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photography, Tips and Technique

Pan Am and the Hawk.

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Compositional challenges in four photos.

The other day I was at the old ‘waste too much film’ bridge at Pan Am’s East Deerfield Yard near Greenfield, Massachusetts. An eastward freight was about to proceed into the yard when a hawk landed atop the code lines.

This tightly cropped image was made from the in-camera jpg. If nothing else, I know that my 200mm lens is sharp at f11! That's something, anyway.
This tightly cropped image was made from the in-camera jpg. If nothing else, I know that my 200mm lens is sharp at f11! That’s something, anyway.

Here was an opportunity for an interesting image of the bird and a train in the distance. My intention was make a visual juxtaposition between the two subjects. An interesting concept, but one fraught with technical difficulties.

I faced several problems. The bird was too distant to make for a substantial subject using my longest lens. Furthermore there was too great a distance between the bird and the train to allow both to be in relative focus when using my 200mm telephoto lens. (An even longer lens would have acerbated this problem).

To allow for greater depth of field (relative focus) I upped the ISO on my Canon 7D to 800, which allowed me to set a smaller aperture (f11).

This doesn't really work, does it? It's neither a great shot of the hawk nor an acceptable image of the train. Exposed with a Canon EOS 7D with 200mm lens. ISO 800 f11 at 1/250th of a second handheld.
This doesn’t really work, does it? It’s neither a great shot of the hawk nor an acceptable image of the train. Exposed with a Canon EOS 7D with 200mm lens. ISO 800 f11 at 1/250th of a second handheld.

The larger f-number indicates a smaller aperture opening, while this lets in less light to sensor, it increases the depth of field (thus my need to increase the ISO to allow using a relative quick shutter speed to minimize camera shake). Often when photographing trains I want to use a smaller f-number to help offset the train from the background, but not in this case.

Also, some clouds obscured the sun. This had the dual unfortunate effects of flattening the light and allowing the bird blend into its background, while reducing the amount light on the scene to make an already difficult exposure more problematic.

There were several other problems. Most notably was the effect of the under-growth along the code lines that visually obscured the locomotives in the distance. If I moved to the left to get around the brush, the bird and train no longer had a workable juxtaposition.

Ideally, If I could have been about 10-15 feet higher, I might have been able to make this concept work, but there was no way to gain elevation. In this case I simply exposed the photo with the brush and hoped for the best.

Another difficulty was getting the bird to cooperate. I’m not fluent in Hawkese. But I wanted the bird to turn its head, otherwise it might just seem like a feathered blob, so I made some ‘tsking’ sounds to attract its attention.

Then the locomotive engineer throttled up and the dull roar of dual EMD 16-645E3 diesels startled the bird (or otherwise annoyed it) and it flew away. In the meantime I repositioned to make a series of more conventional photos of the freight train.

On the plus side, as the freight approached, the sun came out making for some photographic possibilities. The train was moving slowly, allowing me to change lenses and exposed a sequence of both digital and film photographs.

Pam Am 352 acclerates toward East Deerfield Yard with a heavy freight. As the train approached the sun came out. Yea! Canon EOS 7D with 200mm lens.
Pam Am 352 acclerates toward East Deerfield Yard with a heavy freight. As the train approached the sun came out. Yea! Canon EOS 7D with 200mm lens.
I made this tighter view, while intentionally offsetting the freight to feature the old searchlight style signal on the left. These old signals are rapidly being replaced with modern hardware. Canon EOS 7D with 200mm lens.
I made this tighter view, while intentionally offsetting the freight to feature the old searchlight style signal on the left. These old signals are rapidly being replaced with modern hardware. Canon EOS 7D with 200mm lens.
As the train got closer, I swapped lenses between my EOS 3 (loaded with Provia 100F) and my EOS 7D digital camera. I made this view digitally with the 7D and 100mm lens. Where's the bird now?
As the train got closer, I swapped lenses between my EOS 3 (loaded with Provia 100F) and my EOS 7D digital camera. I made this view digitally with the 7D and 100mm lens. Where’s the bird now?

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Tracking the Light Tests a Fuji X-T1

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Fuji's X-T1 with 18-55mm lens. Exposed using a Panasonic LX7.
Fuji’s X-T1 with 18-55mm lens. Exposed using a Panasonic LX7.

An ideal test of new equipment might include a thorough tutorial, followed by a gradual immersion into the camera’s distinct features in order to be operationally confident prior to making any serious photos.

I didn’t do any of that. It was a sunny day in Philadelphia. Pat Yough and I were following SEPTA’s Route 15 streetcar line (famous for its use of ‘retro’ PCC cars).

“Here’s my X-T1, try that.”

SEPTA PCC at the Northern Liberties Loop near the Sugar House Casino. Exposed with a Fuji X-T1 fitted with 55-200mm zoom. ISO 200 at f7.1 1/640th second.
SEPTA PCC at the Northern Liberties Loop near the Sugar House Casino. Exposed with a Fuji X-T1 fitted with 55-200mm zoom. ISO 200 at f7.1 1/640th second.
SEPTA PCC at the Northern Liberties Loop near the Sugar House Casino. Exposed with a Fuji X-T1 fitted with 55-200mm zoom. ISO 200 at f8.0 1/640th second.
SEPTA PCC at the Northern Liberties Loop near the Sugar House Casino. Detailed view exposed with a Fuji X-T1 fitted with 55-200mm zoom. ISO 200 at f8.0 1/640th second.

This was initially fitted with an older Fuji 55-200 zoom lens. I made a few photos of a static PCC car, but found the lens slow to focus. In back lit situations it didn’t seem to grab a focus point at all and hunted incessantly.

“This doesn’t like glint,” I said, “What other lenses do you have?”

“Try the 18-55mm kit lens”

SEPTA PCC at the Northern Liberties Loop near the Sugar House Casino. Exposed with a Fuji X-T1 fitted with 18-55mm zoom. ISO 200 at f11 1/250th second.
SEPTA PCC at the Northern Liberties Loop near the Sugar House Casino. Exposed with a Fuji X-T1 fitted with 18-55mm zoom. ISO 200 at f11 1/250th second.

This worked vastly better. It focused quickly. And I was soon snapping away.

We drove around Philadelphia, finishing daylight along Amtrak’s Northeast Corridor at Prospect Park, Pennsylvania. By the time the sun had set I’d exposed 15 GB of photos!

Whee! There's nothing like something new. Exposed with a Fuji X-T1 with 18-55mm lens in South Philadelphia.
Whee! There’s nothing like something new. Exposed with a Fuji X-T1 with 18-55mm lens in South Philadelphia.

The X-T1 is a mirror-less camera formatted similar to a SLR but without the ‘reflex’. The viewfinder is digital. The camera has an excellent ergonomic shape—I found it comfortable to hold and easy to use.

On the down side, there’s a lever on the left-hand side of the body beneath the dial to set the ISO, which I kept inadvertently knocking with my thumb. This adjusts the motor-drive and introduces such novel features as ‘autobracket’ and an in-camera filter set.

The details of these features must be programmed by scrolling through fields of menus and making some intelligent selections. All very well, except I didn’t know how to do any of that at first, and suddenly found I was getting bursts of photos everytime I released the shutter.

At one point Pat joined a queue at Tony Luke’s Philly Cheese Steak to procure lunch, while I fiddled with the X-T1’s menu options. This allowed me to finally, tune, and then exit the bracket mode.

Amtrak at sunset, Prospect Park, PA. Fuji X-T1 with 18-55mm lens. ISO 200 f6.4 1/950th of a second.
Amtrak at sunset, Prospect Park, PA. Fuji X-T1 with 18-55mm lens. ISO 200 f6.4 1/950th of a second.

Along the Northeast Corridor, I was able to test the camera’s ability to work in low light and stop the action at its higher ISO settings.

The rapid fire motor drive is a real boon when picturing Amtrak’s Acela Express at speed. I was able to wind up the ISO to 6400, which impressed me. At lower ISOs, I was able to pull off some creative pans and photographs that incorporated movement.

Amtrak Acela Express blitzes Prospect Park. Fuji X-T1 with 18-55mm lens at ISO 400 f4.0 1/1000 of a second.
Amtrak Acela Express blitzes Prospect Park. Fuji X-T1 with 18-55mm lens at ISO 800 f4.0 1/1000 of a second.
Amtrak AEM-7 928 leads a Washington DC bound train at Prospect Park. Fuji X-T1 with 18-55mm lens. ISO 6400 f4.0 1/125th of a second.
Amtrak AEM-7 928 leads a Washington DC bound train at Prospect Park. Fuji X-T1 with 18-55mm lens. ISO 6400 f4.0 1/125th of a second.

I walked away from my brief time with the X-T1, very impressed by the camera. It can output both a Jpg and RAW files simultaneously and has an impressive dynamic range. It has color profiles designed to emulate some of my favorite Fuji slide films, and has excellent high ISO response and output.

Pity about the slow focusing zoom, but Pat indicated there’s other options for longer lenses, and I hope to explore that at a later date.

All the X-T1 photos displayed here have been scaled for internet presentation, but are otherwise unaltered. I have not sharpened, cropped, or enhanced the files.

Exposed with a Fuji X-T1 with 18-55mm lens. ISO 1600 f4.0 1/15th of a second. Prospect Park station.
Exposed with a Fuji X-T1 with 18-55mm lens. ISO 1600 f4.0 1/15th of a second. Prospect Park station.
SEPTA PCC at the Northern Liberties Loop near the Sugar House Casino. Exposed with a Fuji X-T1 fitted ISO 400 f3.6 1/4th second
SEPTA at Prospect Park. Pan photo exposed using  a Fuji X-T1 fitted with a 18-55mm lens. ISO 400 f3.6 1/4th second
SEPTA at Prospect Park, PA. Exposed with a Fuji X-T1 fitted with 55-200mm zoom. ISO 400 f3.6 1/15th of a second. I like the metallic look. Reminds me of . . . 120 size chrome film!
SEPTA at Prospect Park, PA. Exposed with a Fuji X-T1 fitted with 55-200mm zoom. ISO 400 f3.6 1/15th of a second. I like the metallic look. Reminds me of . . . 120 size chrome film!

NEXT: A look at Fuji’s XE-2

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Brian Solomon’s Night Photo Challenge-Part 1.

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In response to my recent nomination by Phil Brahms and Blair Kooistra for the Facebook Night Photo challenge, I’ve selected five groups of photos that I feel might be interesting to review on Tracking the Light.

I have to admit, I’m not clear on the rules for this challenge. As a result, I’ll follow my standard policy and just wing it. Who needs rules anyway?

