Category Archives: black and white film

Queens, New York April 1979—Seeking GG1s.

We were fascinated by the antique streamlined electrics.

Remarkably, in 1979 many of the steam-era former Pennsylvania Railroad behemoths were still in traffic.

Amtrak and New Jersey Department of Transportation both had GG1s on their active roster.

Sunnyside Yard was a great place to see these once magnificent machines.

Sunnyside Yard, Queens, NY April 1979.

Amtrak GG1 927 was dressed in platinum mist with a red stripe. Very 1970s.

Most fascinating was motor 4876, which on January 15, 1953 had led the Federal Express into Washington Union Station—a famously spectacular runaway that sent the GG1 crashing through the station; sinking through the concourse floor and into the basement of the station. The accident was pictured in newspapers across the nation. And in 1979, the old beast was awaiting assignment.

Here’s an adjusted scan from my original 35mm black & white negatives. Old 4876 was in a prominent position for photography.

I enlarged this scan to bring in the famous Twin Towers of the World Trade Center.

Working with my Leica, I exposed a variety of photos around Sunnyside yard on a visit with my family. Never mind Disney, I though Sunnyside Yard was the coolest place to be.

While I’ve run one or two of these photos previously, those images were taken from prints. I’ve recently located more the negatives from that day, nearly 41 years ago, and scanned them.

Notice the World Trade Center’s Twin Towers to the left of 4876. Kind of a cool juxtaposition.

Here’s another enlarged view that shows a Long Island Rail Road local switching. There’s a lot to digest in this view. Exciting stuff for a 13 year old obsessed by locomotives, epic urban city scapes, and post industrial settings.

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Conrail 6619 on the Boston & Albany.

I made this image while hiking the line toward Middlefield, Massachusetts from Chester. The freight was descending the grade near where the 1912-line relocation joined the original Western Rail Road alignment (seen to the left of Conrail 6619) at milepost 129 (as measured from Boston’s South Station).

Conrail’s ten General Electric C32-8s were delivered in September 1984 and in their early years largely work out of Selkirk Yard on the old Boston & Albany route.

GE assigned these unique pre-production DASH8  prototypes to Conrail for evaluation in preparation for wide-scale DASH-8 production that began a few years later. 

I had countless encounters with the C32-8s on the Boston & Albany during the mid-1980s, but never had the opportunity to travel on one.

Later this year Kalmbach Media will release my new book titled Conrail and its Predecessors.

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Ware River Branch—November 2019.

Last November, photographer Mike Gardner and I paid a visit to the Mass-Central and caught the northward freight on its journey over the Ware River Branch from Palmer to South Barre.

Among the photos I exposed was this view at Gilbertville, Massachusetts, working with a Nikon F3 loaded with Ilford HP5 film.

Over the years, I exposed countless photographs along this former Boston & Albany branch; on film, digitally; in color and in black & white.

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Final Frame

Would you believe I almost threw this away?

I processed two rolls of Ilford HP5 last week. The final frame appeared as a blank lightly tinted gray rectangle. I nearly cut if off the end of roll when putting the negatives into the sleeve.

It was only when I scanned the photos that I saw the ghostly locomotive fading into its own misty effluence.

Conway Scenic Railroad’s 7470 in December 2019.

This wouldn’t have been the first time I accidently threw away my own work!

I’m glad I noticed it before it was too late!

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Mexico City Metro—40 Years Ago.

My memories of riding the Metro City Metro with my uncle Mark 40 years ago contrast sharply with these photos that I made during that same visit.

Having grown up traveling on the New York City and Boston subways, I was astounded by the crush-loading in Mexico City.

I recall being swept along a platform holding my uncles hand as tightly as I could as we squeezed into an already sardine capacity train.

In reality, those conditions weren’t conducive for a 13 year-old Gringo to make photographs.

In retrospect, I’m amazed that I got anything at all.

Apologies for the relatively poor condition of these images. My negatives were hand processed without concern for archival concerns and stored in a paper envelope in an attic for the better part of four decades. I scanned them last month.

This isn’t how I remember the Mexico City Metro! I recall dense hurried crowds. Funny how memory works.
Although damaged, I like this photo because it shows Mexico City Metro’s rubber-tire propulsion, which is what I was trying to capture during my December 1979 visit.

