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.
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?
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.
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.
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?
Using my FujiFilm X-T1 with 18-135mm zoom lens, I exposed this view of Pan Am Railway’s symbol freight EDBF (East Deerfield to Bellows Falls) working the Connecticut River line at Bernardston, Massachusetts.
I like the technological and geometrical contrasts of boxy General Electric diesels on the 19thcentury stone arch viaduct.
Bad timing, poor exposures, lousy composition and blurred images can all result in missed opportunities.
Was it human error or an equipment malfunction? You got to the tracks in time but your camera didn’t perform as expected. Is there something wrong with your camera, or was it simply set the wrong way.
There’s the moment of frustration when you press the shutter release and nothing happens, or the auto focus goes haywire, or you realize the camera is in a ‘mode’ and not the right one for making railway pictures—All well and good if you have time to resolve the problem, but if a train is passing at speed, you might end up with regrets rather than results.
Even if you are an experienced railroad photographer, you should take the time to learn the peculiarities of your equipment and double check the exposure and focus settings BEFORE you expect a train to enter the scene.
Earlier, were you using the self-timer? Be sure to turn it off again before you expect to use the camera for making action photos.
Why was the camera set to manual? AND why was it a f22 at 1/8000 of a second?
If you don’t know why, that’s going to be a problem. So step back and go over the basics. Or rely on ‘automatic’ modes until you have the time to cover that properly
Locomotive headlights can confuse camera autofocus systems. The result may be that at the very moment you need to rely on autofocus, it fails you.
One potential solution, if the autofocus starts hunting wildly quickly point the camera away from the headlights and allow it to find a focus point, then point it back at your subject.
Another solution: before the train arrives in the scene, auto focus on a preset point, then switch the autofocus off so that it won’t attempt to refocus at the last minute.
Autofocus problems tend to be more acute on dull days and in low light.
Construction crews are working on the approaches to the new McClelland Farm Road bridge over the tracks at the west end of Pan Am’s East Deerfield Yard.
This work has been on-going for about a year.As detailed in previous posts, the old bridge has been a popular place for photographers for many years and countless images have been exposed from this vantage point.
The new bridge is being built immediately to the west of the old bridge, and once it is complete and fully open to traffic, the old bridge will be removed.
Now for some bad news: in conjunction with bridge construction, the above ground electrical line has been relocated and is now carried across the tracks on a new pole-line located to the east of the bridges.
This obstruction poses a new challenge for photographers making photos of the yard and depending on the height of the new bridge mayruin the classic view.
I exposed these views of former CSX DASH8-40Cs leased to Pan Am that had just arrived on road freight POED from Portland, Maine.
Photos made with a FujiFilm X-T1 with 27mm pancake lens.
For nearly 35 years, locomotives have worn Guilford gray and orange paint. The scheme is has been out of vogue since introduction of the new Pan Am liveries about ten years ago, yet a few of the locomotive are still working in the old paint.
I made these views of GP40 316 working local freight ED4 hauling state-owned ballast cars southward at Hillside Road in South Deerfield.
Exposed using a FujiFilm X-T1 with 90mm Fujinon telephoto lens. I opted for the ‘darkside’ angle in order to better feature the hills in the distance (that make this a distinctive location) as well as the tie-piles that indicate the improvement to the track is on-going.
Yes, I’m trying to pick a title that will get you to read this post.
I could call it ‘Fast Train on the Bridge’ or ‘Amtrak on the New Haven’, or ‘What? NO! Not Westport, Again!’ Or perhaps the accurate, if opaque, ‘Trailing View over the Saugatuck.’
In late April, I made this trailing view of a Boston-bound Acela Expresstilting train crossing the former New Haven Railroad draw bridge at Westport, Connecticut.
By working from the outbound Metro-North platform in the evening, I cross lit the train for dramatic effect and to better show the infrastructure.
Cross-lighting, is when the main light source (the sun in this case) primarily illuminates only the facing surface of the subject, while the surfaces are bathed in shadow. This presents a more dramatic contrast than three-quarter lighting, which offered relative even illumination across the subject.
Cross-lighting is often most effective for railroad photography when the sun is relatively low in the sky. In this instance the compression effect that results from the long telephoto lens works well with the cross lit train.
Exposed digitally using a FujiFilm X-T1 with 18-135mm lens. To make this photo work, I had to carefully mind the shadows from catenary polls so they didn’t appear to interect the sloping face of the Acela Expresstrain set.
Last Sunday was dreary and damp. I inspected the old Central Vermont Railway Palmer Subdivision main track at the Massachusetts-Connecticut state line, where I was delighted to find these vestiges from the steam era.