Among the difficulties in selecting photos for this challenge has been simply finding them. For the most part I’ve not organized images in regards to the time of day they were exposed. A related problem is the large number of night views that I’ve attempted over the years.

Lastly, what makes for a successful night photo?

Over the years, I’ve made hundreds of night photos at Palmer, Massachusetts. I exposed this image on an exceptionally foggy May 1985 evening. My subject was the old Palmer Union Station near the crossing of Conrail’s Boston & Albany line and the Central Vermont Railway. Today this old station has been restored and serves as the Steaming Tender restaurant. Tracking the Light viewers will find it a familiar subject, as I’ve often featured images in and around this building. Exposed on black & white film with a Leica 3A with 50mm Summitar lens.
Over the years, I’ve made hundreds of night photos at Palmer, Massachusetts. I exposed this image on an exceptionally foggy May 1985 evening. My subject was the old Palmer Union Station near the crossing of Conrail’s Boston & Albany line and the Central Vermont Railway. Today this old station has been restored and serves as the Steaming Tender restaurant. Tracking the Light viewers will find it a familiar subject, as I’ve often featured images in and around this building. Exposed on black & white film with a Leica 3A with 50mm Summitar lens.
More than 11 years later, I exposed this view at Palmer. Here I'm looking west with the station at my back. A southward New England Central freight is waiting to cross the diamonds. Exposed with a Nikon F3T with 28mm lens on Fujichrome Provia 100F. December 6, 1996.
More than 11 years later, I exposed this view at Palmer. Here I’m looking west with the station at my back. A southward New England Central freight is waiting north of the diamond. Exposed with a Nikon F3T with 28mm lens on Fujichrome Provia 100F. December 6, 1996. Color is an added complication for night work. Would this photo be more effective as a black & white image? Or would the effect of the red signal lights be lost?

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CSX at Middlefield.

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Tracking the Light Daily Post: A View from a Favorite Location.

For this photograph, I’ve selected an off-center composition and used strong side-lighting and selective focus to increase the sensation of depth.

Autumn on the Boston & Albany in the Berkshires of Massachusetts. An eastward CSX freight descends Washington Hill at the old Middlefield station-location on October 7, 2004.
Autumn on the Boston & Albany in the Berkshires of Massachusetts. An eastward CSX freight descends Washington Hill at the old Middlefield station-location on October 7, 2004.

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Tomorrow: Tracking the Light Mystery Location!

 

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Union Pacific at Rock Creek

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A Tracking the Light silhouette.

On August 15-16, 2009, I’d been camping in California’s Feather River Canyon near the curved Rock Creek trestle. In the early light of dawn, I made a series of photos of this Union Pacific container train crossing the bridge.

Exposed on Fujicrome with a Canon EOS 3 with 28mm lens. I gauged my exposure on the sky, intending to make a silhouette of the train and bridge.

Exposed on Fujicrome with a Canon EOS 3 with 28mm lens. I gauged my exposure on the sky, intending to make a silhouette of the train and bridge.

This image features the tail-end ‘Distributed Power Unit’ (a radio controlled remote locomotive). After making this photo I followed the train west down the canyon and made more images.

Thankfully Union Pacific paints its bridges an aluminum color which helps visually separate the girders from the inky blackness of the trees beyond. Would this photo work if the bridge were painted black?

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Spirit of the Mississippi—Part 3

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Genoa, Wisconsin, October 15, 1995.

 An accomplished railroad photographer once said to me, “to get great railroad photos, the railroad has to be ‘on’, the weather has to be ‘on’ and you have to be ‘on’. You can’t control the first two, but you can control yourself.”

There are those days where everything falls into place. The morning of October 15, 1995 was clear and bright; I had Kodachrome 25 in my cameras; and Dean Sauvola and I were in place at Genoa along the Burlington Northern Santa Fe’s double track line parallel to the Mississippi.

We’d positioned ourselves high above the town and waited. Between 9:34 am and 10:32 am the railroad performed and we photographed four trains in nice light. A little later we heard of a southward Canadian Pacific freight on the westbank of the river and reposition to Lansing, Iowa for a productive chase to Postville.

Merger between Burlington Northern and Santa Fe was only a month old, yet locomotives from the two fleets were already beginning to get mixed up. Or so it seemed on this eastward freight rolling along the Mississippi at Genoa, Wisconsin on October 15, 1995. Exposed with a Nikon 28mm lens on Kodachrome 25.
Merger between Burlington Northern and Santa Fe was only a month old, yet locomotives from the two fleets were already beginning to get mixed up. Or so it seemed on this eastward freight rolling along the Mississippi at Genoa, Wisconsin on October 15, 1995. Exposed with a Nikon 28mm lens on Kodachrome 25.
Trains pass north of Genoa. There's nothing like a grand vista to alert you of approaching trains on a busy line. I used my Nikkor f4.0 200mm for this image. I don't know if it works as a stand alone photo but it makes for a nice part of this sequence.
Trains pass north of Genoa. There’s nothing like a grand vista to alert you of approaching trains on a busy line. I used my Nikkor f4.0 200mm for this image. I don’t know if it works as a stand alone photo but it makes for a nice part of this sequence.
At 10:12am Canadian National 5600 leads train 348 timetable east along the Mississippi at Genoa. I exposed this Kodachrome 25 slide and the following one using my Nikon F3t with Nikkor f2.8 135mm lens.
At 10:12am Canadian National 5600 leads train 348 timetable east along the Mississippi at Genoa. I exposed this Kodachrome 25 slide and the following one using my Nikon F3t with Nikkor f2.8 135mm lens.
CN 348 at Genoa, Wisconsin. My exposure was f3.5 at 1/500th of second. I've used variations of this image in books.
CN 348 at Genoa, Wisconsin. My exposure was f3.5 at 1/500th of second. I’ve used variations of this image in books.

Later in the day we resumed photography on the east bank and photographed another parade of trains along the former Chicago, Burlington & Quincy at Glen Haven, Wisconsis. By the end of the day we’d photographed eleven trains in clear October sunlight. Tick all three boxes for October 15, 1995!

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Vermonter at Three Rivers.

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Only a Few Months to go.

Soon, Amtrak’s Vermonter will be detoured back to the traditional passenger route north of Springfield, Massachusetts, leaving the New England Central’s former Central Vermont line between Palmer and East Northfield, Massachusetts freight only for the first time in 25 years.

On the afternoon of October 27, 2014, fellow photographer Bob Arnold suggested that we make a photo of the southward Vermonter (train 55) at Three Rivers, where line crosses the Chicopee River on a plate girder bridge.

It was a nice clear sunny day and the foliage was splendid. Somehow the Vermonter managed to lose about 20 minutes in its short run down from Amherst, a station that will cease to serve as a regular stop with the route change.

Distant view at Three Rivers. Exposed with a Canon EOS 7D with 40mm pancake lens.
Distant view at Three Rivers. Exposed with a Canon EOS 7D with 40mm pancake lens.
Exposed with a Canon EOS 7D with 40mm pancake lens.
Exposed with a Canon EOS 7D with 40mm pancake lens.

If you are interested in riding or photographing Amtrak’s Vermonter on this route, don’t delay, time is running out.

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Departing South Station, Boston.

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November 1991.

It was a windy rainy afternoon when Amtrak’s Lake Shore Limited departed South Station. I was riding on the rear platform of private car Caritas with Clark Johnson Jr. and my father.

My dad and I were only traveling to Springfield, Clark was going further.

I exposed this on Kodachrome 25 using my Nikon F3T with 35mmPC (perspective control—shift lens). By adjusting the front element, I maintained the verticals on the skyscrapers in the distance. I like the effect of motion; a train traveling through time.
I exposed this on Kodachrome 25 using my Nikon F3T with 35mmPC (perspective control—shift lens). By adjusting the front element, I maintained the verticals on the skyscrapers in the distance. I like the effect of motion; a train traveling through time.

Today, South Station is much different. Not only was a bus station built over the tracks, but the lines have been electrified for North East Corridor services.

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New England Central 3850 and Lumix LX7 Color Profiles

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Palmer, October 20, 2014.

It’s been nearly 20 years since New England Central assumed operations from Central Vermont.

In that time New England Central has had three owners. Originally a RailTex property, it was owned by RailAmerica for more than a dozen years and now is a Genesee & Wyoming railroad.

Despite that, a few of its original GP38s remain painted in the blue and yellow scheme introduced when the railroad began operations in February 1995.

NECR 3850 was working job 603 in Palmer and paused for a minute on the interchange track. Although I’ve photographed this old goat dozens of times in the last two decades, I opted to make a series of images with my Lumix LX7 to demonstrate the different color profiles (color ‘styles’) built into the camera.

As I’ve mentioned in previous posts, one of the great compositional tools available with the Lumix LX7 (and other cameras too) is the ability to quickly change from one color profile to another (including black & white modes).

Although, it is easy enough to adjust and alter color in post processing, I find it is useful to be able to compose a scene on-site knowing how the camera will react to color and contrast.

Below are a sequence of similar images of 3850 using different built-in color profiles. I’ve adjusted the B&W ‘monochrome’ profile in-camera to better suit my personal taste.

Image 1—Lumix 'Vivid' color profile.
Image 1—Lumix ‘Vivid’ color profile.
Image 2: Lumix 'Natural' color profile.
Image 2—Lumix ‘Natural’ color profile. Please note that term ‘Natural’ is purely subjective and does not infer any unusual treatment as compared with the other profiles. In other words ‘natural’ is just a name.
Image 3—'Scenery' Lumix color profile.
Image 3—’Scenery’ Lumix color profile.
Image 4—'Monochrome' Lumix color profile.
Image 4—’Monochrome’ Lumix color profile.
Image 5 'High Dynamic Range' setting. (this blends three images exposed automatic in rapid succession).
Image 5 ‘High Dynamic Range’ setting. (this blends three images exposed automatically in rapid succession. Fine for static scenes, but not practical for moving trains).

Which of the photos do you like the best?

Of course every computer display has its own way of interpreting color and contrast. Compare these images on different screens and see how they change.

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Tomorrow: a colorful GP38 in Missouri!

 

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Sunrise at Cobh Junction, Glounthaune, Cork.

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Being There.

Last week on my visit to Cork, I met with Ken Fox and Donncha Cronin, who are helping me with a book project on overseas rail travel.

During discussions about travel to wild and exotic places, Donncha says, “you might like my view. I don’t know, maybe you can do something with it?”

I’ve said this before, but you have to be there to get the photo.

It helps to have the right tools. In my case, I’d brought a full range of lenses to Cork, and based on my experience last year, I was prepared to make a long telephoto view at Glounthaune.

