Author of more than 70 books on railways, photography, and Ireland, Brian lives with his wife, Kris, in Lancaster County, Pennsylvania. Brian holds a BFA in Photographic Illustration from the Rochester Institute of Technology. In 2022, he was presented with the Railway & Locomotive Historical Society’s prestigious Fred A.& Jane R. Stindt Photography Award for his lifetime achievements in railroad photography.
Photographing the Lake Shore Limited is a tradition in our family dating back almost 40 years.
It was a clear afternoon. The Boston section of Amtrak’s Lake Shore Limited was nearly on schedule.
The other day my father and I selected a location near the summit of the Boston & Albany at Washington, Massachusetts.
In this view, back lighting helps to emphasize the train. The angular shape of Amtrak’s General Electric P42 diesel-electric catches the light nicely while the front-end is in a shadow, which draws the eye to it as the primary subject.
Using my FujiFilm X-T1 I set up a view that places the train in the left-hand portion of the image, while featuring the pastoral autumnal scenery on the right.
Tomorrow night, October 15, 2015, I’ll be presenting an illustrated talk on railways in Ireland and Britain to the Wilmington Chapter of the National Railway Historical Society.
According to the Chapter’s website:
The Wilmington Chapter of the National Railway Historical Society meets at 7:00 PM on the third Thursday of each month (except August and December) at the Claymont Community Center, on Green Street in Claymont, Delaware.
Saturday, October 10th, I exposed a series of photographs of Amtrak 54 (northward Vermonter) at Vernon, Vermont.
Low sun and richly colored vegetation made for a simple, but attractive scene.
Starting with the shadow in the foreground, I set up a graphic composition using a series of simple line and color transitions designed to complement and emphasize the Amtrak train.
Amtrak’s Vermonter at Vernon, Vermont on October 10, 2015. Exposed with a FujiFilm X-T1.
Which version do you think is more effective: the closer view, or the image where the Amtrak train is slightly more distant?
On Sunday October 11, 2015, my father and I drove over the Berkshires to travel and photograph’s Berkshire Scenic’s Hoosac Valley excursion that is now operating on a short portion of the old Boston & Albany branch between Renfrew in Adams and North Adams, Massachusetts.
This presented an opportunity to travel in an old Budd RDC and ride a rarely used portion of the Boston & Albany. This new excursion service had only begun on the previous day, and should run over the next few weekends.
Berkshire Scenic’s former Boston & Maine Budd-built RDC. Lumix LX7 photo.Berkshire Scenic train departing Renfrew. FujiFilm X-T1 photo.
At Renfrew I met my friends Otto Vondrak, and Kevin Chittenden. Kevin was the engineer for the day.
The weather was nearly perfect—clear polarized sunny skies.
On the only hitch was that a day or two earlier the RDC had developed an electric fault, and as a result was being towed/propelled by a vintage EMD SW8 switcher.
My Irish friends will note that this 800 hp locomotive is remarkably similar to CIE’s Class 121s (also built by EMD).
I made this selection of photographs with my Lumix LX7 and FujiFilm X-T1 digital camera. However, I also exposed a few colour slides with my father’s Leica M4 with 35mm Summilux lens.
Thanks to everyone at the Berkshire Scenic/Hoosac Valley for making this an enjoyable day out.
Otto and Kevin at Renfrew, Mass. Lumix LX7 photo.Lumix LX7 photo.Interior view of the RDC. Lumix LX7 photo.Ticket collection on board. Lumix LX7 photo.Lumix LX7 photo.
In early September, my friends and I witnessed the passage of this old German class 140 electric in classic green paint.
Every day in late morning or early afternoon it would work south along the Rhein’s Right Bank (east side) with a freight.
On this day we hiked out to the Loreley statue on a peninsula near the famous Loreley Rock at bend in the river. I made these photos with my FujiFilm X-T1. As the freight drew closer, I opted to pan, which helps set apart the green locomotive from the hillside beyond.
Near the Loreley.By panning, I’ve improved the visual separation between the locomotive and the background.
I made this photograph on April 13, 1984. It was a Friday, and I was then in my final months of my Senior year of High School.
