I had a few minutes on Tuesday night. Amtrak Keystone 649 was running behind the advertised, while eastward Keystone 656 was less that 20 minutes away.
Icy snow covered the ground, limiting where I could safely park, so I pulled into Bird-in-Hand, Pa. Here, I set up my 3Pod Tripod with Nikon Z6-III, and thenas the two trains passed just a couple of minutes apart, I exposed this series of high ISO photos.
These photos made for an ideal addition to my class on Railroad Night Photography, held last night at the Railroad Museum of PA.
In addition to my short slide show, the museum was open to students who were free to wander the exhibits and make images in comparative darkness.
Tracking the Light Explores Nocturnal Rail Photography!
Urban artificial light offers endless opportunities for railroad night photos, but working successfully with man-made light sources comes with challenges.
I admit, I’m drawn to artificial light like a wayward moth.
I see the ghastly glow of street lights as a way to make interesting rail-images.
Digital photography makes working with artificial light much easier than it was with slide film. Automatic white balance settings enable accurate color control without requiring a color temperature meter and filter packs. In-camera exposure histograms and instantaneous results allows us to set and check exposures on-site. Digital processing allow for noise reduction, contrast control, and the ability to adjust highlights and shadows to maximize detail and manipulate ‘mood’.
In January 2014, I made this photograph looking down on Philadelphia’s 30th Street Station locomotive storage tracks. To keep my Lumix LX3 steady, I positioned the camera on small pocket tripod that I carried in my camera bag just for such occasions. I used the camera’s self-timer to minimize vibration.
The other day, I located the original RW2 RAW file on a backup hard drive and converted the image to an DNG file using PureRaw, a program that I’ve been using to improve my night photos. The details of this improved interpretation are subtle, some of which is lost in presentation here owing to image compression imposed by the Word Press hosting site.
In addition to PureRaw contrast improvement and lens defect reduction, I made a some changes to contrast, exposure, and level using Adobe Lightroom.
Scaled file directly from the unprocessed RW-2 RAW file. This is without correction or cosmetic change. Exposed at f2.5 1/3 second, auto white balance at ISO 80 using a Lumix LX3.JPG scaled from converted DNG file without cosmetic conversions. Exposed at f2.5 1/3 second, auto white balance at ISO 80 using a Lumix LX3.This is the same PureRaw processed DNG file following adjustments to contrast, highlights and shadow areas plus level corrections using Adobe Lightroom. Note the improved level of detail in the shadows.
It was frosty and cold at Christiana, Pa. when I set up my 3Pod tripod and composed this image. Amtrak Keystone 656 was just a couple of minutes away.
I had the Z6-III with the ‘Fast Fifty’ set at f1.4, which offers shallow depth of field. I focused on the ‘Christiana’ sign, which put the foreground in perfect focus and set off the background. The lead locomotive blurred a little as it entered my frame.
The resulting effect looks like a model railroad diorama.
I wonder if I’d exposed the photo just a little later if that might have improved the composition, or blocked the background buildings in such a way as to spoil the model railroad appearance.
Tracking the Light explores railroad compositions with an open eye!
I wanted to feature three subjects: the old Pennsylvania Railroad station structure, the passing Keystone with Metroliner cab car leading), and the shiny new Subaru.
I faced some difficulties. There was a narrow shaft of light illuminating an area immediately beyond the station that was needed to light up the cab car. I was positioned on a old sidewalk which offered some elevation, but I’d reached its end, and so I couldn’t effectively back up any further without losing the elevation necessary to make the photo work.
Also, I only had my ‘Fast Fifty’ (50mm) lens, which restricted my ability to adjust the field of view, and I hoped to feature both the station and the automobile in their entirety, which limited space to the left of the building.
While I managed to capture all the essential focus points all in one image, my compostion is unbalanced and the front of the train is very close to the left side of the frame. Further complicating matters, the brighter illumination on the right-hand side of the station has the effect of drawing the eye to the right, away from the other central elements of the image.
Surprise! Gliding toward Harrisburg in the morning light west of the curves at Gap, Pa., was this unusual Amtrak extra.
