Last Friday, November 16, 2018, as the sun dropped near the horizon and a layer of cloud and haze filtered the light, I repositioned myself from San Clemente Pier, northward to the Metrolink Station at San Clemente, California.
I selected my location in order to make photos of a southward, Oceanside-bound suburban train with the sun setting over the Pacific.
Working with my FujiFilm XT1 fitted with a 12mm Zeiss Touit lens, I exposed several sunset silhouettes as the train arrived onto the station platform.
To make the most of the sunset lighting, I exposed manually for the sky, allowing the locomotive and cars and other terrestrial objects to appear dark.
I was hoping to make a photo of one of Amtrak’s new Siemens Charger locomotives working the Pacific Surfliner.
I typically set my FujiFilm XT1 digital camera manually.
Most of the time this works well, as I gauge my exposures using the in-camera histogram. However, I’d become distracted immediately before the train arrived in the scene, and I grossly over exposed my sequence of photos.
Luckily, since I typically expose both RAW and JPG files I was able to work with the overexposed RAW image and correct for some of my exposure error using Lightroom.
Below are examples of the overexposed camera JPG and corrected RAW files, as well as a screen shot of the Lightroom work panel showing the position of exposure, contrast, and saturation control sliders into order to show how I successfully corrected the photo.
This is the unadjusted camera JPG which shows the degree of overexposure.This is my first version of the restored image, a Lightroom produced scaled JPG created from the camera RAW file. Notice how I was able to extract highlight detail all but lost in the Camera JPG above.My refined restored version of the over exposed photo.Here’s the screen shot of my Lightroom work window. Notice the positions of the adjustment slider controls and histogram.
This is what some might call ‘Fixing it in Photoshop’, although I used Photoshop’s cousin, ‘Lightroom’, rather than the classic program.
Just a few views of Metrolink trains on the old Santa Fe Surf Line at San Clemente, California.
California evening sun, surf and palm trees make for a nice light in a pleasant setting.
I exposed these photos from San Clemente Pier last Friday.
Using an 18-135 zoom lens gave me the needed flexibility to adjust my field of view as the trains passed.
Metrolink train 641 at San Clemente.Los Angeles Metrolink train 641 at San Clemente, California.Los Angeles Metrolink train 641 at San Clemente, California.Los Angeles Metrolink train 609 at San Clemente, California.
The triple-track mainline at Fullerton, California is a great place to watch and photograph trains.
In addition to a steady procession of transcontinental container traffic, Amtrak and Metrolink passenger trains operate over the line and make stops at the old Santa Fe station.
Centralized Traffic Control with bi-directional signaling on all three lines allows dispatchers flexibility to route trains in either direction over any mainline track. There are crossovers immediately east of the station platforms.
The challenge of photographing from the pedestrian bridge is navigating the wire mesh. While my Lumix LX7 with its small diameter lens did a better job of getting through the fence, I opted for my Fuji camera because I wanted a longer telephoto lens to bring in the stack train which had stopped on the middle line waiting for a signal.
BNSF Stack Train at Fullerton, California. I made this view on Friday November 16, 2018 using my FujiFilm XT1 with a 18-135mm Fujinon zoom lens.I made this view on Friday November 16, 2018 using my FujiFilm XT1 with a 18-135mm Fujinon zoom lens.Trailing view of the eastward double stack at Fullerton featuring locomotives working remotely as ‘Distributed power’ at the back of the train.
On the afternoon of November 14, 2018, I exposed this view from the east bank of the Connecticut River looking across toward Windsor Locks as Amtrak’s northward Vermonter crossed the circa 1906 New Haven Railroad-built bridge.
To help balance the contrast and better retain detail in the sky, I used an external graduated neutral density filter made by Lee Filter.
This is a 0.9ND or three stops grad filter.
In addition, I adjusted the camera RAW file to maximize highlight and shadow detail, control contrast and improve saturation.
After arrival at LAX (Los Angeles International Airport), I made my way to the Metrorail light rail station.
You have to take the LAX ‘G’ bus to get there.
Buying the fare took a bit of skill.
This photo was exposed in ‘Scene-mode, night photo’. It is a composite image created digitally.
Once up on the platforms, which are elevated high above ground level at the Aviation-LAX station, I made a few photos of passing trains using my tired and battle work LUMIX LX7. Then I boarded a Green Line train to change for the Blue.
