Some weeks ago when I was in Massachusetts, I was helping my mother organize books in our library. Some shelves hold books that have resided there since 1973.
My mother surprised me by saying, “I put these books here thinking that you and your brother would read them. But you never did. I found that very disappointing. They just sat here all these years.”
I looked carefully at the shelf.
‘These books?’
Here was a diverse collection of subjects: philosophy, history, art criticism, architecture, economics, psychology, social affairs, literature, photography and biographies among other topics.
I took one from the shelf and opened it. Inside my name was written in blue ball point.
“I’ve read almost all of these books. See here’s my name.”
I picked up another. “I read this one twice, and I wrote a college paper on this one over here.”
“Really? When did you read them?”
Starting about 1983, whenever I’d go out making photographs, I bring a book with me. If I went to the Berkshires to photograph the Boston & Albany, I always have a book to read while waiting for trains to pass. Up there in the rocks and trees along the West End, I read countless books, including many of the books on that shelf. If I took a long train ride I’d always have a book with me.
The railroad is my reading room. How many books have I read waiting trackside? In the 1980s I’d often read within sight of this old bridge on Boston & Albany’s West End. Image exposed on Kodak Verichrome Pan using a Rolleiflex Model T, October 20, 1985. What was I reading that day? Nietzsche or a book about the Roman Empire?
“Even now, there’s one of these books on the back seat of the car.” (Veblen’s The Theory of the Leisure Class).
“I have a photo of Sean reading the book on propaganda at the Twin Ledges twenty years ago. And I remember reading all about the Borgia’s one summer’s day in the late 1980s waiting for Conrail.”
“I never knew that!” She said delighted.
Some of the books I’d read so long ago that their words had blended with my own thoughts.
The more I thought about it, the more the discussion about bookshelf astounded me.
Here, I read all these books that had shaped my view of the world and with it my photography and it never occurred to me that my mother had specifically put them there for me to read, nor did she know that I’d read them!
Yesterday (March 1, 2016) I posted a view of a CSX intermodal train working upgrade at Warren, Massachusetts in the nice morning sun. This was a nice start to a very productive day.
What I didn’t explain was the back-story.
Although I’ve been at railway photography for more than four decades and I spend a lot of time at making my photographs. Occasionally I make mistakes.
Some are minor ones. Others can have more serious implications.
On Saturday February 26th, I was traveling with Mike Gardner. We’d met Tim Doherty and Pat Yough at CP83 (near the Steaming Tender restaurant) in Palmer, Massachusetts.
Shortly after we arrived, CSX’s talking equipment detector in Wilbraham sounded, alerting us to the eastward train. We decided to drive to West Warren to make our photographs. We had ample time to do this, but not enough time to waste.
Upon arriving in West Warren, I noticed that both my Lumix LX7 and FujiFilm X-T1 cameras had only a few photos left on their respective cards. I should have checked this the night before and put fresh cards in the cameras.
However, since I had a minute, I hastily put new cards in the cameras and wiped them clean.
This was the photo presented with yesterday’s post, but I thought I’d put up again for context (it doesn’t cost anything extra to show it twice, so why not?). Exposed with a FujiFilm X-T1 digital camera.
The day was extraordinarily productive. Mike and I photographed trains on CSX, New England Central, Berkshire Scenic and Pan Am Railways, making it Millers Falls, the Hoosac Tunnel, and Washington Summit among other notable locations.
My Fuji camera was acting strange.
New England Central local freight crosses CSX’s Boston & Albany line at Palmer.
Among other problems, it was taking forever to store the images from the camera buffer to the card. I’d expose a burst of images, and two minutes later it would still storing them.
Meanwhile the Lumix was giving me so much bother, I put it down and instead opted to work with my Canon EOS 3 loaded with slide film.
Pan Am Railway’s EDRJ (East Deerfield to Rotterdam Junction) roars west at Wisdom Way in Greenfield. I was snapping away, but something wasn’t right. My camera was acting weird!
By the end of the day, I notice that the 32GB card in the Fuji was nearly out of space, but I’d only exposed about 150 frames. (Normally I get about 840 images saved as RAW and JPG on a 32GB card). Something was wrong.
I was getting a bit worried, because the next day I was booked on a transatlantic flight, and there’s nothing worse than having serious camera trouble when traveling.
A little later in the day, here’s the same EDRJ climbing toward the Hoosac Tunnel at Zoar, Massachusetts. I recalled a day about 30 years ago at this precise location when the last thing I was worried about was the card in my digital camera!
Digital cameras don’t start acting strange because they are in a bad mood.
However, when I went to down load my photographs, I quickly discovered the source of my problems.
Between a stop for lunch and our next destination, Mike and I paused at Renfrew on the old B&A North Adams branch to photograph the Berkshire Scenic train. This was our second trip along the branch in less than two weeks.
In my rush to put cards in the cameras, I inadvertently put the card formatted for the Fuji in the Lumix and vice versa. Also, rather than re-format the cards, I simply wiped them. Each type of digital camera uses different protocols for storing data, which is why the cameras were acting slow.
I put new cards in each camera and re-formatted them (which effectively erases all data on the card). Problem solved.
Tip for the day: Don’t mix your cards up, take the time before embarking on a fast-paced day to make sure you have clean, formatted cards in your digital camera(s).
Or, if you use film, to make sure your camera is loaded and that your ISO setting is correct.
Amtrak 449, the Lake Shore Limited passes Muddy Pond in Washington, Massachusetts.Amtrak 448 meets a CSX freight at CP83 in Palmer just after sundown. Exposed with my FujiFilm XT-1 with Zeiss 12mm Touit and Lee graduated neutral density filter. ISO 3200. At this stage the camera was barely functioning and taking forever to store images. I’m amazed I got anything at all!
Over the years I’ve traveled with dozens of railway photographers with whom I’ve learned elements of railway photography.
Among the most important lessons I’ve learned, one has has very little to do with specific railways, locomotives, signals, or old stations. It doesn’t specifically relate to different types of equipment and isn’t really about cameras, types of film, or the definitive virtues of one media versus another.
Normally, I avoid philosophical preaching and I remain reluctant to instruct people how to conduct their affairs.
However, I think this tip may help some photographers—this is if they choose to accept it and react to it.
So, what is it?’
When you’re out making photographs avoid your invisible barriers— those things in your head that discourage you from being in position to make great photographs.
In other words try to avoid letting your arbitrary personal opinions, feelings or established prejudices from materially interfering with your focus on photography.
By ‘invisible barriers’ I mean things you can control and not personal obligations, physical limitations or other real impediments. The invisible barriers are what some people call ‘foibles’.
Some examples:
‘I don’t like to get up early.’
‘I like to eat a full breakfast before making photos.’
‘I don’t like cloudy days.’
‘I don’t like engines that are running long hood forward.’
‘I don’t like traveling more than 45 minutes from home.’
‘I don’t like driving in rush hour traffic.’
‘I don’t like locations that are too close to rivers.’
‘I hate the cold/heat/wind/dry air/rain/snow/dust storms/tornados.’
‘I only like passenger trains/freight trains/short lines/mainlines/Alco diesels.’
‘I don’t like tree branches.’
‘I only like trains climbing grades with a defined row of hills in the distance.’
‘I like bright sunny days.’
