A visit to Irish Rail’s Carlow station on the shortest day of 2003, yielded some classic black & white photos, including these two views. The Cravens were working a scheduled service from Waterford to Dublin.
Working with a recently acquired Rollei Model T (the third such cameras I’d used over a 30 year span), I exposed a single roll of 120-size Fuji Neopan 400. The Rollei made a large square negative, which I really liked.
At the time my choice process for this film was using Agfa Rodinal Special (R09) at a ratio of 1 to 31 parts with water for about 3 mins 45 seconds. In this case I selenium toned the negatives for improved highlight detail.
Final presentation here included scanning using an Epson V750 flatbed scanner and some minor adjustments to contrast and cropping with Lightroom.
If this image seems familiar, it is because it’s been published on several occasions, first in Passenger Train Journal issue 210 in the mid-1990s.
It is among my favorite view of the San Francisco Muni light rail.
Working with my old Nikon F3T and a 200mm f4 lens, I made this photo of an in-bound L-Taraval car (worked by a 1970s-era Boeing-Vertol LRV) as it crested Ulloa Street on its way down toward West Portal in early December 1990.
The remarkable consideration is that this is a Kodachrome 25 slide. My shutter speed was about 1/60thof a second. When I lived in San Francisco, I had an un-cropped hand-printed Type R print of this scene pinned to my wall.
Gare Luxembourg is Luxembourg’s primary passenger railway hub. This impressive station hosts trains from Belgium, France and Germany as well as those from Luxeumbourg’s own railway, known by the initials CFL .
CFL is the abbreviation for the state railway undertaking;
Société Nationale des Chemins de Fer Luxembourgeois.
CFL has textbook perfect track; and from my brief experience its trains were clean and operated to time.
Gare Luxembourg is a wonderful example of classic Golden Age railway station architecture that has been tastefully modernized in the latest European styles.
Luxembourg is among the countries featured in my book; Brian Solomon’s Railway Guide to Europe. See Kalmbach Hobby Store:
The early 20thcentury pin-connected deck truss over the Millers River at its namesake Millers Falls, Massachusetts is one of my favorite places to picture New England Central freights.
On our chase of New England Central last week (Thursday April 25, 2019) photographer Mike Gardner and I arrived at Millers Falls several minutes ahead of 611 on its return run to Bellows Falls, Vermont from Palmer, Massachusetts.
We set up on the sidewalk of the Route 63 highway bridge over the river. For these views I opted for a more southerly position on the road bridge in order to feature budding trees that indicates the arrival of Spring in the Millers valley.
Working with my Lumix LX7, I exposed several digital views as the train’s leading locomotives eased over the antique spans. To me, the SD45/SD40 style locomotives seem out of proportion with the steam era bridge, which of course is half the attraction, long may it last!
See page 12 of the June 2019 TRAINS Magazine for my monthly column, where in this issue I investigate perceptions of Precision Scheduled Railroading. Read it! You might be surprised.
I illustrated my column using a photo I made in January of a tail-end DPU (radio controlled remote locomotive) working an empty coal train on Canadian Pacific’s former Milwaukee Road mainline at Duplainville, Wisconsin. I exposed this with my FujiFilm XT1 digital camera.
I also podcast twice a month on Trains: see Sound Cloud for a complete listing of episodes:
On 6 April 2019, I was working with a 1980s-vintage Nikon F3HP fitted with an even older Nikkor 24mm lens to expose this view of Irish Rail 219 in ‘push-mode’ at the back of Dublin-bound Mark4 set at Kildare
This slide was among the photographs I exposed on Fujichrome Provia 100F on an excursion to Kildare with Paul Maguire and Jay Monaghan to photograph the Waterford-Portlaoise Saturday steel train (seen in the distance at Kildare station).
I digitized the slide using an Epson Perfection V750 flatbed scanner and imported the TIF file into Lightroom for final adjustment and outputted a scaled JPG for presentation here.
Several weeks ago on Tracking the Light I published a digital view of this same train, exposed moments after I made this slide.