On the morning of November 14, 2018, I made these views of Pan Am Railway’s EDPO (East Deerfield to Portland, Maine manifest freight) crossing the Connecticut River as it left it’s western terminus on the old Boston & Maine Railroad Fitchburg route.
This side-lit scene benefitted from diffused directional light and a textured sky.
FujiFilm XT1 set for Velvia color profile with 18-135mm zoom lens.FujiFilm XT1 set for Velvia color profile with 18-135mm zoom lens.
I exposed the photos using my FujiFilm XT1 and processed the RAW files to reveal maximum shadow and highlight detail while emphasizing the rich morning light.
Tracking the Light is on Auto Pilot while Brian Solomon is Traveling.
Tracking the Light aims to Post new material Daily.
Last night, November 12, 2018, my father and I paid a visit to the new Berlin, Connecticut station to collect a visitor from Amtrak 412.
The train was running behind the advertised, which gave me time to make a few photos of the well-lit modern facility.
Ground level view of the new Berlin, Connecticut station. I steadied the Lumix LX7 by resting it on the curb stones.Amtrak train 412 pauses to let off two passengers at Berlin. Wide-angle view with a Lumix LX7.Amtrak train 412 pauses to let off two passengers at Berlin. Slightly tighter view.Pan of the Amtrak P42 diesel working at the back of train 412.
I featured Berlin back in June at the time of the CTrail Hartford Line commuter train start up.
These photos were exposed using my resuscitated Lumix LX7. I worked in RAW and adjusted the files in post processing to optimize highlight and shadow placement, present more pleasing contrast, and improve color saturation.
Clear evening, northward freight, five units and a deck-girder bridge; working with my FujiFilm XT1, I made this broadside view at Three Rivers, Massachusetts of New England Central’s 611 on its return run from Palmer to Brattleboro, Vermont.
My Zeiss 12mm Touit is a special application lens. It’s very wide, very sharp, and free from barrel distortion. However, its necessary to keep the camera level to avoid line convergence as a result of the wide field of view.
Irish Rail has two of it 201 class General Motors diesel painted in a simple livery; silver with a broad black stripe (plus yellow semi-circle upfront). These have been coined ‘raccoons.’
Although 231 had been working the Mark 4 sets on the Dublin-Cork run for several weeks, I was still momentarily puzzled when I spotted the down Cork approaching Mallow back in February 2018.
‘What’s this?’ I thought, expecting something green.
‘Ah! 231, of course.’
I always like it when I get something unexpected, yet if I had known this was approaching, I’d probably have positioned myself on the far platform.
Photos exposed digitally using my FujiFilm XT1 with 18-135mm zoom.
I made some exposure and contrast adjustments to this wide angle view to allow for greater detail and more balanced exposure on the shadow-side of the train.
A clear sky and low autumn sun begs for photography.
Yesterday, Mike Gardner and I visited Palmer, Massachusetts for lunch at the Steaming Tender, located in the old Union Station, where CSX’s former Boston & Albany crosses New England Central’s former Central Vermont.
Not a wheel turned. So after lunch, I ascertained that New England Central’s 611 was close. Off we went, driving north.
At Three Rivers we saw the freight crawling south through town and hastily set up our photograph.
Nothing fancy; this is just a traditional three-quarter view of a colorful freight in nice afternoon light with late autumn foliage. There’s something satisfying about that.
Exposed digitally using a FujiFilm XT1 with 27mm pancake lens.
I exposed this Kodachrome 25 slide at the west portal of Tunnel 41 in a heavy snow squall. Lighting was low, so I used my f1.8 105mm Nikkor telephoto at its maximum aperture.
Southern Pacific bought the photo from me and in the early 1990s used a cropped version on the cover of the company magazine (the Southern Pacific Bulletin).
Unfortunately the original image received rough treatment during pre-press and was returned to me with scratches and dust imbedded in the emulsion.
A westward SP freight exits the wooden snowsheds protecting the west portal of tunnel 41 ‘The Big Hole’ on California’s Donner Pass.
Working with Lightroom, I’ve partially restored the image digitally.
In addition to digital photos, I made a select few film photographs.
For me there’s something fascinating and compelling about putting a relic of former times on film. It’s just more real.
Miles from Dublin.
View from the viaduct.
