Category Archives: Tips and Technique

Photographing an Ethanol Extra at Gardner, Massachusetts.

A few weeks ago, my friends and I met to explore recent changes to the old Boston & Maine Fitchburg Route (Pan Am Southern’s main line) including re-signaling and trackage upgrades.

Among the first places on our tour was Gardner, Massachusetts, where we found Norfolk Southern 66N, which is a loaded Ethanol train destined for the Port of Providence.

This was led by four Norfolk Southern DASH9-40CWs that were followed by an idler car and 80 cars of ethanol. The train was waiting on Pan Am rails for a Providence & Worcester crew to take it south from Gardner.

Among the recent changes was the installation of a crossover at the Gardner yard that makes it easier to make a progressive move from the old eastward B&M mainline track to the P&W, which facilitates operation of unit trains such as the 66N. This is a low-tech solution, as the switches are operated manually (of the ‘hand-throw’ type).

I made this series of images featuring the 66N with my FujiFilm X-T1.

Static and slow moving freights offer many opportunities for photography.

When we arrived the morning was clear and sunny, but over the next hour, clouds rolled in from the west and softened the light.

The classic 'wedge' a three-quarter view of locomotives in low morning sun. Clutter from old ties and related track components is part of the scene, should these be cropped?
The classic ‘wedge’ a three-quarter view of locomotives in low morning sun. Clutter from old ties and related track components is part of the scene, should these be cropped? Although these GE’s are leading an ethanol extra, there is nothing in the photograph to indicate this is any thing other than an ordinary eastward freight.
Detailed vertical view of the leading engine, a General Electric DASH9-40CW.
Detailed vertical view of the leading engine, a General Electric DASH9-40CW.
Using the FujiFilm X-T1's panorama mode, I exposed this multi frame panoramic composite. This image was assembled automatically in-camera. The wide view offers an interesting perspective on the Gardner yard and the four GE locomotives.
Using the FujiFilm X-T1’s panorama mode, I exposed this multi frame panoramic composite. This image was assembled automatically in-camera. The wide view offers an interesting perspective on the Gardner yard and the four GE locomotives.
After about an hour of patient waiting, the P&W crew was on board and nearly ready to proceed south. I made this slightly elevated view from a parking lot on the site of the old Gardner Station. In the yard is one of P&W's leased SD60s and some auto racks for interchange.
After about an hour of patient waiting, the P&W crew was on board and nearly ready to proceed south. I made this slightly elevated view from a parking lot on the site of the old Gardner Station. In the yard is one of P&W’s leased SD60s and some auto racks for interchange. Unfortunately, the auto racks block the view of the ethanol tanks. Note the crossover that links the old eastward mainline with the tracks in the P&W yard.
Norfolk Southern 66N takes the switch on to the P&W at Gardner.
Norfolk Southern 66N takes the switch on to the P&W at Gardner.

NS_66N_Ethanol_extra_Gardner_Yard_DSCF7673

Trailing view of the leading locomotive easing down the P&W toward the Route 2 underpass.
Trailing view of the leading locomotive easing down the P&W toward the Route 2 underpass. Soft light is excellent for showing detail on a largely black locomotive. This photo was made in Gardner, yet it could be almost anywhere.
Trailing view of NS 66N on the P&W at Gardner.
Trailing view of NS 66N on the P&W at Gardner. The 80 tanks make for a rolling pipeline. How many gallons of ethanol does this train carry?

Thanks to Rich Reed, Paul Goewey and Felix Legere.

Tracking the Light Posts Daily.

York at Speed: Pan view of a GNER HST.

I used my Nikon F3T with a 105mm Nikkor lens loaded with Fujichrome. To achieve the sense of motion, I panned the front of the HST while using a comparatively slow shutter speed (about 1/30th of a second). The key to a successful pan image is to start panning well-before pressing the shutter and continuing the pan motion after the shutter has been released.
For this view, I used my Nikon N90S with a 105mm Nikkor lens loaded with Fujichrome. To achieve the sense of motion, I panned the front of the HST while using a comparatively slow shutter speed (about 1/30th of a second). The key to a successful pan image is to start panning well-before pressing the shutter and continuing the pan motion until after the shutter has been released. Turn your whole body and not just the camera.

I exposed this panned view of a GNER HST on the East Coast Mainline near the York station in December 1999.

A similar photo appeared in my book Railway Masterpieces published by Krause Publications in 2002.

Tracking the Light Posts Daily.

Brian’s Field-Finder Cab-View of a Soviet Electric.

To see the full image click on Tracking the Light.

In July 2002, I spent a week in Estonia photographing railway operations.

It was organized for me take a cab-ride on an empty oil-train in a recently imported former Union Pacific General Electric C36-7 diesel.

I wrote about this adventure in my recently published book The World’s Most Exotic Railway Journeys produced in the UK by John Beaufoy Publishing Limited. (Available on Amazon).

I was working with three cameras. Previously I’ve published color views exposed with my Contax G2 rangefinder and Nikon N90S single-lens reflex, however until today most of my  black & white photos remained unpublished and unseen.

I made  my black & white photos using  a Rollei Model T twin-lens reflex (120 size film camera). So, rolling along at about 30 mph east of Tallinn, I made this view of a Riga-built Tallinn-area electric suburban train.

Exposed with a Rolleiflex Model T twin-lens reflex fitted with a 75mm Zeiss Tessar. Kodak Tri-X processed in Ilford ID-11 1:1 with water. Scanned at 3200 dpi with a Epson V600 flatbed scanner. Scaled for internet presentation using Lightroom; however there was no post-processing manipulation to density, contrast or sharpness.
Exposed with a Rolleiflex Model T twin-lens reflex fitted with a 75mm Zeiss Tessar. Kodak Tri-X processed in Ilford ID-11 1:1 with water. Scanned at 3200 dpi with a Epson V600 flatbed scanner. Scaled for internet presentation using Lightroom; however there was no post-processing manipulation to density, contrast or sharpness.

Significantly,I made this image by using the Rollei’s field-finder— which is nothing more than a pair of open squares that allow you to frame up a photo while holding the camera at eye-level.

Normally, I’d focus using the camera’s built in magnifying glass on the waist level viewer (which supplies a view through the top lens arrangement that projects onto a Fresnel screen. The down side of this viewing mechanism is that you must look down into the camera and the image is in reverse.

So exposing photos from a moving locomotive cab using the waist-finder is not only impractical, but can lend to sea-sickness.

Another advantage of the field-finder is that you are actually looking at your subject without any distortion caused by a lens. In today’s photography it rare that you actually see your subject at the time the shutter is released. You’d be amazed how this direct viewing can improve composition.

Also, the Rollei’s mechanical shutter release is virtually instantaneous.

Tracking the Light Posts every day.

 

 

 

Sunrise on the old Western Rail Road; Middlefield, Massachusetts.

Since 1841, the rails of the old Western Rail Road (later Boston & Albany, and for the time-being CSXT’s Boston Line) have served as a conduit of commerce through the Berkshire Hills of western Massachusetts.

I made this photograph at sunrise using my FujiFilm X-T1 fitted with a Zeiss 12mm Touit lens and a graduated neutral density filter to control contrast.

My friend Mel Patrick has often posed the question: ‘must all railroad photos show trains?’

Exposed in May 2016 using FujiFilm X-T1 digital camera with 12mm Zeiss lens.
Exposed in May 2016 using FujiFilm X-T1 digital camera with 12mm Zeiss lens.

Tracking the Light posts daily.

 

All Change! Photographing trains and Clapham Junction and Vicinity—May 2016.

On my visit to London earlier this month, I called into Clapham Junction to visit with my friend Hassard Stacpoole who lives nearby.

Hassard brought me on a tour of the area to highlight the changes south of the Thames since my last visit.

London is a dynamic city. There are cranes and construction sites everywhere you look.

The area around Battersea Park is rapidly being transformed from an old industrial area to a modern residential community.

Using my FujiFilm X-T1 and Lumix LX7, I made these photos from our tour of the area.

Five car Overland trains now serve Clapham Junction.
Five car Overground trains now serve Clapham Junction.

My intention is to compare these images with similar views exposed years ago, as well as photos showing further change from my next visit.

