Exposed using a FujiFilm XT1 with 90mm fixed telephoto lens. Notice the crossovers located on  curved track.
Lumix LX7 wide view.

I prefer the telephoto view for overall appeal; this handles the soft lighting conditions more satisfactorily, focuses more closely on the locomotive and train, minimizes bland elements of the scene such as the ballast and white sky, and offers a high impact image of the train in motion. Also it helps emphasize the trackage arrangement with crossovers between the up and down lines.

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Think Fast at Hazlehatch! Action on the Quad Track.

Irish Rail’s quad-track line southwest of Dublin is a popular place for photos.

Last week, Colm O’Callaghan and I made a trip down to Hazlehatch to make photos of trains on the move in the afternoon.

Belmond’s Grand Hibernian was passing down road when Colm said to me, ‘Quick, it’s the inspection car’. I had only a few seconds. I turned around and with little time to compose I fired off a few frames.

Both the train and the inspection car were in motion.

FujiFilm XT1 photograph at Hazlehatch. The fifth line in the center serves a stub-end track to a bay platform at Hazlehatch station.

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Tracking the Light features Irish Rail 29000s at Drogheda in five photos.

Only see one photo? That’s because you are not viewing this post on Tracking the Light (Hint: click the link).

Irish Rail maintains its 29000-series diesel railcars (built by CAF) at its Drogheda Depot.

Back in Janaury 2003 I photographed the very first of these trains being lifted out of the boat at Dublin port. (Thanks to the late Norman McAdams who had encouraged me to  be dockside to make photos for the Irish Railway Record Society Journal).

I was reminded of that event while crossing the now disused trackage (half paved over) by the old Point Depot along the north Liffey Quays near where I made my photos.

These images were exposed last week at Drogheda using my digital cameras.

Exposed using my Lumix LX7. Notice Irish Rail’s Tara Mines train at the upper left.
Irish Rail 29000s by the dozen! FujiFilm XT1 photo.
Lumix LX7 photo looking toward Dublin.
Lumix LX7 photo.
FujiFilm XT1 photo.

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Coming and Going: The Belfast-Dublin Enterprise on the old Great Northern Line near Mosney

There’s a lightly used road bridge over Irish Rail’s old Great Northern line south of the former station at Mosney that offers a clean view in both directions.

The Irish Sea is in the distance to the east.

A week ago David Hegarty and I spent a few hours here making photos of passing trains.

The Enterprise is a cross-border service connecting Belfast and Dublin. Trains are arranged in a push-pull configuration with the locomotive at the Belfast-end. Exposed at 1/1000th of a second to minimize motion blur.
Trailing view: Exposed at 1/1000th of a second to minimize motion blur.

I made these views using my FujiFilm XT1 fitted with a fixed focal length 27mm pancake lens, which offers an angle of view rough equivalent to a 41mm lens on a traditional 35mm film camera. In other words it is a slightly wide-angle perspective.

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Long View: Tara Mines Zinc Ore Train at Malahide.

On the morning of 25 August 2017, David Hegarty and I were in position at Malahide looking toward the old Great Northern Railway causeway to photograph a laden Tara Mines Zinc Ore Train led by Irish Rail class 071 locomotive number 077.

I liked this location because it allowed me to picture the whole train in a scenic setting. As you can see the Tara Mines train is very short as demonstrated in this  broad-side view (if you are viewing on FB you may need to click on Tracking the Light for the full photo).

Exposed digitally using a FujiFilm XT1 fitted with an f2.0 90mm fixed telephoto.

To make this work I used a medium telephoto and then in post processing cropped the extraneous portions of the sky and water at top and bottom of the image.

I also altered contrast, colour balance and colour saturation.

I’m not fully satisfied though, because the dark locomotive and dull wagons with relatively flat lighting tend to get lost in the overall scene.

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Steam in the Rain: RPSI Steam & Jazz at Lisburn—25 August, 2017.

Lisburn is a surviving gem among old Great Northern Railway stations in Northern Ireland.

RPSI’s steam crew apologized for the weather, but there was no need. Steam locomotives make for excellent subjects when photographed at dusk in the rain.

This was my reunion with Railway Preservation Society of Ireland’s engine 85, a Great Northern compound 4-4-0.

Great Northern Railway (of Ireland) engine 85 is named Merlin. It was one of five V-class compounds, all of which were named for birds of prey.

Honer Travers arranged my visit to Lisburn to witness the arrival of the scheduled Steam & Jazz special from Belfast, and introduced me to members of the crew (some of whom I’d met on previous occasions).