Photos were exposed using a Canon EOS3 with 40mm pancake lens on Kodak Tri-X; and the film processed in Ilford ID11 stock developer mixed 1 to 1 with water for 7 minutes 30 seconds at 68F, then scanned with a V500 flatbed scanner and imported into Lightroom for final adjustment.
Here’s an archived digital view I made in the summer of 2011 at Smithton, Pennsylvania along CSX’s former Baltimore & Ohio mainline.
Bad luck, just as this eastward freight came into view, a fair weather cloud muted the afternoon sun. I made a sequence of photos with my Canon EOS 7D.
This is the un-manipulated camera JPG file, scaled for internet presentation. Notice the bluish color balance, the bleached looking clouds and sky, and relatively flat contrast on background trees.
Working with Lightroom, I re-worked the image starting with the camera RAW file. Unlike the camera Jpg which is compressed, the RAW file contains greater amounts of information than maybe immediately evident.
By making nominal adjustments in post processing, I was able to create a more pleasing photograph. I worked on the sky, locally bringing in highlight details in the clouds by moving the highlight slider control to the left, which scales back the relative brightness of the highlight areas.
On a global level (for the whole file), I brightened shadows, warmed the color balance, increased saturation and adjusted contrast.
Lastly, I focused on the train and made very slight (subtle) adjustments to the exposure by lightening and changing contrast.
For comparison, I’ve included both the unaltered in-camera JPG and two versions of the altered camera RAW file.
This is my first version of the adjust RAW file. I felt it was a bit too warm and still too dark, so I made further adjustments as seen in the my second version below.Here’s my second version of the adjusted RAW. I made a few subtle changes to improve the overall appeal of the image.
On this day six years ago, Denis McCabe and I were on an exploration of Ireland’s narrow gauge Bord na Mona (Peat Board) operations radiating from the Edenderry generating station located near the village of Clonbullogue, Co. Offaly, when we discovered this view from overhead bridge over the double track narrow gauge line.
I exposed my photo using a Canon EOS7D with 200mm prime lens. Nominal overexposure resulted in a slightly washed out image.
Six years after the fact, I worked with the RAW File in Lightroom, to bring back some of the sky detail not apparent in the camera-produced Jpg, while aiming to improve colour saturation and colour balance.
This is a scaled version of the camera JPG. Notice the washed out sky and low colour saturation.Working with the camera RAW file, I brought back highlight detail while improving overall colour balance and saturation to more closely resemble the original scene.
Five years ago today, I made this view of a westward CSX autorack train on the old Boston & Albany near mp 67 from Route 148 in Brookfield, Massachusetts.
This was exposed digitally using my Canon EOS 7D with a fixed focal length 200mm ‘prime’ lens. This view is the camera produced JPG, scaled for internet presentation.
Brian Solomon sits down with Trains’ passenger columnist Bob Johnston and retired Amtrak engineer Craig Willett to talk about the national passenger carrier. This is the second in a multi-part conversation that began in Episode 2.
Chris Guss, Trains’ Brian Schmidt, Bob Johnston and Craig Willett in the Kalmbach recording studio in August 2018. Exposed with a FujiFilm XT1.Amtrak’s Cardinal on the old Chesapeake & Ohio in Virginia.Amtrak Capitols passenger train on the Union Pacific at Pinole, California in May 2008.
I was trolling through the archives searching for views of Irish Rail’s Mark 2 airbrake carriages and came across this view of class 071 locomotive 088 at Portarlington in summer 1998.
Irish Rail 088 leads a westward train of Mark 2 airbrake carriages at Portarlington in summer 1988. Exposed on Fujichrome Sensia (100 ISO) using a Nikon F3T with 135mm lens.
It makes for a fascinating comparison with a similar photo I made of the same locomotive hauling the recent Railway Preservation Society of Ireland autumn tour arriving at the modern Portarlington station.
Same locomotive, same location, looking the same direction but viewed more than 20 years apart. The tracks have been re-aligned, platforms extended, new footbridge constructed, and houses built in the distance, while 088 now wears Irish Rail’s gray and yellow livery.
In retrospect, I wish I’d located the vintage photograph prior to the tour so I could more closely match the angle.
The 1998 view is made from the old footbridge which is now out of service. The October 2018 photo was exposed from the modern footbridge, which is situated further east and slightly higher.
Irish Rail 227 is another of the workhorse 201 class diesels.