My raw unmodified scan of the original 35mm B&W negative. This was exposed using my old Leica 3A with 50mm Summitar. The film was processed in the kitchen sink. I made a few proof-prints, then filed the negative away, not to be looked again for decades.
If I recall correctly, in this instance I wasn’t ‘absent’ as Seniors were allowed to leave the school if they didn’t have a class, and there was an even greater freedom permitted on Fridays.
Anyway, I think the Palmer diamonds, where Central Vermont’s line crossed Conrail’s east-west Boston & Albany route was a better place for me to be on that Friday the 13th.
However, this negative was left in the ‘seconds’ file for many years. Not because of the subject matter, or any grave instance caused by the unlucky day. But rather because my processing skills were not yet up to par.
In addition to careless over-processing the negatives in Kodak Microdol-X (which in my view led to a grainy appearance coupled with slightly unpleasant contrast), I managed to add a few strategic scratches and water spots when drying them. Just basic poor handling on my part.
While the scene is fascinating to me now, as it reveals just how much Palmer has changed over the 31 year interval, at the time it was common. It was easier to return to Palmer and expose more negatives, than worry about correcting my processing faults.
Ultimately, I refined my black & white process. Today, using Lightroom, I spent some time to rid the flaws in the original negatives including spots, scratches, contrast, and put the image on level.
Nominal correction to remove spots, scratches and improve level.This represents more intensive correction to smooth out spots, minimize scratches, and make both localized and overall contrast adjustments.Here I may have over done it. What do you think?
I’ve presented four variations beginning with the raw unmodified scan. The fourth represents the most amount of manipulation in post processing.
On Saturday and Sunday 26-27 September, 2015, Dublin Port hosted a gathering of antique vehicles, mostly of the road-oriented variety.
I made these photographs, which include a display of railway memorabilia by Donncha Cronin and Ken Fox.
There was a grand array of buses on display, including a few like those that I’d traveled on years ago when I first visited Dublin. I thought the Soviet-era armour was pretty cool.
All of these images were exposed with my Lumix LX7.
Why print new signs if last year’s will get the job done?Ye auld ‘flying snail’.CIE’s 1960s era logo on the side of a lorry.There were no railway locomotives on display, but this old steam tractor was chuffing about and hissing steam.
Soviet-era armoured personelle carrier.A Hillman Californian was one of the more unusual automobiles on display. I’m not an expert on these, but the owner said the styling was the work of Raymond Loewy.There were some old railway buses. (of the rubber tired variety).
An impressive line-up of road vehicles.From Ontario, eh?Toronto Transit Commission.Harpers Block instrument.The usual suspects.
Last weekend (October 3, 2015), I made my second visit to the Belgian Coastal Tramway (LIJN Kusttram). This tramway is one of Europe’s more unusual railways. It’s a narrow-gauge electric interurban line that connects towns and cities along the Belgian coast using modern trams.
The setting is peculiar to my eye, as much of the coast is characterized by mile after mile of high-rise apartments that face North Sea beaches. Between resort areas are heavy port facilities, such as that at Zeebrugge.
Panoramic composite of the Belgian coast exposed using a FujiFilm X-T1.
On my first visit, back in March 2013, I traveled from Ostend to the south end of the line near the French border. Back then it was gray, cold, and exceptionally windy. In other words, it was a complete contrast to last weekend, when it was warm, sunny, and comparatively still.
During this more recent visit, I explored the North-end of the line with some of my Irish friends who are now living in Belgium. At no point did my two journeys on the coastal tramway overlap.
LIJN Kusttram the Knokke terminus at the north-end of the route. (The tram carries a destination for De Panne at the far south-end). Lumix LX7 photo.Blankenberge Pier. Lumix LX7 photo.Blenkenberg Pier. Lumix LX7.
One of these days I’ll need to visit again, and travel the line from end to end. I’ve by no means worked the most dramatic or most characteristic locations on the line.
Interestingly, I’ve seen relatively few published photos on the route, which makes it a bit more mysterious, and perhaps more interesting to explore.