Working with three cameras, I made dozens of atmospheric images in the course of about 15 minutes. These photos were made digitally with my FujiFilm XT1 and Panasonic Lumic LX7. In addition, I exposed a handful of black & white photos using a Nikon loaded with Fomapan Classic.

RPSI’s Steam & Jazz excursion arrives from Belfast in a steadily drizzling rain.
Cold, windy, wet and dark, but great for atmospheric photos. It helps to have a FAST lens, in this case an f2.0 90mm Fujinon telephoto.
Number 85 runs around at Lisburn. Fuji XT1 photo.
Exposed with a FujiFilm XT1, notice the effect of shallow depth of field and selective focus.
Lumix LX7 photo at Lisburn.

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Belmond in the Gullet; Navy Blue Train as viewed with Lumix and Fuji Digital.

Three photos:

Belmond is a high-end tour train operator that since 2016 has served Ireland with its Grand Hibernian sleeping car train.

This has been a popular topic for railway photographers as it represented a return of the Mark 3 carriage to Irish rails and makes for a decidedly different passenger train in contrast with Irish Rail’s regularly scheduled services.

Yet, as previously mentioned on Tracking the Light, the train itself is challenging to capture in images owing to its largely unbroken dark navy-blue paint.

In dull light this looks nearly black.

I’ve found that the most effective photographs of the Belmond Grand Hibernian are made in bright sunlight.

These views were exposed at ‘the Gullet’ west of Dublin’s Heuston Station. One was made with my Lumix LX7 with the Vivid colour profile; the other two with my FujiFilm X-T1 using the Velvia colour profile.

Belmond’s Grand Hibernian exposed using a FujIFilm X-T1 digital camera with fixed 90mm lens.
A view of the same train exposed moments later with my Panasonic Lumix LX7.
On Saturdays the Belmond train is shunted in the Gullet in order to move it from Heuston Station to Dublin Connolly. This requires another locomotive to couple to the back of the train and haul it via the Phoenix Park Tunnel. Notice the changeable lighting conditions and how that affects the appearance of the navy-blue paint. Exposed using a FujIFilm X-T1 digital camera with fixed 90mm lens.

Files were scaled in Lightroom for internet presentation, but were not altered in post processing in regards to exposure, colour balance, colour temperature or contrast.

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When at Station isn’t a Station: Belfast & Northern Counties Railway Derry Station.

Four Photos:

The old Belfast & Northern Counties Railway Derry Station is adjacent to the contemporary Translink/NI Railways’ station.

Where the modern station is a functional utilitarian facility with all the charm of a small town bus station, the old station sits as an elegant vestige of former times when a railway station was viewed as a city gateway and endowed with suitable architecture.

Maybe someday the old station building will be a station again?

I made these photos using my Lumix LX7.

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On the Roll to Derry on NI Railways.

It had been a long time since I’d last traveled NIR’s Belfast to Derry railway line (in the original version of this post, I’d described this as the ‘Derry Road’ but several readers wrote into correct me, as the phrase ‘Derry Road’ refers to the long abandoned GNR route to Derry and not the present NIR line), and while I’ve been over the whole line between Derry and Belfast in stages, I’d never before actually traveled all the way from Belfast to Derry.

So, two weeks ago, Honer Travers and I organized a day out to Derry. We began our rail journey at Lisburn and traveled to Belfast Great Victoria Street where we changed trains.

After a wander in Derry, we returned by rail the way we had come.

I made these photos using my Lumix LX7.

Interior view of a 4000-series CAF train.
Holding the Lumix above my head I made this interior view.
Interior view of a 4000-series CAF train.
Rolling toward Derry, Northern Ireland.
Interior view of a 4000-series CAF train. Although only moderately busy when we departed Belfast, by the time the train arrived at Derry it was packed.
Outside NI Railways’ Derry station.
An NI-Railways train rolls along the Foyle on its return trip to Belfast. In the distance is Derry’s Peace Bridge.
View of the line along the Foyle looking toward Derry’s station from the Peace Bridge. Would this be a better photo with a train?
A panoramic composite photo exposed with my Lumix LX7 from the platform at Derry.

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Up Close with Irish Rail 215 in Fresh Paint-Five New Photos.

Irish Rail’s class 201 General Motors-built diesel-electric number 215 (now technically 92 60 02 10215-6) was recently repainted in fresh green and silver paint.

Over the last few days I had several opportunities to photograph this locomotive up-close, allowing for some detailed images.

Here’s a selection of Lumix LX7 views.