I wasn’t, however, expecting to make this elevated photograph of the rising sun. That was a bit of luck. Having inspected Donncha’s view, I decided, that ‘yes’, I might be able to work with that.

A few minutes before sunrise, Irish Rail 2600-series railcars pass at Glounthaune, Cork. At this hour the light changes quickly. Thankfully with modern digital cameras it is easy to adjust the ISO setting.
A few minutes before sunrise, Irish Rail 2600-series railcars pass at Glounthaune, Cork. At this hour the light changes quickly. Thankfully with modern digital cameras it is easy to adjust the ISO setting.

Fortunately, the next morning was mostly clear, and Irish Rail runs an intensive morning service with trains every half hour from Cobh and Midleton to Kent Station, Cork. (Cobh Junction is where the two lines join.)

With a copy of a working timetable in hand, and my Canon EOS 7D at the ready, I exposed this series of photos as the sun brightened the day.

One trick: I manually set the camera’s white balance to ‘daylight’ to avoid the camera trying to balance out the effect of the colored sunrise.

In addition to these digital photos, I made a couple of color slides.

Looking into the rising sun at Glounthaune, Cork. A layer of low cloud and mist help control the contrast while adding a bit of color to the scene. I had only a few minutes when the light was at its optimum to make a dramatic image. Thankfully, Irish Rail runs lots of trains at this hour. Canon EOS 7D with 200mm lens.
Looking into the rising sun at Glounthaune, Cork. A layer of low cloud and mist help control the contrast while adding a bit of color to the scene. I had only a few minutes when the light was at its optimum to make a dramatic image. Thankfully, Irish Rail runs lots of trains at this hour. Canon EOS 7D with 200mm lens.
An Irish Rail 2600 pauses at Glounthaune. The car catches the glint of the sun. In a moment it will depart the station and head out onto the causeway that connects Fota Island. Canon EOS 7D with 200mm lens.
An Irish Rail 2600 pauses at Glounthaune. The car catches the glint of the sun. In a moment it will depart the station and head out onto the causeway that connects Fota Island. Canon EOS 7D with 200mm lens.
Here the 2600 railcar is on causeway to Fota Island. Canon EOS 7D with 200mm lens. The difficulty is selecting the best exposure. This image like the others presented here is unmodified, except for necessary scaling for internet presentation.
Here the 2600 railcar is on causeway to Fota Island. Canon EOS 7D with 200mm lens. The difficulty is selecting the best exposure. This image like the others presented here is unmodified, except for necessary scaling for internet presentation.

Morning_glint_at_Glounthaune_2600_outbound_silo_with_birds_IMG_9028

This was only the auspicious beginning to another very productive day documenting railways around Cork. More to come in tomorrow’s post!

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Golden LUAS on Abbey Street, Dublin

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October Glint Light

Dublin’s LUAS Red Line tram route follows an east-west alignment on Abbey Street.

This one of the older streets on Dublin’s North Side. Technically the thoroughfare is comprised of St. Mary’s Abbey Street, Abbey Street Upper, Abbey Street Middle, and Abbey Street Lower.

I’ve often walked this route, which has given me a good idea where the light falls during different times of day and over the course of the year.

On the evening of October 4, 2014, I aimed to make a few glint photos of the trams gliding through the city center.

The silver-sided LUAS Citadis trams reflect the setting sun nicely.

On October 4, 2014, an inbound LUAS tram approaches the intersection with Capel Street. I like the sunset reflections on the tram and the sides of the buildings. By staying in the shadows, I minimize the effect of flare caused by bright light hitting the front lens element. Lumix LX7.
On October 4, 2014, an inbound LUAS tram approaches the intersection with Capel Street. I like the sunset reflections on the tram and the sides of the buildings. By staying in the shadows, I minimize the effect of flare caused by bright light hitting the front lens element. Lumix LX7.

Using my Lumix LX7, I exposed a series of photos with the sun near the horizon. I used the same exposure technique that I wrote about in my post Sunset Under the Shed at Heuston Station, Dublin [http://wp.me/p2BVuC-2by].

To make a dramatic glint light image, it’s important to retain highlight detail, even if this results in opaque shadows. With the Lumix, I use the ‘A’ mode (aperture priority) and then manually stop down ‘underexpose’ the image in order to keep the highlight density where I want it.

If I didn’t override the camera meter, the Lumix would attempt to balance the lighting by brightening the shadow areas and the result would cause the glinting tram to be overexposed (too bright).

Alternatively, I could set the camera manually, but I find in a rapidly changing setting of a city street, I can get a more effective exposure by letting the camera do some of the work.

An outbound tram catches the sun on St. Mary's Abbey Street. I've used the same exposure technique described above to hold highlight detail on the front of the tram. Lumix LX7 photo.
An outbound tram catches the sun on St. Mary’s Abbey Street. I’ve used the same exposure technique described above to hold highlight detail on the front of the tram. Lumix LX7 photo.
I've chosen a low angle to add a bit of drama. Also, I've allowed the sun in the image which has caused a little bit of flare. In this situation, I feel that the flare works well, and makes for a distinctive image. Lumix LX7 photo.
I’ve chosen a low angle to add a bit of drama. Also, I’ve allowed the sun in the image which has caused a little bit of flare. In this situation, I feel that the flare works well, and makes for a distinctive image. Lumix LX7 photo.

Back in the old days, I’d have used Kodachrome 25 slide film, which had an excellent ability to retain highlight and shadow detail. To calculate my exposure I use my hand held light meter.

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Canadian Pacific 40-foot Boxcars on the Roll.

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A Fading Glimpse at an Old Standard.

For decades the 40-foot box car was the standard North American freight vehicle. These ubiquitous cars were part of the railway furniture, and largely ignored by photographers.

Yet, by the mid-1980s the old 40-foot car was rapidly disappearing. I’d been alerted to this change by my late friend Bob Buck, who urged me to make photograph them.

Canadian Pacific 40-ft boxcars roll through Rochester, New York in November 1986. Exposed on black & white film using a Canon A1 with 50mm lens.
Canadian Pacific 40-ft boxcars roll through Rochester, New York in November 1986. Exposed on black & white film using a Canon A1 with 50mm lens.

When I spotted this matched set of Canadian Pacific 40-foot cars on the move in a Conrail freight at Rochester, I exposed a few 35mm black & white photos, documenting their passage through the scene.

Today, keep your eye out for change. The 50-foot boxcar is now in the same position as the 40-foot car was in the 1980s, and are rapidly meeting dates with scrappers.

Of course, the amazing thing about reviewing my photos of 1980s freight trains is the complete lack of graffiti, save for the occasional traditional chalk tagging.

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Classic Conrail: Altoona, Pennsylvania

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Light! Leica! Action!

July 28, 1987, TSH and I were poised on the footbridge at Works waiting for westbound freights to get their helpers and begin their climb over the Allegheny Divide via Horseshoe Curve.

 

A lone SW1200 was drilling freight cars in the yard. I’ve always like EMD switchers. So while waiting for the mainline action, I exposed this trailing view of the locomotive using my Leica M2 fitted with my father’s Leitz f2.8 90mm Elmarit and loaded with Kodachrome 25 slide film

A classic view of a Conrail SW1200 switcher at work. Exposed on July 28, 1987 using a Leica M2 with 90mm lens on Kodachrome 25 slide film.
A classic view of a Conrail SW1200 switcher at work. Exposed on July 28, 1987 using a Leica M2 with 90mm lens on Kodachrome 25 slide film.

 

Looking back, 1987 was a threshold year for my photography. After several years of fumbling with inadequate camera-meter-film combinations, I’d finally found a couple camera-film combinations that consistently yielded technically satisfactory results.

 

In June of that year, I’d bought my own M2. By then, I’d decided that Kodachrome 25 was the ‘right’ film for most daylight circumstances. Leica’s sharp fast lenses with Kodachrome’s extremely fine grain and exceptional dynamic range allowed me to make some very satisfactory images in a variety of circumstances.

 

Key to my winning formula was developing a working understanding of how Kodachrome 25 would react in different lighting situations. In 1986 I’d bought a Sekonic Studio Deluxe and had begun taking detailed notes on my exposures. This will be the topic of a future post.

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Tomorrow: The Old Standard

 

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Freight Along the Rhein

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Playing with Aspect Ratios.

April 9, 2010; a group of my Irish friends and I were on a week long trip to the Rhein and Mosel Valleys.

The Rhein is great place to experiment with equipment and technique. Busy double track mainlines occupy both sides of the river amid stunning scenery and historic architecture.

I was set up at the south end of the station platform at Kaub on the Right Bank. This is the busier freight line, with trains passing in fleets. Rarely ten minutes would pass without something clattering along.

My vantage point also gave me a good view of the Left Bank and the Pfalzgrafenstein—a colorful castle situated on an island in the middle of the river. Working with my Lumix LX3, I played with the camera’s aspect ratios as an exercise in composition.

A DB class 151 electric leads a southward container train at Kaub, Germany. I've used the Lumix LX3 with the 1:1 (square) aspect ratio to frame the train with the castle on the side of the hill and lighting masts on the left. April 9, 2010.
A DB class 151 electric leads a southward container train at Kaub, Germany. I’ve used the Lumix LX3 with the 1:1 (square) aspect ratio to frame the train with the castle on the side of the hill and lighting masts on the left. April 9, 2010.
I made this image of a northward car train from the same location as the above photo. By selecting the Lumix's 16:9 aspect ratio I had a panoramic frame with which to compose my photo. My intent was a juxtaposition of the castle in the river with the freight train. Would this photo work if the DB locomotive wasn't bright red?
I made this image of a northward car train from the same location as the above photo. By selecting the Lumix’s 16:9 aspect ratio I had a panoramic frame with which to compose my photo. My intent was a juxtaposition of the castle in the river with the freight train. Would this photo work if the DB locomotive wasn’t bright red? 

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Sunset Under the Shed at Heuston Station, Dublin.

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September 20, 2014.

There’s only a few days during the year when the setting sun pierces deep into the darkness of the train shed at Heuston Station.

On the evening of September 20th, I made this image using my Lumix LX7 of the 7pm departure to Cork.

I had my camera set using the ‘A’ aperture priority mode, which automatically selects a shutter speed based on my manual selection of an f-stop. To compensate for the extreme contrast between the darkness shed roof and bright sunlight, I used the manual exposure over-ride to stop down (underexpose). This was necessary if the in-camera meter tries balances the scene it would have led to a total loss of highlight detail.

