It was just an ordinary day when I made this impromptu view of Irish Rail 225 working a Mark 3 push pull set on Dublin’s Loop Line crossing over Gardner Street Lower.
What was common in 1998 seems pretty neat today. I’m glad I exposed the slide!
To make the most of this photograph, I scanned the slide using a Nikon Super Scoolscan5000 then imported the TIF file into Lightroom for contrast and exposure refinement plus colour balance and colour temperature adjustment.
A visit to Irish Rail’s Carlow station on the shortest day of 2003, yielded some classic black & white photos, including these two views. The Cravens were working a scheduled service from Waterford to Dublin.
Working with a recently acquired Rollei Model T (the third such cameras I’d used over a 30 year span), I exposed a single roll of 120-size Fuji Neopan 400. The Rollei made a large square negative, which I really liked.
At the time my choice process for this film was using Agfa Rodinal Special (R09) at a ratio of 1 to 31 parts with water for about 3 mins 45 seconds. In this case I selenium toned the negatives for improved highlight detail.
Final presentation here included scanning using an Epson V750 flatbed scanner and some minor adjustments to contrast and cropping with Lightroom.
On 6 April 2019, I was working with a 1980s-vintage Nikon F3HP fitted with an even older Nikkor 24mm lens to expose this view of Irish Rail 219 in ‘push-mode’ at the back of Dublin-bound Mark4 set at Kildare
This slide was among the photographs I exposed on Fujichrome Provia 100F on an excursion to Kildare with Paul Maguire and Jay Monaghan to photograph the Waterford-Portlaoise Saturday steel train (seen in the distance at Kildare station).
I digitized the slide using an Epson Perfection V750 flatbed scanner and imported the TIF file into Lightroom for final adjustment and outputted a scaled JPG for presentation here.
Several weeks ago on Tracking the Light I published a digital view of this same train, exposed moments after I made this slide.
Most of the Portuguese main line network is electrified, which makes diesel hauled trains something of a novelty.
Among the regular diesel hauled trains are freights by Portuguese open access operator Takargo, such as this one led by a Vossloh-built Euro 4000 diesel-electric locomotive.
This unusual looking machine sounds familiar since it is powered by a General Motors Electro-Motive Division designed 12 cylinder 710 diesel engine. The Euro 4000 is a cousin of Ireland’s 201 class locomotive and the America F59PHI, also powered by variations of the 12-710.
I made these photos from the platforms at Porto Campanha.
I’ll admit that if you’re not closely familiar with Irish Rail’s Dublin operations my title to today’s Tracking the Light post might seem cryptic.
Two of the Irish Rail 201 class General Motors diesels, 231 and 233, are painted in a minimalist silver, black and yellow livery. These are colloquially known in the enthusiast community as ‘raccoons’ (or ‘badgers’).
Engine number 233 has been shy lately and rarely seen out on the mainline.
RPSI stands for the Railway Preservation Society of Ireland.
RPSI owns an historic set of Cravens-built passenger carriages.
These are stored/maintained at Irish Rail’s Inchicore works (repair shops), and when they are required for an excursion, Irish Rail makes a transfer run across Dublin to deliver them to Connolly station for boarding.
The graded three-track line from Islandbridge Junction to Inchicore runs through a cutting along Con Colbert Road known as ‘the Gullet’.
While I’ve covered most of this previously, I figure it doesn’t hurt to review the esoteric every so often to avoid confusion.
Tracking the Light is on Auto Pilot while Brian is Traveling.
Just a little while ago I was passing the usual place at Islandbridge Junction in Dublin. Although mostly cloudy, I took a glimpse over the wall. A horn hooted from the Phoenix Park tunnel and an Enterprise 201 eased out onto the Liffey Bridge.
As locomotive 206 approached, running light engine toward Irish Rail’s Inchicore Works, the clouds parted and brilliant morning sun illuminated the junction.
Lumix in hand, I made these photos!
Travel Notice: Brian will be traveling over the coming days and weeks, so Tracking the Light notices and responses may become infrequent. However:
Working with my Lumix LX7 I made these three evening glinty views of Irish Rail trains to and from Cork at Dublin’s Heuston Station.
I’ve always loved the soft orange glow of filtered evening light.
Where’s the filter you ask? It’s in the sky. A mix of clouds and pollution—particulates and other stuff—alters the spectral qualities of the setting sun by pushing the color balance toward the red-orange end of the spectrum.
Here’s a few black & white views exposed last week on Kodak Tri-X of Irish Rail’s branch from Islandbridge Junction to the North Wall/Connolly.
Recently, Irish Rail has expanded service on the Grand Canal Docks—Hazel Hatch/Newbridge run and now trains run at least hourly throughout the day.
Following a Grand Canal Docks bound passenger train was the daily Up IWT Liner (Ballina to North Wall, Dublin).
Since these trains were coming out of the relatively harsh midday sun, I opted to work with black & white film, which makes the most of the contrast and allows me to control shadow and highlight detail to a greater degree than with my digital cameras, while giving the images a period look.
To maximize tonality and detail from the negatives I employed a ‘split process’ using two developers.
First I use a very weak solution of Kodak HC110 mixed 1 to 250 to water. To intensify the detail in shadows while avoiding over processing highlight areas, I keep the developer temperature comparatively high (73F) and allow it to work to exhaustion. My second developer is Ilford ID mixed 1-1 for 6 minutes 45 seconds with one minute agitation intervals. Then stop; fix 1, fix 2, rinse for 3 minutes, hypoclear, then a series of final washes. Dry and scan.
In the summer of 1999, I was standing on the footbridge at Kildare station where I focused on Irish Rail 225 leading Mark3 carriages as it approached at speed.