After photographing New England Central’s southward 611 at Three Rivers, Massachusetts, photographer Mike Gardner and I worked northward scoping photo locations, while the 611 crew swapped its southward train at Palmer for its northward consist.
(New England Central 611 is the weekday turn that runs from Brattleboro, Vermont to Palmer and back.)
We inspected angles at Cushman north of Amherst and at other locations, but settled on the open area off Depot Road in Leverett, Massachusetts near the site of the old Central Vermont station.
I opted for a low angle to feature some fresh green grass in the foreground, using my 12mm Zeiss Touit fitted to my FujiFilm XT1 using the adjustable rear panel display to hold the camera close to the ground. (No, I’m not lying on the ground).
The combination of the very wide angle lens and low viewpoint helps accentuate the size and shape of New England Central’s locomotives.
The lead locomotive began its career as an EMD SD45 with classic angled (or ‘flared’) air-intakes at the back.
Although during the course of re-building, the locomotive had its 20-cylinder 645 engine swapped for a less powerful 16-cylinder 645 diesel, the machine still has its an impressive profile.
Soon we were hot in pursuit of 611, racing northward on Route 63 to our next location.
Thursday, April 25, 2019, photographer Mike Gardner and I convened at Palmer’s Steaming Tender for lunch. Afterwards we drove northward in search of New England Central’s road freight, 611.
New England Central’s clean locomotives in parent company Genesee & Wyoming’s orange, yellow and black paint, make for handsome subjects, and a welcome change to the days when patched faded liveries of the locomotive’s various former owners predominated.
Anticipating catching 611’s northward run from Palmer, we paused at Three Rivers to check some photo locations and were surprised to hear a southward train approaching.
Lo and behold! It was 611 on its southward run.
After photographing the southward move, we continued our drive north to inspect locations . . . Stay tuned for more!
Photos exposed using my FujiFilm XT1 with 27mm pancake lens.
It was a cool, clear morning at Donabate on the old Great Northern Railway of Ireland north of Dublin, when I set up with a telephoto lens fitted to my Nikon N90S ( loaded with Fujichrome Sensia II slide film).
Irish Rail’s 2700-series diesel railcars were relatively new at the time, but weren’t the main feature of the morning. I was hoping to catch some NI Railways 80-Class that were on their way down from Belfast.
In retrospect, I’m glad I made use of the clear morning light. The 2700-series railcars were relatively short-lived in traffic, and they only operated in that attractive orange livery for a scant few years.
Some advice: take advantage of new trains in great light and make the best photos that you can, even when those trains don’t seem special to you. Over time your photos will age well.
Working with Kodachrome 25, I exposed this view of a Conrail local freight on the Water Level Route at Dunkirk, New York on March 10, 1989.
Although Kodachrome was among my favorite films, it was by no means perfect. The film tended to be unusually sensitive to aging and temperature which could affect its color balance and overall color bias.
When it was too fresh from the manufacturer the film tended toward a cyan (blue-green) bias; as it aged and/or endured storage in hot environments the film shifted toward a red/magenta bias.
This slide suffers from a cyan bias, so I made some nominal corrections using Lightroom to better balance the color for a daylight setting.
I’m not using a perfectly calibrated computer screen, so my adjustments are still less than perfect, but I feel these restore the scene to more or less how it looked to my eye on the day.
Since everyone viewing this image will see it on different screens and with different eyes, and because it is impossible to know how each screen is biased, I cannot know if my corrections will improve the image for the individual viewer or not. Such are the challenges with color photography! There is no one correct answer.
It was a damp day back in 2005, when I made this 400mm view using my recently acquired Canon EOS-3 with a rented 100-400mm Canon image stabilizer zoom l.ens
In the lead was Irish Rail 185 (known in some circles as ‘Super Bo-Bo’ which delighted observers because it was missing the cowling around the exhaust and produced more sound than others of its class).
Sugar beet was loaded at Wellingtonbridge, County Wexford and transported by rail via Waterford and Limerick Junction to a processing plant in Mallow, County Cork.