ISO 80 f2.8 1/80th of a second. RAW file manually adjusted to control contrast and exported as a scaled Jpg for internet presentation.
ISO 80 f2.8 1/80th of a second. RAW file manually adjusted to control contrast and exported as a scaled Jpg for internet presentation.

An alternative means to select the exposure, would have been to use the camera in ‘M’ mode and manually select both shutter speed and F-stop, but in this situation that would have taken too much time.

I had only a few moments to catch the Station Inspector with his arm raised to give the train the signal to depart.

To make the most of the information captured in this instant, I worked with the RAW file to make some contrast adjustments in post-processing. Using Photoshop, I adjusted contrast locally in highlight areas, while making some over all adjustments to the scene to best portray what I’d seen with my eye.

I wanted to retain the glint effect on the underside of the shed roof while making sure the relatively small silhouette of the Station Inspector wasn’t lost in the direct glow of sunlight.

After making my adjustments I export the file as a Jpg and then scaled this for internet presentation. The camera RAW file is 12.MB, much too large for presentation here, while my scaled image is just 737KB.

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High Dynamic Range Experiments—Summer 2014.

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Playing with the LX7.

Among the built-in features of the Panasonic LX7 is a HDR—High Dynamic Range—setting in ‘Scene Mode’.

The theory behind HDR is the ability to produce a digitally exposed photograph with better highlight and shadow detail through post-processing blending of two or more images of the same scene exposed at different light settings. (In other words, a multiple exposure).

A common way to accomplish this is to place the camera on a tripod and make three images of identical composition with one image over-exposed (too light), one normally exposed, and one underexposed (too dark). Then combine all three images as multiple exposure.

When done effectively this can be used to overcome the limited dynamic range inherent to digital sensors. It can also be used creatively through extreme exposure variations to produce some outlandish images with nightmare skies and penetrating shadows.

The LX7s feature makes exposing a basic HDR style image exceptionally easy as the camera automatically takes three photos in rapid sequence and processes them immediately in-camera to produces a blended Jpg available for viewing.

I found this most effective in high contrast scenes, such as sunsets, that might be difficult to capture because of the camera’s limited exposure range. In other situations, it seems to flatten the contrast and doesn’t necessarily make for a more pleasing photograph.

Another point, if the scene isn’t static, ‘ghosting’ will occur of moving elements. My sense is that camera’s software must have a comparative feature that attempts to minimize the effect of ghosting, but the results can appear unnatural if not outright bizarre. Especially, when the subject, say a passing locomotive, become transparent!

Below are a few of my experiments. With most I’ve first included a comparison image (an ordinary non-HDR photo) exposed in the normal way.

This is the non-HDR normal photo. I've intentionally selected a high contrast scene to test the difference between a normal image and the HDR. Princeton Junction, exposed with Lumix LX7 in 'A' mode.
This is the non-HDR normal photo. I’ve intentionally selected a high contrast scene to test the difference between a normal image and the HDR. Princeton Junction, exposed with Lumix LX7 in ‘A’ mode.
Exposed in HDR mode. Notice that this does a much better job of retaining shadow and highlight detail. Princeton Junction, exposed with Lumix LX7 in HDR 'scene' mode.
Exposed in HDR mode. Notice that this does a much better job of retaining shadow and highlight detail. It is easier to see into the cab of the train and the clouds are better separated from the blue sky. Princeton Junction, exposed with Lumix LX7 in HDR ‘scene’ mode.
This NJ Transit train had paused at Princeton Junction in high midday June sun making for an ideal opportunity to test the effect of HDR. This my 'normal' non-HDR comparison image. Note the nearly opaque underside of the locomotive where wheels and equipment are lost in an inky black. Princeton Junction, exposed with Lumix LX7 in 'A' mode.
This NJ Transit train had paused at Princeton Junction in high midday June sun making for an ideal opportunity to test the effect of HDR. This my ‘normal’ non-HDR comparison image. Note the nearly opaque underside of the locomotive where wheels and equipment are lost in an inky black. Princeton Junction, exposed with Lumix LX7 in ‘A’ mode.
This is the HDR photo of the same scene. By using multiple exposures, the HDR feature has added detail to the shadows making equipment on the underside of the locomotive more visible. I'm not sure if I like the effect on the trees, which to me seem like a painted backdrop compared with those in the normal photo above. Princeton Junction, exposed with Lumix LX7 in HDR 'scene' mode.
This is the HDR photo of the same scene. By using multiple exposures, the HDR feature has added detail to the shadows making equipment on the underside of the locomotive more visible. I’m not sure if I like the effect on the trees, which to me seem like a painted backdrop compared with those in the normal photo above. Princeton Junction, exposed with Lumix LX7 in HDR ‘scene’ mode.
I thought I'd try the HDR feature on a rapidly moving train. Here one of Amtrak's Keystone trains is passing Princeton Junction at speed. Notice the effect of double exposure where the cab car is ghosted into the coach. This is curious aberration, but probably not the best solution for railway action photography. I don't have a 'non'-HDR image of this scene. Princeton Junction, exposed with Lumix LX7 in HDR 'scene' mode.
I thought I’d try the HDR feature on a rapidly moving train. One of Amtrak’s Keystone trains is passing Princeton Junction at speed. Notice the effect of double exposure where the cab car is ghosted into the coach. This is curious aberration, but probably not the best solution for railway action photography. I don’t have a ‘non’-HDR image of this scene. Princeton Junction, exposed with Lumix LX7 in HDR ‘scene’ mode.
This high contrast scene at Overbrook, Pennsylvania in early July 2014, made for another opportunity to make comparisons. This is the 'non-HDR' image, exposed with Lumix LX7 in 'A' mode.
This high contrast scene at Overbrook, Pennsylvania in early July 2014, made for another opportunity to make comparisons. This is the ‘non-HDR’ image, exposed with Lumix LX7 in ‘A’ mode.
SEPTA at Overbrook, exposed with Lumix LX7 in HDR 'scene' mode.
SEPTA at Overbrook, exposed with Lumix LX7 in HDR ‘scene’ mode.
Sunset at CP83 in Palmer, Massachusetts. Owing to the extreme contrast of the scene, I opted to expose for the sky in the normal (non-HDR) image. If I exposed to make the tracks lighter, I'd lose the effect of the sunset. Exposed with Lumix LX7 in 'A' mode.
Sunset at CP83 in Palmer, Massachusetts. Owing to the extreme contrast of the scene, I opted to expose for the sky in the normal (non-HDR) image. If I exposed to make the tracks lighter, I’d lose the effect of the sunset. Exposed with Lumix LX7 in ‘A’ mode.
Here's the HDR image. While it retains sky and track detail, it radically altered the effect of sunset. Is this a more realistic portrayal of the scene? Exposed with Lumix LX7 in HDR 'scene' mode.
Here’s the HDR image. While it retains sky and track detail, it radically altered the effect of sunset. Is this a more realistic portrayal of the scene? Exposed with Lumix LX7 in HDR ‘scene’ mode.
View of an Irish Rail ballast train at Islandbridge Junction in Dublin. This is the 'non-HDR' comparison, exposed with Lumix LX7 in 'A' mode.
View of an Irish Rail ballast train at Islandbridge Junction in Dublin. This is the ‘non-HDR’ comparison, exposed with Lumix LX7 in ‘A’ mode.
While waiting for the ballast train to get the signal, I took the opportunity to make an HDR comparison. It was free, so why not? However, I don't think this improved the scene, now it just looks washed out to me. Exposed with Lumix LX7 in HDR 'scene' mode.
While waiting for the ballast train to get the signal, I took the opportunity to make an HDR comparison. It was free, so why not? However, I don’t think this improved the scene, now it just looks washed out to me. Exposed with Lumix LX7 in HDR ‘scene’ mode.

This is a work in progress, and I’ll follow up in more detail in a later post.

 

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Alco Diesels at Emporium, Pennsylvania.

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Experiments with a Digital Camera.

On the afternoon of February 6, 2010, Pat Yough, Chris Guss and I were photographing along the former Pennsylvania Railroad at Emporium, Pennsylvania. This route is operated by the Western New York & Pennsylvania, a short line famous for its late-era use of Alco Century diesels.

I was primarily photographing on Fujichrome using my pair of Canon EOS-3, however, I was experimenting with my relatively recently acquired Panasonic Lumix LX3.

Western New York & Pennsylvania’s westward Driftwood Turn (the ‘DFT’) was switching near a grade crossing in nice winter sun. This gave me ample opportunity to try various modes with the Lumix, so I varied the aspect ratio (the parameters of the frame) and sampled various built-in color profiles.

Lumix LX3 set at 16:9 aspect ratio with standard color profile.
Lumix LX3 set at 16:9 aspect ratio with standard color profile.
Lumix LX-3 using 16:9 aspect ratio in the vertical.
Lumix LX3 using 16:9 aspect ratio in the vertical. An annoying wire has interfered with my composition!
Here I selected the 4:3 aspect ratio which maximizes the use of the sensor. I selected the 'Natural' color profile which is slightly less saturated than 'Standard'.
Here I selected the 4:3 aspect ratio which maximizes the use of the sensor. I selected the ‘Natural’ color profile which is slightly less saturated than ‘Standard’.
I wanted to see how the digital camera would cope with extreme backlighting and flare.
I wanted to see how the digital camera would cope with extreme backlighting and flare.
I like the sunburst effect but I was disappointed by the lack of highlight detail. I found that the Lumix couldn't match the dynamic range of Fujichrome, which limits its ability to capture high contrast situations. My LX-7 has an 'HDR' feature that partially overcomes this problem, but is only useful for static situations (topic for another post).
I like the sunburst effect but I was disappointed by the lack of highlight detail. I found that the Lumix couldn’t match the dynamic range of Fujichrome, which limits its ability to capture high contrast situations. My LX-7 has an ‘HDR’ feature that partially overcomes this problem, but is only useful for static situations (topic for another post). 16:9 aspect ratio; ‘Standard’ color profile.

I was curious to see how the camera handled backlighting and flare, so I made a few cross-lit silhouettes to push the limits of exposure. These are a few of my results. The files are unaltered except for scaling for internet display. I haven’t adjusted color or exposure in post processing, nor have I cropped them.

As regular readers of Tracking the Light are aware, since that time, I’ve made great use of the LX3. I wore it out, and a few months ago I replaced it with a Panasonic Lumix LX7, which is an even better camera.

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Tomorrow: LX3 versus LX7!

 

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American River Canyon in October Snow.

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Union Pacific on Donner Pass; Standing in Steinheimer’s Footsteps.