The tie plate below the rail date from the 1940s and still bear evidence of the CV, a company gone since 1995, when New England Central assumed operation of the line.
I wonder how many times CV’s classic 2-8-0 steam locomotives pounded over these plates in years gone by? Not to mention carrying the passage of CV’s later era locomotives such as the GP9s and Alco RS-11s that I grew up around.
How much longer will these vestiges survive? A welded rail train arrived a couple of days later, so it’s anyone’s guess.
Years ago, the view from the road bridge at East Northfield, Massachusetts was more open than it is today.
The trees have grown up making it more challenging to expose photos of trains at the junction between former Boston & Maine and former Central Vermont lines here.
At one time, a century or more ago, B&M’s Conn River route crossed the CV here. B&M’s line continued across the Connecticut River and rejoined the CV at Brattleboro.
Later, the two routes were melded in a paired track arrangement. However, by the time I started photographing here in the 1980s, the B&M route north of East Northfield was no longer functioning as a through line.
On the morning of April 27, 2018, I made this view of New England Central freight 608 led by a former Southern Pacific SD40T-2 ‘tunnel motor’ diesel.
The light was spot on for a series of three quarter views featuring a vintage GRS searchlight signal that protects the junction.
These photos were exposed digitally using my FujiFilm X-T1. Although I exposed the images in RAW and JPG, all of these images represent the colour and contrast of the in-camera JPG with Fujifilm colour profile.
At 8:08 AM on April 27, 2018, New England Central 611 was on the move south from Brattleboro, Vermont.
Bright hazy sunshine made for excellent conditions for photography.
Working with my FujiFilm XT1 with 90mm telephoto, I exposed this view looking across the Connecticut River backwater south of Brattleboro yard.
To make the most of this contrasty scene, I imported the Fuji RAW file into Lightroom and made minor adjustments to highlight and shadows to improve the appearance of the image, then slightly boosted saturation to make for a more pleasing photograph.
NECR freight 611 was on the move toward Palmer, Massachusetts and a bright morning on hand, so the chase was on!
On my way through Palmer, Massachusetts, I noticed New England Central’s northward 608 blocked at the diamond crossing with CSX’s Boston Line.
That was a good indication that a CSX train might be close.
After a very short wait this eastward CSX intermodal train came into view. It was probably Q012;‑one of several daily trains that runs to Worcester for unloading.
The trees are still bare, but the sun was bright. In just a few more days the trees will begin to leaf, the grass will become green, and Spring will be in the air.
Exposed digitally with my FujiFilm X-T1 fitted with a 90mm Fujinon telephoto. I’ve composed the image to take in the old Union Station, now Palmer’s Steaming Tender restaurant, while positioning the lead locomotive between the control signals at CP83, and keeping the horizon in view.
Next up for my 20 years in Ireland/class 201 numerical retrospective is old 208/8208: to be different, I’m posting views of 8208 (one of two Class 201s owned by NIR for Enterprise service) working a variety of trains but not the Enterprise!
Originally, the locomotive was number 208, and it had been painted in an attractive NIR blue livery, similar to the 111-class diesels.
We were in hot pursuit of Pan Am Southern intermodal freight 22K with three BNSF Railway GE diesels in the lead.
The sun was out.
Rich Reed was driving.
I rolled down the back window, set my Lumix to the smallest aperture (f8) and set the shutter speed dial to ‘A’ mode, which automatically picks the corresponding shutter speed based on the aperture setting.
Since f8 lets the less light to the sensor, the camera program compensated by selecting a slow shutter speed.
I exposed a burst of images as we drove along side the locomotives.
Does it matter that we were in Shirley, Massachusetts?
A week ago, Rich Reed, Paul Goewey and I were making a survey of Pan Am/MBTA operations around Fitchburg, Massachusetts, when we came across intermodal freight 22K stopped east of Fitchburg yard.
Driving up to the head-end, we were surprise to find that the train was led by three BNSF Railway GE diesels, with one of the ‘C4’ (model ES44C4; a six-axle/four-motor riding on a variation of the A1A truck) in the lead.
The train was stopped just west of MBTA’s North Leominster platforms to allow the morning commuter rush to pass unimpeded. This gave us ample opportunity to make photographs.
I was keen to show these BNSF locomotives (nearly 1,000 miles from home rails) operating in Boston suburban territory.
Simply photographing the train/engines really wasn’t good enough, since without some geographically identifying feature, these images could be anywhere.
While I made some close photos of the engines for the record, but I also made a point of exposing images that included station signs and other features to positively identify where we were.
One the commuter rush cleared, 22K got permission to proceed and continued east toward its terminus at Ayer, Massachusetts, leading to more photographic opportunities. Stay tuned!