Any or all of these things may be true for you. However, when any of these things get between you and a photographic opportunity, your photography may suffer.
Not the dreaded single diesel long-hood forward!In 1994, I spent three rainy days in the Oregon Cascades. It wasn’t comfortable, but I was offered a host of incredible photographic opportunities. For me the results were worth the trials.
If you want to push your boundaries consider reconciling those arbitrary foibles that may be preventing you from being in place to get the best possible images.
Being in-place is key. If you are not there, you can’t a make photo. All the excuses in the world are no substitute for being there: so, Be There.
Push your limits. Get over the small things that are your invisible barriers. Work out what may be keeping you from your optimum photographic potential.
Not a good tip? Here’s a question:
When documenting a scene what’s the benefit of allowing invisible barriers to shape your photograph or prevent it? Answer that for yourself, not for me. I’m just giving tips.
In the last few months I’ve been lucky to catch a variety of the more obscure operations on the Pan Am Railways system.
Last week, Mike Gardner and I spent the afternoon around North Adams, Massachusetts.
EDRJ arrived with two locomotives to drop for local freight AD-1.
Pan Am AD-1 is seen on the Boston & Maine mainline at North Adams. Exposed on HP5 using a Canon EOS-3 with 20mm lens.Boston & Albany on the left, Boston & Maine on the right. Exposed on HP5 using a Canon EOS-3 with 70-200mm lens.
Although, we had high hopes of following EDRJ west toward the Hudson River Valley (uttering the now-famous battle cry, ‘To the River!’), Pan Am had other ideas.
History will forgive them.
So instead we followed AD1 down the old Boston & Albany North Adams branch to Zylonite.
Zylonite on the old Boston & Albany, now Pan Am’s Adams branch. Exposed with a Lumix LX7.Who would have thought a high-hood GP40 would be working the old North Adams Branch! This was once the territory of Alco road switchers. Exposed with a Lumix LX7Pan Am local freight AD-1 on the Adams Branch at Zylonite. Exposed with a FujiFilm X-T1.Looking north toward North Adams.Former Canadian National Railways GP40-2L wears a nice shade of blue. Exposed with a Lumix LX7.
After a taste of this surviving segment of B&A’s extension to North Adams, we followed the abandoned vestige of the line that runs southward to Pittsfield, then made the most of the late afternoon on the former B&A mainline!
Too often I find that a brand or a ‘team theme’ is applied by photographers to railway photography. Their intent may be good spirited, but the results can be limiting.
Specifically in regards to equipment: Cameras and lenses are tools. (As are digital sensors and film emulsions). While each camera system has advantages and disadvantages, obsessive loyalty to one brand or another may stand between a photographer and their ability to make better photographs.
Over the years, I’ve worked with a variety of different cameras. Most have had their strengths, but also limitations.
30 years ago, I worked largely with Leicas. The lenses were very sharp, and when I loaded them with Kodachrome 25 or Kodak Panatomic X, I often produced very acceptable results.
20 years ago, Nikons were my primary tools. I was fussy about my selection of lenses, and I experimented with a variety of films.
10 years ago, I carried a Contax G2 range finder loaded with Fujichrome with me everywhere, yet exposed many images with Canon EOS3s.
New England Central southbound 611 crosses the Millers Falls high bridge. For this image I used one of my old Canon EOS3s fitted with a 100mm Canon lens and loaded with Ilford HP5. I processed the film according to my custom tailored recipe. (See yesterday’s post for details). Why Canon? Why black & white film? Because it these combinations worked for me.Moments after I exposed the black & white photo above, I made a burst of digital images with my FujiFilm X-T1. In this situation I have the best of film and digital photography, while working with two different camera systems. Standing next to me Mike Gardner exposed photos using his digital Leica M.
Today, I work with a Lumix LX7 and Fuji X-T1 digital cameras, as well as my old Canons and Nikons loaded with film. Occasionally, I borrow my dad’s Leica M rangefinders. Depending on the circumstances I’ll use digital or film, sometimes working with both at the same time.
Over the years I’ve made photos with Rollei 120 camera, and Hasselblads, Sinars and Linhofs, Pentax SLRs, along with a host of other equipment.
Why do I choose one camera over another?
Not because of loyalty to one brand or another. Not because one uses film and other is digital. But, because I’ve learned the strengths and weaknesses of individual camera systems and specific camera models. No two camera systems work the same way, and thus in similar situations no two cameras perform the same.
I’m not a team player. I won’t use a Canon because it’s a Canon, or grab my Lumix LX7 simply because it is a digital camera. I work with these tools because of the results they can produce in different circumstances.
Optical quality is always important, as is ease of use and relative affordability. But these days camera weight is often a deciding condition when I choose which tools to carry. My camera bag of the 1990s weighed about 4 times what my bag does today.
My Lumix LX7 is a great tool for making grab shots. Here Mike Gardner and I were pacing a New England Central freight. I rolled the window down, set the aperture to its smallest hole to force the camera to use a slow shutter speed (I had the Lumix in ‘A’ mode which allows me to select the aperture while the camera picks the shutter speed based on its internal meter). At the time I had three cameras to chose from, and I instantly opted for the Lumix.
I’m always on the lookout to see what a new piece of equipment can do. And, I’m always interested in finding ways to make old equipment work for me.
In the end, my camera selection is about the result and not the camera.
For this roll of film I made some minor adjustments to the basic formula.
The goal of my special process is to allow for a black & white negative that when scanned provides optimum tonality and contrast without the need for post processing adjustments.
This is significant for two reasons: 1) I’ve maximized the film’s tonality, thus allowing to capture the most amount of information. 2) I’ve minimized the amount of time I need to spend adjusting individual images.
Exposed on February 18, 2016 with Ilford HP5 black & white film. Processed in Kodak HC-110 1:32 for 5 minutes at 68 degrees F, three bath fixer, and then selenium 1:9 for five minutes; rinse and dry. Scanned digitally using a Epson V600. No post processing contrast or exposure adjustments. Original exposure was f16 1/500th of a second with 20mm lens.
With this photo, I scanned the original negative, and then scaled it in Lightroom while applying my water mark. I did not make adjustments to exposure, contrast, or similar. This is in essence and unmodified scan.
Here I’ve intentionally selected a very contrasty scene. This demonstrates the success of the process and makes for a dramatic photograph of modern railroading.
By using HP5, which is rated by Ilford at 400 ISO, I’ve intentionally selected a comparatively grainy film. This adds texture and grittiness to the image. I wonder how it will appear on your screen? On mine it is exceptionally sharp with broad tonal range.
In yesterday’s post (Unexpected Surprise: Stumbling on to one of the Rarest Railway Operations) I wrote of how we found the Battenkill local freight at Eaglebridge, New York.
It was sunny at Eaglebridge, but ominous clouds were rolling in from the west.
On one level the clouds benefitted our photography, since we’d be fighting the sun on a northward chase.
I opted for something different. The sky was a textured tapestry of clouds and light. The technique I’m about to describe isn’t really bold, nature and architectural photographers use it all the time.
I fitted my FujiFilm X-T1 with a Zeiss 12mm Touit (previously described) and a moveable Lee graduated neutral density filter (with a 2/3s of a stop range).