This is part of my continuing series featuring Irish Rail’s Class 201s to commemorate my 20 years of photography on Irish Railways.
Irish Rail 227 works down road at Cherryville Junction on 6 May 2000. Exposed using a Nikon N90S fitted 400mm Tokina Lens on Fujichrome Sensia II (100 ISO).Connolly shed, the rarely photographed end of 227.
Yesterday, I had one frame of film left in my Nikon F3.
I’d been exposing photos of Dublin’s North Side and I wanted to process the film before dinner.
I exposed this view of Heuston Station and the old Kingsbridge (now Sean Heuston Bridge) on frame 37.
The sky was impressive; dark blue with textured clouds rolling across it like a flowing tapestry.
To make the most of the usual light, I did a few tricky things.
I exposed the film for the sky and clouds with the intention of some non-standard chemical processing.
To make the most of the shadows with out roasting the highlights, I presoaked the film in a very dilute bath of Kodak HC110 at 75F for 6 minutes with very little agitation. Then, I drained the presoak solution and processed the film in Ilford ID11 mixed 1-1 with water at 68F for 7 minutes (considerably less than the recommended time).
The results were even better than I expected.
Looking across Dublin’s Croppy’s Park toward Kingsbridge and Heuston Station. Exposed using a 24mm Nikkor lens on an F3 SLR camera loaded with Ilford HP5 black & white film. Processed for maximum dynamic range.
Earlier this month, Ken Fox and I explored railways in County Cork.
Rusty autumnal foliage enhanced the pastoral scenery.
I made these views using my FujiFilm XT1. By warming the colour temperature I made the most of the season.
Trailing view of an Irish Rail ICR heading toward Mallow from Kent Station Cork seen near Rathduff, Co. Cork.Looking toward Cork City at Mourne Abbey.View near Mourne Abbey, October 2018.Irish Rail Mark4 set from Dublin to Cork near Mourne Abbey.
As the sunset on Dublin, Monday a week ago (15 October 2018), I used my FujiFilm X-T1 to expose several series of silhouettes as LUAS trams crossed the old Kingsbridge (now formally Sean Heuston Bridge) over the River Liffey.
This 27mm view captures the whole scene. By contrast, the telephoto (90mm) views are more tightly focused on the tram and arch of the bridge.
My goal was to capture the rays of sun bursting through the windows of the tram cars.
I only had a few minutes where the sun was in the optimal position, and luckily LUAS was operating trams on short headways, so I had several opportunities.
My camera was set for ‘turbo flutter’ (continuous high or ‘ch’ on the left-hand dial) which exposes a rapid burst of images when pressing the shutter button.
90mm view.
This is my favorite of the more than three dozen exposures I made.
By exposing for the sky and sun, I allowed the shadows to become an inky black. Using the smallest aperture (f22 on my 90mm lens) creates the sunburst effect while also allowing for better definition of the sun in the sky.
Yesterday was a bright sunny morning in Dublin. I coordinated my walk to SuperValu at Heuston South Quarter to neatly coincide with the passage of Irish Rail’s IWT Liner.
I timed this well and only waited a few minutes at Islandbridge Junction. Rather than my normal angle from ‘the box’, I opted for an over the wall view a little further up.
Irish Rail 077 leads the down IWT Liner at Islandbridge Junction.
Continuing along St. John’s Road toward Dublin Heuston Station, I was surprised to hear another 071. I peered over the wall to discover that Irish Rail 073 (in heritage orange paint) had come down to shunt Belmond’s Grand Hibernian.
Hearing the distinct sounds of an EMD turbocharged 645 diesel tempted me to look over the wall as I walked along the St Johns Road toward Supervalu. This is what I saw; Irish Rail 073 moving down to shunt the Belmond cruise train. An ICR (InterCity Railcar) sits by the valeting plant.Walking back from SuperValu, I made this view of 073 shunting Belmond’s Grand Hibernian consist.
Dashing to SuperValu, accomplished my shopping in record time, and returned trackside to catch 073 bringing the Grand Hibernianthrough the wash, and then stopped in front of me at Islandbridge Junction. As this was happening Paul Maguire sent me text to alert me that the elusive Sperry train was on its way over to me.
The view from the box of 073 shunting the Belmond train through the carriage wash. I’ve made slight enhancements to the image to make the most of the dramatic autumnal sky and lighten shadows.