FujiFilm X-T1 digital photograph at Clapham Junction.
FujiFilm X-T1 digital photograph at Clapham Junction.
Clapham Junction.
Clapham Junction.
Wandsworth Road looking toward Battersea Park. Construction now dominates this horizon.
Wandsworth Road looking toward Battersea Park. Construction now dominates this horizon.
The old Battersea Park Generating Station is being repurposed.
The old Battersea Park Generating Station is being repurposed.
Massive modern apartment blocks have sprung up around Battersea Park like mushrooms after the rain.
Massive modern apartment blocks have sprung up around Battersea Park like mushrooms after the rain.
Transportation changes are part of the story.
Transportation changes are part of the story.
Thames bridge on approach to Victoria. Look at all the new building underway.
Thames bridge on approach to Victoria. Look at all the new building underway.
Looking south from Victoria toward Battersea Park.
Looking south from Victoria toward Battersea Park. Here the background is the subject.
In London little remains unchanged for long. Even the train companies play musical chairs with the franchises every few years. How much longer will South West Trains serve Clapham Junction?
In London little remains unchanged for long. Even the train companies play musical chairs with the franchises every few years. How much longer will South West Trains serve Clapham Junction?
A view south of Clapham Junction Station.
A view south of Clapham Junction Station.
A South West Trains emu clatters along south of Clapham Junction.
A South West Trains emu clatters along south of Clapham Junction.
It's been a long time since the London, Brighton and South Coast was a going concern. This is the old station at Clapham Junction.
It’s been a long time since the London, Brighton and South Coast was a going concern. This is part of the old station complex at Clapham Junction.

Tracking the Light posts every day.

London Underground‑May 2016; Ten New Photos.

Tracking the Light presents new material every day! 

Digital photography has made photography of the London Underground vastly easier than with film.

ISO 400 too slow? Notch it up to 1000, or 1600, or higher.

In the old days with film I’d rarely experiment with any lens longer than 100mm underground. Not only were my longer lenses relatively slow, but trying to keep them steady at low shutter speeds was impractical.

Today, I push up the ISO and snap away.

The adjustable rear screen on my FujiFilm X-T1 is a great tool for photographing from the hip. Back in the old days, I’d take the prism off my Nikon F3T for a similar technique, but this made focusing difficult.

I made these photos in Early May 2016. For me the Underground is more than just photos of the trains and tunnels.

Which is your favorite?

Lumix LX7 photo.
Lumix LX7 photo.
Lumix LX7 photo at West Brompton.
Lumix LX7 photo at West Brompton.
Telephoto view at Embankment with my Fuji X-T1.
Telephoto view at Embankment with my Fuji X-T1.
I like a bit of subtle humor or irony in my photos. FujiFilm X-T1 photo.
I like a bit of subtle humor or irony in my photos. FujiFilm X-T1 photo.
FujiFilm X-T1 photo. Auto white balance is a blessing when working with artificial light.
FujiFilm X-T1 photo. Auto white balance is a blessing when working with artificial light.
View of the Circle Line at Embankment.
View of the Circle Line at Embankment.
Some of the Tube is well below the surface.
Some of the Tube is well below the surface.
Bond Street Station at Oxford Street.
Bond Street Station at Oxford Street.

Underground_DSCF7158

This is London Euston, please mind the gap!
‘This is London Euston, please mind the gap!’

Tracking the Light Posts Daily.

Irish Rail ICR’s with a pastel sky at Kildare.

Irish Rail Intercity Railcars work downroad (away from Dublin) at Kildare.
Irish Rail Intercity Railcars work downroad (away from Dublin) at Kildare.

To make the most of this scene I needed to make some global (overall) and localized contrast adjustments in Lightroom. This was necessary to compensate for the contrast characteristics inherent to the digital file produced by my FujiFilm X-T1.

I worked with the RAW file which has substantially more data than the in-camera JPG (which is compressed and thus offers very little information above what is immediately visible to the eye).

Tracking the Light posts daily.

Illustration in Bordeaux-Four New Images.

Illustration versus documentation: Often I set out to document a scene. My process and techniques are focused toward making images that preserve the way a scene or equipment appear. Often, but not today.

Creation of an illustration may not be intended as documentation. An illustration is created to convey a message; perhaps that needed for advertising, art, or publicity.

While photographing in Bordeaux, I found that the juxtaposition of the modern trams against both modern and historic architectural backdrops looked remarkably like artist’s/architect’s impressional drawings.

So, as an exercise in illustration, I’ve intentionally manipulated the camera RAW files to make them appear more like the artist’s impressional drawings, such as those often displayed as visions of the future.

Bordeaux_tram_DSCF6360

Tram_Bordeaux_DSCF6543

Specifically, I altered the contrast and de-saturated the color palate to mimic a water-color tinted image. I did not destroy the original files, and so I have the benefit of documentation and illustration with the same photos.

Bordeaux_tram_DSCF6444

Bordeaux_tram_DSCF6463

Questions:

Have I done anything fundamentally different here than with images created (augmented) by the manipulation of digital files to produce super-saturated colors, plus intensely contrast adjusted effects that result in dream-like sky-scapes?

Is a posed railway publicity photo that was heavily re-touched by air-brushing or similar alteration to be considered documentation?

In a later post, I’ll explore Bordeaux’s tram network in fully saturated color.

Tracking the Light Posts Daily.

Antwerp in the Rain; Trams and Bountiful opportunities for Eclectic City Scapes—16 new Photos.

It was a rainy Monday when I arrived in Antwerp. Working with my Lumix LX7, I spent several hours riding the Lijn trams and making photos.

Does the rain and gloom ad atmosphere to this eclectic Flemish port city? There’s a lot of history here.

Lijn has been buying new low-floor articulated Flexity-2 trams to replace its antique fleet of four-axle PCCs, so I was keen to catch the older cars at work while I still can.

(See related posts: Gent Revisited—Trams, Castles and Cobble StonesGent in Six PhotosTrams of Gent Part 2Trams in Basel, Switzerland; 21 April 2016).

A modern Flexity2 tram glides through the rain in Antwerp. Lumix LX7 photo.
A modern Flexity2 tram glides through the rain in Antwerp. Lumix LX7 photo.
Complicated track work makes for a more interesting urban image.
Complicated track work makes for a more interesting urban image. The PCC is almost incidental to the scene.
There are plenty of eclectic establishments in Antwerp where you can grab a bite to eat an enjoy a glass of beer while watching the tram cars grind along cobblestone streets.
There are plenty of eclectic establishments in Antwerp where you can grab a bite to eat an enjoy a glass of beer while watching the tram cars grind along cobblestone streets.
Antwerp enjoys a complex transport system with tram lines on many streets. However, expansion of the tram subway may soon reduce the number of surface services in some parts of the city center.
Antwerp enjoys a complex transport system with tram lines on many streets. However, expansion of the tram subway may soon reduce the number of surface services in some parts of the city center.

Lijn_Antwerp_P1450608

Could a bus be as photogenic in such a setting?
Could a bus be as photogenic in such a setting?

Lijn_Antwerp_P1450638

Among the advantages of photographing on a cold wet day is that there tend to be few people on the streets to get in your way. Not to be antisocial, but masses of urban humility can be a problem when composing tram photos.
Among the advantages of photographing on a cold wet day is that there tends to be few people on the streets to get in your way. Not to sound  antisocial, but masses of urban humility can be a hindrence  when composing tram photos.

Lijn_Antwerp_P1450622

Near the main railway station there's a tram loop.
Near the main railway station there’s a tram loop used by route 11 cars.
This level crossing is a great place to catch the action.
This level crossing is a great place to catch the action.
I don't think everyone was quite as enthusiastic about tram tracks and cobblestones as I was.
I don’t think everyone was quite as enthusiastic about tram tracks and cobblestones as I was.

Lijn_Antwerp_P1450668

Curbside running makes it easier to board the cars.
Curbside running makes it easier to board the cars.
Here's my car now!
Here’s my car now!

Lijn_Antwerp_P1450674

White trams navigating narrow dark cobble-stone streets makes for some interesting contrast. So, would shafts of sun have improved these images?

Tracking the Light posts every day.