This arrangement allows me to better balance the exposure differential between the bright sky at the top of the frame and the inky dark shadows toward the bottom of the image. The Lee system allows me to rotate the filter and adjust it up and down.
You can make similar adjustments in post processing using a digital applied graduated filter, however by using the filter on-camera I’m allowing the camera sensor to capture greater amounts of data, thus expanding the dynamic range of the image.
Specifically, I can adjust the filter to expose for the sky to the point where highlight and shadow detail are adequately captured which allows me to lighten the shadow areas at the bottom of the photo.
In some situations, the image will not require any post processing. However I found it was still necessary to make some post processing adjustments to make the image appear better to the eye. I fine-tuned my exposure and contrast using Lightroom.
All four images in the sequence below were made using my FujiFilm X-T1 with a Zeiss 12mm Touit Lens. (However, the introduction photo at the top of the post was made with a 18-135 lens, unfiltered.)
Here’s my scene unfiltered. I’m at a grade crossing south of Cambridge, New York. The clatter of Battenkill’s RS-3 with 244 diesel can be heard in the distance. I’ve exposed for the foreground, which has the undesirable effect of losing most of the texture in the sky.With this image, I’ve attached the Lee graduated neutral density filter. This darkens the sky and features a tapered graduation which should appear virtually seamless. The result is that I can better hold detail in the sky and in the foreground.Now the Battenkill has arrived. This is the un-modified RAW file (except for scaling necessary for internet presentation). I’ve intentionally made my exposure a bit on the darkside, knowing I can locally lighten shadow areas in post processing. Again, by using the filter, I’ve been able to allow the sensor to capture a greater dynamic range. (a larger span of dark to light). When I exposed this image I gauged exposure using the in-camera histogram to maximize the amount of data captured by the sensor and to minimize loss of detail in shadows and highlights.Using Lightroom, I made some nominal post-processing adjustments to contrast and exposure, specifically focusing on the shadows and midtone areas of the locomotive. My intent was to better balance the image as it appears to the eye. Obviously, depending on personal taste, it is possible to make a variety of adjustments to the final image. Here I tried to faithfully recreate a dramatic scene. Personally, the wavy rows of harvested corn make for some of the most interesting texture. Yet the primary subject remains the Alco RS-3 diesel.
I was surprised to learn that I managed to stump most of the viewers with my February 2016 Mystery Photo! I thought for sure that someone would instantly recognize this exceptionally obscure section of line.
Melrose.
I had many very good guesses from many informed readers.
(Those of you viewing on Facebook/Tumbler/Google Plus etc, you will probably need to click on Tracking the Light to see the full post with answers!)
The most popular guesses were focused on the Mass-Central.
(By the way, thanks for the tips on locations!)
I’m sorry, but these answers and many of the other were incorrect.
I opted for a snow covered scene that obscured many clues. I thought this would be an added challenge.
The tracks are in Connecticut. They are not on the former Central Vermont.
Norbert Shacklette correctly guessed the predecessor railroad and the correct current operator but could not guess the specific location.
The only truly correct detailed guess was supplied by an exempt viewer. (I felt it was unfair to allow people whom I pointed out this location in the past to participate).
In the future I will try to supply juicier clues.
I made this photograph on February 6, 2016 at the Connecticut Route 140 crossing of the old New Haven Armory Branch in Melrose.
Historically this line was part of the New York & New England system, which was among the lines absorbed by the New York, New Haven & Hartford Railroad.
Today the line is under the administration/operation of a short line titled Central New England Railroad. However, confusingly this segment was not operated by the historic New Haven component company known as the Central New England.
During the late Penn-Central and Conrail periods, this section of trackage was not shown on many maps and was largely overgrown. It has been cleared in recent years. To date, I’ve never seen a train here, although I’ve crossed the tracks dozens of times.
The maps below show the specific location and the angle of the photograph. It is my hope that the arrows clearly indicate to you where I made the image.
Thanks for participating!
The RED arrow points at Melrose, Connecticut. The photo was made in the morning looking in a southeasterly direction on the old New Haven Armory Branch immediately south of the Route 140 crossing near St. Mary’s Cemetery.A detailed view of the 1946 New Haven Railroad system map with a orange arrow pointing in the direction I made the photo. The tip of the arrow is approximately where the photo was made. The end of the arrow is irrelevant.Period USGS Topographical map showing Route 140 in Melrose. I’ve circle the location of the photo with an arrow to show the direction I was pointing. (only the point and the angle of the arrow are relevant, the unpointed-end is not important.)
The other day I was scouring the files for a photo Amtrak’s Sunset Limited as an illustration for an article I was writing.
Instead, I found this slide; one of hundreds of images I made along SP’s Sunset Route in southern California during the early-mid 1990s.
A Cotton Belt GP60 leads an eastward Southern Pacific freight over Beaumont Hill near Cabazon, California on the evening of January 29, 1994. Kodachrome 25 slide scanned with an Epson V750 Pro and processed using Lightroom.
I’d been following this eastward Southern Pacific freight over Beaumont Pass and I exposed this view near Cabazon on the east slope. The setting sun was enhanced by the effects of Los Angeles-area smog that acted as a red filter (an effect of heavy particulates).
I was working with my Nikon F3T and Kodachrome 25 slide film. Always a favorite combination for image making on Southern Pacific Lines.
Tracking the Light presents new material every day!
February 8, 1994, I used my Nikormat FTN with a Tokina 400mm lens mounted on a Bogen 3021 tripod to make this view on Fujichrome 100 slide film of a Boeing-Vertol Light Rail Vehicle pausing for passengers on the N-Judah line.
It was the end of the day and the colors of a sunset sky are reflected in the windshield of the LRV. For me it is the contrast and subtle hues of the evening light that make this photo stand out.
San Francisco’s Muni light rail offers endless opportunities for dramatic photos on the streets of this famous California city.
If I recall correctly, my shutter speed was 1/60th of a second. The slide is slightly dark (about ½ stop) so I lightened it a bit in post processing.
A few weeks ago I posted some vintage Ektachrome slides of MBTA’s Mattapan-Ashmont trolley line that I made with my old Leica 3A when I was 12 years old.
Among these was this view at the Milton station that showed Conrail’s former New Haven Railroad tracks in addition to MBTA’s trolley line.
My 1979 Ektachrome view: I was fascinated by the ‘heavy rail’ tracks on both sides of the trolley line. Here is evidence that Conrail was still serving the former New Haven branch as far as Milton. There’s virtually no evidence of the freight operation today, and it takes a bit of imagination to figure out where the tracks were. Notice that I didn’t allow a PCC to interfere with the scene: this was about the PFE refers!
The trolley line had been adapted to use part of the railroad right of way, and yet it was still necessary to serve freight customers, so tracks from both operations had co-existed for decades.
Milton from approximately the same angle as the 1979 view above. More than just the tracks have changed. I exposed this with my FujiFilm X-T1 digital camera at the end of January 2016.
Today, the freight railroad at Milton is but a memory. (And, if news reports prove correct, the trolley may soon vanish too!). Take nothing for granted.
This is a slightly tighter view of Milton as it now looks. No PFE refers here, nor tracks for them to rest upon. This focal length more closely mimics the 50mm Leica Sumitar lens that I used in 1979.