Minutes later, Irish Rail 076 with Sperry came across to Platform 10 where it was scheduled to run around before heading to Bray.
Blocked by the Belmond! When one cool train gets in the way of another. Yet, the two trains together are the real story. I can’t say that previously I’d ever photographed the Belmond and Sperry train at the same time.
I walked around to Conyngham Road to catch the Sperry train on its way into the Phoenix Park Tunnel.
Not bad for a trip to the shops!
An Irish Rail ICR is working toward Connolly Station as viewed from the Conyngham Road. In the distance is the Sperry train opposite Platform 10 at Heuston Station. I’ve made slight enhancements to the image to make the most of the dramatic autumnal sky and lighten shadows.Irish Rail 076 throttles up as it leads the Sperry rail testing train into the Phoenix Park tunnel. I’ve made slight enhancements to the image to make the most of the dramatic autumnal sky and lighten shadows.
This day last week (13 October 2018), I traveled on and photographed Railway Preservation Society of Ireland’s autumn diesel tour called The Southwestern.
Damp dark weather may make it difficult to expose over the shoulder lit three quarter views, and it may ruin Lumixes (See: Final Frame? Lumix LX7 Coils Up), but it’s ideal for making black & white photos on film.
Working with my battle-worn Canon EOS-3 with a 40mm pancake lens, I exposed this view of the train at Cork’s Kent Station using Kodak Tri-X.
On Monday, I processed the film using Ilford ID11 mixed 1-1 with water. Following a presoak with exceptionally dilute HC110 to initiate development, I gave the film 7 minutes and 30 seconds in the ID11 at 68F (20C) with intermittent agitation.
I scanned the negatives using an Epson V500 flatbed scanner and made nominal contrast adjustments using Lightroom.
Kodak Tri-X view of Cork’s Kent Station on 13 October 2018.
Last week on a visit to Cork, I made these views of Irish Rail’s 2600 railcars working Cork-Cobh and Cork-Midleton services from Glounthaune village looking across the water toward Glounthaune/Cobh Junction station.
I was working with my FujiFilm XT1 and Canon EOS-3 cameras. The Canon was loaded with Provia 100F, and we’ll have to wait for the slides to be processed.
Regular Tracking the Light readers know that I often favor low-light ‘glint’.
This is tricky light to expose satisfactorily. It is a matter of getting the balance between highlights and shadows right, which is a subjective decision on the part of the photographer.
Irish Rail 226 is unique because of commemorative plate(s) it carries on the sides of the locomotive.
Here’s a selection of digital photos I exposed of 226 at Portarlington on 13 October 2018.
Irish Rail 226’s commemorative plate.A dreary morning at Portarlington. Lumix LX7 photo.Lumix LX7 photo on 13 October, 2018. A few hours later this camera failed. Thankfully, I have others to work with.
Sometimes a detailed photograph says more than an overall view. What do you think?
In recent days, my faithful Lumix LX7 that I bought in June 2014 had developed quirky, unreliable traits.
Machines, including cameras shouldn’t develop irritable personalities. It’s an indication that the machine is broken.
On Saturday, 13 October 2018 the camera exhibited symptoms of failure. The weather had been exceptionally wet for two days in a row, and dampness is bad for electronics.
I made two images of Irish Rail 088 running around at Kent Station, Cork using LX7. Later in the day my efforts to turn the camera on resulted in an error message in the rear display.
My penultimate LX7 photo? One of the advantages of the LX7 is its small size enabled me to slide it through fences and gates to make images such as this one. The next frame was the last before the camera ‘coiled up’. It was one of three cameras I carried on 13 October, so I was able to continue making images.I never would have guessed that this photo of Irish Rail 088 at Cork would be the last I exposed with my Lumix LX7. I wonder if I’ll be able to revive this camera? In its more than four years of service I carried it with me everywhere and used it to make more than 79,000 shutter releases.
Yesterday, 13 October 2018, I exposed these views of an LED (light emitting diode) signal on Irish Rail at Limerick Junction.
Take a careful look at the yellow aspects in the respective images.
In the top photo, the yellow LEDs appear relatively dim (and much dimmer than they seemed in person). On the bottom photo these are brighter.
Exposed at 1/400th of a second.1/60th of a second.