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Three Views at Stafford Springs.

Yesterday I processed a month’s worth of black & white film; two carefully-exposed rolls of 35mm Ilford HP5.

Among the first images on the first roll were these three photographs at Stafford Springs, Connecticut on November 26, 2019.

I often work with multiple cameras, and previously on Tracking the Light, I posted a digital color view of New England Central 608 working northward at this same location.

My process is a specialized two-stage development formula aimed to maximize detail and tonal range.

Incidentally, Scott Hartley reminded me that Central Vermont/New England Central has referred to this location simply as ‘Stafford,’ a fact that dates back to New London Northern days.

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The Tragedy of my Missing Notes.

I scanned some negatives the other day. These were exposed with my Leica 3A on Ilford FP4 and processed in D76.

I’d driven to Chester, Massachusetts where I photographed several eastward Conrail trains on the Boston & Albany line. This was before Conrail single-tracked the route and it was still directional double track with automatic block signals under rule 251.

This view shows an eastward TV (trailvan) freight waiting for a green signal after crossing over from the westward to the eastward main. It had just come down the hill, against the current of traffic, on the westward main to Chester, while a test train led by SD50 6703 had worked east on the eastward main. (Parallel eastward moves).

Conrail’s GE-built C30-7A (6594) and C32-8 (6614) diesels were less than a year old.

The test train (not pictured) was a ballast train with caboose that provide a load for SD50 6703 equipped with flange lubricators which spent several months working back and forth on the B&A route.

So what’s the tragedy?

My negative envelope has minimal information; just the locations and ‘April 1985’. I have my notebook from 1985, but this trip isn’t mentioned. My photo album is also scant on the details from the day. I believe the specific note-page from this day has ‘gone missing’ and so I’ve had to recall the details from memory. This is a problem, since I cannot recall the exact date, and I’m unsure as to specifics such as train symbols.

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On this Day 40 Years Ago . . .

Christmas Day 1979, I embarked on a great adventure. At age 13, I flew unaccompanied from JFK in New York City to Mexico City to visit with my uncle Mark.

I exposed this view using a Leica 3A from my window on an Eastern Airlines L-1011 as it taxied for take-off at JFK.

My notes on the negative strip simply read ‘Airport 1979’.

I exposed hundreds of black & white and color photos on this trip, although not all of them remain in my collection. I also made detailed notes, of which only a few pages survive. After takeoff, I wrote:

“There was a really good view of New York City, New Jersey, etc. We flew past Philadelphia but I didn’t see much account of the clouds”

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State Line Hill: Another ‘Ugly’ Alco and a Caboose!—Three photos.

Following up on yesterday’s post ‘M420 and a diamond,’ here are three more photos from the same roll of black & white film exposed in June 1986.

These photos portray a northward Central Vermont local freight on State Line Hill at Stafford Hollow Road in Monson, Massachusetts.

Keep in mind that with each roll of 120 size film I obtained 16 frames by using a ‘super slide’ insert in my dad’s Rolliei Model T. 

The points here are: 

1)  I budgeted my film judiciously. 

2) MLW M420 diesels were a comparatively easy catch. 

3) Maybe I overstated my distaste for these ‘Ugly Alcos’.

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Window in Time: Lagrange Maine, 1984.

On August 5, 1984, my late friend Robert A. Buck gave me an unforgettable tour of the Bangor & Aroostook in central Maine.

Among the stops on our trip was a brief visit to the disused tower at Lagrange. If you look to the right you can see Bob and his famous green van through the weeds.

I exposed this photo on Kodak Plus-X using an old Leica 3A with a Canon f1.8 50mm screw-mount lens. I processed the film in Kodak Microdol-X and stored the negatives for 35 years in an envelope. Last month I scanned the negatives using an Epson V750 scanner.

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Sunny Morning at Sunnyside—Queens, New York c1978.

I was on bright morning in 1978 that I made these black & white photos with my old Leica 3A fitted with a Nikkor 35mm lens.

I was standing with my father and brother on a Long Island Rail Road platform near Sunnyside yard. I was about 12 at the time.

My subject was the graffiti covered Flushing Line subway train.

30 years earlier my father made photos of New Haven Railroad EP4 electrics and Pennsylvania Railroad GG1 electrics from near this same spot!