 

 

Ringling Brothers and Barnum & Bailey Circus Train on Washington Hill—May 16, 2016.

It was very windy, and I spent the whole morning standing around along the old Boston & Albany mainline reading about 19th century industrial practice while waiting for trains to pass.

I posted the photos I made of an eastward Norfolk Southern detour train near Middlefield, Massachusetts yesterday evening.

My goal was to catch the Ringling Brothers and Barnum & Bailey Circus Train, that was rumored to be on the move.

But, after 8 hours standing in the cold, I decided to head downgrade.

Nearing Westfield, the scanner came to life, ‘clear signal CP109’.

Time for a U-turn.

I’d scoped a location near Huntington.

Unfortunately this neatly coincided with a fast moving cloud. Bad luck.

A dark dirty cloud covered the sun at precisely the wrong moment. (It lifted in time for me to grab a wide-angle view on Fujichrome.)
A dark dirty cloud covered the sun at precisely the wrong moment. (It lifted in time for me to grab a wide-angle view on Fujichrome.)

CSXT_Circus_Train_DSCF7561

A bit of hard driving got me to Washington Summit ahead of the train. The clouds stayed at bay.

All of these images were exposed with my FujiFilm X-T1 mirror-less digital camera.

Slides from the event remain latent.

Near Washington Summit at the location known as 'Muddy Pond'.
Near Washington Summit at the location known as ‘Muddy Pond’.
The Ringling Brothers and Barnum & Bailey Circus Train is a long consist.
The Ringling Brothers and Barnum & Bailey Circus Train is a long consist.
Containers and trailers were at the back.
Containers and trailers were at the back.

Tracking the Light is Daily!

Hidden Treasures: Preserved Locomotives at Saint Ghislain, Belgium; Don’t miss Brian’s Exposure Guide for old Locomotive sheds.

Locked away in an old locomotive shed at Saint Ghislain, Belgium are a wonderful collection of historic SNCB locomotives maintained by Patrimoine Ferroviare et Tourisme. See: http://www.pfttsp.be/index.php/fr/

Mauno Pajunen organized a visit to this collection and provided translation while Rousman Phillippe offered a guided tour.

I was most impressed by the semi-streamlined stainless-steel clad electric (SNCB 1805) that formerly worked TEE international services and by the Baldwin diesel locomotive built under license.

Until my visit the to the shed at Saint Guislain, I'd only seen this class of locomotive in old photos. The pitched cab profile and stainless-steel side panels are very pleasing. They just don't style locomotives like this anymore!
Until my visit the to the shed at Saint Guislain, I’d only seen this class of locomotive in old photos. The pitched cab profile and stainless-steel side panels are very pleasing. They just don’t style locomotives like this anymore!

SNCB_historic_loco_Saint_Ghislain_DSCF6294

Photographing in a locomotive shed such as this one requires special technique.

If you just let the in-camera meter do the work you will get under-exposed (dark) images such as this. Why? Because the camera meter is trying to balance the scene for the window which leads to overall under-exposure. Action on the photographer is necessary on-site to avoid this problem.
If you just let the in-camera meter do the work you will get under-exposed (dark) images such as this. Why? Because the camera meter is trying to balance the scene for the window which leads to overall under-exposure. Action on the photographer is necessary on-site to avoid this problem.

Direct and indirect lighting from skylights in the roof and large side windows results in extreme contrast with lower regions of the locomotives bathed in darkness that tends to confuse the in-camera light meter. (A meter doesn’t know what your subject is and only provides a balanced reading and doesn’t work in this situation.)

If you are not careful you may end up with an unacceptably dark result. (see above).

By manually controlling the exposure you can compensate for the effect of windows and skylights, thus creating a more pleasing exposure inside the shed.
By manually controlling the exposure you can compensate for the effect of windows and skylights, thus creating a more pleasing exposure inside the shed.

My solution is relatively simple: manually over-expose in range of 2/3s of a stop to 1 stop, and then control highlight detail in post processing.

The easiest way to do this with a digital camera is used a manual mode and then watch the suggested exposure settings offered by the built in meter and then add 2/3s to 1 stop to the recommended value. Thus if the meter suggests exposing a f2.8 at 1/60th of second, open up the aperture to nearly f2.0 without changing the shutter speed.

Another way of doing this is by adjusting the meter to over expose by 2/3 or 1 full stop. Each camera has its own means of doing this.

In my case, I set the ISO to 400, so my average exposure was f4.5 1/60 of a second (camera meter was recommending f5.6 to f6.3, which would have resulted in an unacceptably dark image).

SNCB_historic_loco_Saint_Ghislain_DSCF6338

I adjusted my exposure from scene to scene, while tending toward overexposure based on the meter setting and carefully gauging the histogram to avoid loosing data in the shadow areas.

SNCB_historic_loco_Saint_Ghislain_DSCF6316

Since the highlights of the outside windows and skylights are not important to the overall scene, it isn’t a problem to allow for a loss of detail in these areas.

After exposure, I adjusted the files in post-processing to bring the mid-tones and shadow areas to an expected level.

SNCB_historic_loco_Saint_Ghislain_DSCF6319

This was one of my favorites: a Baldwin diesel built under license. Careful exposure allowed for adequate detail of the trucks and underbody.
This was one of my favorites: a Baldwin diesel built under license. Careful exposure allowed for adequate detail of the trucks and underbody.

SNCB_Baldwin_historic_loco_Saint_Ghislain_DSCF6300

The boiler was outside.
The boiler was outside.
Wide angle close up of Walschearts valve gear. Old Egide was a Belgian after all!
Wide angle close up of Walschearts valve gear. Old Egide was a Belgian after all!

SNCB_historic_loco_Saint_Ghislain_DSCF6314

Another trick is working in confined spaces. For these images I used a super wide-angle lens, specifically a Zeiss 12mm Touit, which I purchased specifically for photography in settings such engine sheds, signal towers and locomotive cabs.

 

Tracking the Light Posts Daily.

 

 

SNCF Valenciennes‑Revisited (April 2016). Six NEW photos.

Last October (2015), I visited Valenciennes in northern France. I stopped by again a few weeks ago during my April 2016 wanderings in France and Belgium.

Valenciences_station_DSCF6244

Valenciences_Station_w_tram_DSCF6240

In these views I focused on the old Chemin de fer du Nord Station (SNCF’s Gare de Valencienes) and the surrounding environment.

Using my FujiFilm X-T1, I made images that feature the old station as both subject and background. Notice how selective focus and use of light shifts the central interest from the old building to the tram.

SNCF_Gare_Valenciences_DSCF6278

Outback of the station, there are, of course, SNCF trains and an impressive array of trackage that make interesting subjects in their own right.

Together, the building, trams, SNCF trains and trackage make for a scene, but one not possible to adequately represent in one image. Thus this myriad collection of images. This is a work in progress.

SNCF_Valenciences_DSCF6269

An SNCF train approaches Gare de Valenciennes.
An SNCF train approaches Gare de Valenciennes.

Tracking the Light posts every day! (Have you noticed?) 

Strasbourg: 10 photos of Low Floor Trams in a Sophisticated European City

 

Strasbourg_Tram_P1440893It was a pleasantly warm Spring day when I set out with Lumix LX7 in hand to make a few photos of the Strasbourg trams.

Strasbourg was among the first French cities to re-adopt the electric tram, and in 1994 introduced an elegant modern tram system using a pioneer type of low-floor car (the first batch were  built by ABB) called the Eurotram.

I’ve been meaning to visit Strasbourg for a long time, but only recently managed to finally get there.

Any favorites from this selection?

Among my first fews of the Strasbourg tram system. Notice the rail-mounted cleaning truck in the distance.
Among my first views of the Strasbourg tram system. Notice the rail-mounted cleaning truck in the distance.

Strasbourg_Tram_P1440907

Contrast of old and new.
Contrast of old and new.

Strasbourg_Tram_P1440934

Like with many modern tram systems, in Strasbourg you must validate your paper ticket before boarding the car. I noted teams of fare enforcement specialists intimidating non-paying passengers.
Like with many modern tram systems, in Strasbourg you must validate your paper ticket before boarding the car. I noted teams of fare enforcement specialists intimidating non-paying passengers.
Strasbourg offers many places to include the trams in attractive cityscapes such as this one.
Strasbourg offers many places to include the trams in attractive cityscapes such as this one.
A few of the cars were painted in this lime, red and white livery.
A few of the cars were painted in this lime, red and white livery.