To the untrained eye, this might seem like little more than a short keystone consist.
In fact, it was ACS-64 633 leading the track and catenary geometry test train. A special treat was Amfleet car 85999, dressed in the as-built 1970s-era paint. This curiosity of a half century ago was the former exhibit train cafe car. In the middle is a former Metroliner car 10005, followed by the Corridor Clipper car 10002 at the back.
Years ago, Conrail routinely assigned B23-7 1933 to its track geometry train. I wonder if Amtrak’s assignment of its 633 is a tribute to Conrail’s train, or if that was just a raw coincidence.
Conrail will celebrate it’s 50th anniversary in just a few more months.
As Amtrak Keystone 667 glided through Gap, I made a series of night photos aiming to stop the action and capture the pouring rain.
To do this, I used my Nikon Z6-III with ‘Fast Fifty’ and the ISO sensitivity racked up to 64,000. This resulted in a very noisy NEF RAW file. I imported the NEF file into PureRaw and processed the image to reduce noise and correct for other lens defects before converting the image into DNG file for final cosmetic adjustment using Lightroom.
The sequence below shows the series of changes during this transformation, including the final processed image.
This is scaled image was made directly from the original NEF RAW file without noise reduction or cosmetic processing. Computer screen shot of the PureRaw review window; the original NEF RAW image is at the left, the PureRaw conversion is at the right.Full frame image following PureRaw corrections and noise reduction before cosmetic adjustments.Lightroom work window showing correction sliders affecting contrast and exposure.Final scaled image following PureRaw and Lightroom adjustments. Notice that the noise in the sky has been minimized while retaining the effect of the falling raindrops.
Tracking the Light Shares Night Photography Technique!
The other night an unusually high dew point made for some interesting effects including a fine ground mist.
We had paused near Shelley Drive to watch Amtrak’s westward Keystone pass. This was in the common configuration with a former Metroliner cab control car at the leading end and an ACS-64 electric propelling the train from the rear.
The engine rolled by, its pantograph wire-contact resulted in a series of zaps (sparks) caused by electrical arcing.
Kris said, ‘Wow did you catch the sparks?’
Upon review, I saw that one of my images had recorded the flash as the engine trailed by.
In this photo you can see the arcing from the pantograph. Notice the reflection of the flash on the top of the locomotive.
In the dark of a winter’s evening, I worked with my Nikon Z6-III fitted to a 3pod tripod to compose a scene near Amtrak’s Harrisburg Line—the former PRR electrified route connecting Philadelphia with the state capital.
Amtrak Keystone 645 had departed Parkesburg, Pa., and was only minutes away.
My challenge was trying to focus the camera in the inky blackness. I don’t trust the camera’s autofocus system in extremely low light, because I’ve found it has a tendency to ‘hunt’ if the the light changes suddenly, which can result in a photo that is completely out of focus.
Luckily, one of the features of the Nikon Z cameras is the ability to enlarge the scene in the view finder which makes it easier to focus manually.
By the time the headlights of the westward train began to illuminate the scene I was all set. As the train approach and passed me, I made this sequence of trailing images (the train was moving away from me) with the camera set to ISO 64000. I processed the NEF RAW files with DxO PureRaw to eliminate noise and correct for lens imperfections.
Tracking the Light explores railroad photography at night!
A few years ago, Amtrak introduced its ‘Phase VII’ paint scheme that features two-tone blue/navy body with a bold red, white and navy nose section. As applied to the common P42 Genesis diesels this represents a pleasant and colorful contrast to the old ‘Phase V’ scheme that had predominated for the last two-decades.
In recent months, several of these repainted locomotives have made an appearance on Amtrak’s Pennsylvanian (New York-Pittsburgh) which have made for photographic opportunity.
Toward the end of October, I caught Train 42 (eastward Pennsylvania) winding through the curves at Gap, Pa., with engine 112 in the lead.
I find it fascinating to see these relatively old locomotives dressed in a modern scheme. It is approaching 33 years since the Genesis body style came on the scene with the 800-call P40, and many of the P42s are now approaching 30 years years of service.