Many LEDs do not produce constant light output and flicker many times a second. Although you cannot see this with your naked eye and the light output appears constant, in fact the light is blinking. When you use a fast shutter speed the camera only captures a portion of the light emitted and so the signal lights seem too dim.
The key when photographing LED signals is to use a relatively low shutter speed. In this case 1/60thof second is much better than 1/400th.
Another tip when making effective LED signal photos is to make the most of subdued lighting which can make the signals seem brighter than the light around them.
Over the weekend, Ken Fox, Donncha Cronin and I made an exploration of abandoned Irish railways in counties Carlow and Wexford.
We began at Bagenalstown and worked our toward Wexford.
I find long abandoned railways inherently compelling, but sometimes difficult to convey in pictures.
This is a selection of images from my FujiFilm XT1 on the Bagenalstown to Palace East route, a line shut to traffic in the 1960s. In some places structures, bridges and rights-of-way remain, in others the line has been reclaimed and there’s virtually nothing left to see.
These photos are to convey the aura of the closed line, I’ve made no effort to place them in geographical order.
As I got off the down Waterford train from Dublin at Bagenalstown, County Carlow, I immediately began considering photo options. I didn’t have much time, because the train was only in the station for a couple of minutes.
I took a position at the back of the Irish Rail ICR adjacent to the old station building, and made a series of digital photos using my FujiFilm XT1 with 18-135mm Fuji zoom lens.
I’ve selected two of the sequence here: One wide angle, one telephoto; same camera, same location, same vantage point, same railcar, but different focal lengths.
JPG from a RAW file that was adjusted for contrast and colour in post processing.Telephoto view from a Camera produced JPG without adjustment except for scaling.
Irish Rail operates International Warehousing & Transport (IWT) container liner freights five to six days per week between Dublin Port and Ballina, County Mayo.
On 3 October 2013, Colm O’Callaghan and I photographed Irish Rail 082 working the down IWT Liner at Clondalkin on the quad track section of the Dublin-Cork line. Back then the locomotive wore the now obsolete black, silver and yellow ‘freight’ livery.
Five years ago: Irish 082 on 3 October 2013 working down road at Clondalkin. Exposed using a Canon EOS-7D with 200mm lens.
On 1 October 2018, two days ago, I caught the very same locomotive working the up IWT liner at Blackhorse Avenue in Dublin. It’s now in battle ship gray paint, as are most of the 071s, except numbers 071 and 073 that are dressed in heritage paint.
Irish Rail’s up-IWT liner approached Blackhorse Avenue on 1 October 2018. Exposed digitally using a FujiFilm XT1 with 90mm telephoto lens. Notice how I’ve exposed for backlighting and used the arched bridge to frame up the train, while minimizing the effects of a bright sky. Image adjusted in post processing for contrast, exposure and colour saturation.
Yesterday, 29 September 2018, I made these views of a LUAS Green Line tram wearing the latest fully covered advertising livery as it worked up Dawson Street in Dublin on its way to Broombridge.
September often brings sunny days in Ireland, and yesterday was a fine afternoon to make a few photos.
This encounter with the colourful tram was fortuitous, rather than planned, as I was on a shopping mission and photography was a secondary activity.
Photo adjusted from the camera RAW in post processing.
All the images were exposed using my FujiFilm XT1 with 18-135mm zoom lens.
Several days ago, two Dublin photographers and I converged on the Conyngham Road, where Irish Rail’s branch from Islandbridge Junction to Connolly Station/North Wall enters the Phoenix Park Tunnel.
Our interest was Belmond’s Grand Hibernianled by an Irish Rail class 071 diesel.
Afterwards we paid a visit to Ryan’s of Parkgate Street, a local pub just a short walk up the street and near Dublin’s Heuston Station, where I continued to make photos with my vintage Nikon F3 with 50mm f1.4 lens.
Working with a wide aperture on film allows for selective focus and the ability to select a subject and offset it against a soft background. This the opposite effect often provided by many digital cameras that tend to use a smaller aperture and sharpening software to produce greater depth of field and razor sharp images.
Belmond’s Grand Hibernian heads for Dublin Connolly Station. Kodak Tri-X exposed with a Nikon F3 with 50mm lens.
I used Kodak Tri-X, which I processed in Ilford ID-11 using a traditional recipe with my customized multiple-split process to maximize shadow and highlight detail.