Strasbourg_tram_P1440885Strasbourg_Tram_P1440951

Karlsruhe Hbf—Train Shed Geometry and Red Electrics.

Germany’s traditional large railway stations offer endless opportunities for photographic composition.

Over the years, I’ve made several visits to the Karlsruhe Hauptbahnhof (main station) and have always found it photographically rewarding. I made these photos a couple of weeks ago  (April 2016.)

FujiFilm X-T1 image.
FujiFilm X-T1 image.
Classic signage. FujiFilm X-T1 photo.
Classic signage. FujiFilm X-T1 photo.

The train-shed lends to making geometric images while providing a visually intriguing setting for train photos. I like the sense of scale that the shed offers.

Any favorites?

An InterCity train pauses for passengers. FujiFilm X-T1 photo.
An InterCity train pauses for passengers. FujiFilm X-T1 photo.
When I first visited Karlsruhe in the late-1990s, DB's 101 class were the latest in new motive power. Now these are battle worn veterans.
When I first visited Karlsruhe in the late-1990s, DB’s 101 class were the latest in new motive power. Now these are battle worn veterans.
The curves of this class 146 electric complement the train shed while the bright red livery makes for a stunning contrast with the monotones of the station environs.
The curves of this class 146 electric complement the train shed while the bright red livery makes for a stunning contrast with the monotones of the station environs.
At the southend of the shed.
At the south end of the shed.
Pay attention!
Pay attention!

DB_Karlsruhe_Hbf_class_146_DSCF5674

Tracking the Light posts every day.

Tracking the Light Extra: Irish Rail 231 in fresh paint works 1100 Dublin-Cork.

Irish Rail has painted 201-class General Motors diesel number 231 into an interim version of the latest Enterprise livery.

This is yet to feature the pink swooshes that now characterize the Enterprise scheme.

This morning (4 May 2016) the clean locomotive worked the scheduled 11am service from Dublin Heuston Station to Cork. I made this image at Islandbridge Junction using my Lumix LX7.

Annoying me was a line of cloud that was just covering the sun. While this appeared to be moving, in fact the cloud was forming as it moved. Bright sun was so close, yet elusive.

This phenomenon is probably explainable by the effects of condensation, wind currents and cool air; but irksome when you are anticipating the sun emerging from nature’s diffusion screen.

Irish Rail 231 on the 11am to Cork at Islandbridge Junction at 1103 on Wednesday 4 May 2016.
Irish Rail 231 on the 11am to Cork at Islandbridge Junction at 1103 on Wednesday 4 May 2016.
Irish Rail 231 on the 11am to Cork at Islandbridge Junction at 1103 on Wednesday 4 May 2016. Lumix LX7 photo.
Irish Rail 231 on the 11am to Cork at Islandbridge Junction at 1103 on Wednesday 4 May 2016. Lumix LX7 photo.

Ultimately, the sun came out. About 45 minutes after the train went by. Poor show.

I’ve made minor adjustments to the RAW file to improve contrast.

Tracking the Light posts every day, don’t miss it!

Dynamic Duewag Photos; Low angle with glint.

 

Evening sun with a textured fair-weather sky combined with well maintained paving stones and a healthy tree at left made for a visually compelling setting.

Freiburg, Germany still operates some of its vintage Duewag trams that feature a streamlined body and rounded front-end.

To make the most of the svelte classic tram I opted for a low angle and favored the angle of sun for reflective glint. The bicyclist was a fortuitous subject that makes for a more interesting photograph by introducing a human element.

To expose this image I worked my FujiFilm X-T1 digital camera with the rear live-view display tilted upward, which allowed me to compose the photo while holding the camera relatively low to the ground.

I adjusted my 18-135mm zoom lens to near its widest angle.

Duewag tram in Freiburg, exposed using a FujiFilm X-T1. RAW file modified to improve contrast and exposure.
Duewag tram in Freiburg, exposed using a FujiFilm X-T1. RAW file modified to improve contrast and exposure.

Tram_Freiburg_DSCF6154

Tram_Freiburg_DSCF6155
Notice the effect of the bicycle’s double shadow?

The real trick was keeping the composition interesting as the action rapidly unfolded.

In post-processing I darkened the sky and lightened the shadow areas to improve overall contrast.

Which of the three images is your favorite?

(This essay was composed while transiting the Channel Tunnel between Calais and Folkstone on 30 April 2016).

Tracking the Light posts everyday.

 

 

BLS Cargo Electric Works North on DB; exercise in composition and contrast.

On 20 April 2016, I made this image of a Swiss BLS Cargo (Bern Lötschberg Simplon) electric leading a northward freight on DB’s (German Railways) heavily traveled double-track line north of Freiburg, Germany.

Although clear and sunny, the direction of the light was directly behind the locomotive, which is anything but ideal.

To make the most of this awkward lighting situation, I opted to feature the flowering tree that was well-lit by the angle of the sun, and work with the locomotive in silhouette, while taking a low angle to minimize distracting elements on the far side of the line.

In post processing, I’ve lightened the shadow areas of the RAW file to restore detail and improve the overall contrast to the locomotive.

Below are both the unimproved RAW file (only scaled for presentation) and my modified file.

This is a Jpg made from FujiFilm X-T1 camera RAW file (scaled for internet presentation). No contrast adjustments.
This is a Jpg made from FujiFilm X-T1 camera RAW file (scaled for internet presentation). No contrast adjustments.
Using Lightroom, I've lightened the shadow areas and made an overall contrast adjustment with the 'clarity' slider. My aim was to produce a more graphic and interesting illustration of the BLS electric and flowering tree. Exposed on 20 April 2016.
Using Lightroom, I’ve lightened the shadow areas and made an overall contrast adjustment with the ‘clarity’ slider. My aim was to produce a more graphic and interesting illustration of the BLS electric and flowering tree. Exposed on 20 April 2016.

Tracking the Light posts daily.

Freiburg, Germany: New Tram on Cobblestone Streets.

Freiburg has a complex tram system with a great variety of equipment.

I made this view with my Lumix LX7 a week ago that features a new CAF tram gliding along cobblestone streets.

I’ve opted for a low angle to emphasize the cobblestones and the contrast between new and old.
I’ve opted for a low angle to emphasize the cobblestones and the contrast between new and old surfaces.

More Freiburg trams in future posts.

Tracking the Light is Daily.

Charter Section Glacier Express

The boards at Andermatt indicated that an unscheduled train was due to arrive.

Our curiosity was piqued.

This turned out to be a charter using a Glacier Express train set.

I’ve augmented the views of the train descending to Andermatt with a few images of another Glacier Express set parked in Matterhorn Gotthard Bahn’s sidings at Andermatt.

In mid-April, my friends and I visited Andermatt and were fortunate to catch this charter of Glacier Express equipment descending the rack railway grade toward Andermatt.
In mid-April, my friends and I visited Andermatt and were fortunate to catch this charter of Glacier Express equipment descending the rack railway grade toward Andermatt.
Express is a relative term. The train isn't very fast; but the views  available from its windows are stunning.
Express is a relative term. The train isn’t very fast; but the views available from its windows are stunning.
Looking toward Andermatt, Switzerland in April 2016.
Looking toward Andermatt, Switzerland in April 2016.
I made this view of Glacier Express equipment resting static on sidings in Andermatt. Can equipment stored out of service be called a 'train?'
I made this view of Glacier Express equipment resting static on sidings in Andermatt. Can equipment stored out of service be called a ‘train?’

Tracking the Light is Daily.

Narrow Gauge Rack; Contrast in the Alps.

 

Below are two versions of an image I made of a Matterhorn Gotthard Bahn narrow-gauge train engaging the Abt rack system on its steep ascent from Göschenen to Andermatt.

These were made with my FujiFilm X-T1 digital camera on my visit to the Alps with Stephen Hirsch, Gerry Conmy and Denis McCabe in mid April 2016.

The first is the unadjusted (except for scaling) Jpg produced in camera. Notice that the sky is washed out and lacking in detail.