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Sound of Power: Conrail Ballast Train June 1984

Just imagine the roar! Conrail C30-7 6600 leads three former Erie-Lackawanna 20-cylinder EMDs!

So far as I can remember, this was the only time I caught an SDP45 (second unit) hard at work on the Boston Line.

I made these views of an uphill BAL (Ballast train) at Middlefield, Massachusetts on a day’s photography with my old pal TSH on a beautiful spring evening in June 1984. I was a week away from my high-school graduation.

My only regret is that I didn’t have better photography skills and better equipment.

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Fordham Road in THe Bronx—Looking back.

Another two black & white photos from the depths of my archive.

These scenes were captured with my old Leica 3A nearly 40 years ago.

Technically they aren’t great photos. But these distilled what I saw in the Bronx.

Fordam Road at Webster Avenue in the Bronx, circa 1980.

The view inside the Forham Road subway station was made when we were on our way downtown—to Manhattan. Can you hear the roar of the train as it approaches? I can.

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An RR Train on the Astoria Line.

It was April 26, 1984 when my brother and I embarked on big tour of the New York City Subway in Queens and Brooklyn.

Exposed using my old Leica 3A with 50mm Sumitar lens.

I made this view from the front of an outbound train on the Astoria Line. On the middle track was an RR train heading toward Queens Plaza and beyond. This was during the era when the subway was still covered in grafitti.

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The Bronx, New York—c.1980.

Using my Leica 3A, I made this view from a NYCTA city bus in The Bronx circa 1980.

I don’t have any notes at all from this trip.

In all likelihood, I was using a 35mm Nikkor lens with a screw-mount designed for the Leica 3 series cameras. This was a favorite of mine at the time because it required an adjustable external viewfinder that made it easier to compose than the tiny window on the camera body.

The primary subject of the photo was the subway train on what I think was the White Plains Road elevated line. At right is my brother Sean. We were traveling with our grandmother from Fordham Road toward Co-op City as part of a shopping trip.

This photo has been quietly hiding, unprinted and unseen in a glassine negative sleeve for nearly 40 years! (Try that with your favorite phone photo.)

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Taking A Ride on the A-train: New York City Subway

It was about 1980, when I made this interior view of an R10 subway car during a trip with my father around New York City. Pop thinks this was on the 8th Avenue line in Manhattan. It was one of three photos I made of the Subway that day .

The cars were not air-conditioned and the open fans intrigued me.

This was in that unsavory era on the Subway when the subway cars were decorated inside and out with graffiti.

Exposed on black & white film with my old Leica 3A 35mm camera.

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New York City Revisited.

Two weeks ago when in Dublin, I went to see the motion picture Joker, a dark film in a fictional New York City setting of the early 1980s, portrayed in classic DC Comics fashion as ‘Gotham’.

Story-line and characters aside, the film’s scenes, setting and lighting recreated New York City, especially the Bronx, as I remember it from visits with my grandparents in the 1970s and 1980s. Portions of the Joker were filmed in my father’s old neighborhood. My memories were of that stark gritty dark time when graffiti covered subway cars were the norm.

Since arriving back in the USA, I’ve delved into my collection of early photos from New York City, some of which embody that fascinating apocalyptic darkness conveyed in the film, yet were merely the products of exploration of New York with my family.

However, where the film portrayed misery, mental illness, anger and extreme violence in brilliantly crafted cinema-graphic excellence, my photos were the product of child’s view to capture an exciting, albeit dark place, filled with urban wonders, railways, and visually captivating scenes.

Like a muddy river, the chain link fence was both a feature and a barrier.

Some of my early NYC photos were exposed on color slide film, others were on black & white. Almost all were made with my vintage 1930s Leica 3A.

These views were exposed on a very gray day in 1981, when exploring the former New Haven Railroad lines in the Bronx, my dad drove my brother and me to the NYCTA’s Westchester Yards off the Pelham Bay Line.

This was on the flight path to Laguardia Airport, and as I photographed the subway trains, my brother spotted the planes landing.

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Narrow Gauge at Shannonbridge

Earlier this month, I traveled with some friends to Shannonbridge, County Offaly, Ireland to photograph the Bord na Mona’s narrow gauge operations.