I made these Now and Then views from approximately the same place looking in the same direction, but nearly 37 years apart.
An of course, I waited for a PCC. On Sunday’s trolleys operate about every 8 minutes in both directions. FujiFilm X-T1 photo.
In yesterday’s post [MBTA PCCs with a Cotton Candy Sky] I described my philosophy and technique with regards to working with a RAW file to maintain a high-level of detail with a textured sky.
With today’s post, I’ve selected a similar image as another example of how I’ve implemented adjustments using the program Lightroom.
The final image is intended as an ‘over the top’ example of how to create a fantasy image from a RAW file. I’m neither endorsing nor condemning photo fantasies, (they appear often enough on the internet), but simply describing one method of producing this result, as well as my interpretation of the scene as I saw it.
Example 1; this is the scaled RAW file, unaltered except for necessary sizing. Notice that the sky is not as blown out as with yesterday’s example. I exposed this image to favor the sky, making it about one half stop darker than the image presented yesterday. I expected to retrieve shadow detail to present a better exposure balance in the final image. Had I exposed for the streetcars, the sky would have been very over exposed, possibly beyond the ability to make correction.
Example 2. As with yesterday’s second example, I’ve digitally introduced a graduated neutral density filter to the sky. This helps darken the sky relative to the lower half of the image while better balancing detail and color in the clouds. I’ve not yet altered the shadow areas so the streetcars still appear too dark and dull.Example 3. Here I’ve lightened the above file by adjusting the ‘shadows’ slider and made nominal global adjustment to the mid-tone areas using the ‘clarity’ slider which gives the image a bit of snap. My goal was to make the streetcars appear more or less as they did when I made the photo. Normally this would be my ‘final’ interpretation. However for the sake of the exercise and to gauge public opinion, I’ve continued with my manipulation of the RAW file (see below).Here’s my fantasy. I’ve over-enhanced the RAW file by pushing the ‘clarity’, ‘saturation’ and ‘vibrance’ sliders to the right. The manipulation is easily accomplished and the result jumps out and grabs you. However, let me be clear: this is a fantasy, the scene never looked this way in real life.
However, if this image helps save the Mattapan-Ashmont trolley from extinction, then I’m all for fantasy!
The sky can make all the difference in a photograph. However, often the way a modern camera presents exposure tends to push sky detail toward over exposure (that means its too light).
The result is a washed out sky that loses all the color and detail that made the scene interesting.
Thankfully, with careful exposure and post processing manipulation of a RAW file, it is easy enough to balance sky detail with the primary subject.
I made these photos the other day at Mattapan during a visit with Tim and Will Doherty and Pat Yough. All were exposed using my FujiFilm X-T1 with a Zeiss 12mm Touit lens
I processed the photos using Lightroom (an Adobe program that allows for easy adjustment of the the RAW files).
My first move was to digitally introduce a graduated neutral density filter across the sky to locally adjust contrast and exposure with an emphasis on retaining highlight detail. Next I lightened shadows and adjusted mid-tone detail with the clarity sliders.
My intent was to recreate the scene. It would be easy enough to create a total fantasy using these tools. That balance is purely subjective.
Example 1
Example 1; this is the scaled RAW file, unaltered except for necessary sizing. Notice that the sky is blown out, especially at the left while the streetcar and tracks are too dark. I exposed this image to favor the sky, knowing in advance that I could retrieve shadow detail to present a better exposure balance in the final image.An intermediate step for example 1: Here I’ve introduced a digital graduated neutral density filter that is only applied to the sky area. This makes the clouds darker while display greater detail in highlight and mid-tone areas. I haven’t altered the overall balance by adjusting contrast or exposure. As a result the streetcar and ground area are still too dark (because I’ve done nothing to address these areas).Example 1 final image: Now, I’ve made global adjustments by lightening the shadow areas and making nominal changes to the mid-tone contrast using the ‘clarity’ slider. This gives the streetcar and ground a bit of ‘snap’.
Tomorrow I’ll present a more dramatic example complete with ‘fantasy’ treatment. Stay tuned!
Denis McCabe, Stephen Hirsch and I were on a week-long exploration of central Austria in January 2012. I made this view through the windscreen of our hired car as we drove through a long Alpine tunnel.
Lumix LX3 view from inside an Alpine tunnel. For effect I exposed the photo at 1/2 second, which makes for a painterly like blur of the walls, road surface, and roof, while blurring the lights. The camera’s built-in image stabilization helps minimize lateral movement.
Not my finest print, but it was the best I capable of at the time. Today, what I find interesting is the effort I made at captioning the print, which has preserved the spirit of the day and the relative significance of the image. Information distinguishes the train pictured from that of a generic move to a specific train on a specific day and highlights the relative importance of the image.
Here’s an old print. I exposed this years ago. It shows an Amtrak train in the snow someplace. If I had to guess, I say it was made somewhere in New England in the mid-1980s/early 1990s based on the equipment.
Except I don’t need to guess. I know that it was exposed on the morning of January 16, 1984 and shows Amtrak’s late-running Washington D.C. to Montreal Montrealer passing South Deerfield, Massachusetts.
I chose to display this photograph because it has a decent caption on the back. My language skills weren’t fantastic, but all I was trying to do was convey the vital information that related to the photograph. I typed my caption up on label using an IBM Selectric typewriter (which imprinted letters with a rapidly rotating ball) and pasted it to the back of the print.
In the caption I was trying to do was convey the vital information. At the time, I’d hope to send this to a magazine. Catching the Montrealer in daylight was a real coup! (Or so I thought at the time.).
I find this photograph interesting for other reasons too. As regular viewers of Tracking the Light may be aware, I’ve made several recent views of Amtrak’s Vermonter at this same highway crossing (North Hillside Road) and so this makes for an interesting comparison view.
The primary reason I’ve posted this today is to provide an example of how a simple caption can solve many mysteries. Instead of a generic image of an Amtrak train kicking up snow, we instead know many of the crucial details; what, when where and why.
These details make the photo more relevant, and potentially more valuable as a record.
These modern locomotives have been on the move in New England for a few months now, but they managed to elude me. Or my camera anyway. (I saw one in Worcester some weeks ago.).
Pan-Am Railways symbol SEPO typically operates with run-though locomotives. The eastward freight is pictured at Ayer, Massachusetts. Fuji Film X-T1 digital camera.CSX logo on a new ET44AH diesel-electric.
The Tier 4 are the most modern high-horsepower freight locomotives offered by General Electric. They are designed to meet EPA’s Tier IV emissions standards.
While similar in appearance to other late model GE freight locomotives, they have a distinctive large capacity radiator and vents at the back. This provides increased heat exchange area in the radiator cab is required to meet the stricter Tier 4 exhaust emission requirement using by using Exhaust Gas Recirculation
On the morning of Tuesday January 26, 2016, Pan Am’s SEPO is seen at the Willows, east of Ayer, where the Stony Brook Branch diverges from the Fitchburg Route. The Stony Brook handles Pan Am’s though freights to Maine and New Hampshire destinations. This set of three locomotives demonstrates an evolution in modern radiator profiles. The lead locomotive has the most modern Tier 4 design, while the second locomotive is one of GE’s Evolution Series that was in production from 2004-2014, third out is a 1990s era design: the AC4400CW .