Belgian Coastal Tramway at Blankenberge.Advertisements. Lumix LX7 photo.Sunset on the Coast Tramway. Lumix LX7 Photo.A passenger validates a ticket on-board the Kusttram.Knokke terminus at dusk. exposed with a Lumix LX7. There are some 70 stops between Knokke and De Panne. That could take a lot of exploring!
It’s hard for me to believe these photos are nearly 30 years old!
Bob Buck and I were at Springfield Union Station on December 30, 1985, watching trains, as we often did back then.
Conrail TV5 pulled up and stopped. I used this opportunity to make a few black & white photos using my father’s Rollei Model T and Metz hand-held electronic flash.
I’d worked out a technique of blending existing light with electronic flash that retained the essential lighting of the scene.
TV5 was a rarely photographed train that carried intermodal trailers from Boston to St. Louis. It was one of several piggyback trains that rolled over the B&A route in darkness.
Scan of my original negatives.
At the time, these seemingly mysterious night-time piggy back trains fascinated me, and I was very pleased to have captured this one on film
I made two exposures. The first is pretty good. The second suffered from a knock to the camera or tripod. Today, I’d have the opportunity to check my exposure and focus on site, back then all I could do was hope for the best.
I’ve written before: always have a camera at the ready. I live by this rule.
Minutes ago (8:20 am, 7 October 2015), I was hastily making my way to the Dublin airport bus, when I spotted LUAS tram 4012 dressed in Virgin advertising making its Heuston Station stop. (Tram featured yesterday in ‘Extra: Virgin Luas . . .’).
With one hand on my suitcase, I grabbed my Lumix LX7, adjusted the exposure dial, and put myself in position on Sean Heuston Bridge to catch the tram in the window of morning sun. After exposing photos, I jumped on the 747 bus, where I am presently.
Dublin bus has free wi-fi, which facilitates extra posts such as this one.
Virgin LUAS at Heuston Station.Exposed with a Lumix LX7.The trailing view has my shadow. Can’t win everything.
Tracking the Light Posts Daily!
Lumix LX7 view from the 747 bus. Contrast adjusted using Lightroom. Posted from the the bus.Lumix LX7 view from the 747 bus. Contrast adjusted using Lightroom. Posted from the the bus. (That’s not a Virgin tram, so I’m told.)
Light makes all the difference. The current livery used by Brussels trams is silver and bronze. This tends to look sedate on dull days, and makes photographing the trams challenging, as they too readily blend in with the city’s architecture.
However, this silvery livery catches the sun nicely, especially when slightly backlit.
Exposure isn’t exactly intuitive.
Are you better to overexpose (allow more light) to capture detail in the deepest shadows and risk blowing out the silvery highlights? Or, instead, underexpose slight to retain highlight detail and let the shadows go dark.
STIB PCCs on the 39/44 Route in Brussels. Here I’m shading the lens with an overhead bridge to minimize flare. Lumix LX7 photo.A similar view exposed of a Bombardier Flexity Tram using my FujiFilm X-T1. File carefully adjusted in post processing.Bright sun finds three variety of Brussels trams.Silver and bronze is a distinctive combination of colours but can require very careful exposure. FujiFilm X-T1 photo.A STIB T2000 tram. in bright sun.A PCC pauses at the Route 39 terminus at Ban-Eik. If you only had time to ride one tram route in Brussels, this might be a good one. It has interurban characteristics in addition to street running and heads a good distance out of the city. Lumix LX7 photo.
I’ve chosen the latter course. With the caveat, that from the moment of exposure I intended to work the digital files in post-processing using Lightroom to control contrast for final presentation.
I’ve treated each of the files slightly differently, but in general, I’ve reduced the highlight exposure and boosted the shadow areas to allow for a more pleasing rendition.
I also made a few colour slides.
What do you think?
Route 39 PCC at the Montgomery terminus. I used my LX7 to make this subway view. Notice how the tram’s livery looks very different when viewed by artificial light.A Bombardier Flexity catches the noon-time sun near the Brussels Tram Museum. (I’d hoped to visit the museum inside, but it was closed. Maybe next time . . . ).