Camera produced Jpg exposed at Göschenen, Switzerland where the MGB meets the standard gauge line over the Gotthard Pass.
Camera produced Jpg exposed at Göschenen, Switzerland where the MGB meets the standard gauge line over the Gotthard Pass.

The second image is a Jpg that I produced from the camera RAW file by making nominal contrast and saturation adjustments in Lightroom.

Improved image; this was made from the RAW file by adjusting contrast and saturation .
Improved image; this was made from the RAW file by adjusting contrast and saturation .

The aim of the second image was to hold the sky and highlight detail that was lost by the camera Jpg. This demonstrates the ability of the RAW file to retain greater detail than the Jpg.

 

Instead of using an external graduated neutral density filter, as I had with some previous images displayed on Tracking the Light, I used the equivalent graduated neutral density filter in the Lightroom program.

 

Why not use the external filter in this situation? Two reasons:

  • The external filter is cumbersome and takes time to set up.
  • I wanted to improve the appearance of the sky without darkening the mountains. Using the electronic filter gives me the ability to selectively control highlights and shadows in the graduated area selected by the filter, while the external graduated filter would have covered the top of the image and darkened the mountains as well as the sky.

Both are valuable tools for improving a photograph.

Tracking the Light Posts everyday.

 

Springtime in Switzerland! SBB and Dandelions.

Using my FujiFilm X-T1, I exposed this image last week looking across a field of dandelions near Erstfeld, Switzerland.

By using the tilting live-view display screen, I was able to hold the camera very low to the ground which allows for this exaggerated perspective of the foreground greenery and flowers.

Compare this photo to the conceptually similar view of the Italian tilting train I posted a few days ago. See: Italian Tilting Train at Gurtnellen—15 April 2016

The technique for both photos  is essentially the same, however with the photo below of the Swiss ICN passenger train  I used a slight telephoto and opted to crop the sky, rather than use a graduated neutral density filter to balance the contrast/retain detail.

ICN_with_dandilions_near_Erstfeld_DSCF4585
An SBB ICN train glides along near Erstfeld in April 2016.

Below is another view from the same location near Erstfeld. Same camera, same lens, but I’ve set the zoom to a wide-angle view and I’m not as low to the ground.

The result is that the flowers remain in relative focus to the train and distant scenery. (Also I’m using the graduated neutral density filter to retain highlight detail at the top of the image).

A northward SBB freight approaches Erstfeld on the Gotthard route.
A northward SBB freight approaches Erstfeld on the Gotthard route.

The train is a bit small, but this photograph is more about the whole scene rather than being focused on the train.

Tracking the Light is Daily.

Chicago & North Western Class R-1 1385 viewed through a window.

On October 14, 1995, Dick Gruber and I were visiting the Mid-Continent museum at North Freedom, Wisconsin when I exposed this unusual view of engine 1385.
On October 14, 1995, Dick Gruber and I were visiting the Mid-Continent museum at North Freedom, Wisconsin when I exposed this unusual view of engine 1385.

Instead of focusing on the engine, I set my focus point on the window. Using my Nikon F3T, I exposed this image with an f1.8 105mm lens wide open for minimum depth of field. This is a personal favorite of mine and over the years I’ve reproduced it in various places.

Tracking the Light is on auto pilot while Brian is Traveling!

 

The Magnificent Double Helix at Biaschina, Switzerland; 16 April 2016

Does the mist and rain add a sense of mystique to one of the great railway wonders of the world?

At Biaschina, SBB’s route on the south slope of the Gottard Pass navigates a complete double spiral (or double helix).

The line passes through several tunnels and appears the viewer on three distinct levels, each hundreds of feet above each other.

I made these images from the Ticino riverbed using my Lumix LX7 on Saturday 16 April 2016.

Denis McCabe, Gerry Conmy, Stephen Hirsch and I were visiting the line to make photographs before the new base tunnel diverts traffic at the end of the year.

A southward passenger train on the top level of Biaschina loops.
A southward passenger train on the top level of Biaschina loops.
P1440473
A few minutes later the same train appears on the middle level. Lumix LX7 photo.
Finally, with little warning, the train emerges from the tunnel on the lowest level of the Double Helix. Lumix LX7 photo.
Finally, with little warning, the train emerges from the tunnel on the lowest level of the Double Helix. Lumix LX7 photo.

Tracking the Light Posts Every Day.

Italian Tilting Train at Gurtnellen—15 April 2016

En route to Milan, this Italian State Railway ETR610 high-speed tilting train was ascending the Gotthard Pass just south of Gurtnellen, Switzerland.
En route to Milan, this Italian State Railway ETR610 high-speed tilting train was ascending the Gotthard Pass just south of Gurtnellen, Switzerland.

For this image I blended several techniques.

To emphasize the wild flowers in the foreground, I’ve held the camera low to the ground and used the tilting back screen to compose the angle. (Aiding this approach is the FujiFilm X-T1’s built in line-level which appears as a ‘heads up’ display on the screen.)

By applying a Lee graduated neutral density filter to the front of the lens, I’ve maintained highlight detail in the sky.

My adjustments the RAW file in post processing lightened shadow density and increased color saturation to help make for a lush scene.

Notice the four layers: foreground, middle ground (the train), near background (the village of Gurtnellen), and the far background (snow crested peaks).

Once the new Gotthard Base tunnel is open to traffic at the end of this year, scenes such as this one of the Italian tilting train on the old route may be rare.

Tracking the Light Posts Daily!

Alternate Angle at Islandbridge Junction; Irish Rail’s IWT Liner.

Thursday, 7 April 2016, Irish Rail’s IWT Liner was blocked at Islandbridge Junction. This gave me the opportunity to work some less common angles in addition to my common viewing point (often featured on Tracking the Light).

Irish Rail 219 with Dublin to Ballina IWT liner.
Irish Rail 219 with Dublin to Ballina IWT liner.

By holding my FujiFilm X-T1 above my head at arm’s length and tilting the camera’s live-view panel screen downward, I was able to make this view looking over the wall at the St. John’s Road roundabout in Dublin.

Why not try this more often? Simply because I’m not tall enough to see over the wall, so to make this view I’m actually using the camera to view the scene. It’s tiring work to hold a camera above your head while waiting for trains to appear.

Tracking the Light posts every day.

Irish Rail Passenger Trains; Grab Shot in the Gullet, Dublin.

The other day I was at the St. John’s Road roundabout. A Mark4 set was blocked as an in-bound ICR (intercity railcar) bound for Dublin’s Heuston Station over took it on the middle road.

The Gullet is the three track section in a cutting on approach to Islandbridge Junction in Dublin.
The Gullet is the three track section in a cutting on approach to Islandbridge Junction in Dublin.

Using my Lumix LX-7, I made this photo by holding the camera over the wall and gauging composition from the live-view digital display at the back of the camera.

I lightened the shadows in post-processing to improve contrast.

For the next couple of weeks Tracking the Light will be on auto-pilot while Brian is on the road. Posts should appear daily having been pre-programmed into the holding queue.

New Posts Every Day (hopefully).

 

Eight Lumix LX7 Candid views of the Railway Preservation Society of Ireland’s Dublin Rivera Excursions.

 

I like to have at least two cameras handy. This especially true when I’m in a situation where photographic opportunities are rapidly unfolding.

These days I usually have both my FujiFilm X-T1 and Lumix LX7 at the ready.

Both are very good image-making machines, yet each has its strengths.

My Lumix is great for candid views and situations where it isn’t necessary or practical to have the camera at eye level. Often I use strictly with the live-view rear screen.

Panoramic view inside one of RPSI's Cravens carriages.
Panoramic composite view inside one of RPSI’s Cravens carriages.

This is a selection of photographs of last Sunday’s (3 April 2016) Dublin Rivera steam excursions operated by the Railway Preservation Society of Ireland.

Cravens carriage prepped and ready for passengers.
Cravens carriage prepped and ready for passengers.
The day's scheduled running times as per Irish Rail.
The day’s scheduled running times as per Irish Rail.
Footplate crew at Connolly.
Footplate crew at Connolly.
Engine 461 at Connolly Station; camera held high at arm's length to clear the heads of spectators on the platform.
Engine 461 at Connolly Station; camera held high at arm’s length to clear the heads of spectators on the platform.