Working with Kodak Tri-X in a Nikon F3 with 105mm lens, I made this view of a laden train crossing the River Shannon.

I processed the film using a twin-stage (split development) process: presoaked in Kodak HC110 mixed 1-200 for 5 minutes; then Ilford ID1 mixed 1 to 1 for 7 minutes 15 seconds at 68F with gentle agitation every minute for 10 seconds. After stop bath (30 seconds), twin fixer baths of 3 minutes each and extensive rinsing, I toned the still wet negative using a Selenium batch mixed 1-9 for 8 minutes 30 seconds.

In addition to this traditional black & white photo, I also exposed digital photos using my Lumix LX7 and FujiFilm XT1 cameras. Color and black & white, film and digital, yes I have most of formats covered.

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Central Vermont RS-11 at Palmer—October 1984.

Back in October 1984—35 years ago— I made this nocturnal view of Central Vermont RS11 3606 at the Palmer, Massachusetts yard.

With my Leica mounted on a tripod, I exposed this view using a mix of existing light and electronic strobe for fill light. I’d work with a large Metz flash that allowed me to control the quantity of light being emitted. To soften the blast, I’d squelch the emission to about 1/4th and wrap the flash head in a white trash bag. I’d then make a series of blasts from different angles while leaving the shutter open.

My old Leica 3A had a ‘T’ setting that would leave the shutter open indefinitely. An exposure such as this would require about 30 secs to a minute for me to make the blasts.

This was one of at least four frames that I exposed that October evening so long ago! My notes from the day have vanished, much to my disgust, as I tended to keep records of all my photography.

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Visit to Westport—June 25, 1986—Five Photos.

I was sifting through some old 120 black & white negatives yesterday and found these photographs from a morning’s photography along the old New Haven Railroad in Connecticut from June 1986.

I started the morning in South Norwalk, then moved down to Westport.

Most of the photos from the morning were exposed on Kodachrome slide film, but I made a few select images on Kodak Tri-X using my father’s Rolleiflex Model T using a 645-size ‘superslide’ insert to obtain a rectangular crop.

Amtrak 904 leads the eastward mail train at Westport at 9:18am on June 25, 1986. Kodak Tri-X with Rollei Model T exposed at f8/11 1/500 sec and processed in Kodak D76 at 68 degrees.

Most interesting to me now are the views of Amtrak’s eastward mail train behind AEM-7 904. This carried a group of baggage cars at the back including some from VIA Rail.

While I have detailed photographic notes from the day, what I don’t have recorded were my thoughts on the experience at the time. This was one of several similar trips I made to former New Haven electrified territory in the summer of 1986.

Amtrak mail train with a VIA Rail baggage car.
Catenary masts at Westport draw.

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Conway Scenic 7470 Switching in the North Yard—four photos.

At the end of June 2019, I exposed a few frames of Ilford HP5 using an old Nikkormat FTN with 105mm Nikkor Lens of Conway Scenic’s 0-6-0 7470 working the North Yard at North Conway, New Hampshire.

Following my normal presoak procedure; I processed the film using Ilford ID-11 mixed 1-1 with water for 6 minutes 15 secs at 70F.

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Coming and Going with New England Central at Northfield, Massachusetts.

Stark winter light suits black & white photography.

Back in January (2019), photographer Pat Yough and I made a day of photographing New England Central between White River Junction, Vermont and Leverett, Massachusetts.

Among the trains we photographed was freight 611, the Brattleboro to Palmer turn.

I made these views near Northfield, Massachusetts on Fuji Acros 100 black & white film using a Nikon F3 with 50mm lens.

To maximize tonality and detail, I used a split-development process, first soaking the film in a very dilute mixture of Kodak HC110, then a more concentrated mix of Rodinal.

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Cork’s Kent Station: Three Views on Tri-X.

During October’s Cobh Rambler tour, I made these views at Cork’s Kent Station on Kodak Tri-X black & white film.

The tour was operated by Railway Preservation Society of Ireland in conjunction with Irish Rail.

Kent’s curved Victorian train shed makes for a fascinating venue to photograph a modern railway in action, while the inclement weather on the day translated well with the traditional media.

I processed the film using a customized split development process consisting of  Kodak HC110 presoak mixed 1-200 followed by primary development using Ilford ID11 1-1. The negatives were scanned using an Epsom V500 flatbed scanner with some minor final adjustment using Lightroom.