Nikon Z7-II with 70-200mm lens set at 200mm.Nikon Z7-II with 70-200mm lens set at 200mm.
Working with little more than the light of full moon and street lights, I made these nocturnal late autumn images at Christiana, Pa.,
Years ago, I never could have imagine making action photos by moonlight! These images were test of the Nikon Z6-III with a ‘fast fifty’ (f1.4 50mm).
All were exposed with the camera on a 3Pod tripod.
In fact, the action photos could have been made without the aid of a tripod. I guess its just a habit to use a tripod after dark.
Below are several pairs of photos to compare before and after processing using DxO PureRaw to de-noise and correct for lens aberrations.
Nikon Z6-III with 50mm f1.4 set at f1.4 1/125th second at 64000 ISO; NEF RAW file.Same file as above following PureRaw conversion to de-noise and correct lens aberrations; Nikon Z6-III with 50mm f1.4 set at f1.4 1/125th second at 64000 ISO.Nikon Z6-III with 50mm f1.4 set at f1.4 1/125th second at 64000 ISO; NEF RAW file.Same file as above following PureRaw conversion to de-noise and correct lens aberrations; Nikon Z6-III with 50mm f1.4 set at f1.4 1/125th second at 64000 ISO.Nikon Z6-III with 50mm f1.4 set at f1.4 1/125th second at 64000 ISO; NEF RAW file.Same file as above following PureRaw conversion to de-noise and correct lens aberrations; Nikon Z6-III with 50mm f1.4 set at f1.4 1/125th second at 64000 ISO.Nikon Z6-III with 50mm f1.4 set at f1.4 1/125th second at 64000 ISO; NEF RAW file.Same file as above following PureRaw conversion to de-noise and correct lens aberrations; Nikon Z6-III with 50mm f1.4 set at f1.4 1/125th second at 64000 ISO.
A few weeks back I tried to freeze Amtrak’s passing at Bird-in-Hand in the gloom of evening, only to be disappointed by my inability to use a fast enough shutter speed.
Fast forward to Thursday night: with a Nikon Z6-III firmly fixed to my 3Pod tripod, I was fiddling with the focus with a Nikkor f1.4 50mm when the rails lit up with an approaching train.
My first few frames were not sharp enough, but the last couple showing the trailing ACS-64 on a westward Amtrak Keystone met with my satisfaction.
A full moon lit up the sky and a street light cast enough light on the passing train; this, combined with a 64000 ISO sensitivity setting, enabled me to use 1/200th of a second shutter speed with the 50mm at its widest opening (f1.4).
I processed the NEF RAW file using DxO PureRaw to de-noise the effects of high-ISO and correct lens defects.
A textured autumnal sky made for a painted setting. Knowing the light could change in a heartbeat, I checked the progress of Amtrak train 656 (an eastward Keystone service).
It had departed Lancaster, Pa., and was heading my way. Would the color in the sky hold?
In a matter of moments the rails in the distance glistened from the blue-white LED headlights of an ACS-64.
And there it was!
Captured with my Nikon Z6; f4.0, 1/1250th second, ISO 1600.
Over the last month, Amtrak’s Pennsylvanian (New York-Philadelphia-Pittsburgh) has regularly sported a GE P42 diesel in heritage paint.
I’ve been fond of catching locomotive 130, which wears the so-deemed “Phase 2” scheme—reminiscent of Amtrak’s F40PH diesels and E60 electrics in the 1970s.
Using a Nikon Z mirror-less camera, I made these photos of Train 43 as it worked westbound along the former Pennsylvania Railroad near Lancaster, Pa..
Amtrak Keystone 656 was due eastbound on its way from Harrisburg.
I set up at the old Pennsylvania Railroad freight house, now maintained by Lancaster Chapter NRHS that includes a trackside deck well-suited for watching trains.
I aimed to include this historic building in my composition.
As the train came into view, I exposed a burst of images, then turned to make a going away view and was pleasantly surprised to see the Phase VII painted former Metroliner cab control car at the back of the train.