Twice over the last 24 hours, LUAS tram 4012 has caught my attention. This wears the latest of recent advertising liveries.
The red lettering helps makes for more interesting photos, although the lighting was pretty poor. I’ve had to make a variety of contrast adjustments in LightRoom to put a bit of zest into otherwise flat street photos. Silver trams on a dull day.
My opportunities to photograph 4012 are relatively limited. Maybe the sun will shine tomorrow, but then again if doesn’t I have my ‘safety shots’.
Abbey Street Dublin. Lumix LX7 photo, contrast adjusted in post processing.Abbey Street Dublin. Lumix LX7 photo, contrast adjusted in post processing.
Perhaps I’d been living under a rock, but I’d never heard of this place before. It’s certainly one of the more interesting places to photograph trains in Belgium.
Elevation is available on the east side.
Low evening sun suited the environment. Yet, I think a foggy morning might offer an even more evocative atmosphere. Someday, I’ll have to try it again!
Villers Abbey, FujiFilm X-T1 photoWhich is a more compelling image? The train in the distance, or up close?
I’ve passed through Charleroi, Belgium at various occasions over the years. For me it is a place similar to Newark, New Jersey.
Like Newark: Charleroi offers connections between transportation modes and is the location of an important secondary airport and has a light rail-subway that blends an historic network with modern construction.
Also, both city’s environments are characterized by post-industrial backdrops.
On Thursday, October 1st, a change of trains at Charleroi afforded me a 40-minute window to make photos. Rich polarized sun at the end of the day made for some nice lighting to capture the city’s trams and SNCB trains.
SNCB station at Charleroi Sud. Lumix LX7 photo.TEX Tram at Charleroi Sud. Lumix LX7 photo.TEC tram catches a wink of sun on 1 October 2015. FujiFilm X-T1 photo.SNCB station at Charleroi Sud. Lumix LX7 photo.SNCB station at Charleroi Sud. Lumix LX7 photo.My train to Ottignie at the SNCB station at Charleroi Sud. Lumix LX7 photo.
Low sun offers contrast and rich lighting that is well suited to making dramatic railway images.
For me it was like the LUAS transplanted. The trams at Valenciennes are variations of Alstom’s Citadis trams that have worked Dublin’s Green and Red Lines since 2004.
While, visiting Valenciennes, my host Mauno Pajunen and I went for spin on the light rail, and I made a variety of images using my Fuji X-T1 and Lumix LX7 digital cameras.
We benefitted from rich polarized autumn sun. Trams operated on a ten minute frequency on each of the two routes.
October 1, 2015 was a beautifully clear autumn day in northern France. Following my talk to the European Railway Agency, my host Mauno Pajunen gave me a guided tour of the Gare de Valenciennes.
Historically this region had been rich with coal, and this made for a busy railway. Today, the coal business is all but extinct, and SNCF appeared to be largely focused on passengers, although we saw a unit grain train, and a Vossloh diesel shunting the goods yard.
The station was built in 1906 by Chemin de fer du Nord (the northern railway of France) and has a handsome period exterior. Inside the station has been stripped of much of its traditional décor.
SNCF’s Gare de Valenciennes. Exposed with my Lumix LX7, contrast adjusted globally in post processing.SNCF’s Gare de Valenciennes. Lumix LX7 photo.SNCF’s Gare de Valenciennes. Lumix LX7 photo.An old TGV PSE set at SNCF’s Gare de Valenciennes. Lumix LX7 photo.
I was pleased to find one of the original TGV PSE high-speed sets outside. These trains defined France’s innovative high-speed rail in the early 1980s, but the design is now 35 years old, and the train itself was exhibiting the signs of heavy use.
In addition to these digital photos, I also exposed several 35mm colour slides. Although, I’ve visited France on various occasions, I have comparatively few images of SNCF.
Local SNCF railcar at Gare de Valenciennes. Lumix LX7 photo.I set my Lumix LX7 in HDR mode to reduce contrast and improve shadow detail. HDR stands for ‘high dynamic range’ and effectively blends three photographs exposed at different settings. These images are made in rapid succession and combined in-camera. It is useful for static scenes such as these standing SNCF diesels, but not much help for photos of moving trains.Another HDR view of the SNCF grain train. The diesels were built by Alstom and Siemens.