Among my favorite locations in California is the spectacular overlook at ‘American’ or ‘Old Gorge’ (if you have a really old time-table) located on the former Southern Pacific crossing of Donner Pass east of Alta.

Here the railroad crawls out on ledge high above the waters of the American River. It’s a on sustained 2.2 percent grade, so eastward trains are in full throttle which makes for sublime sound show.

I was in position on an overcast afternoon, October 30, 2003. The American River Canyon was filled with a thick fog. To the west I could hear traditional EMD 16-645E3 diesels roaring in Run-8. That meant SD40-2s. Real locomotives.

Exposed on Kodak Tri-X with I processed by hand in San Francisco. After initial processing I toned the negatives in a selenium solution mix 1:9 with water for 9 minutes, 1 minute agitation (in a well-ventilated area).
Exposed on Kodak Tri-X which I processed by hand in San Francisco. After initial processing I toned the negatives in a selenium solution mix 1:9 with water for 9 minutes, 1 minute agitation (in a well-ventilated area).

As the train approached, the atmospheric pressure changed and the fog rose out of the canyon and enveloped me. Although it was only the day before Halloween, all of sudden it began snowing furiously. Visibility dropped to nil, and the roar of the eastward freight grew intense.

Working with my Rolleiflex Model T loaded with Kodak Tri-X, I exposed a series of images. It was a memorable moment on Donner.

 

Union Pacific SD40-2s emerge from the fog and snow at ‘American’ on their ascent of Donner Pass.
Union Pacific SD40-2s emerge from the fog and snow at ‘American’ on their ascent of Donner Pass.

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Tomorrow: Irish Narrow Gauge Sunset.

 

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A Big Topic!

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But What’s the Subject?

Transportation; Railroads; Railways; Railway Photography, that’s what I photograph. Right?

But what’s the actual subject? What should I focus on? More to the point; what is interesting? And, is today’s interesting subject going to be interesting tomorrow?

Looking back is one way to look forward.

Yet, there lies a paradox: When I look back over my older photos, I regret not having better skills to have consistently made more interesting and more varied images. And also, for not being more aware of what was interesting.

Conrail at signals 81.81 near Palmer, Massachusetts c1983. What was my subject? (If you know me, you'll know the answer—hint it's not the westward freight train!). Exposed with a Leica 3A with 50mm Summitar lens.
Conrail at signals 81.81 near Palmer, Massachusetts c1983. What was my subject? (If you know me, you’ll know the answer—hint it’s not the westward freight train!). Exposed with a Leica 3A with 50mm Summitar lens.

The lesson is then is about skill: learn to vary technique, adopt new approaches and continually refine the process of making photos while searching for interesting subjects. (The searching is the fun part!)

A truly successful image is one that transcends the subject and captures the attention of the audience.

So, is railway photography really about the subject?

Should all railway photos be serious? Seriously? Waukesha, Wisconsin, back in the day.
Should all railway photos be serious? Seriously?
Waukesha, Wisconsin, back in the day.
Are railroads all about locomotives?
Are railroads all about locomotives? Here’s a real stack train that looks like a model.
I was standing next to Jim Shaughnessy for this one! Surely that makes it a better photo, right? October 2004, Cuttingsville, Vermont.
I was standing next to Jim Shaughnessy for this one! Surely that makes it a better photo, right? October 2004, Cuttingsville, Vermont.
Sometimes, it helps to get up close and check for details.
Sometimes it helps to get up close and check for details.
Can you get too close? Ektachrome 100VS with a Nikon F3T and Nikkor 24mm lens.
Can you get too close? Ektachrome 100VS with a Nikon F3T and Nikkor 24mm lens.
Do old Alcos make better subjects? Slateford Junction at the Delaware Water Gap, September 17, 2007.
Do old Alcos make better subjects? Slateford Junction at the Delaware Water Gap, September 17, 2007.
Lonely tracks at Eagle, Wisconsin c1996. I waited, but the train didn't show up.
Lonely tracks at Eagle, Wisconsin c1996. I waited, but the train didn’t show up.
Fill the frame, don't waste space, more train, that's what its all about, always! Right??
Fill the frame, don’t waste space, more train, that’s what its all about, always! Right??

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Ottignies—13 Minutes to Change Trains

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Making the Most of It.

Belgium’s Société Nationale des Chemins de fer Belges (Belgian National Railways or SNCB) operates a top-notch passenger network with interval frequencies on most routes. This works on a hub and spoke system, where planned changes allow passengers a great variety of destinations.

New EMUs bask in the sun at Ottignies on an August 2014 evening. Lumix LX7 photo with the 'Vivid' colour profile.
New EMUs bask in the sun at Ottignies on an August 2014 evening. Lumix LX7 photo with the ‘Vivid’ colour profile.

On an August 2014 evening, I arrived at Ottignies from Charleroi on my way to La Hulpe in the Brussels suburbs. My journey itinerary gave me 13 minutes to change from one train to another.

Ottignies is an old school station with traditional platforms and canopies. While this can’t last forever, I’ll take its situation as a blessing. Refurbished stations are fine for passenger utility, but offer less in the way visual character.

Since I’d changed here previously, I had a sense for where the light would be.

That’s right! I had precisely 13-minutes to make photographs, and I was prepared to make the most of it! (And yes, I exposed some colour slides too. You know, for the record.)

My Lumix has an HDR (high dynamic range) feature that takes a rapid fire sequence of three images and blends them in camera. This increases highlight and shadow definition and produces more even contrast. The subject(s) need to be static however or the feature doesn't work so well.
My Lumix has an HDR (high dynamic range) feature that takes a rapid fire sequence of three images and blends them in camera. This increases highlight and shadow definition and produces more even contrast. The subject(s) need to be static however or the feature doesn’t work so well.
New sign with old canopies and platforms, a good compromise. An old General Motors powered diesel lurks in the yard beyond. Lumix LX7 photo.
New sign with old canopies and platforms, a good compromise. An old General Motors powered diesel lurks in the yard beyond. Lumix LX7 photo.
Well now this is a bonus. An old SNCB class 55 diesel with a Colas ballast cleaner. Lumix LX7 photo.
Well now this is a bonus. An old SNCB class 55 diesel with a Colas ballast cleaner. Lumix LX7 photo.
Colas is a company with a hand in many businesses. They run trains in the UK too.
Colas is a company with a hand in many businesses. They run trains in the UK too.
This high contrast scene made for a perfect opportunity to test the capabilities of the HDR feature. I think it did a respectable job of holding detail while balancing contrast. Lumix LX7 in HDR 'scene mode'.
This high contrast scene made for a perfect opportunity to test the capabilities of the HDR feature. I think it did a respectable job of holding detail while balancing contrast. Lumix LX7 in HDR ‘scene mode’.
Ottignies is a busy station. As I was focused on the ballast cleaning train, a southward InterCity train arrived. I made a colour slide of it as it glided to a stop then repositioned for this view with my Lumix in HDR 'scene mode'.
Ottignies is a busy station. As I was focused on the ballast cleaning train, a southward InterCity train arrived. I made a colour slide of it as it glided to a stop then repositioned for this view with my Lumix in HDR ‘scene mode’.
I reverted to the Vivid colour profile without the benefit of HDR for this low angle view of this SNCB class 18. This is a Siemens Vectron and the same basic locomotive design that Amtrak is now using on the North East Corridor. Lumix LX7 photo.
I reverted to the Vivid colour profile without the benefit of HDR for this low angle view of this SNCB class 18. This is a Siemens Vectron — the same basic locomotive design that Amtrak is now using on the North East Corridor. Lumix LX7 photo.
My train arrived and I took a seat on the upper deck. This was a contrast from the old single-level electric that I'd traveled on up from Charleroi. I was heading toward Brussels in the rush hour, so I was moving counter flow. Lumix LX7 photo at Ottignies, Belgium.
My train arrived and I took a seat on the upper deck. This was a contrast from the old single-level electric that I’d traveled on up from Charleroi. I was heading toward Brussels in the rush hour, so I was moving counter flow. Lumix LX7 photo at Ottignies, Belgium.

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Take a Ride on the SNCB

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Charleroi to La Hulpe.

My time in Charleroi had come to a close. My next destination was La Hulpe in the suburbs south of Brussels. While I anticipated taking an Société Nationale des Chemins de fer Belges (Belgian National Railways or SNCB) train to Brussels and changing trains there, the ticket seller convinced me to try another option.

“It’s cheaper and faster to travel to Ottignies.” Ok, why not.

When I went up to platform 3A at Charleroi Sud, what appeared to be the oldest train in Belgium rattled in to collect me. I ended up riding a line I previously didn’t even have on my map (this turns out to be line 140).

While the train’s inside was nicely refurbished, it retained openable windows, a rare treat in today’s world of train travel.

No sooner than I boarded the train and the rain began, again. But after a while the sun came out and so I made a series of images using my Lumix LX7, which I was able to hold out the window at arms-length  while keeping a sharp eye on the rear display screen.

Exposed with a Lumix LX7 with built in neutral density filter engaged, 1/3 second at f8, 80 ISO. Handheld with aid of built in image stabilizer. Looking away from the direction of travel.
Exposed with a Lumix LX7 with built in neutral density filter engaged, 1/3 second at f8, 80 ISO. Handheld with aid of built in image stabilizer. Looking away from the direction of travel.

Among the Lumix LX7s features are a built in neutral density filter and image stabilizer. This allowed me to make relatively long exposures in bright daylight while keeping the camera steady.

SNCB’s track is flawless, and the heavy aged train provided a solid, nearly vibration-free ride, allowing me to expose a series photos using long shutter speeds intended to blur the tracks and countryside while keeping the train sharp.

Hooray for old trains on good track!

Exposed for 1/8 second at f8, 80 ISO with neutral density filter. The ND filter cuts the exposure by two full stops, so without it my exposure time would have been about 1/30 of a second. Enough for a bit of blur, but not enough for the appropriate effect.
Exposed for 1/8 second at f8, 80 ISO with neutral density filter. The ND filter cuts the exposure by two full stops, so without it my exposure time would have been about 1/30 of a second. Enough for a bit of blur, but not enough for the appropriate effect.

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Chicago & North Western at Adams, Wisconsin

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Classic Kodachrome, September 23, 1995.

My intent of this image was to show a simple juxtaposition between C&NW GP9 4153 and the steam-era coaling tower in the distance.

Exposed on Kodachrome 25 using a Nikon F3T with f4.0 200mm Nikkon telephoto lens.
Exposed on Kodachrome 25 using a Nikon F3T with f4.0 200mm Nikkon telephoto lens.