View_from_train_near_Glengeary_

Guards_Van_P1420634

Connolly Station.
Connolly Station.

Tracking the Light Posts Daily.

2016 Easter Special: LUAS and the Postbox.

As part of the Easter Rising Centenary several Dublin post boxes have been temporarily painted red to mark significant locations of this historic Irish event.

Exposed using a FujiFilm X-T1 fitted with Zeiss 12mm Tuoit lens; contrast adjusted on site with a Lee graduated neutral density filter.
Exposed using a FujiFilm X-T1 fitted with Zeiss 12mm Tuoit lens; contrast adjusted on site with a Lee graduated neutral density filter.

Mark Healy suggested this location to me as a place to photograph one of the specially painted post boxes with the LUAS. It  is located near the Royal College of Surgeons across from St. Stephens Green.

Exposed using a FujiFilm X-T1 fitted with Zeiss 12mm Tuoit lens; contrast adjusted on site with a Lee graduated neutral density filter.
Exposed using a FujiFilm X-T1 fitted with Zeiss 12mm Tuoit lens; contrast adjusted on site with a Lee graduated neutral density filter.
Exposed using a FujiFilm X-T1 fitted with Zeiss 12mm Tuoit lens.
Exposed using a FujiFilm X-T1 fitted with Zeiss 12mm Tuoit lens.

Tracking the Light is Daily.

Irish Rail: An Early March 2016 View From Stucumny Bridge in Eight Photos!

This quiet overhead crossing of the quad-track is just past the 8 ¾ milepost from Dublin’s Heuston Station.

It offers an open view of the line with a favorable angle for down (traveling away from Dublin) trains mid-morning.

Milepost 8 3/4 as measured from Heuston Station, Dublin. Here an ICR passes en route to Portlaoise. FujiFilm X-T1 photo.
Milepost 8 3/4 as measured from Heuston Station, Dublin. Here an ICR passes en route to Portlaoise. FujiFilm X-T1 photo.
An up ICR is only minutes away from Heuston Station. FujiFilm X-T1 photo.
An up ICR is only minutes away from Heuston Station. FujiFilm X-T1 photo.
Cross lit view of another up ICR. The wire across the line south of bridge can be problematic.
Cross lit view of another up ICR. The wire across the line south of bridge can be problematic.
Always nice to catch an old 071 working the IWT liner. Here 088 does the honors. FujiFilm X-T1 photo.
Always nice to catch an old 071 working the IWT liner. Here 088 does the honors. FujiFilm X-T1 photo.
These days you can often IWT boxes on the liner of the same name.
These days you can often IWT boxes on the liner of the same name.

It takes a tuned interest in Irish Rail’s operations and a bit of luck. to time a visit to coincide with passage of the weekday IWT Liner (International Warehousing & Transport container train between Dublin and Ballina) and the more elusive HOBS (high output ballast system).

Getting the clouds to cooperate is trickier yet again.

Clear blue sky for the down Mark4 to Cork. But in Ireland the clouds cross the sky at an alarming rate. FujiFilm X-T1 photo.
Clear blue sky for the down Mark4 to Cork. But in Ireland the clouds cross the sky at an alarming rate. FujiFilm X-T1 photo.
A mix of sun and cloud greeted the up HOBS. It can drive you batty. FujiFilm X-T1 photo.
A mix of sun and cloud greeted the up HOBS. It can drive you batty. FujiFilm X-T1 photo.
And there it goes! Soon the HOBS will be stabled in the old Guinness sidings at Heuston. FujiFilm X-T1 photo.
And there it goes! Soon the HOBS will be stabled in the old Guinness sidings at Heuston. FujiFilm X-T1 photo.

A couple of weeks ago Colm O’Callaghan and I spent a strategic 45 minutes at Stucumny Bridge.

Even if you fail at catching the freight on the move, there’s always a steady parade of passenger trains.

Tracking the Light Posts Every Day!

Irish Rail’s IWT at Islandbridge Junction; Lee Graduated ND Filter Experiment.

Last Friday, 11 March 2016, I went up to my favored Irish local location; Islandbridge Junction. This is a handy place for me.

This is great place to catch a freight train exiting Dublin’s Phoenix Park Tunnel on a bright clear day, yet can be visually problematic on a dull day.

On this day, I thought it would be a good place to experiment with a Lee graduated neutral density filter as a means of controlling contrast and allowing for a more effective overall exposure.

The filter I use offers subtle 2/3s of a stop gradation. This is adjustable both up/down and rotationally left/right.

I made a few test photos with and without the filter to gauge my exposure before the IWT arrived with Irish Rail 088 in the lead.

A similar effect can be accomplished digitally, yet the digital effect doesn’t add information to the RAW file, but only makes a visual adjustment in the final image.

In other words to apply the filter digital may be viewed as a ‘correction’ rather than an in-camera technique. Yet, it is often easier to apply a filter in post-processing than in the field.

I’ve used both methods depending on the circumstance.

Below are some results.

Test photo to gauge comparative exposure. This was made without the filter. My concern is getting adequate exposure in both the sky and foreground.
Test photo to gauge comparative exposure. This was made without the filter. My concern is getting adequate exposure in both the sky and foreground.
Test exposure with the graduated filter. Here I've been able to lighten the foreground slightly while holding detail in the sky.
Test exposure with the graduated filter. Here I’ve been able to lighten the foreground slightly while holding detail in the sky.
Here's a test view using the filter. I've achieved a good overall balance. (Sorry, the filter won't make the sun come out.)
Here’s a test view using the filter. I’ve achieved a good overall balance. (Sorry, the filter won’t make the sun come out.)
Here we have the ultimate objective. To make a balance image of Irish Rail's IWT Liner. It really about making the most of a gray engine on a gray day.
Here we have the ultimate objective. To make a balance image of Irish Rail’s IWT Liner. It really about making the most of a gray engine on a gray day.

This gives a nice overall of my experiment, but in the middle of all this I got a little greedy. Using my zoom lens on the FujiFilm X-T1, I made a tight view of the IWT (with the filter).

As is often the case with last second changes, I didn’t get my exposure quite right. My feeling was that the RAW file was about 1/3 of a stop too dark.

Nice try, but my exposure was a bit dark.
Nice try, but my exposure was a bit dark.
I imported my RAW file into Lightroom and made a variety of small corrections. First I altered the level. I also lightened up the entire image slightly and warmed up the color temperature. Is this an improvement?
I imported my RAW file into Lightroom and made a variety of small corrections. First I altered the level. I also lightened up the entire image slightly and warmed up the color temperature. Is this an improvement?

As with most of my photography, I consider this a work in progress. In all likelihood, before long I’ll be back at Islandbridge Junction to further refine my experiment.

Tracking the Light is Daily!

Amtrak Montrealer Detours! 30 Years Ago Today—March 15, 1986.

It was a day of big excitement. Up north, Guilford was in a knot as result of a strike action. Bob Buck phoned me early in the morning to say that ‘The Boot’ (the colloquial name for Amtrak’s Montrealer) was detouring to Palmer on the Central Vermont, then west on the Boston & Albany (Conrail).

Using my dad’s Rollei model T loaded with Kodak Tri-X, I made the most of the unusual move.

This was nearly a decade before Amtrak’s Vermonter began to regularly make the jog in Palmer from the CV/New England Central route to the B&A mainline.

And, it was only four months before Conrail ended traditional directional double-track operations between Palmer and Springfield.

Amtrak 61 followed CV’s southward road freight to Palmer arriving at 11 am. Here I pictured it near the old Boston & Albany freight house in Palmer, Massachusetts. Note the all heritage consist (except of course for the F40).
Amtrak 61 followed CV’s southward road freight to Palmer arriving at 11 am with  Canadian National M-420 2557 in the lead.. Here I pictured it near the old Boston & Albany freight house in Palmer, Massachusetts. Note the all heritage consist (except of course for the F40).
An Amtrak CF7 had come out from Springfield to assist with the reverse move necessary to bring the Montrealer westward over the B&A.
An Amtrak CF7 had come out from Springfield to assist with the reverse move necessary to bring the Montrealer westward over the B&A.