On Tuesday, January 26, Bob Arnold, Paul Goewey and I found CSX 3308 working symbol freight SEPO (CSX Selkirk Yard to Portland, Maine) at Ayer, Massachusetts.
I always like to catch new power on the move and we caught this freight at several locations.
GE’s modern Tier 4 locomotives can be instantly recognized by their enormous radiator profile. When photographing these modern locomotives, a trailing view such as this one offers a better view of the technologically distinctive features.This telephoto trailing view emphasizes the radiators. FujiFilm X-T1 digital camera.
What about a classic three-quarter ‘roster view’ you ask? Well, I exposed that on color slide film, of course!
I work with photographs almost every day. Often, I’m faced with drafting captions for historic images and too often I find historic prints without adequate information.
Back in the day some conscientious photographer made the effort to preserve a scene. When they went out the reason for their photograph was often brutally obvious (to them).
Maybe a new locomotive was working the daily express, or the local passenger train was running late. Perhaps an old machine was nearly ready for the scrap heap, or something special was on the move.
Or maybe it was just a nice day to be out, and the photographer wanted to document the railroad action.
Here we have a nice photo of a nearly new 4-4-0. With a little bit of footwork I was able to discover that it was an Illinois Central engine. The location, date, and specific significance of the image at the time of exposure are a mystery (to me anyway). There is no information on the print. Even the photographer has been forgotten. The print is from my collection. A simple caption such as: JL Jones and crew pose with new 934 at Podunk, Mississippi, February30, 1879 would have been helpful (hold on sherlock, I made up that caption to serve as potential example. So, it is pure fiction, not speculation— thus the date).
Holding an un-captioned photo may present many mysteries that could have been easily answered at the time of exposure. But the photographer passed on and the significance of the moment has been forgotten; the railroad was merged out of existence decades ago and the location has changed beyond recognition.
And so here I am trying to solve a mystery. Often, I can figure things out. But not always.
There maybe clues, but will they help? If you could find the location today, you might see that the double track line in the old print was reduced to single iron and the old station was bulldozed years ago, the mills in the distance are now the site of a shopping plaza, and trees have grown up everywhere.
My late-friend Robert A. Buck was a stickler for captioning photographs. Time, date, location, train number, engine number and class, engineer’s name, and so on.
A captioned photograph is vastly more useful, more valuable, and more relevant than an uncaptioned print. Never assume that the viewer, or even the photographer himself/herself will remember the details. The passage of time tends to blur those things that once seemed obvious.
Here we have a wee bit of information. CV is for Cumberland Valley (not Central Vermont). The locomotive is a PRR Class H6b, engine number 101. A quick search of a PRR roster will reveal details about the engine. Also, we know it was exposed on February 8 or August 2, but the exact year is unknown. The men in the photo are obviously the crew, and knowledge of their uniforms and tools will give you an ideas as to their positions and roles; Engineer, Conductor, Fireman, Brakeman flagman, etc. But who are they? Where are we? Why? Who was the photographer? What was the significance of this image at the time? Mysteries, so far as I’m concerned.
A solution for future photos: take the time to write information on the images photos you make. If you caught something special, explain in detail. Never assume.
Be sure to include specifics regarding locations. Avoid potentially cryptic abbreviations.
Don’t make things up! Try to be as accurate as possible without wildly speculating as to important details such as date and location.
Don’t wait until you have 100,000 photographs that span 25 years to begin your task.
We know that this is a Hoosac Tunnel & Wilmington railcar and trailer. It looks relatively new and the numbers are displayed, so a search of rosters will reveal builder information and possible disposition. All other information is a mystery (there’s nothing on my print, not even the photographer’s name.) The photo is from my collection. Again I can speculate as to the year, location, etc.,, but that’s not my point. I’m not trying to solve this mystery, but rather offer an example of how a little bit of information in the form of a caption on the print would have gone a long way. Yet, what makes this photo fascinating to me is that its a rare example of a four-wheeled passenger vehicle built in the 20th century for an American railroad!
Beware: some time ago, an archivist told me that un-labeled photo collections are considered to be of low value to the historian. (His words were a bit stronger and involved trash receptacles).
A few final thoughts; when labeling old prints consider the type marker you use. Colored felt-tip pens are a very poor choice. For RC prints, consider a thin black permanent marker that won’t bleed, or a black ball-point pen with good action and ink that doesn’t smear. For paper prints a light pencil is a good choice, but don’t press down so hard that you damage the image area. Paste on labels are not good, eventually the glue will dry up (and fall off) and also the glue may bleed through. Digital images need captions too, but that’s a topic for another day.
More examples and more mysteries soon!
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Back in March 1984, I wandered down to Palmer with my dad’s Rolleiflex Model T loaded with Tri-X.
It was a miserable day; typical early of early Spring wet, clammy and dark.
Yet, Conrail was running trains. A westward midday freight (remember those?) was blocked at the diamond for a Central Vermont train.
Using the Rollei’s square format, I composed some interesting images. Conrail’s Boston and Albany was still a directional double-track railroad back then. This was before the modern signals and single tracking that began in 1986.
I took the negatives home and processed the negatives in the sink, as I often did in those days. I was using Microdol-X for developer. I was cheap, and my developer was rather depleted by the time I souped this roll.
The result; unacceptably thin negatives that wouldn’t print well, even when subjected to a number 4 polycontrast filter.
Poor show! These negatives were thin and very hard to print. At the time it wasn’t worth my time to mess about with them. Thankfully I saved them for more than 30 years. Despite under processing, most of the essential information necessary for an acceptible image was retained in the original negatives. This is the unmodified file.
It was a just a dark day in Palmer. Conrail in 1984 was common for me, so I sleeved the negatives, filed them away in an envelope and that was that.
Until a little while ago, when through the improved tools available to me through Lightroom, I was able to finally get the results I desired from these old photos.
A few easy adjustments in Lightroom and I was able to extract most of the detail I saw back on that March 1984 day. Now I have some suitable dramatic images from a favorite period on the railroad.
After nearly 32 years, they are looking pretty good now!
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It was exactly two years ago; on this day, January 23, 2014, I made this tightly composed portrait-view (vertically oriented) photograph of a SEPTA Silverliner IV at Overbrook, Pennsylvania.
Over the years I’ve made many photographs along the former Pennsylvania Railroad Main Line, and more than my fair share of views at Overbrook.
SEPTA’s Silverliners are common enough, so I tried something a little different. Using my Canon EOS 7D with 200mm telephoto, I composed a tight vertical image of the SEPTA train as it glided through the station.
This is the full-frame portrait oriented view as I exposed it on January 23, 2014.
Recently, the TRAINS Newswire published a story on MBTA’s Mattapan-Ashmont Trolley line warning of the possible demise of the historic PCC cars and possibly of the trolley line itself. (The ‘bus’ word was uttered!)
So, the word is out, if Mattapan-Ashmont Trolley is something you want to see, DON’T Wait.
I recalled an early visit to this line with my father on a May Sunday in 1979. This was back when former Dallas double-ended PCCs dominated operations on the line, and the cars were largely painted red to reflect their operation as an extension of the Red Line.
Today, I find it fascinating to look back on these photos. I couldn’t have anticipated back then that more than 36 years later, old PCCs would still be working the line, albeit with different cars.