By this late date, steam was four decades gone, and C&NW was already part of the Union Pacific system, having been absorbed just a few months earlier. Yet, despite UP being the operating company; in Adams, Wisconsin things still appeared to be business as usual on old C&NW.

To put the GP9 and coaling tower in relative perspective, I used my Nikon F3T fitted with a 200mm lens, and found a suitable angle at a distance from both subjects. My aim was to minimize extraneous elements and focus on the railroad interest.

Since the locomotive was static, I used the opportunity to make photos from a variety of other angles. Some of these photos appeared in my book on EMD F-units published by Specialty Press about 2005.

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Tomorrow a GP9 among massive trees . . . 

 

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Wisconsin Central Limited, Byron, Wisconsin.

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Sunset, June 2004.

Canadian National had acquired WCL a few years earlier, and while many through freights were operating with CN locomotives a few trains out of Fond du Lac were still assigned WCL SD45s.

I’d made a project out of recording the sounds of these 20 cylinder dinosaurs, while using choice moments to make photos.

This freight had struggled up from Valley siding, where its lead unit had warranted attention from the mechanical department before ascending the five-mile grade to Byron.

The freight was paused short of the grade crossing at Byron, and I exposed this view in the last throes of daylight using my Nikon F3 with Fujichrome slide film mounted on a Bogen tripod.

I’ve exposed this view as a silhouette. Using my Minolta Mark IV handheld light meter in reflective mode, I sampled the mid section of the sky to calculate my camera settings then made a bracket of several exposures. While its easier to gauge exposure with a digital camera because you can see a result on-site, many digital cameras are limited when capturing a high contrast scene such as this one without making multiple exposures.

I’ve exposed this view as a silhouette. Using my Minolta Mark IV handheld light meter in reflective mode, I sampled the mid section of the sky to calculate my camera settings then made a bracket of several exposures. While it’s easier to gauge exposure with a digital camera because you can see a result on-site, many digital cameras are limited when capturing a high contrast scene such as this one without making multiple exposures.

As regular viewers of Tracking the Light might recognize, I’ve made a variety of photos at Byron, Wisconsin over the years. Key to this composition is my positioning of the codeline, which conveniently switches from one side of the tracks to the other just shy of the grade crossing.

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Yamanote Loop, Tokyo

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Smoggy Morning, April 1997.

In yesterday’s Tracking the Light post, I extolled the virtues of Kodachrome film as a medium for capturing trains on the move in the fading light tinted by atmospheric pollution.

I’ve made many fine glinty photos on Fujichrome films as well. And speaking of Fujichrome and air-pollution, what better way to combine these topics than to illustrate them with this image I made of a Yamanote Loop train in Tokyo.

I exposed this view on Fujichrome Provia 100F with my Nikon N90S with 80-200mm Nikkor zoom lens.
I exposed this view on Fujichrome Provia 100F with my Nikon N90S with 80-200mm Nikkor zoom lens.

The sun was out, but a thick layer of smog was choking the Japanese capital, and what a wonderful filter it was too!

Look, it’s not my job to defend the planet against particulates, CO2, and etc, I have good friends that take care of that! (You know who you are). I just use the tools at hand, and a nice thick layer of air pollution can really add color to a photograph!

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Amtrak E60 at Havre de Grace.

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Classic Kodachrome.

On the evening of November 23, 1992, I was poised to photograph the action on Amtrak’s Northeast Corridor at Grace interlocking at Havre de Grace, Maryland.

I was interested in this angle specifically to use the glint light shortly before sunset. Kodachrome film had an exceptional ability to capture detail in the extreme contrast of sunset situations.

Although it had been a clear day, there was plenty of particulates in the air from tens of thousands of automobiles driving I-95 and adjacent roads. Almost invisible to the eye, this pollution acts as a reddish orange filter and changing the quality of sunlight toward the long end of the spectrum. Kodachrome with its red-bias amplified this effect while its great dynamic range maintained excellent detail in highlight areas.

Sunset on the Northeast Corridor on November 23, 1992.
Sunset on the Northeast Corridor on November 23, 1992. Exposed on Kodachrome 25.

Working with my Nikon F3T and f1.8 105mm Nikkor lens, I had only a few minutes before the sun disappeared behind the trees at the right.

Moments before the light changed, a late-running Florida train bound to Penn Station, New York glided into the scene with a 1970s-era E60CH electric in the lead. Perfect!

I made a couple exposures as the train passed.

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Tomorrow: Smoggy Glint in the Land of the Rising Sun!

 

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Irish Rail Ballast Train—July 28, 2014

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Perspective with Dublin’s Wellington Testimonial

Irish Rail 088 leads the HOBS near Islandbridge in Dublin on July 30, 2014. Exposed with a Canon EOS 7D with 100mm lens.
Irish Rail 088 leads the HOBS near Islandbridge in Dublin on July 30, 2014. Exposed with a Canon EOS 7D with 100mm lens.

Word came over the ‘telegraph’ that an Irish Rail HOBS (high output ballast system) train was on its way over to Islandbridge Junction to run around.

I’ve photographed the HOBS on previous occasions, but its one of the more unusual trains to catch on the move. This time, I thought I’d try a slightly different perspective from my standard location.

Using my Canon EOS 7D with 100mm lens, I framed the line up in a tight vertical view prominently featuring the Wellington Testimonial. This massive obelisk rises high above the Phoenix Park. It is claimed to be Europe’s largest, and it can be seen from all around Dublin.

I made several views . Unfortunately, while there was a big patch of blue sky behind me, the sun wasn’t fully out when the train arrived. So I had to do my best to work with what I had.

It didn’t take long for locomotive 088 to run around. Yet, I walked quickly, and I made and series of images of the train heading back into the Phoenix Park Tunnel.

Lumix LX7 view of the HOBS about pass into the Phoenix Park Tunnel on its way over to the North Wall. I modified the RAW file in Graphic Converter and Photoshop to improve the contrast using both global and localized adjustments.
Lumix LX7 view of the HOBS about pass into the Phoenix Park Tunnel on its way over to the North Wall. I modified the RAW file in Graphic Converter and Photoshop to improve the contrast using both global and localized adjustments.

The great thing about this exercise was the minimum time I had to wait around. Thanks to good contacts and prompt running (on the part of the HOBS) I scored several relatively unusual photos in just a few minutes!

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The Marble City Rolls in the Evening—Part 3

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A Long Delay Results in an Unexpected Opportunity.

We waited at milepost 17 near Sallins for the return of locomotive 461 with Railway Preservation Society Ireland’s The Marble City rail tour from Kilkenny.

After a bit of a delay, I’d became curious and tried phoning people on the train. After a few phone calls I learned that tragedy had delayed the excursion.

It was reported that Irish Rail’s regular Intercity train from Waterford was involved in a fatality on the line and the steam special was stranded at Athy while the Gardai (An Garda Síochána is the Irish name for Ireland’s national police force) conducted an investigation.

I was told by an RPSI member on the train that it would be at least 8pm before the train was on the move.

Lumix LX7 view of the line looking toward Dublin.
Lumix LX7 view of the line looking toward Dublin.

Instead of giving up and returning to Dublin, fellow photographer Hugh Dempsey and I opted to remain trackside. After all, only the Waterford trains were affected, so there would be plenty moving to photograph. And there’s the element of curiosity, just how late would the train be?

I took the opportunity to update some local people who had turned out to watch the steam special of its misfortune.

Later, a local man took pity on our prolonged wait, and dropped down to us with cups of hot tea and biscuits (cookies). In the mean time there was some nice evening light to photograph the ordinary procession of Irish Rail trains.

The Cork-Dublin Mark4 works toward Dublin with a 201-class diesel locomotive at the back. This meets an ICR working downroad. Canon EOS 7D photo.
The Cork-Dublin Mark4 works toward Dublin with a 201-class diesel locomotive at the back. This meets an ICR working downroad. Canon EOS 7D photo.
Experimenting with the pan technique I exposed this view of a downroad ICR at milepose 17. With the same types of trains running every few minutes in the evening, I had lots of opportunity to try different angles. Lumix LX7 view.
Experimenting with the pan technique I exposed this view of a downroad ICR at milepose 17. With the same types of trains running every few minutes in the evening, I had lots of opportunity to try different angles. Lumix LX7 view.
A blast of evening sun illuminates an old CIE 20 foot container along the line. Canon EOS 7D with 200mm lens.
A blast of evening sun illuminates an old CIE 20 foot container along the line. Canon EOS 7D with 200mm lens.
An uproad ICR at milepost 17. Canon EOS 7D with 200mm lens.
An uproad ICR at milepost 17. Canon EOS 7D with 200mm lens.
An uproad ICR catches a wink of evening sun. Canon EOS 7D with 200mm lens.
An uproad ICR catches a wink of evening sun. Canon EOS 7D with 200mm lens.

Finally, at 9:18pm I got word that The Marble City with 461 had reached Cherryville Junction and was making its dash for Dublin—some four hours behind schedule.

The light was fading fast when I made this view of an uproad Irish Rail ICR at milepost 17. What could expect of the steam special?
The light was fading fast when I made this view of an uproad Irish Rail ICR at milepost 17. What could expect of the steam special?

It passed us just before 10pm, which made for a rare summer evening view of an Irish steam special. Most RPSI trips run in daylight! Using film I’d have been out of luck, but thanks to advances in digital photograph I was able to make a distinctive image.

Exposed at 9:51pm on July 27, 2014 with a Canon EOS 7D with f2.0 100mm lens, set at ISO 3200 1/80th of a second at f2.0. White balance set for ‘daylight.’ To keep the locomotive sharp, I panned slightly. I processed the camera RAW file in Photoshop to lighten the image slightly and improve contrast.
Exposed at 9:51pm on July 27, 2014 with a Canon EOS 7D with f2.0 100mm lens, set at ISO 3200 1/80th of a second at f2.0. White balance set for ‘daylight.’ To keep the locomotive sharp, I panned slightly. I processed the camera RAW file in Photoshop to lighten the image slightly and improve contrast.

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Maine Central Tracks in the Snow.

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Lincoln, Maine 1996.

 

Exposed on Fujichrome 100 with an F3T fitted with Nikon 80-200mm lens.
Exposed on Fujichrome 100 with an F3T fitted with Nikon 80-200mm lens.

In the heat of summer sometimes it’s nice to remember how things are in the winter.

Looking compass south on the Maine Central at Lincoln, Maine in the Winter of 1996.

The trick is exposing so there’s some texture in the snow without making the image so dark that the snow appears battleship gray and the shadows become opaque. Controlling flare helps.

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Massachusetts Central, July 10, 2014—Retro Views

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Black & White in the Modern Age.