I’d met some photographers at the Palmer diamond and encouraged them to take advantage of my favorite vantage point at the rock cutting at milepost 84, just over the Quaboag River from the Palmer Station.

As detouring Amtrak number 61 approached with a former Santa Fe CF7 leading the train to Springfield, we could hear an eastward Conrail freight chugging along with new GE C30-7As.

Moments after I exposed the classic view of this Montrealer working the old number 1 track, TV6 blasted east with intermodal piggybacks for Worcester and Springfield. I was using the Rollei with a 645 'Superslide' insert that allowed me 16 frames per roll.
Moments after I exposed the classic view of this Montrealer working the old number 1 track, TV6 blasted east with intermodal piggybacks for Worcester and Boston. I was using the Rollei with a 645 ‘Superslide’ insert that allowed me 16 frames per roll.
Conrail TV6 passes Amtrak's Montrealer on the double track west of the Palmer diamond. In July 1986, Conrail cut-in CP83 which ended double track operations between Palmer and the new CP92 in Springfield.
Conrail TV6 passes Amtrak’s Montrealer on the double track west of the Palmer diamond. Four months later, in July 1986, Conrail cut-in CP83 which ended double track operations between Palmer and the new CP92 in Springfield.
Sometimes when the action is unfolding its best to just keep exposing pictures. Here I was cranking the Rollie as quickly as I could.
Sometimes when the action is unfolding its best to just keep exposing pictures. Here I was cranking the Rollie as quickly as I could.

This is among my favorite sequences that show the old double track in action.

Some of these photos later appeared in Passenger Train Journal. Long before I was the Associate Editor of that magazine.

Tracking the Light Posts Daily!

Success and Follow Up “One Year on Irish Railways; Looking back Ten Years”

Last night, as advertised, I presented my program to the Irish Railway Record Society in Dublin.

I had a large and receptive audience. There were more bodies than seats.

The program was in two parts, divided by a tea break (as per tradition). After a few slides from America, I focused on the main event: Ireland as I saw it 10 years ago.

I apologize: there were no photos of the DART or 29000-series CAF-built railcars, and I probably offered a disproportionate number of views of the last two operational class 121 diesels.

For those curious about my camera equipment: at the time I was in a transition between Nikon and Canon systems, while I was also making good use of a Contax G2 rangefinder. Color slides were exposed with lens ranging from a 16mm Zeiss Hologon to a 400mm Tokina telephoto.

In 2006, I was more than 2 years away from exposing my first digital photo. I was like the Norfolk & Western in 1953, and still firmly committed to the old technology. Most of the slides were exposed using Fujichrome Sensia2 (ISO 100), although I also used some Fujichrome Velvia 100, Provia 100F, and Provia 400F, as well as the occasional roll of Ektachrome.

Norfolk Liner at Bekan. Exposed on Fujichrome 100 with a 180mm Nikkor lens.
Norfolk Liner at Bekan. Exposed on Fujichrome 100 with a 180mm Nikkor lens. Contrast adjusted in post processing.
I had dual tripods and dual Nikons at this location. For this follow-up view of the same Norfolk Liner, I used a 400mm Tokina telephoto that I bought from Doug Moore back in 1992. I still have it with me in Ireland, although there's no many places here to make effective use of such a long lens. Bekan offers ths unusual 'flight of stairs' effect.
I had dual tripods and dual Nikons at this location. For this follow-up view of the same Norfolk Liner, I used a 400mm Tokina telephoto that I bought from Doug Moore back in 1992. I still have it with me in Ireland, although there’s not many places on this island to make effective use of such a long lens. Bekan (east of Claremorris) offers ths unusual ‘flight of stairs’ effect.

Thanks to everyone who attended!

The Book Shelf.

Today, 6 March 2016, is Mother’s Day in Ireland.

Some weeks ago when I was in Massachusetts, I was helping my mother organize books in our library. Some shelves hold books that have resided there since 1973.

My mother surprised me by saying, “I put these books here thinking that you and your brother would read them. But you never did. I found that very disappointing. They just sat here all these years.”

I looked carefully at the shelf.

‘These books?’

Here was a diverse collection of subjects: philosophy, history, art criticism, architecture, economics, psychology, social affairs, literature, photography and biographies among other topics.

I took one from the shelf and opened it. Inside my name was written in blue ball point.

“I’ve read almost all of these books. See here’s my name.”

I picked up another. “I read this one twice, and I wrote a college paper on this one over here.”

“Really? When did you read them?”

Starting about 1983, whenever I’d go out making photographs, I bring a book with me. If I went to the Berkshires to photograph the Boston & Albany, I always have a book to read while waiting for trains to pass. Up there in the rocks and trees along the West End, I read countless books, including many of the books on that shelf. If I took a long train ride I’d always have a book with me.

The railroad is my reading room. How many books have I read waiting trackside? In the 1980s I’d often read within sight of this old bridge on Boston & Albany’s West End. Image exposed on Kodak Verichrome Pan using a Rolleiflex Model T, October 20, 1985. What was I reading that day? Nietzsche or a book about the Roman Empire?
The railroad is my reading room. How many books have I read waiting trackside? In the 1980s I’d often read within sight of this old bridge on Boston & Albany’s West End. Image exposed on Kodak Verichrome Pan using a Rolleiflex Model T, October 20, 1985. What was I reading that day? Nietzsche or a book about the Roman Empire?

“Even now, there’s one of these books on the back seat of the car.” (Veblen’s The Theory of the Leisure Class).

“I have a photo of Sean reading the book on propaganda at the Twin Ledges twenty years ago. And I remember reading all about the Borgia’s one summer’s day in the late 1980s waiting for Conrail.”

“I never knew that!” She said delighted.

Some of the books I’d read so long ago that their words had blended with my own thoughts.

The more I thought about it, the more the discussion about bookshelf astounded me.

Here, I read all these books that had shaped my view of the world and with it my photography and it never occurred to me that my mother had specifically put them there for me to read, nor did she know that I’d read them!

Happy Mother’s Day from Dublin!

 

Tracking the Light Photo Tip: Don’t Do What I Did!

Yesterday (March 1, 2016) I posted a view of a CSX intermodal train working upgrade at Warren, Massachusetts in the nice morning sun. This was a nice start to a very productive day.

What I didn’t explain was the back-story.

Although I’ve been at railway photography for more than four decades and I spend a lot of time at making my photographs. Occasionally I make mistakes.

Some are minor ones. Others can have more serious implications.

On Saturday February 26th, I was traveling with Mike Gardner. We’d met Tim Doherty and Pat Yough at CP83 (near the Steaming Tender restaurant) in Palmer, Massachusetts.

Shortly after we arrived, CSX’s talking equipment detector in Wilbraham sounded, alerting us to the eastward train. We decided to drive to West Warren to make our photographs. We had ample time to do this, but not enough time to waste.

Upon arriving in West Warren, I noticed that both my Lumix LX7 and FujiFilm X-T1 cameras had only a few photos left on their respective cards. I should have checked this the night before and put fresh cards in the cameras.

However, since I had a minute, I hastily put new cards in the cameras and wiped them clean.

This was the photo presented with yesterday's post, but I thought I'd put up again for context (it doesn't cost anything extra to show it twice, so why not?). Exposed with a FujiFilm X-T1 digital camera.
This was the photo presented with yesterday’s post, but I thought I’d put up again for context (it doesn’t cost anything extra to show it twice, so why not?).
Exposed with a FujiFilm X-T1 digital camera.

The day was extraordinarily productive. Mike and I photographed trains on CSX, New England Central, Berkshire Scenic and Pan Am Railways, making it Millers Falls, the Hoosac Tunnel, and Washington Summit among other notable locations.

My Fuji camera was acting strange.

New England Central local freight crosses CSX's Boston & Albany line at Palmer.
New England Central local freight crosses CSX’s Boston & Albany line at Palmer.

Among other problems, it was taking forever to store the images from the camera buffer to the card. I’d expose a burst of images, and two minutes later it would still storing them.

Meanwhile the Lumix was giving me so much bother, I put it down and instead opted to work with my Canon EOS 3 loaded with slide film.