My first Nikon N90S was loaded with Ilford HP5 and fitted with an old Tokina 400mm fixed focal length telephoto.
The train was common; my photograph was unusual. Working with extreme telephoto compression, I’ve framed the train in the arch of road-bridge, which has the effect of accentuating the pattern of the crossovers east of the bridge.
I recall the piercing Doppler squashed screech of 225’s horn as it neared the platforms, warning passengers to stand back.
The memory of that sound and the following rush of air as the train raced past puts me back in that place in time nearly 20 years gone. I know too well how I was feeling at the time. Strange how one photograph of a train can summon such memories and feelings.
The other evening I made a few handheld photos of Irish Rail class 201 diesel number 217 River Fleskat Dublin’s Heuston Station.
217 was working a Mark4 set on the 2100 schedule to Cork.
There are myriad approaches to night photography. In this instance, I worked with my Lumix LX7 without a tripod.
I’m fortunate because I have an unusually steady hand. The Lumix further aids my efforts because it has image stabilization.
I set the camera to ISO 200, and working in ‘A’ (aperture priority) I manually set the lens aperture to its widest opening, which in this case is f1.8. The wider the aperture, the more light passes through the lens to reach the sensor, so having a ‘fast’ lens (one with a small maximum aperture number, such as my f1.8 lens) is a huge benefit.
This set up allowed me work with a 1/10 of second shutter speed, which is adequate speed for a static photograph.
If I had been using my FujiFilm XT1 with the kit zoom lens, my widest aperture would have been about f4.5, which is nearly two full stops slower than f1.8, which means at ISO200, I’d require about ½ second exposure to obtain a comparable result, which is too slow for a sharp handheld image in most instances.
Another way of approaching this would be raise the ISO. So with the FujiFilm set up just described, I could increase the ISO setting to 800, which would boost the effective sensitivity of the sensor by two stops (bringing me back up to 1/10thof a second using f4.5). However, this would also boost the noise level and reduce sharpness.
Back in the old days, I would have used Kodachrome, and that would have required a tripod, and probably some filters to colour-correct for the artificial light. Today, digital cameras when set to ‘auto white balance’ do an admirable job of balancing the colour for fluorescent, sodium vapor and other forms of artificial light that tend to tint an image.
Normally for night work with the Lumix, I’d dial in a 1/3 over exposure compensation (+ 1/3 on the exposure compensation dial) however in this situation the relatively bright night sky where low cloud was illuminated by lots of artificial light combined with the silver body of the locomotive and bright platform lighting, obviated the need for boosting the exposure by 1/3 of a stop.
However, I did make some very subtle changes in post processing to help visually separate the roof of the locomotive from the sky.
Recently discussions of Irish Rail’s Sligo Timber have led me to ask, ‘When did this traffic end?’
Sometimes my memory offers a clear picture of the past, in other situations it is fuzzy and lacking desired detail. This is among the reasons I try to apply detailed labels and captions to my photographs near the time of exposure.
I recall the Sligo timber’s revival in Spring 2002, and my many opportunities to photograph timber trains on the Sligo Line and in around Dublin in the years that followed, but I’m unable to remember when the last train operated.
On guessing, I thought 2007 or 2008 was pretty close. So on reviewing my photo files, I was a bit surprised to find this photograph dated 21 May 2009.
I exposed this view on Fujichrome from my regular spot at Islandbridge Junction, which shows Irish Rail 232 in the modern green livery leading a timber out of the Phoenix Park Tunnel. The construction-progress of the apartments at left helps me confirm the date of the photo.
So, when was the final movement of timber by rail from Sligo? I must have been away.
My penultimate post for 2018 that features Ireland’s 201-class diesels focuses on locomotive number 233—second to last in the series (201-234).
In recent times this has worn the minimalist ‘raccoon’ livery, while for a number of years it wore the older Enterprise scheme.
I exposed these views of 233 in the Dublin area over the last three years.
I’ve been featuring the Irish Rail 201 diesels as part of my 20 years in Ireland photography retrospective. I started with the class leader number 201, and have progressed sequentially. Take a wild guess as to which locomotive I’ll conclude the series! (This is not a trick question. You don’t need to consult a crystal ball or take a class in advanced mathematics.).
In more than 20 years of photographing Irish Rail, 23 September 2018 was the first time I’d photographed a pair of 201s together on a train.
I’d been alerted by folks on the Cork-end of the railway that this unusual move was on it way to Dublin. Although the Cork – Dublin Mark 4 with 229 and 228 arrived after sunset, myself and Jay Monaghan documented this unusual occurrence at Heuston Station.
I made photos using my FujiFilm XT1 and Lumix LX7 digital cameras.
Successfully capturing unusual or unique events are among the challenges of the railway photographer.
I’ve been exploring and photographing Irish railways since 1998. To mark my twenty years photography, I’ve been displaying images of each of Irish Rail’s 201-class General Motors diesels in numerical order.
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.
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).
Years past, I made many colourful photos of Irish Rail 213 River Moy on bright Spring days.
One of my first encounters was in May 1998 at Carlow. I’d arrived by bus (Shhh!!) and made photos of the down train (Dublin to Waterford) at Carlow station using my Nikon F3T loaded with Fujichrome Sensia 100.
Seven years later, in the Spring of 2005, I was keen to catch 213 on the move, since this was the first Irish Rail class 201 to wear the revised orange livery with bright yellow front end.
I saw this as a big improvement over the original 201 livery.
And because it fits the theme, I’ve also included a view from April 2006, of 213 descending Ballybrophy-bank racing toward Dublin.
213 hasn’t turned a wheel in many a Spring now. It waits its turn in the sun in a deadline at Inchicore.