Here are a few views I made with my Rolleiflex Model T of Mass-Central’s former Boston & Albany branch on July 10, 2014.

Why black & white? Why film? Why in 2014?

Mass-Central GP38 1751 crosses the Route 32 bridge in Ware, Massachusetts on July 10, 2014. Exposed on Tri-X using a Rolleiflex Model T with Zeiss Tessar lens.
Mass-Central GP38 1751 crosses the Route 32 bridge in Ware, Massachusetts on July 10, 2014. Exposed on Tri-X using a Rolleiflex Model T with Zeiss Tessar lens.
Former Boston & Albany freight house at Gilbertville, Massachusetts along the Mass-Central's Ware River Branch on July 10, 2014.
Former Boston & Albany freight house at Gilbertville, Massachusetts along the Mass-Central’s Ware River Branch on July 10, 2014. Exposed on Tri-X using a Rolleiflex Model T with Zeiss Tessar lens.
Exposed on Tri-X using a Rolleiflex Model T with Zeiss Tessar lens. The film was processed in Kodak HC110, dilution B (1 part developer to 32 parts water) at 70 degrees F, for 6 minutes using three agitation inversions every 30-60 seconds.
Exposed on Tri-X using a Rolleiflex Model T with Zeiss Tessar lens. The film was processed in Kodak HC110, dilution B (1 part developer to 32 parts water) at 70 degrees F, for 6 minutes using three agitation inversions every 30-60 seconds.
Mass-Central 1751 works north of Gilbertville on July 10, 2014. Exposed on Tri-X using a Rolleiflex Model T with Zeiss Tessar lens.
Mass-Central 1751 works north of Gilbertville on July 10, 2014. Exposed on Tri-X using a Rolleiflex Model T with Zeiss Tessar lens.

There’s no question, digital photography is easier. If I desire a square black & white image, all I have to do is set my Lumix LX7 to a 1:1 aspect ratio using a switch on the camera, and set the ‘photo style’ to ‘monochrome’ using the function button.

This set up procedure takes just a few seconds, and I can switch back to color quickly and easily whenever I choose.

Working with the Rolleiflex is more cumbersome; the camera is klutzy to load, it only makes 12 frames per roll of film, and the film takes about an hour to process in the darkroom (dry to dry). Then I need to cut and sleeve the negatives and then scan them for presentation here.

Yet, I still do this. Not for every photograph, not on every outing, but I still go through the motions of using black & white film.

Why? I have five reasons:

1)    I like it.

2)    It gives me a subtle ‘retro’ quality that I can’t really get from digital.

3)    It allows me visual continuity: I’ve been making black & white railroad photos since the 1970s. Why stop now?

4)    I can still do it: I have the cameras, the film, the darkroom and the skills to get great results.

5)    The B&W film medium is known to be archival. I process my film using a two bath fixer, permawash and rinse for 15 minutes in clean running water. They are stored in archival sleeves. Barring the unforeseen, the negatives I processed should still be in good condition for viewing in 50 to 100 years, maybe longer. They will need no extra attention regarding ‘back up’, except to store them in a safe dry place.

This last point is not true with digital photos.  I make three backup copies of every digital image and store them in separate locations, but digital remains an ephemeral media. Hard drives, DVDs and all other existing means of commercially-available digital storage will, in time, go bad. Hard drives can fail, suddenly, completely and without warning. The information will be lost. The photos will vanish. Like the tide coming in on a child’s sandcastle, the images in their digital form will be washed away, forever.

Mass-Central at South Barre, Massachusetts. Exposed on Tri-X using a Rolleiflex Model T with Zeiss Tessar lens.
Mass-Central at South Barre, Massachusetts. Exposed on Tri-X using a Rolleiflex Model T with Zeiss Tessar lens.
A cropped section of the above photo, enlarged to show detail. One of the flaws with WordPress web media is that images are automatically compressed which lowers the quality for ease of display.
A cropped section of the above photo, enlarged to show detail. One of the flaws with WordPress web media is that images are automatically compressed which lowers the quality for ease of display.

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Tomorrow: Colorful consist on a bridge!

 

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Tracking the Light Daily Post: SEPTA at Overbrook, Pennsylvania—Part 2

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Another day another Angle.

On evening July 2, 2014, my brother Sean and I returned to Overbrook. I wanted to get there a bit earlier to focus on SEPTA’s electric locomotive-hauled rush hour services, including the named ‘Great Valley Flyer.’ Also, I wished to feature the signaling more closely. Those vintage Pennsylvania Railroad position lights won’t be around forever.

The lighting was more diffused than the previous day, but this offered different opportunities.

SEPTA Silverliners meet at Overbrook on July 2, 2014. Lumix LX7 photo.
SEPTA Silverliners meet at Overbrook on July 2, 2014.  Here we have a classic view that features the trains, the railway station and ornate passenger shelters, plus SEPTA’s connecting bus. If every town could only be as fortunate as Overbrook! Lumix LX7 photo.
SEPTA's Great Valley Flyer crosses over at Overbrook. Pat Yough had warned me of this in advance, so I was prepared. Exposed with a Canon EOS 7D with 200mm lens.
SEPTA’s Great Valley Flyer crosses over at Overbrook. Pat Yough had warned me of this in advance, so I was prepared. Exposed with a Canon EOS 7D with 200mm lens.
Only a handful of SEPTA's suburban trains run with electric locomotives; most are EMUs. Canon EOS 7D photo.
Only a handful of SEPTA’s suburban trains run with electric locomotives; most are EMUs. Canon EOS 7D photo.
SEPTA's Great Valley Flyer, one of the system's few named trains. What other modern commuter operators have named suburban services? I wanted to feature the train passing the tower.
SEPTA’s Great Valley Flyer, one of the system’s few named trains. What other modern commuter operators have named suburban services? I wanted to feature the train passing the tower.
SEPTA's Great Valley Flyer doesn't serve Overbrook. Lumix LX7.
SEPTA’s Great Valley Flyer doesn’t serve Overbrook. Lumix LX7.

Often it helps to revisit locations several days in a row. Becoming more familiar with a place, helps to find different ways to photograph it.

Yet, with familiarity comes the risk of complacency. When a subject becomes so familiar that you stop seeing it in new ways, have you lost the edge? Is finding a new place the best time to make a photo, or at least perceive an opportunity?

Overbrook is hardly a new place for me, yet it is also one I’ve yet to master.

Rule 290, Restricting, displayed in classic Pennsylvania Railroad fashion using a reverse diagonal row of lights on the second head.
Rule 290, Restricting, displayed in classic Pennsylvania Railroad fashion using a reverse diagonal row of lights on the second head.
An inbound train approaches Overbrook. I was happy to catch a train with a restricting aspect displayed on the opposite signal. Canon EOS 7D photo.
An inbound train approaches Overbrook. I was happy to catch a train with a restricting aspect displayed on the opposite signal. Canon EOS 7D photo.
Minutes later an express train zips through Overbrook on track 2. Notice the signal on the far side of the tracks has cleared to 'Approach'. Canon EOS 7D photo.
Minutes later an express train zips through Overbrook on track 2. Notice the signal on the far side of the tracks has cleared to ‘Approach’. Canon EOS 7D photo.
One last view. This outbound express tends to run with a locomotive hauled consist. I positioned myself to feature the locomotive and the tower. Lumix LX7 photo.
One last view. This outbound express tends to run with a locomotive hauled consist. I positioned myself to feature the locomotive and the tower. Lumix LX7 photo.

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Tracking the Light Daily Post: On The Main Line at Overbrook, Pennsylvania—Part 1

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Visual Quandaries in a Fascinating Place—July 1, 2014

Overbrook retains much of its Pennsylvania Railroad Main Line heritage. Not only is it a surviving portion of four track line, but it retains an active tower, traditional PRR position light signaling, plus its old station buildings and historic signage.

SEPTA at Overbrook.
Outbound SEPTA Silverliner V approaches Overbrook on a sunny evening, July 1, 2014. All the elements are here, but what is the best way to put them together in a dynamic image? Can one photo really do Overbrook justice? Canon EOS 7D photo with 100mm lens.

It remains a busy place with a regular interval SEPTA suburban service and Amtrak Keystone trains.

Curiously, it features track-work dating to an earlier era of railroad engineering. It is located on a sweeping curve with a full set of crossovers set in and around the station and low-level platforms.

Without getting into a detailed discussion on modern railroad engineering, let me just say, that there’s no way an interlocking and station would be situated like this today.

The interlocking at Overbrook is a vestige of steam-era railroad engineering. Today railroads wouldn't consider placing crossovers on curve in the middle of a busy station with low level platforms. Note the signal displaying 'Restricting' with a classic PRR aspect. Canon EOS 7D with 200mm lens. July 1, 2014.
Looking west on the Main Line: The interlocking at Overbrook is a vestige of steam-era railroad engineering. Today railroads wouldn’t consider placing crossovers on curve in the middle of a busy station with low level platforms. Note the signal displaying ‘Restricting’ with a classic PRR aspect. Canon EOS 7D with 200mm lens. July 1, 2014.

Yet, for all this historic railroad interest, Overbrook is a challenging place to make photographs. The curvature which adds so much character to the place, also makes it difficult to find a satisfactory photographic angle. While there is lots of antique infrastructure, it’s hard to find way to include it in balanced compositions.

Further difficulties are caused by nearby trees and a large overhead arched bridge that cast shadows on the line.

On successive evenings, July 1st and July 2nd, 2014, my brother Sean and I visited Overbrook to watch the evening parade of trains. Working with my Lumix LX-7 and Canon EOS 7D, I exposed images from a variety of angles. I was particular interested in featuring the old Pennsylvania signaling.