Yesterday I traveled by SNCB (Belgian Railways) train from La Hulpe in suburban Brussels to Mons near the French frontier where I was collected by Mauno Pajunen. We drove to the European Railway Agency’s HQ at Valenciennes where I presented my illustrated talk on railway photography.
I made a few final adjustments to my program in Power Point while traveling on the train to Mons. Lumix LX7 photo (Photo on the computer is an image of the Southern Pacific on Donner Pass exposed with my old Leica M2).ERA’s offices at Valenciennes.Here I am at the ERA in Valenciennes, France. Photo by Mauno Pajunen with my Lumix LX7.
I had an enthusiastic and receptive audience. In addition to displaying about 90 images from my lap top using a digital projection system, I showed off the demonstration copy of my new book Railway Depots, Stations and Terminals and explained the virtues of my three primary cameras.
My audience had some excellent questions, which I did my best to answer.
It was a bright clear afternoon, and after the talk my host Mauno Pajunen gave me a tour of railways in Valenciennes.
During my Rhein travels in September, I had the opportunity to make a few photographs of the narrow gauge tram network at Mainz.
In the fading light of that day, I exposed these photos using my FujiFilm X-T1 and Lumix LX-7.
Mainz is one of dozens of German cities with an active tram network. Someday, I hope to be able explore it fully.
Panning and low angles a nice trick from making more dramatic tram pictures.
Lumix LX7 of a tram in Mainz. Here I’ve composed the photo to emphasize the track work and street paving. LX7 photo.A slight pan sets the tram apart from the background. LX7 photo.Spot the subject. LX7 photo.Narrow gauge for narrow streets. Fuji film X-T1 photo.Tram with fountain. LX7 photo.Panning helps compensate for a slower shutter speed while conveying motion. LX7 photo.Passengers are part of the scene. LX7 photo.LX7 photo.
Posted live from Dublin Bus. I’m on the 747 bus on the way to the airport. The Wednesday-only second IWT liner (Ballina to Dublin Port) just crossed the road. I had a perfect vantage point from my seat on the top deck.
I using my Lumix LX7, I exposed these views.
What fantastic luck!
IWT at the North Wall waiting to cross the road. 3:15 Pm September 30, 2015.View from the 747. 3:15 Pm September 30, 2015.3:15 Pm September 30, 2015. Dublin Port.View from Dublin Bus. 3:15 Pm September 30, 2015.
Tracking the Light Posts Daily (but rarely from a bus)
Tomorrow, Thursday 1 October 2015, I will give a lunchtime presentation to the European Railway Agency’s CME unit at Valenciennes, France on the subject of Railway Photography.
A Paris-Amsterdam Thalys high-speed train glides through Schaerbeek in suburban Brussels. Exposed on Fuji variable ISO color slide film rated at 200 ISO using a Nikon F2 with Tokina 400mm lens.
Below is an outline for my presentation:
Outline
1] Introduction
A] Historical Role of Photography and Railroads
B] Brian’s Background experience: photographer, author and railway scholar
Projects: Southern Pacific 4449 and Donner Pass;
Magazine Work
Book—Stations, Signals, Locomotives, Journeys
2] Approach and Technique
A] Composition:
—Working with depth of field, perspective, elevation
A decade ago, David Hegarty and I made a project of photographing Irish Rail’s South Wexford line between Rosslare Strand and Waterford.
Sugar Beet traffic ended in January 2006, and regular passenger services were withdrawn five years ago in September 2010.
Irish Rail 087 near Robbinstown, County, Wexford on the South Wexford line. 28 September 2015.Irish Rail 087 near Robbinstown, County, Wexford on the South Wexford line. 28 September 2015.Irish Rail 087 with Emerald Isle Express’s empty carriages at Taylorstown, County, Wexford on the South Wexford line. 28 September 2015.West of Campile, South Wexford line. 28 September 2015.