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Cobh Rambler: A Dozen Monochrome Portraits.

Last month while traveling on Railway Preservation Society of Ireland’s Cobh Rambler, I exposed two rolls of Kodak Tri-X using a Nikon F3.

This week I processed and scanned the film. Black & white film suited the gloomy dark and very wet weather.

Among my favorite images from the day were photos I made of my friends and railway staff on the trip.

Thanks to everyone at RPSI and Irish Rail who made this trip a rewarding experience and a photographic success!

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Frame 37: Foreboding Boppard Sunrise

Cloud and mist hung over the Rhein Valley near the bend in the river at Boppard.

Sunrise made for a dramatic sky; this produced a mixing of light and dark, day with night, and color light with black& white film.

Several years someone asked me how I was making the transition from film to digital, I said, ‘I still haven’t recovered from the transition to colour!’

And here’s your proof. This was the final frame on a 36 exposure roll.

Exposed using a Nikon F3 with f1.8 50mm loaded with Kodak Tri-X.

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Spooky Retro Special.

Tonight is Halloween.

Last night I processed a roll of Rollei 80S Retro that I exposed last summer.

The timing was apropos.

I made these images using my Nikon F3 with f1.8 105mm lens. My cousin Stella was visiting from the West Coast and we were exploring spooky graveyards in Western Massachusetts.

You may wonder why I waited nearly four months to process the film. Was it an infusion of Irish spirits and pucas that lent inspiration?

No, it was actually simpler than that. My preferred developer for Rollei 80S Retro is Rodinal and in Dublin I keep a healthy volume of this antique solution on hand. So I brought the film with me from America for processing in Dublin. However, distractions and writing have kept me occupied for weeks and I just got to souping the film last night!

I have an adjusted recipe for this very unusual film that yields stunning results.

Rollei 80S Retro will provide superb tonality, super fine grain, and a deep rich black when processed properly.

I’ll be posting more view to my Instagram account over the coming hours and days. See my photos on Instagram at: briansolomon.author

Tracking the Light looks to the Dark Side Tonight!

CinCinnati Union Station—17 Years ago.

I was driving from Madison, Wisconsin to Roanoke, Virginia on October 25, 2002.

I stopped at Cincinnati to make photographs of Fellheimer & Wagner’s art deco masterpiece: Cincinnati Union Station, a railway station inspired by Helsinki’s Main Station.

This was among the photos I made on Fuji Acros 100 using my Contax G2 rangefinder fitted with the super wide-angle flat-field 16mm Hologon. I featured this station in my book Depots, Stations & Terminals, published by Voyageur Press.

Seventeen years ago! Gosh!

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Signal Sunset Sunburst—34 Years Ago!

On this day in 1985, I exposed this view at Palmer, Massachusetts using my father’s Rollei Model T.

I silhouetted the setting sun behind the northward home signal at Central Vermont’s diamond crossing with Conrail’s Boston Line.

This old search light was soon replaced with a modern color light. Last year that signal was again replaced by even more modern hardware.

120 Verichrome Pan exposed with a Rolle Model T with Zeiss Tessar. Processed in D76. Palmer, Massachusetts October 25, 1985

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Leaves at Frankenstein Trestle

Last June, while working with the Conway Scenic Railroad I exposed this view of fresh green foliage at the Frankenstein Trestle on the line over New Hampshire’s Crawford Notch.

I was working with an antique Nikon FTN Nikkormat with a Nikkor f1.8 105mm lens.

I like the ‘fast’ 105 because it allows for very shallow depth of field at its widest aperture, while offering exceptional sharpness on the area of focus.

This effect is especially appealing as a contrast to many modern digital systems that offer razor sharp images with great depth of field in most circumstances. Focus, like other qualities, may be most effective when applied judiciously.

I exposed this image on Ilford HP5 400ISO 35mm black & white film. I hand processed the film. After a presoak with very dilute HC110 for about 5 minutes, I introduced my primary developer, Ilford ID11 developer mixed 1 to 1 with water,  for 6 minutes and 15 seconds at 70F. By raising the temperature slightly and using a relatively dilute solution I controlled contrast while increasing shadow detail.