Pan Am Railway's EDRJ (East Deerfield to Rotterdam Junction) roars west at Wisdom Way in Greenfield. I was snapping away, but something wasn't right. My camera was acting weird!
Pan Am Railway’s EDRJ (East Deerfield to Rotterdam Junction) roars west at Wisdom Way in Greenfield. I was snapping away, but something wasn’t right. My camera was acting weird!

By the end of the day, I notice that the 32GB card in the Fuji was nearly out of space, but I’d only exposed about 150 frames. (Normally I get about 840 images saved as RAW and JPG on a 32GB card). Something was wrong.

I was getting a bit worried, because the next day I was booked on a transatlantic flight, and there’s nothing worse than having serious camera trouble when traveling.

A little later in the day, here's the same EDRJ climbing toward the Hoosac Tunnel at Zoar, Massachusetts. I recalled a day about 30 years ago at this precise location when the last thing I was worried about was the card in my digital camera!
A little later in the day, here’s the same EDRJ climbing toward the Hoosac Tunnel at Zoar, Massachusetts. I recalled a day about 30 years ago at this precise location when the last thing I was worried about was the card in my digital camera!

Digital cameras don’t start acting strange because they are in a bad mood.

However, when I went to down load my photographs, I quickly discovered the source of my problems.

Between a stop for lunch and our next destination, Mike and I paused at Renfrew on the old B&A North Adams branch to photograph the Berkshire Scenic train. This was our second trip along the branch in less than two weeks.
Between a stop for lunch and our next destination, Mike and I paused at Renfrew on the old B&A North Adams branch to photograph the Berkshire Scenic train. This was our second trip along the branch in less than two weeks.

In my rush to put cards in the cameras, I inadvertently put the card formatted for the Fuji in the Lumix and vice versa. Also, rather than re-format the cards, I simply wiped them. Each type of digital camera uses different protocols for storing data, which is why the cameras were acting slow.

I put new cards in each camera and re-formatted them (which effectively erases all data on the card). Problem solved.

Tip for the day: Don’t mix your cards up, take the time before embarking on a fast-paced day to make sure you have clean, formatted cards in your digital camera(s).

Or, if you use film, to make sure your camera is loaded and that your ISO setting is correct.

Amtrak 449, the Lake Shore Limited passes Muddy Pond in Washington, Massachusetts.
Amtrak 449, the Lake Shore Limited passes Muddy Pond in Washington, Massachusetts.
Amtrak 448 meets a CSX freight at CP83 in Palmer just after sundown. Exposed with my FujiFilm XT-1 with Zeiss 12mm Touit and Lee graduated neutral density filter. ISO 3200. At this stage the camera was barely functioning and taking forever to store images. I'm amazed I got anything at all!
Amtrak 448 meets a CSX freight at CP83 in Palmer just after sundown. Exposed with my FujiFilm XT-1 with Zeiss 12mm Touit and Lee graduated neutral density filter. ISO 3200. At this stage the camera was barely functioning and taking forever to store images. I’m amazed I got anything at all!

Tracking the Light posts EVERY DAY!

Tracking the Light Leap Day Special: Secret Photo Tip (the one you want to read, but don’t want to hear about).

Over the years I’ve traveled with dozens of railway photographers with whom I’ve  learned elements of railway photography.

Among the most important lessons I’ve learned, one has has very little to do with specific railways, locomotives, signals, or old stations. It doesn’t specifically relate to different types of equipment and isn’t really about cameras, types of film, or the definitive virtues of one media versus another.

Normally, I avoid philosophical preaching and I remain reluctant to instruct people how to conduct their affairs.

However, I think this tip may help some photographers—this is if they choose to accept it and react to it.

So, what is it?’

When you’re out making photographs avoid your invisible barriers— those things in your head that discourage you from being in position to make great photographs.

In other words try to avoid letting your arbitrary personal opinions, feelings or established prejudices from materially interfering with your focus on photography.

By ‘invisible barriers’ I mean things you can control and not personal obligations, physical limitations or other real impediments. The invisible barriers are what some people call ‘foibles’.

Some examples:

‘I don’t like to get up early.’

‘I like to eat a full breakfast before making photos.’

‘I don’t like cloudy days.’

‘I don’t like engines that are running long hood forward.’

‘I don’t like traveling more than 45 minutes from home.’

‘I don’t like driving in rush hour traffic.’

‘I don’t like locations that are too close to rivers.’

‘I hate the cold/heat/wind/dry air/rain/snow/dust storms/tornados.’

‘I only like passenger trains/freight trains/short lines/mainlines/Alco diesels.’

‘I don’t like tree branches.’

‘I only like trains climbing grades with a defined row of hills in the distance.’

‘I like bright sunny days.’

Any or all of these things may be true for you. However,  when any of these things get between you and a photographic opportunity, your photography may suffer.

Not the dreaded single diesel long hood forward!
Not the dreaded single diesel long-hood forward!
In 1994, I spent three rainy days in the Oregon Cascades. It wasn't comfortable, but I was offered a host of incredible photographic opportunities. For me the results were worth the trials.
In 1994, I spent three rainy days in the Oregon Cascades. It wasn’t comfortable, but I was offered a host of incredible photographic opportunities. For me the results were worth the trials.

If you want to push your boundaries consider reconciling those arbitrary foibles that may be preventing you from being in place to get  the best possible images.

Being in-place is key. If you are not there, you can’t a make photo. All the excuses in the world are no substitute for being there: so, Be There.

Push your limits. Get over the small things that are your invisible barriers. Work out what may be keeping  you from your optimum photographic potential.

Not a good tip? Here’s a question:

When documenting a scene what’s the benefit of allowing invisible barriers to shape your photograph or prevent it? Answer that for yourself, not for me. I’m just giving tips.

Tracking the Light Posts Daily!

Pan Am Railways on the Boston & Albany—February 2016.

In the last few months I’ve been lucky to catch a variety of the more obscure operations on the Pan Am Railways system.

Last week, Mike Gardner and I spent the afternoon around North Adams, Massachusetts.

EDRJ arrived with two locomotives to drop for local freight AD-1.

Pan Am AD-1 is seen on the Boston & Maine mainline at North Adams. Exposed on HP5 using a Canon EOS-3 with 20mm lens.
Pan Am AD-1 is seen on the Boston & Maine mainline at North Adams. Exposed on HP5 using a Canon EOS-3 with 20mm lens.
Boston & Albany on the left, Boston & Maine on the right. Exposed on HP5 using a Canon EOS-3 with 70-000mm lens.
Boston & Albany on the left, Boston & Maine on the right. Exposed on HP5 using a Canon EOS-3 with 70-200mm lens.

Although, we had high hopes of following EDRJ west toward the Hudson River Valley (uttering the now-famous battle cry, ‘To the River!’), Pan Am had other ideas.

History will forgive them.

So instead we followed AD1 down the old Boston & Albany North Adams branch to Zylonite.

Zylonite on the old Boston & Albany, now Pan Am's Adams branch. Exposed with a Lumix LX-7.
Zylonite on the old Boston & Albany, now Pan Am’s Adams branch. Exposed with a Lumix LX7.
Who would have thought a high-hood GP40 would be working the old North Adams Branch! This was once the territory of Alco road switchers. Exposed with a Lumix LX-7.
Who would have thought a high-hood GP40 would be working the old North Adams Branch! This was once the territory of Alco road switchers. Exposed with a Lumix LX7
Pan Am local freight AD-1 on the Adams Branch at Zylonite.
Pan Am local freight AD-1 on the Adams Branch at Zylonite. Exposed with a FujiFilm X-T1.
Looking north toward North Adams.
Looking north toward North Adams.
Former Canadian National Railways GP40-2L wears a nice shade of blue. Exposed with a Lumix LX-7.
Former Canadian National Railways GP40-2L wears a nice shade of blue. Exposed with a Lumix LX7.

I was familiar with the run, since my father and I traveled over it back in October on the Berkshire Scenic RDC (see: Berkshire Scenic’s Hoosac Valley—A Dozen Photos!)

After a taste of this surviving segment of B&A’s extension to North Adams, we followed the abandoned vestige of the line that runs southward to Pittsfield, then made the most of the late afternoon on the former B&A mainline!

Tracking the Light Posts Daily!