Yesterday, RailTours Ireland’s Emerald Isle Express (operated in cooperation with the Railway Preservation Society Ireland and Irish Rail) ran as a train of empty carriages across the line. This was probably the first train in months to use the scenic route.
Maximum speed was 15 mph.
Mark Healy and I were among the photographers on site to witness this very unusual move.
In addition to these digital photos, I exposed a handful of colour slides, you know, for posterity.
In Dublin, LUAS Cross City works are underway. Ultimately, these new tram lines will link Red Line and Green Line routes (presently isolated from one another) and run all the way to Broombridge for an interface with Irish Rail’s line to Maynooth.
Back when the first two LUAS lines were under construction, I missed the opportunity to make lots of ‘before’ photos. I did make some, but not nearly enough.
The other morning was clear and bright, so I walked the route of the new tram line from the Midland Great Western terminus at Broadstone to O’Connell Bridge.
Excavation and track laying works are underway in several places along with detailed signs about the project. These photos probably won’t win prizes for artistic achievement, but I’m sure that they will age well, and make for excellent ‘before’ scenes in a few years time.
Map of LUAs Cross City works and plan. Lumix LX7 photo.Detail of the old Midland Great Western terminal at Broadstone. The shed remains as an active bus depot (repair/storage facility), but passenger trains vacated the old terminus in the 1930s. Soon the LUAS will have a stop nearby. Unfortunately, while LUAS works are underway, it is difficult to make views of this historic building. Lumix LX7 photo.View looking toward Dominic Street Upper from Broadstone. Dominic Street will carry the tracks from the city centre. Lumix LX7 photo.View from Dominic Street Upper looking toward Broadstone. Lumix LX7 photo.Dominic Street Upper looking north.LUAS works on Parnell Street. Lumix LX7 photo.LUAS works on Parnell Street. Lumix LX7 photo.LUAS works on Parnell Street. Lumix LX7 photo.O’Connell Street looking south.O’Connell Street looking south. Lumix LX7 Photo.O’Connell Street looking south. Lumix LX7 Photo.O’Connell Street. Lumix LX7 Photo.FujiFilm XT-1 digital photo.LUAS Red Line tram at Blackhall Place. I wish I’d made a photo at this corner prior to 2004! (That’s my point). FujiFilm X-T1.
Today, the Emerald Isle Express began its second annual run working from Dublin Connolly Station to Rosslare Strand, and then empty carriages across the rarely used South Wexford line via Wellingtonbridge to Waterford.
The train was sponsored by Rail Tours Ireland in cooperation with the Railway Preservation Society Ireland and Irish Rail.
It was a beautiful day, and I made dozens of fine photographs. I’ll post more tomorrow! Stay tuned.
Irish Rail 087 leads the Emerald Isle Express at Gorey on the Dublin & South Eastern route. FujiFilm X-T1 photo.
It’s rare that I’ll display one of my all-time favorite photos (if you are not viewing this on Tracking the Light, you’ll need to click the link to get the full image).
This has been published several times. It’s a simple image, but it wasn’t easy to make.
Exposed on Kodachrome 25. This is one of my personal favorite images of all time.
I exposed it in September 1991. As I’ve previously told, Southern Pacific’s Bob Hoppe had hired me for the weekend to document an event involving engine 4449.
Following a serious derailment at the Cantera Loop, where the railroad spilled toxins into the Sacramento River above Dunsmuir, California, SP organized the historic streamlined engine and train to make public appearances in the Sacramento River Canyon as a goodwill gesture.
Brian Jennison and I made the most of the three days of Daylight steam specials. Over the years, I made great use of these photos.
My choice image is this one. It clearly shows SP’s famous engine, yet captures it in motion and in silhouette.
I had two frames left on my roll of Kodachrome 25 (actually I thought had had only one left, but I also managed a photo of the tail car).
I opted for a ‘wrong side’ view of the engine, in order to make this silhouette with the oaks that characterize the rolling valley along Hooker Creek north (railroad timetable east) of Tehama, California.
To insure I kept a hint of rail in view, I needed to gain a vantage point slightly above rail level. Rather than pan the locomotive, I set my F3T on a tripod and used my Nikkor f1.8 105mm lens nearly wide open.