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New Haven Railroad Geometry at Port Chester, New York.

Exposed with a Rolleiflex Model T set up with a ‘super-slide’ 645-size insert; Verichrome Pan black & white film. Image scanned in May 2019 using an Epson V750 scanner.
Reformatted version of the same image at top. Some viewers indicated they were unable to see the image in the original format. Both should appear the same.

August 1987; with Rolleiflex in hand, I spent an evening at Port Chester, New York along the former New Haven Railroad four-track electrified main line.

Port Chester offered several attractions. The nearly north-south alignment of the track made it a great place to catch eastward trains in the evening light.

Metro-North was operating a variety of trains using its venerable FL9s (dual-mode diesel-electric/third-rail electrics), and these tended to face outbound (east) in the evening.

It was along the portion of the line still equipped with New Haven’s distinctive triangular catenary.

Although I focused my efforts on the FL9 powered trains, I also photographed Metro-North’s more common multiple units.

Among the images I made was this high-structured composition that frames a Grand Central bound multiple unit in the structure of the catenary and its supports. There’s a lot of angles here!

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Amtrak’s Lake Shore Limited in the 1980s.

Amtrak 448 approaching milepost 84 in Monson, Massachusetts. March 1986.

On March 16, 1986, I hiked west of milepost 84 on Conrail’s Boston & Albany route to photograph Amtrak train 448, the eastward Lake Shore Limited(Boston section).

This was just a few months before Conrail single tracked the line between Springfield and Palmer, Massachusetts.

I was keen to document the Boston & Albany’s line that passed through the northern reaches of my home town, Monson, Massachusetts, in the railroad’s traditional directional double track configuration.

This lone image is part of my much more extensive project to document the Boston & Albany route on film.

I exposed the photo on 120 roll film using my father’s Rollei Model T. In May 2019, I scanned the negatives using an Epson V750 flatbed scanner. For presentation here, I adjusted contrast and exposure using Lightroom.

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Conrail Classic: Caboose Rolls West.

Check out my selection of Conrail photos on Flicker at:

https://www.flickr.com/gp/163833022@N05/n8ua9g

Conrail westward freight passing the old Boston & Albany station at Warren, Massachusetts. Notice the old freight house at the left. Today there’s a lot more vegetation around the railroad than back in 1984.

On April 18, 1984, I was photographing Conrail’s Boston & Albany at Warren, Massachusetts, an activity that undoubtedly coincided to a visit with my friend Bob Buck at Tucker’s Hobbies.

Early in the afternoon, I caught a westward train with three (then new) SD50s rolling by the old Boston & Albany Warren station.

This was in double-track days, when Conrail still operated train in the current of traffic in accordance with rule 251 and the long established automatic block signals that protected movements on the line.

Cabooses were still the norm on through freights, but not for much longer. Within a few months caboose-less freights would become standard practice on the B&A route and across the Conrail system.

I made this view on Kodak 5060 safety film (Panatomic-X) using my 1930s-era Leica 3A with 50mm f2.0 Summitar lens. I processed the film in the kitchen sink using Kodak Microdol-X and then made the unfortunate choice of storing the negatives in a common paper envelope, which is where they remained until last week.

Panatomic-X. Now if there was one great black & white film, that was it. Slow as molasses, but really great film. It was rated at 32 ISO (or ASA as it was called in those days) and tended to result in some thin negatives, but it gave great tonality, fine grain, and scans very well.

I’m glad I have these negatives, ignored and stored inappropriately for all these years. If only there was still a Conrail, cabooses on the roll, and Bob Buck at Tucker’s Hobbies to tell you all about it!

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Check out my selection of Conrail photos on Flicker at:

https://www.flickr.com/gp/163833022@N05/n8ua9g

Archiving, Research and a Nasa Launch.


You might ask, ‘what does this have to do with railway photography?’

Nothing. And Everything.

Everything? YES.

Several years ago my concerns over the lack of long-term archival storage for my growing collection of railroad photographs (and those of my fellow photographers) led me to begin working with scientists at Creative Technology LLC, including my father Richard Jay Solomon, Clark Johnson Jr., and Eric Rosenthal, in order to find a means of preserving photography, especially digital photography, by using proven technologies.

This evolved into a much larger project aimed at preserving and storing all digital media using silver technology—similar to that used to make photographs.