This old Type 3 car caught my attention. I’d seen these on the Green Line years earlier and always want to inspect one up close.Since my 1979 visit MBTA eliminated the classic trolley shelter at Mattapan and sent many of the double-ended cars to the scrapper.
However, from strictly a photographic point of view, what is now most interesting to me is that I knew virtually nothing of the ‘rules of photography’ , other than a rudimentary understanding of how to work my father’s Weston Master III light meter and translate the settings it offered to my Leica 3A.
No one had ever told me about three-quarter angles, or where the sun was ‘supposed to be’. Front-lighting, back-lighting, and side-lighting were foreign words. I was blind as to the relative importance of foreground and background, and I didn’t known that ‘good’ photos were only made with Kodachrome, and I knew nothing about the compositional ratios of 2/3s, or any of the other stuff that later influenced my photography.
Here were trolley cars and lots of them. What’s that Green car doing back there I wondered?
Honestly, as record of the scene, my raw unfettered, uninformed approach has a great appeal to me today. Had I known those things, I may have exposed less interesting images.
What you see here are the inspired views of an enthusiastic 12-year old exposed using a Leica with a 50mm Summitar lens on Ektachrome film.
Another view of the snow plow. Too much foreground? Lighting all ‘wrong’, just pitch this one in the bin.If the cars are double-ended, why do they spin them around on a loop. I couldn’t make heads or tails of this.I might not have known what I was doing, but I was visionary. I was fascinated by the ‘heavy rail’ tracks on both sides of the trolley line. Here is evidence that Conrail was still serving the former New Haven branch as far as Milton. There’s virtually no evidence of the freight operation today, and it takes a bit of imagination to figure out where the tracks were. Notice that I didn’t allow a PCC to interfere with the scene: this was about the PFE refers!
Sometimes a review of ‘out-takes’ will reveal a few gems. This is a lesson in how the passage of time can make the commonplace more interesting.
On the morning of September 7, 1989, I spent several hours around South Norwalk, Connecticut, making photos with my Leica M2 on Kodachrome 25 slide film. My primary subject was the old New Haven Railroad and the passage of Metro-North and Amtrak trains.
Since that time, the Metropolitan series cars that once dominated Metro-North’s suburban service have been all but replaced. But back then many of these cars still had a relatively new sheen to them.
More striking have been changes to the South Norwalk station. The scene is very different. Among the changes has been construction of a large multistory parking garage, which now occupies the space to the north of the station.
Grand Central bound Metro-North train approaches South Norwalk on September 7, 1989.South Norwalk station as it appeared on the morning of September 7, 1989. Today, the scene is complete changed.Notice the sheen of the stainless steel on this Metropolitan-series electric car.A view from the street looking north toward the old New Haven electrified line.Looking toward New Haven Connecticut.
Yet, I also made a few photos of the town and passing road vehicles, which help give a flavor for South Norwalk in the late 1980s now more than a quarter century gone.
The street had its fair share of interest too.Wheels said the bus.
The best of the photos from this morning are held in a different file, and these are merely what I deemed at the time as ‘extras.’
Last week, I wrote about violating one of the cardinal rules of good railroad photography, that is aiming directly into the sun. In question were some views along the Ware River Railroad, er . . . sorry, rather the Mass-Central, as it is now known.
It may come as a shock to some readers of Tracking the Light, but this was not my first time aiming the camera toward the sun when photographing trains!
What I present here is an unusual image. Not because it is a trailing view of an Amtrak Turbotrain racing through North Chili, New York (rhymes with Dubai rather than Silly Hippie) on its way to Grand Central. (Yes, the Turbos went there back in the day). But, because I’ve opted to make a mid-morning silhouette in an unlikely way.
A thin layer of cloud had softened the morning sun. I was working with a Linhof Karden Color B 4×5 view camera fitted with a 90mm Schneider Super Angulon lens and Tri-X black and white sheet film (manufactured nearby in Rochester, New York).
Photographing moving trains with a view camera is no easy task, and on this day I had the camera firmly set up on a heavy tripod.
However, one advantage to the view camera is the ability to lift the front plane of the camera. This allowed me to keep the camera level while obtaining more sky area without causing unnecessary distortion to the train.
I’d set up the camera well in advance of the Turbotrain’s passing. Back in 1987, when I made this image there were no cell phones nor Julie to provide me with schedule updates.
Behind me was the Union Road grade crossing (long since replaced with an overpass). I had only one shot and I wanted to place the rear nose of the Turbotrain such that it didn’t intersect the trees to the right or the silhouette effect would be lost.
Another advantage of the 4×5 media is the ability to capture much greater amounts of information than possible with smaller film formats. As a result, I was able to capture superb tonality across a wide exposure range.
Unmodified scan of the original 4×5 negative. No adjustments to contrast or exposure.
Admittedly this black & white negative had always vexed me in the darkroom. However, I scanned it the other day, and using Lightroom found that the contrast manipulation I was unable to achieve chemically, was easily accomplished with digital adjustment.
Adjusted photograph, using both localized and global contrast and exposure controls.
I made this detailed telephoto view of Guilford Rail System’s former Santa Fe SD26 621 at East Deerfield yard.
The SD26 was a peculiar looking locomotive that featured a classic arched roof cab, slanted nose, with a humpbacked hood section and air reservoirs located on top.
Light and shade: By sculpting with low afternoon light, I was able to emphasize the SD26’s shapes while minimizing other elements of the scene. Notice the effects of reflections in the windows and off the cab nose.
Over the years, I made many photographs of these locomotives on the road. For me this unusual angle captures the distinctive shape of the SD26, two of which soldiered on in road-service into the mid-2000s.
One of the advantages of making a panned photograph is the ability to instantly transform a dull scene into a dynamic photograph.
I made this photograph of an eastward Amtrak train under wire on the old New Haven Railroad near New Haven, Connecticut at 9:38am on December 27, 1986.
Amtrak’s Material Handling Cars (MHCs) were some of the newest equipment on the move in 1986.
At the back of the train was a pair of relatively new Material Handling Cars, which where then allowed in high-speed service.
Rather than simply expose a flat light photo of the cars on the back of the train, I selected a slow shutter speed and kept the camera in constant motion with the train to make this panned view.
Aiding my ability to make this pan photograph was the Leica M3 camera that had a very soft shutter release. My exposure was 1/25th of a second at f5.6 on Kodachrome 25 slide film.
I’d be willing to wager that there are very few panned photos of new Amtrak MHC cars under wire!
(If you are not viewing Tracking the Light, please click on the post to see the variations from Dark to Light.)
Kodachrome was a great film but it had its failings. It’s spectral sensitivity tended to render blue too dark in relation to the other colors.
An unfortunate result of this sensitivity was that at times of high sun, when there is a greater amount of ambient blue light, Kodachrome was both less sensitive and produced an unacceptably constrasty result that over emphasize the already unflattering light of midday.
For this reason, I often put the camera away during midday, or switched to black & white.
This slide is an exception. On June 29, 1989, I photographed an eastward Conrail freight with C32-8(a model known colloquially as a ‘Camel’) passing the old Boston & Albany station at East Brookfield, Massachusetts.
The unaltered scan from the original Kodachrome 25 color slides. Owing to the time of the day, the slide is contrasty and as a result of the sensitivity curve of the film, it appears underexposed.