The 1960s-era Metroliner cars are some of the last vestiges of the Pennsylvania Railroad still on the role in Pennsylvania.
During midday, Amtrak 42 and 43—the eastward and westward Pennsylvanians—pass Lancaster within a few minutes of each other. Unlike the electric Keystone services these trains are diesel-hauled.
Shelley Lane abuts the railroad and makes for classic location to rollby trains.
I made these views with a 24-70mm lens set to its 24mm wide angle wtih a 1/2000th of second shutter speed as train 43 worked west in early afternoon with a classic P42 Genesis diesel leading.
I think, it would have been neat to stand here 60 years earlier to catch a Pennsylvania Railroad GG1 passing at speed with tuscan red passenger cars in tow.
One of these day’s I hope to time a rolling meet here. So far, I’ve come very close.
Tracking the Light Posts explores railroad photography.
As the days get shorter, the window of light is closing on Bird-in-Hand as a choice afternoon/evening location.
Kris and I had gone for ice cream in Leola, and on our way home we diverted to Bird-in-Hand to roll by Amtrak Keystone 656, where I’d envisioned a trailing view of the train.
After a remarkably short wait, the rails began to sing. I gazed west in anticipation and spotted . . . a blue locomotive in the lead!
It was Amtrak ACS-64 621 advertising Crayola Crayons! (Again).
I wasn’t expecting that! You never know what surprise will come around the bend.
I’d set my Nikon Z7-II for a 1/2500th of second, and I needed the shutter speed to stop the action.
I know its been lurking out there for a few weeks. And I thought a bit of patience might reward me with a prize.
Send to me Amtrak 9635!
Here’s the back story: Amtrak had painted former Pennsylvania Railroad Metroliner cab control car 9635 in the latest Phase VII paint, and I find it fascinating that one of the oldest active cars in the fleet received the newest paint. It reminds me of when Conrail painted GG1 4800, built in 1934, in Conrail blue (after briefly dressing it in bi-centennial paint). I believe it was the only GG1 to receive Conrail blue paint. In 1981, I saw it at the Railroad Museum of Pennsylvania (and photographed it on black & white film). As a result, I was eager to see 9635 in its fresh dress. (Just in case something happens.)
A few weeks ago my friend Dan Cupper caught it near Harrisburg, and I’ve been hoping to see it ever since.
Tuesday evening, I had about an hour and half free, and I intercepted four Keystones: two west and two east. I made the most of each but no 9635.
Not a problem, I still made the most of each passing train. But the quest continues!
Amtrak Keystone 649at Shelley Drive in Lancaster, Pa,Amtrak Keystone 656 passes Atglen, Pa., eastbound.ACS-64 Number 646 works at the back of Amtrak Keystone 651 passing Atglen, Pa.Amtrak Keystone 658 just before sunset, passing Jefferson Drive in Lancaster, Pa. Exposed using a Nikon Z6 with 70-200mm Nikkor Z-series zoom.
With fading dusk in the western sky and light levels falling fast, I bumped the sensativity of my N7-II to ISO 16000.
Amtrak Keystone 653 was due and the curves at Gap, Pa., gave me both a light and speed advantage. The glimmer of color in the sky provided enough of a glow to quelle the inky blackness of night while adding just a little contrast and texture to the shadows, and a nearby street lamp threw a little light on the foreground. The curve itself has a slow order that results in Amtrak trains slowing to a more manageable speed.
As 653 came into view, I made a series of pan photos. I’ve presented the best two here. These required conversion to DNG format using PureRaw, followed by adjustments to shadows and highlights in Lightroom.
Friday evening we rolled by Amtrak westward Keystone Train 651 near Shelley Drive in Lancaster.
I’d calculated the running time from Parkesburg based on the departure listed in the ASM.transitdocs app, and it passed within 30 seconds of my estimation.
I made several photos. The leading image is a fairly straightforward view of the former Metroliner cab control car leading the consist. As the train passed, I exposed several digital images in rapid succession.
One of these trailing views made for a graphic silhouette.