Irish Rail 215 works the back of a Mark 4 set on approach to Heuston Station Dublin.
Irish Rail 215 at Dublin’s Heuston Station. Lumix LX7 digital photo.
Irish Rail 215 at Dublin’s Heuston Station. Lumix LX7 digital photo.
Irish Rail 215 at Kent Station, Cork. Lumix LX7 digital photo.
Irish Rail 215 at Kent Station, Cork. Lumix LX7 digital photo. Contrast and saturation adjusted in post processing.

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NI Railways on the Roll—Panned Views Crossing the Lagan.

A few weeks back on a trip to Belfast, I exposed these views of NI Railway’s CAF-built diesel railcars crossing the River Lagan.

To convey a sense of motion I panned the trains using a relatively slow shutter speed with a medium telephoto lens. By using an even panning motion I was able to keep the train sharp with the background is blurred.

Exposed at f 22 for 1/60th of a second. 135mm focal length.
Exposed at f20 for 1/60th of a second.

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Irish Rail 220 with IWT Liner at Islandbridge Junction on 17 August 2017.

Clear blue dome. Nice view. Short walk.

Islandbridge Junction near Heuston Station in Dublin.

I exposed this photo of Irish Rail’s IWT Liner (Dublin North Wall to Ballina, Co. Mayo) on the morning of 17 August 2017 using my FujiFilm X-T1 digital camera fitted with a 27mm pancake lens.

Exposed at f9 1/500th of a second at ISO 400 using a 27mm pancake lens (provides an angle of view equivalent to a 41mm lens on a full-frame 35mm film camera).

Brian Solomon’s Tracking the Light posts something new everyday.

NI Railways at Adelaide Depot, Belfast.

The other day I made this view of a CAF-built NI Railways train at the railway’s Adelaide Depot in Belfast, Northern Ireland.

Exposed using a Panasonic Lumix LX7 digital camera.

Sometimes its hard to resist perfect three-quarter lighting. The elevation helps too!

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LUAS on Trial: Cross City Line test, finally! Ten Photos.

I found it fascinating to finally see a tram negotiating Dublin Cross City trackage having followed the construction of the line over the last few years.

This my third post showing LUAS tram trial on 18 August 2017.

These photos were exposed using my FujiFilm X-T1 fitted with a 27mm pancake lens. That’s right: fixed focal length (no zoom).

Never mind the camera, what amazed me was how completely oblivious most passers by were to the tram. What does it take these days to catch notice?

Warning!
Exposed with a FujiFilm X-T1 digital camera fitted with a Fujinon 27mm lens at Parnell Street.
Marlborough Street in Dublin on 18 August 2017.
The soon to be Marlborough LUAS stop.
Crossing Abbey Street at the Abbey Theatre.
College Green, soon to be Trinity LUAS stop.
Warning!
College Green, Trinity LUAS stop (future).
LUAS trial in the rain near Grafton Street shopping.
St. Stephens Green.

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Tram on O’Connell Street in Dublin: LUAS Cross City Trackage Trial

On Friday August 18, 2017, Mark Healy and I met to document a LUAS 5000-series tram trial on new Cross City trackage.

This was my first experience seeing a tram working recently completed Cross City trackage.

Mark and I have been documenting LUAS Cross City progress for more than two years.

Working with Lumix LX7 RAW file, I lightened shadows and adjusted contrast. In the distance is Dublin’s famous Spire.
I made this view using my Lumix LX7s HDR (high dynamic range) mode that digitally combines several images in-camera to allow for better shadow and highlight detail.
The trailing tram takes the points at the top of O’Connell Street to use the turn back loop to reach the southbound line on Parnell Street. Is this the first time a tram has negotiated this trackage? First time I’ve seen it anyway.

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Belmond’s Grand Hibernian at Cabra.

A couple weeks ago, I met fellow photographer Jay Monaghan in Cabra to document the passing of Belmond’s luxury tour train that was making it’s scheduled move to Dublin’s Connolly Station.

Using my FujiFilm X-T1 digital camera, I opted for this portrait-oriented (vertical) telephoto view to accentuate the Dublin Mountains. In contrast to my view, Jay executed a very nice wide-angle photograph that better shows the cutting and the length of Belmond’s train.

Working with the camera-RAW file in post processing, I adjusted contrast and lightened shadow areas slightly to lessen the effects of midday-sun.

The Grand Hibernian uses 10 custom refurbished former Irish Rail Mark3 carriages, making it the longest regularly scheduled passenger train in Ireland.

In this instance an Irish Rail class 071 diesel is working the train, but for most moves Irish Rail 216 specially painted in Belmond navy-blue is assigned to it.

In season, Belmond’s high-end excursion train makes tours of Irish railways.

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