I have many better photographs of these unusual locomotives and superior views of the old station, both of which are now gone. Yet, I’m glad I made this slide.
For years, it remained in its yellow box as returned to me by Kodak. Although sharp, it wasn’t up to par with my slides from the time and so I’d deemed it unworthy of projection.
Today this is a pretty interesting image and through the comparative ease of digital processing, I can compensate for some of the failings of the film.
Using Lightroom, I’ve been able to adjust the contrast, exposure and color balance to make for a more acceptable image.
I’ve presented three variations: the above image is the unmodified scan (scaled for internet presentation); the other two have various levels of adjustment aimed at producing a more pleasing image.
In this variation, I made some quick adjustments to color temperature, overall exposure, while lightening the shadows.This version required more intensive work in post processing. I’ve locally adjusted shadows and highlights, while further tweaked overall exposure and made localized changes to color balance.
I love a great sunset glint opportunity. Last autumn, I revisited this spot at Green’s Farms, Connecticut with Pat Yough and George W. Kowanski.
While I exposed a number of views digitally, for this image I used my Canon EOS 3 with 100mm lens. As the train glided toward me I exposed a sequence of color slides on Fujichrome Provia 100F.
I scanned the slides using a Epson V750 Pro flatbed scanner and adjusted the TIF files in Lightroom for final presentation here.
It is imposable to anticipate how this image will looks on your individual computer screen/device, but I can say it sure looked stunning on the big screen projected by a Leica lens!
Amtrak train 88 catches the glint at Green’s Farms at 4:15pm on November 8, 2015. Provia 100F.
Sometimes small operational anomalies on a railroad will combine to benefit the photographer by opening up different angles or opportunities.
Last Wednesday, delays on Mass-Central’s northward run (owing in part to congestion at Palmer Yard that resulted in a later than usual departure) combined with operation of engine 1750 with a southward facing cab opened some different winter angles on the old Ware River Branch.
I was traveling with Bob Arnold and Paul Goewey and we made the most of the variations in winter lighting along the route.
As I mentioned in an earlier post, over the last three decades, I’ve made many photos along this line. So, I’m always keen to find new viewpoints of this operation.
Low clear sun in January makes for rich colors and wonderful contrast, but also posed problems caused by long shadows.
It is true that carefully placed shadows can augment a scene, but random hard shadows too often do little more than add distractions and disrupt a composition.
Below are a few of the more successful angles I exposed on this southward trip.
Three-quarter lighting at South Barre, allowed for nice illumination of the railroad’s logo on the side of GP38-2 1750, while showing the old Mill that is now home to the Wildwood Reload. Exposed with my FujiFilm X-T1 with 18-135mm lens.Beautiful afternoon light near Barre Plains makes for great contrast that brings out the texture in the foreground grasses. Exposed with a FujiFilm X-T1 digital camera.I could make this view of the old Mills at Hardwick any day of the week, and I’ve been meaning to drive up one of these days to make the most of the light. So as I was walking into position to make my set on the far side of the Ware River at Gilbertville (featured below, I exposed this view with my 12mm Zeiss Touit. The old Boston & Maine line that ran parallel to the B&A Ware River Branch had run behind these mills. The tracks were lifted in the 1930s, although the Hardwick station survives. Mass-Central’s present line is behind me.The sun had swung around at Gilbertville, so we tried this angle to feature the buildings alongside the tracks. I’ve cropped this 12mm view to eliminate the harsh shadows in the foreground.Must all railroad photos be serious? Mass-Central’s crew are friendly, so we gave them a passing wave. I was multitasking, by waving and photographing at the same time. Photo exposed with my Zeiss 12mm Touit.A telephoto view south of the Church Street crossing Ware off State Route 32. Exposed with my 18-135mm lens set at 135mm.Same location as above but with a wide-angle setting on my zoom lens to take in the Ware River Valley. At one time B&M’s line was located on the opposite side of this narrow valley.Afternoon lighting at Ware made for some nice texture on the old coal sheds along the Boston & Albany. In summer these tend to be obscured by foliage.South Street in Ware was lit nicely. This is the same location (albeit from a different angle) featured on Tracking the Light on Thursday January 7, 2016. In those earlier images I was standing in St. Mary’s Cemetery. See: Mass-Central on Ware Hill; Boston & Albany’s Ware River Branch in a Modern Context. (link below).
Sometimes the shadows conspire against making the desired view of the train. By the time Mass-Central arrived at Thorndike, the shadows had covered the tracks. Oh well, a challenge for another day.
Not happy with these? I’ll try again on another day when the freight runs a bit earlier, or in a softer day, when there are no harsh shadows.
Tracking the Light explores new angles; New Posts Daily!
Someone once said, ‘never photograph by aiming directly into the midday sun’. And, this advice has been melded into the cardinal rules of good railway photography.
The other day, while photographing along Mass-Central’s former Boston & Albany Ware River Branch at Gilbertville, I opted to violate this basic premise of good photography.
Three considerations;
Over the years (35 of them) I’ve exposed a great many images of the Mass-Central on its former B&A branch. (A fair few of these images, I feel are indeed quite good, and perhaps border the category of ‘above average’.) So, if I end up making a bad photo (or two), who cares?
My 12mm Zeiss Touit lens is an unusual piece of equipment. Owing to the nature of its design and exceptional high quality glass, I can make photos that frankly wouldn’t work so well with more conventional equipment.
By selecting a very small aperture (f22), I can create a sunburst effect in a clear polarized sky while continuing to retain shadow detail.
By selecting a small aperture and carefully exposusing manually by close attention to the camera’s histogram, I’ve optimized the digital sensors data capture. Essentially, I’ve attempted to retain some detail in the shadow areas while controlling the highlights. The use of a very small aperture (f22) creates the sunburst effect. This would be far less effective with this lens set (for example) at f5.6.Another tip: to help reduce the exposure of highlights (bright areas) I’ve taken advantage of a high wispy cloud that muted the direct effects of the sun. Exposed with a 12mm Zeiss Touit lens on a FujiFilm X-T1 digital camera. This is a camera produced Jpg, unaltered except for scaling necessary for internet presentation.An extreme lighting situation. Another effect of using a very wide-angle lens set with a very small aperture is tremendous depth of field (the relative focus between near and far objects in the photo). A jet contrail help diffused the light. I’ve also made a very nominal global contrast adjustment to lighten the shadow areas. In this instance, I have not applied any external filters.
So, are these photos good? Will I be fined by the aesthetics police? That’s up to you to decide!
But, honestly, what else would you have me do with a northward train coming directly out of the midday sun? I could have made no photos, but that wouldn’t make for a very interesting post, now would it?
Winter is an excellent time to photograph Mass-Central former Boston & Albany Ware River Branch.
The lack of foliage and a dearth of heavy underbrush opens up angles for photography obscured during the warmer months.
My challenge is to find new views on this railroad that I’ve often documented over the last 35 years.
On Monday, January 4, 2016, I made these views of the southward Mass-Central freight descending Ware Hill on its return run to Palmer.
Here I present two of the sequence of images. Compositionally, I feel the first image works better as it allows the eye to wander from the locomotive at right to the other subjects. The second image places too much emphasis on the left side.