The locomotive approached at speed; I had only one shot at this, and timing was everything. I wasn’t quite ready when I could hear the distinctive exhaust of the locomotive rolling up the valley. Some last second fumbling with my meter, convinced me to lower my shutter speed. Thus the hint of motion blur.
Five minutes later, it would have been too dark to capture this scene on Kodachrome 25, which was the only imaging medium I had that day.
Among the distinctive features of Germany’s Mosel Valley route is the Hanging Viaduct southwest of Bullay.
To avoid a circuitous loop in the Mosel, this double track electrified line crosses the river on a combined road/rail bridge and punches through a ridge. Upon exiting the tunnel, the line clings to a steep hillside populated with vineyards supported by an unusual curved Hangviadukt, a ‘hanging viaduct.’ (A sort of half-bridge, whereby half the structure is built into the hillside.)
Earlier this month, Denis McCabe, Gerry Conmy, Stephen Hirsch and I made a visit to this famous structure, photographing it from a variety of angles.
The railway cooperated by running a variety of trains. Footpaths through the vineyards and surrounding areas offer many vantage points.
In addition to mainline trains, a branch railcar traversed the viaduct in each direction hourly.
The famous Hanging Viaduct looms above the vineyards like some ancient wall. Lumix LX7 photo.A freight bound for France rolls westward over the Hanging Viaduct. FujiFilm X-T1 photo.DB electrics about enter the tunnel at the east end of the Hanging Viaduct near Bullay. FujiFilm X-T1 photo.A branch railcar meets a DB regional local train on the Hanging Viaduct. FujiFilm X-T1 photo.Signs offer location advice.A viewing platform at the westend of the viaduct offers this view. FujiFilm X-T1 photo.Sun and clouds made for dappled light. FujiFilm X-T1 photo.An express passenger train from Luxembourg catches the sun. FujiFilm X-T1 photo.
A little while ago, Fed Ex delivered my author’s advance copy of my latest book: Majesty of Big Steam, published by Voyageur Press.
Thanks to my editor Todd Berger for getting this to me!
I’ve dedicated this luxurious volume to memory of my friend John E. Pickett who passed away as the book was nearing completion. It features many of his photographs, as well as images by a host of other talented photographers.
John Gruber authored sidebars.
Special thanks to Pat Yough who helped with the cover image and opened many doors during the book’s production. I exposed the cover photo using Pat’s FujiFilm X-T1, and this adventure was one among the experiences that helped convince me that I needed to invest in the Fuji camera.
This new book will soon be available for purchase.
MittlerheinBahn operates modern Siemens-built electric multiple units on all-stops local trains on the picturesque Left Bank route between Köln and Mainz, Germany.
Trains operate on an hourly basis throughout the day, with more frequent services at peak times.
The service is affordable, comfortable and the scenery provides an unending tapestry of wonder.
These trains come at such regular intervals, it would be easy enough to let their passage go undocumented while waiting for more unusual movements, such as freights with colourful engines. But I always try to make the most of all trains.
Over the course of a week I exposed dozens of images of MittlerheinBahn’s trains, often using them as a catalyst for complex scenic compositions. Would these views work if there were no trains in them?
Köln Hbf. FujiFilm X-T1 photo.Take a spin! These trains offer a smooth ride at a reasonable price. Large windows provide a great view of the scenery. Lumix LX7 photo.A view from a vineyard near Boppard. FujiFilm X-T1 photo.Two ways to see the Rhein; by train and by ship. A view south of Boppard. FujiFilm X-T1 photo.At Oberwesel, where castle towers and walls make for a Medieval setting. FujiFilm X-T1 photo.Climb a tower for a better view. (Really I was waiting for a freight, but we’ll get to that in a later post.) FujiFilm X-T1 photo.Local trains pass on opposite sides of the Rhein, both were in motion. (as were the clouds!)A wink of sun north of Bingen. Would this be a more interesting image if the train were closer, but bathed in shadow?
The other evening, rain had cleared, and clear skies prevailed for a little while before sunset.