Upon review, I decided to play with the NEF RAW file in Lightroom to see if I could improve the image.
Below are several variations, concluding with a converted image using PureRaw software to create a DNG file that I then adjusted in Lightroom.
Details below.
Amtrak Keystone 651 rolls west near Shelley Drive in Lancaster. ACS-64 617 works at the back of the consist.Trailing silhouette; NEF RAW file without interpretation. This straight out of the camera. File scaled as a JPG for internet presentation. NEF RAW file adjusted in Lightroom to lighten shadows, control highlightes, enhance color, and alter contrast.NEF RAW file following conversion to a DNG file using PureRaw. NEF RAW file following conversion to a DNG file with heavy-handed adjustmentin Lightroom to lighten shadows, control highlightes, enhance color, and alter contrast. Version 1. File cropped to show the primary image area.Same arrangement as above (PureRaw converted DNG, Lightroom etc). Adjustement version 2.
Last weekend, Kris and I were running some errands when I got a tip from our friend Dan Cupper that Amtrak no. 42, the eastward Pennsylvanian was led by a freshly painted Genesis P42 in the new Amtrak phase VII scheme.
This livery was introduced a few years ago on Amtrak’s Siemens Changer diesels, but those are as rare as hen’s teeth in these parts.
Kris and I stopped at Home Depot near Parkesburg, then timed our arrival at Christiana to coincide with the passage of both east and westbound Pennsylvanians.
Owing to the angle of the tracks and the nice old buildings near the line, Christiana is a choice place to catch eastbounds in the early afternoon.
I made these views of the passing train using my Nikon Z7-II.
It’s always neat to catch something in new paint. I wonder how many of the Amtrak Genesis diesels will get this treatment?
I anticipated that Amtrak’s Crayola-Blue ACS-64 621 would lead the first or second eastward Keystone from Harrisburg.
With this in mind, I arrived at Jefferson Drive in the morning to intercept the first train. For me this was a good news/bad news scenario.
The good news: although I’d cut it a bit fine, I arrived ahead of the train.
Bad news, the ambient humidity was extremely high, so as soon as I stepped out of the car my camera lens fogged. No amount of cleaning would keep it clear.
Good news: the Crayola Blue locomotive wasn’t leading.
Bad news: my photo of the first train was fogged.
Good news: Kris suggested I use the ‘Dehaze’ effects slider in Lightroom to correct for the fog, and to my surprise this trick worked very well.
Better news: I had another chance at catching Amtrak’s Crayola Blue locomotive on the move. So I drove east with the heat on in the car and the windows open. My hope was that, while uncomfortable, this might bring my camera up to temperature so that it would be less likely to fog when I got out of the car.
This is scaled, but otherwise unmodified RAW file as it came out of the camera. Although it was a bright clear morning, high humidity fogged the front element of my lens, which had the side effect of resulting in underexposure as well as reducing clarity and contrast.Kris suggested that I try Lightroom’s ‘Dehaze’ slider. This effect compensated for the undesirable effects of lens fog. Afterwards I lowered the saturation slider and lightened the image using exposure controls. It’s not perfect, but much better than the flat, soft and underexposed image that I had out of the camera.
Amtrak Keystone 653 from Philadelphia was running behind the advertised. I figured we could drive against it and catch it passing Gap, Pa.
We arrived with a few minutes to spare. I had time to set up my 3Pod Tripod and framed up a scene with a tree by the former PRR Main Line.
I exposed a couple of test photos to check exposure and focus.
Before long, I heard the squeel of steel wheels on steel rails. I made this series of time exposures. To my surprise, Amtrak ACS-64 621 wearing the Crayola-blue advertising livery was working the back of the consist.
Wow! That was neat! Trailing, eh? Hmmmm.
It did little for the photos, except add an ever so slightly blue tint to the second image in the sequence. But, I knew what I’d be after the following morning! Stay tuned . . .
When we spied the blue ACS-64, Kris smiled and said to me, ‘You’re welcome!” Wow that really was cool, even if didn’t mean much in the photo, just a fleeting hint of blue.