Mass-Central 1750 leads the railroad’s southward freight near South Street in Ware, Massachusetts on January 4, 2016. Color temperature and contrast adjusted in post-processing, notably with the addition of a ‘graduated filter’ setting over the sky area to improve detail. (Note, this is not a true external graduated filter, as will be detailed in later posts.)Color temperature and contrast adjusted in post-processing, notably with the addition of a ‘graduated filter’ setting over the sky area to improve detail. (Note, this is not a true external graduated filter, as will be detailed in later posts.) Both images exposed with a FujiFilm X-T1 digital camera with Zeiss 12mm Touit lens.
Which do you prefer?
Tracking the Light Explores Photographic Technique Daily!
It was rare glorious sunny day back in September 2015. Irish Rail had a full complement of trains on the move. Catching clean 071 class diesel 077 with the second IWT Liner was a bonus.
I exposed these photos along the Dublin-Cork line at Hazelhatch (about ten miles southwest of Dublin). Special thanks to John Cleary, who advised me on the day’s program, provided road-based transport and suggested some angles.
Down Irish Rail InterCity Railcar at Hazelhatch. FujiFilm X-T1 photo.
Photos by the rules:
Sunny day; tick!
Sun at least 30 degrees above the horizon and over right shoulder and positioned for evenly-lit three-quarter view; tick!
Rolling stock nearly free from shadows; tick!
Polls and wires minimized; tick!
View of railway wheels; tick!
shutter speed fast enough to stop the action; tick!
Trees and fences safely in the distance; tick!
Bonus qualifications: nominal elevation, clearly identifiable location and clean equipment.
Points subtracted: zoom lens used instead a prime ‘standard lens’. Digital used instead of film. Colour used instead of black & white. Evidence of people in some of the photos (minus two points, Tsk!)
Everyday Tracking the Light presents new material (qualified and otherwise).
Are these elements insidious intrusions or compositional aids?
The other day I was inspecting a nature photography magazine. Each and every photograph featured a stunning landscape free from the hand of man. Waterfalls and luscious skyscapes, arctic views and verdant forests.
Nowhere were there poles, wires, or tarmac roads. This magazine had portrayed a world free from industry, electricity, commerce, and railways!
Fear not good citizen! Tracking the Light will fill these photographic omissions!
Take for example these images of Pan Am Railways/Norfolk Southern’s intermodal train symbol 22K, photographed in November 2015 near its Ayer, Massachusetts terminal.
Intermodal train 22K at Ayer, Massachusetts in November 2015. Lumix LX7 photo.
A ruinous landscape? Just imagine this scene free from roads, wires, and the hand of man. What would be left to photograph?
Here’s a similar view of Pan Am Railways/Norfolk Southern symbol freight 22K at Ayer. Exposed with my Fuji X-T1 digital camera.
I arrived at Bernardsville, New Jersey on bright December afternoon. I’d never explored this station on the ground before, although I’d traveled through it on various occasions by train.
In the early 1980s, my father and I made several trips to the old Lackawanna Gladstone Branch to photograph the ancient former Lackawanna electrics that still prowled the line.
On my recent visit, NJ Transit’s stainless steel multiple units (known as Jersey Arrows) were the order of the day.
Exposed in December 2016 using a FujiFilm XT-1 digital camera.The use of a zoom lens allowed me to make a variety of photographs in rapid succession of the same train as it paused for its station stop.I like the effect of the dark shadow in the foreground on this view.As the engineer released the brakes, I exposed this telephoto close-up.
These cars are hardly new and now are on the wane, and so well worthy of photography. On recent trip on the North Jersey Coast Line, I passed a scrap yard full of the remains of these old cars.
Remember, equipment that once new will someday be retired.
Gardner, Massachusetts, exposed on December 15, 2015 with a FujiFilm X-T1 digital camera.
I exposed these views of Pan Am Southern symbol freight 28N at Gardner, Massachusetts on the old Boston & Maine Fitchburg mainline.
Dark Clouds on the Horizon.
Heavy wintery clouds were rolling in from the west, yet a few shafts of sun remained. The contrast between the bright sun and billowing churning clouds allowed for dramatic lighting; ‘storm light’.
Gardner, Massachusetts, exposed on December 15, 2015 with a FujiFilm X-T1 digital camera.
I was traveling with Bob Arnold and Paul Goewey. Our bonus on this day was catching one of Norfolk Southern’s recently acquired former Union Pacific SD90MACs (a large General Motors model, built to accommodate a 6,000 hp diesel, but in this case powered by GM’s more reliable 16-710 engine with a more conservative rating).
Pan Am’s 28N is a autorack train that drops cars at Gardner and Ayer, Massachusetts. At Gardner Providence & Worcester interchanges, and often P&W’s WOGR (Worcester-Gardner) arrived about the same time as an eastward Pan Am freight.
Gardner, Massachusetts, exposed on December 15, 2015 with a FujiFilm X-T1 digital camera.
By the time the P&W arrived at Gardner, the dramatic light had faded, yet the sky was still full of texture.
My photo at Shirley offers the hope of safe journey in 2016, but also a reminder to photographers that 2016 will see the decommissioning of many old signals such as these old General Railway Signal searchlights.
How many more days will these old signals serve as intended?
Tracking the Light has been Posting Daily since 2013!
(only see one sunrise photo? click thislink to view Tracking the Light’s site.)
Looking forward to 2016: I’ve decided to usher in the New Year with a collection of sunrise views that I’ve made over the years.
Sunrise is one of the best times to make photos as the light is low, colorful and dramatic. Sunrise is always varied.
Also, I’d like to dispel a myth that I’m never up early. 😉
Of these varied views, which do you like the most?
Sunrise, Dublin. Lumix LX7 photo.Sunrise, San Francisco, exposed with a Nikon F3T on Fujichrome slide film in 2009.NJ Jersey Transit sunrise at Matawan, New Jersey in December 2015. Lumix LX7 photo.Sunrise, CP83 Palmer, Massachusetts October 25, 2009. Lumix LX3 photo.Sunrise, West Warren, Massachusetts, November 2015. Lumix LX7 photograph.Sunrise near Oulu, Finland, July 2015. FujiFilm X-T1 digital camera.Boston & Albany sunrise, Tennyville, Palmer, Massachusetts, December 2015. FujiFilm X-T1 digital photo.1990s smoky sunrise at Solitude, Utah.Sunrise at Newark, New Jersey, December 2015. Lumix LX7 photo.Another Palmer sunrise. Sometime, before today.
Of these two photos, which do you like best? (only see one photo? click on Tracking the Light for the full post).
As the years ends, I’ve drawn on two clichés; reflection and sunset.
A couple of weeks ago, I exposed both of these images using my Lumix LX7 on the Black River & Western.
Reflect back over the last year? Did you make memorable photographs?
Steam locomotive number 60 reflects in the windows of doodlebug M-55 at Ringoes, New Jersey. Lumix LX7 photo.Sunset symbolizes the end of the day, but also the beginning of night. It is when light is in transition.
For my sunset image of Black River & Western 2-8-0 number 60, I show a dual transition; the fading light of day is one; the other is the conceptual juxtaposition of the antique world of the steam locomotive with the modern world of tarmac roads, uninspired modern architecture and a proliferation of wires.