Yet, heavy clouds were encroaching from the west, making for some interesting evening light.
I made the opportunity to take a spin on Dublin’s LUAS Green Line.
Pausing at Dundrum, I made photos of the trams crossing the Dargan Bridge.
The far end of the line at Brides Glen (I saw no brides) was a convenient place to make some portraits of the 5000-series LUAS Citadis tram that I’d traveled on.
I was one of two passengers to board on the return trip. It took the tram 39 minutes to make the run to St. Stephens Green. By time I arrived, the rain had closed in again.
The LUAS trams are a silver-tinted with lilac, with large plate windows, which makes them ideal for photos at dusk. The trams reflect the hues of the evening light.
I exposed these images using my Lumix LX7.
Inbound LUAS tram glides across the Dargan Bridge at Dundrum. Exposed as a RAW file with my Lumix LX7, ISO 200, white balance set to ‘daylight’, contrast adjusted in post processing.Outbound LUAS tram glides across the Dargan Bridge at Dundrum. Exposed as a RAW file with my Lumix LX7, ISO 80, white balance set to ‘daylight’, contrast adjusted in post processing.End of the line: Brides Glen at dusk. Exposed with a Lumix LX7 as a RAW file. No modification (except for scaling).End of the line: Brides Glen at dusk. Exposed with a Lumix LX7 as a RAW file. Slight contrast adjustment in post processing.End of the line: Brides Glen at dusk. Exposed with a Lumix LX7 as a RAW file. No modification (except for scaling).Interior of a LUAS tram at Brides Glen.
Most days Irish Rail’s Dublin-Ballina IWT Liner (International Warehousing and Transport; see: http://iwt-irl.com) departs the North Wall in the morning, typically between 9:20 and 11 am.
Today, it was set back to an evening path, much like the traditional liners that ran nightly up until mid-2005.
An added bonus was Enterprise painted Irish Rail 201 number 233.
This was like turning the clock back ten years or more.
5:54 pm, 23 September 2015. Irish Rail 233 on the IWT Liner at the North Wall in Dublin. Exposed with a FujiFilm X-T1 digital camera.7:08pm, 23 September 2015. Irish Rail 233 on the IWT Liner at the Gullet in Dublin. Lumix LX7 photoContainers into the sunset! 7:08pm, 23 September 2015. Irish Rail 233 on the IWT Liner at the Gullet in Dublin. Lumix LX7 photo
Pairs of red electrics leading more or less uniform consists of coal cars make for great subjects as they wind their way along the supremely scenic Rhein Valley.
Most locomotive-hauled trains traversing Germany’s Rhein Valley work with just a single locomotive, and an ever-greater number of passenger trains use electric multiple units.
By comparison to continual parade of these more common trains, dual-red electrics on coal trains/and empties are relatively rare, and only make an appearance every few hours (often just after you move to change locations).
Here I display two empty trains train, both exposed on 10 September 2015. The first is a morning view on the Left Bank with a pair of DB class 185 electrics, the second is in the evening on the Right Bank across from Oberwesel.
Both feature scenery and sunlight.
Glorious clear morning sun makes for a post card view of DB 185s passing Boppard-Hertenach on the Left Bank. Exposed with a FujiFilm X-T1.Late in the day, a pair of elderly class 151 Co-Co electrics lead empties exiting a tunnel opposite Oberwesel. Within half an hour the sun had dropped below the ridge line, leaving this scene in shadow. Exposed with a FujiFilm X-T1 digital camera.
I have no doubt that punchy delicious colours and heavily altered contrast can grab the attention of viewers. I saw Fantasia, I look at Facebook.
It’s not a matter of right or wrong, or right or left. With modern software, tweaking colour and contrast has never been easier.
Below are three versions of an image I exposed digitally in the Rhein Valley. Not necessarily in order: One image is RAW (straight out of the camera, only reduced in size for internet), the other two have been altered.
Of these latter two images, one is my interpretation of how the scene appeared at the time I exposed the photo, the other is pure fantasy.
I’m calling this version Image A.This one is Image B.Image C.
I’ll let you sort out which is which. Of the three, which do you like the most?