NASA took an interest in Creative Technology’s concept and offered to send examples of Creative Technology’s storage media to the International Space Station to test its ability to withstand the rigors of the space environment.

Nasa photograph. SpaceX Falcon heavy rocket launch on May 3, 2019

Creative Technology test materials that I helped create were launched via a SpaceX Falcon heavy rocket on May 3, 2019 and docked at the International Space Station on May 6th.

This brings the Creative Technology concept closer to a commercial manifestation.

Nasa photograph of the Dragon module approaching the International Space Station on May 6, 2019.

When the materials are returned in several months time, Creative Technology can further the analysis of the storage medium which hopefully will facilitate NASA’s application of this technology for long-term data storage among other applications.

Below is Creative Technology’s press release detailing the invention and its promise.

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NASA International Space Station  Will Test Innovative Data Storage System to Preserve Vital Human Records

Can data survive in space over extremely long times and multiple human generations? The possibility of human colonies on other planets may ultimately depend on just such data stability. Now, a patented innovative long-term archival data storage system created by a Delaware-based firm is being tested on the International Space Station (ISS) for up to a year. 

The system developed by Creative Technology LLC (CTech) of Hockessin, DE, applies a century-old tested archival media for photography in a completely new way for storing high-density computer data in perpetuity. Inherently secure, low-cost technology is used that cannot be hacked or altered. CTech’s archival media can be used to store critical DNA and healthcare records, financial information and contracts, family photos and records which need to preserved for multiple human generations

NASA’s ISS test will determine if data on CTech’s media can survive a hostile space environment during long-term space missions, such as the mission to Mars and beyond. Today, conventional media, such as hard drives, magnetic tape, and solid state memory, are vulnerable to decay and bit rot due to gamma and cosmic rays and age deterioration. 

CTech’s media is a green technology which can be stored for long periods in normal room environments without excessive energy for cooling or maintenance, opening up a new opportunity for storing secure data for extended periods of time without the need for energy. 

CTech is a group of technologists with over 300 years collective experience in human perception, image capture & display, photosensitive media, data storage & compression, and video and  telecomm applications and technology. CTech sponsors have included NSA, the Naval Research Lab, the Office of Naval Research, NASA, & DARPA.

All media used today have to be continually replicated and authenticated in order to be readable even in less than one human lifetime, and that process alone incurs new errors each time the data is copied. CTech avoids that problem, saving enormous labor and energy costs over long periods.

Contact:

Eric Rosenthal, 732-580-9555‬

eric@creative-technology.net

Turbo Blasted!


Is this a bad photo? It isn’t what I hoped to get.
 
On January 9, 1986, I braved arctic conditions at Conrail’s Dewitt Yard in East Syracuse, New York to make photos in the snow.
 
In addition to Conrail views, I exposed two black & white photos of an Amtrak turbo train running from Niagara Falls to Grand Central Terminal.
 
The head on view is a bit distant, and my trailing exposure was exposed prematurely.
 
My only excuse is that my hands were numb with cold.
 
Worse! I seem to have misplaced my detailed notes from the day, so all I have is abbreviated notes on my negative sleeve and a few print captions to work from.
Poor show, me.
 
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Close Cropped Caboose: Central Vermont freight at South Monson.

Northward Central Vermont freight South Monson, Massachusetts on May 16, 1986.


Thirty three years ago I made this view of a northward Central Vermont freight crossing Route 32 in South Monson.

(Historically CV had a ‘station’ in South Monson, and another at State Line and these were distinct locations in the railroad’s timetable.)

I exposed this black & white photo with my father’s Rollei Model T set up with a 645-size ‘super slide’ insert and loaded with Kodak Tri-X.

One of the challenges of working with the Rollei twin-lens reflex is that the view finder displays a mirror image. This made gauging when to release the shutter of the train especially difficult when it was rolling away, such as in this situation.

The result? I pressed the shutter release a split second sooner than I would have preferred. Of course I didn’t see the problem until after I processed the film

I scanned this negatives, along with others from the day last week using an Epson V750 flatbed scanner. I scaled the file for internet presentation and adjusted contrast in post-processing using Lightroom.

Northward Central Vermont freight South Monson, Massachusetts on May 16, 1986.

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