A vintage PRR position light signal (designed by A.H. Rudd) displays 'Approach Medium'. This signal is controlled by Overbrook tower, one of several classic interlocking towers on the Main Line in suburban Philadelphia. Canon EOS 7D with 200mm lens.
A vintage PRR position light signal (designed by A.H. Rudd) displays ‘Approach Medium’. This signal is controlled by Overbrook tower, one of several classic interlocking towers on the Main Line in suburban Philadelphia. Canon EOS 7D with 200mm lens.
Outbound SEPTA local at Overbrook catches the evening sun on July 1, 2014. Canon EOS 7D with 200mm lens.
Outbound SEPTA local at Overbrook catches the evening sun on July 1, 2014. Canon EOS 7D with 200mm lens.
Why make one photo when you can snap away! Which do you like better? The closer image or the distant one.
Why make one photo when you can snap away! Which do you like better? The closer image or the distant one?
SEPTA logo catches the evening glint at Overbrook on July 1, 2014. Canon EOS 7D with 200mm lens.
SEPTA logo catches the evening glint at Overbrook on July 1, 2014. Canon EOS 7D with 200mm lens.
Sean Solomon checks the SEPTA app on his iPhone.
Sean Solomon checks the SEPTA app on his iPhone.
An inbound SEPTA local pauses at Overbrook station. The shinny silver train makes for a dynamic subject, but does this convey the spirit of Overbrook? Lumix LX-7 photo on July 1, 2014.
An inbound SEPTA local pauses at Overbrook station. The shiny silver train makes for a dynamic subject, but does this convey the spirit of Overbrook? Lumix LX-7 photo on July 1, 2014.
An eastward Amtrak Keystone passes Overbrook Tower. The signal displays Approach Medium. Canon EOS 7D photo.
An eastward Amtrak Keystone passes Overbrook Tower. The signal displays Approach Medium. Canon EOS 7D photo.
Cab car trailing. Remember the Metroliner? Long gone, but the cab cars survive—for now.
Cab car trailing. Remember the Metroliner? Long gone, but the cab cars survive—for now.
An outbound Silverliner IV accelerates away from Overbrook after 8pm on July 1, 2014. Lumix LX7 photo.
An outbound Silverliner IV accelerates away from Overbrook after 8pm on July 1, 2014. Lumix LX7 photo.

Tomorrow, Happy Birthday to Tracking the Light!

Overbrook Part II to follow.

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Amtrak Keystone Catches the Sun at Wayne.

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The Last Twinkle of Glint.

On June 30, 2014, Pat Yough and I arrived at SEPTA’s Wayne Station minutes before sunset. We’d already spent a productive afternoon and evening catching the evening rush-hour on the former Pennsylvania Railroad Main Line.

I was interested by the ‘around the corner’ light effect west of Wayne. The nearest eastward SEPTA train was half an hour away. Thankfully, this Amtrak Keystone arrived before the sunset.

Exposed with a Canon EOS 7D with 200mm lens set at ISO 400, f9 at 1/500th of a second. White balance set to ‘daylight’ to avoid allowing the camera to balance for sunset conditions which would have minimized the reddish-orange effect of sunset.
Exposed with a Canon EOS 7D with 200mm lens set at ISO 400, f9 at 1/500th of a second. White balance set to ‘daylight’ to avoid allowing the camera to balance for sunset conditions which would have minimized the reddish-orange effect of sunset.

For this image, I’ve cropped the leading former Metroliner cab car, and focused on the trailing AEM-7 and Amfleet coaches. The AEM-7s are running on borrowed time and I was happy to make this simple graphic image of one of the old electrics.

Calculating exposure wasn’t easy. My initial guess for exposure was about a stop too bright. I manually dialed the f-stop downward as the train entered the frame and the glinting sun reflected back towards me.

I’ve made many images like this on slide film. Kodachrome was a particular good means of capturing the glint effect. Its combination of a black & white film base (using a traditional silver halide grain structure) plus a wide exposure latitude tended to produce excellent results.

This day, Pat exposed a slide on Fujichrome, but I was limited to using my digital cameras.

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Times Square Shuttle

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One of the World’s Shortest Subway Routes.

Lumix LX-7 photo at Grand Central of the New York City Transit Authority's Times Square Shuttle.
Lumix LX-7 photo at Grand Central of the New York City Transit Authority’s Times Square Shuttle.

I was making my way from Grand Central toward Penn-Station and took a few minutes to photograph New York City’s famous Times Square Shuttle using a Lumix LX-7.

Although I’ve been making subterranean photos since the 1970s, I find that the digital photographic medium makes the process much easier, and my results generally are better.

In the 1990s, I made many New York City subway photos using a Nikon F3T with Ektachrome 200 and various filter combinations to compensate for artificial light conditions.

Calculating exposure was difficult, and despite the filtration my color balance was never 100 percent.

For these images, I set the camera for 400 ISO, selected the ‘A’-mode (Aperture priority) and set the aperture to f2.0, dialed in +1/3 exposure compensation (my standard override for interior photos), and allowed the camera’s auto-white balance take care of the artificial light.

Times Square, New York.
Times Square, New York.

NYCTA_GCT_Times_Sq_Shuttle_P1050466

New York subway's tiled signs are a vestige of another era. After leaving the Times Square Shuttle I made my way to a change of trains to bring me south to 34th Street.
New York subway’s tiled signs are a vestige of another era. After leaving the Times Square Shuttle I made my way to a change of trains to bring me south to 34th Street.

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Powell and Mason Car on Columbus Avenue.

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San Francisco May 1994.

Cable Car on Columbus, exposed on Kodachrome in 1994.
Cable Car on Columbus, exposed on Kodachrome in 1994.

This isn’t your typical cable car image. Where photographers, myself included, have often focused on San Francisco’s exceptionally steep hills, where cars appear to cling precariously to tracks, instead I’ve tried to make the most of one of more level sections of the cable car system.

I exposed this on Kodachrome 25 this using my old Nikormat FT3 with a secondhand Tokina 400mm lens.

This exceptionally long telephoto was very sharp but had very shallow depth of field. I used this quality to set background highway traffic, include some MUNI Trolley buses, out of focus, thus helping the viewer concentrate on the main subject—the famous cable car.

Although a simple image, there’s a lot to see in it. Despite my use of selective focus, the path of the cable car track (with its trademark central conduit) leads the eye beyond the car and around the corner toward Powell Street.

Aiding my effort was the rich afternoon sun for which San Francisco is often blessed. There’s an exceptionally pleasant quality to Bay Area sunshine that is best experienced in person, but has made for a great many photographic opportunities. I miss that quality of light when I’m not there!

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Tracking the Light Daily Post: German Tram-Train at Dusk

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Karlsruhe, Germany, May 2011.

Dawn and dusk are great times to make urban images where there’s a mix of natural and artificial light.

The reduced amount of daylight and the change in color temperature helps control contrast, simplifies exposure, while making for a more dramatic image.

I exposed this view of a tram train under the shed at Karlsruhe on the evening of May 11, 2011 using my Lumix LX-3.

The Germany tram train system allows specially designed light rail cars to share tracks with mainline trains. The system greatly benefits passengers and maximizes the use of the railway network.
The Germany tram train system allows specially designed light rail cars to share tracks with mainline trains. The system greatly benefits passengers and maximizes the use of the railway network.

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Tomorrow: Dusk and an annoying cone!

 

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Being There; Don’t Hate Me for My Luck!

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Palmer, Massachusetts, June 22, 2014.

A wise photographer once wrote, ‘The secret to making photographs is f8 and be there.’

Back in the 1990s, my friend and fellow photographer Mike Gardner said, ‘All good trips begin and end in Palmer.’

Sunday, June 22, 2014 confirmed Mike’s wisdom. I’d headed to Palmer to meet my frient Tim Doherty. Before leaving the house, I searched in vain for my scanner, but departed without it. I was coasting on intuition.

Moments after stepping out of the car at CP83 in Palmer (where CSX crosses New England Central) to say ‘hello’ to Tim, I heard, above the dull roar of road traffic, the distinct sounds of eastbound train’s dynamic brakes.

I said to Tim, ‘There’s an eastbound train, and it’s very close.’ I flicked on the Lumix LX7 that was hanging around my neck and stepped promptly toward my preferred trackside location at CP83. As I did, I heard the lead axles of a six-motor GE rattling across the New England Central diamond a few hundred feet to my west.

I had just enough time to set the exposure and frame up a nice view of CSX Q012 passing CP83’s signals with the old Palmer Union Station (now the Steaming Tender Restaurant) to the left of the old Boston & Albany mainline.

Eastbound in the morning sun. CSX's Q012 has a clear signal at CP83 in Palmer, Massachusetts. Total elapsed time from my arrival in Palmer to the passage of this freight? Less than 2 minutes.
Eastbound in the morning sun. CSX’s Q012 has a clear signal at CP83 in Palmer, Massachusetts. Total elapsed time from my arrival in Palmer to the passage of this freight? Less than 2 minutes.
The Lumix L7 cycles relatively quickly, so I was able to make a second grab shot, just a few moments after the first.
The Lumix Lx-7 cycles relatively quickly, so I was able to make a second grab shot, just a few moments after the first.

There’s a 30 mph speed restriction on the diamond for freight. As the train rolled through, I said, ‘we can catch this again.’ And, off we went on the first of a long-day’s railway photography adventures.

Nearly 12 hours later, we returned to Palmer and, as it turned out, repeated the exercise in fortuity. Immediately upon our arrival, the signals lit at CP83 and these soon cleared to green on the main track. ‘We’ve got a westbound, and it can’t be far off.’

I knew this because CSX’s signals at CP83 are approach-lit, and only light when something has actuated the track circuits between CP83 and CP79 (located at the east-end of the controlled siding). Also, when a signal has been cleared, a train must close.

Again, we had just enough time to get in position for photography.

Walking toward the diamond, some diners leaving the Steaming Tender asked me, ‘Is a train coming?’

Not having time to waste more than a moment in conversation, I replied, ‘Yes, a westbound is very close. Less than four minutes away.’ A headlight appeared to the east as I made the comment.

“How did you know that?” The diners asked, as if I possessed some blind precognition. “The signal shows ‘clear’ for the main track,” was my honest reply, but I may as well answered in ancient Greek.

What's this? A westward piggyback train in the afternoon? On a Sunday? I'm not one to argue, but i was surprised to see it. Canon EOS 7D with 200mm lens.
What’s this? A westward piggyback train in the afternoon? On a Sunday? I’m not one to argue, but I was surprised to see it. Canon EOS 7D with 200mm lens.
Customers at the Steaming Tender wave to the passing freight. Lumix LX-7 photo.
Customers at the Steaming Tender wave to the passing freight. Lumix LX-7 photo.
A tight view of CSX Evolution-series diesels rolling toward the Palmer diamond. Lumix LX-7 photo.
A tight view of CSX Evolution-series diesels rolling toward the Palmer diamond on the evening of Sunday June 22, 2014. Lumix LX-7 photo.
Trailing view at the Palmer diamond in the glinty evening light. A CSX westward intermodal train makes for a graphic subject. Canon EOS 7D with 200mm lens.
Trailing view at the Palmer diamond in the glinty evening light. A CSX westward intermodal train makes for a graphic subject. Canon EOS 7D with 200mm lens.

My luck?—Being in the right place at the precisely the right times. However, I made my own luck. By keeping my ears open and my eyes on the signals, I knew to act quickly. Stop, look and listen, right? There’s no mystery there.

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