In this view, exposed west of Kilsheelan, County Tipperary, by using a long telephoto lens, I compressed the train of very short four-wheel beet wagons into a virtual snake of rolling beet.
To make for a more dramatic photograph, I used my FujiFilm XT1 with the rear-display tilted skyward, which allowed me place the camera at platform level.
The display’s heads-up detail includes exposure and a leveling information that makes it easier to set the camera and expose at arm’s length.
Standing on the platform of Portuguese Railway’s passenger station at Ovar (south of Porto on the Porto-Lisbon mainline), I made this view using a fixed focal-length (not a variable focal length zoom) 90mm telephoto. This lens and angle compresses the scene, lowers the depth of field, and owing to the relative proximity to the ground and focus on the trains minimizes the foreground.
On the evening of 26 Nov 2005, I exposed this Fujichrome slide on the platform at Mallow, County Cork.
A relatively long exposure was needed, so I mounted the camera on a Manfrotto tripod. The swirling steam leaking from Irish Rail’s Cravens carriages added to the mystique of the image.
This was a regularly scheduled train for Tralee, and toward the end of locomotive-hauled Cravens service on the Cork-Kerry runs. Not too long after this photo was made Irish Rail replaced the old steam-heated Cravens on this run with diesel railcars.
In late 2017, I got lucky and caught this heritage locomotive on several occasions, after years of it eluding me entirely.
This afternoon (April 24, 2019), thanks to a tip from my friend Paul Goewey, I caught old 156 again, albeit second unit out, on today’s westward Amtrak Lake Shore Limited (Boston section), train 449.
The view is from the bridge over the railroad and Quaboag River at West Warren, Massachusetts.
Photos exposed using my FujiFilm XT1 with 27mm pancake lens set to the Velvia color profile. Files exported from the camera as JPGs and scaled using Lightroom for internet presentation. No adjustments to contrast, color or exposure.
Working with my old Nikon F3T and an f1.8 105mm lens, I exposed this Kodachrome 25 slide of a Cal-Train ‘Commute’ departing San Francisco, seen taking the bend at 7thStreet in February 1992.
Interestingly, lately I’ve been making good use of this same camera and lens combination for exposing black & white negatives and Fuji Provia 100F color slides.
If this image seems familiar, its because back in the 1990s it appeared in various publications.
I scanned the slide this morning using a Nikon Coolscan5000 digital scanner and processed the hi-res TIF file in Lightroom to adjust color and produced a scaled file for internet presentation.
Typically, I scan Kodachrome slides at 4000 dots per inch (or higher) to maintain the high resolution of the original photographs. Since these files are in the 120-170MB range they require scaling to upload them to WordPress for presentation here.
Tracking the Light is a work in progress and publishes new material daily!
Monochrome; black & white; noir—what ever you like.
I made these views on an evening in late March at Porto’s Campanha Station using a Nikon F3 loaded with Fomapan 100 Classic film.
Negatives were processed using an dilute HC110 presoak (1-300 with water plus wetting agent) followed by ID11 1-1 69 F for 7 min 30 sec then following stop, fix and extended rinse, a final bath of selenium toner 1-0 for 7 min 30 sec and re-wash and final rinse in distilled water.
Working with a Nikon F3 with f1.4 50mm lens loaded with Fomapan 100 Classic, I exposed these portraits of some of the men working Railway Preservation Society’s 18 March 2019 trips from Dublin Connolly Station to Maynooth.
I processed the film in a non-standard way to obtain a period look while giving photos optimal tonality in a contrasty situations.
First: I pre-soaked film it in a very dilute bath of Kodak HC110 (measured 3 parts per 1000 with water, plus wetting agent) for about 7 minutes at 72 F;
Second: primary developer consisted of Ilford ID-11 1 to 1 with water at 69 F for 6 minutes;
Third: following stop bath, two fixer baths, and a thorough 10 minute rinse, I toned the negatives in a 1-9 selenium solution (outdoors to avoid breathing toxic fumes) for 8 minutes. This was followed by several rinse cycles and a final rinse in distilled water.
Negatives were scanned in colour to retain the selenium tint.