Hazy midday summer sun presents difficult lighting for photographing trains on the move.
The overall light quality is flat, yet shadow areas are muddy and indistinct. This especially challenging on the underside of equipment and tree leaves.
The other day at Amos Herr Park in Landisville, Pa., I photographed Amtrak’s eastward Pennsylvanian. Moments before it came into view, a small fuzzy cloud dulled the already dull light.
The simple solution to this problem is to avoid photographing in midday summer light.
In this instance, I am seeking a post-processing solution to mitigate the problem and help produce a better image.
Below is a sequence of images. The first is the scaled, but otherwise unmodfied NEF Raw file. Next is my first attempt at adjusting color, contrast and exposure in an effort to improve the overall appearance of the photo. I wasn’t satisfied with this effort, so for my next attempt I converted the image to black & white and then selectively adjusted contrast and exposure.
In the final image, I manually reintroduced color to the photo, carefully controlling saturdation and luminance for specific parts of the spectrum using the Lightroom slider controls. Although imperfect, this allowed me to control the amount and intensity of color in defined areas of the image. If it looks a bit artificial that’s because it is! This is the product my controlling AI technology to colorize the image using information stored in the original file. It is not organic or natural.
Unmodified NEF RAW file.Adjusted NEF RAW file using slider controls to modify color balance, color temperature, contrast and exposure, with a mask on the sky to make specific adjustments.File converted to monochrome and with significant adjustment to contrast and exposure.This is the product my controlling AI technology to colorize the above monochrome image using information stored in the original file.
Yesterday evening, Kris, Seamus, and I paused at Leaman Place in Paradise to roll by Amtrak Keystone 649 that was racing toward its Lancaster, Pa., station stop.
The light was perfect. Clear sky with rich low sun.
Often at Leaman Place, I’ve used a telephoto lens. But yesterday, after experimenting with several moderate focal lengths, I settled on a wideangle view made with my 24-70mm Nikkor Z-series zoom. I set the lens to 27mm. My shutter speed was 1/1600. This nicely stopped the train.
I was impressed by the freshly painted Amfleet cars in the consist. These wore Amtrak’s latest Phase VII scheme. Only after I downloaded and examined these photos did I notice that this was a short consist. Keystone trains are typcially five cars, this one was only four.
At 3:43pm on April 13, 2025, I exposed this single Ektachrome 100 color slide of Amtrak’s westward Pennsylvanian passing Underpass Lane in Mexico, Pa.
The camera was fitted with a Nikkor f2.0 35mm lens, which has long been one of my favorite lenses. I don’t use it often, but it rarely lets me down.
I scanned the slide using an LS-5000 Nikon slide scanner powered by VueScan software. Below are two versions of the same scan. The top is the scaled, but un-modified version, the second is following post processing adjustments improve appearance.
One of the challenges with the Word Press platform that presents Tracking the Light is that the photo files get compressed. This tends to minimize the subtle changes I make to files during processing. Unfortunately, I don’t have any control over this effect on the Word Press presentation.
Scan prior to post processing adjustments.Adjusted image improved using Adobe Lightroom to alter shadows, highlights, contrast, saturation and sharpness.
Number 600 is the first of Amtrak’s Siemens Mobility-built ACS-64 electrics. This was named to honor Amtrak president David L. Gunn.
I made this high-speed broadside pan of the class leader as it worked the back of a Keystone train at Atglen, Pa..
I’d set my Nikon Z7-II camera in aperture priority mode and designated the aperture setting at f3.5. This allowed the camera to select the correspodining shutter speed based on the camera’s preselected pattern metering. When I release the shutter, the shutter speed was at 1/800 of a second. (ISO was set to 200)
Owing to the speed of the train, these setting allowed for a slight blurring of the background and foreground, while my panning motion kept the locomotive crisp.
Working with the NEF RAW file, I adjusted the highlight and shadow areas in post processing. I’ve posted two versions below, one is slight brighter with lighter highlights than the other, reflecting nominal changes in post processing settings.
During the early summer, the evening sun sets north of Amtrak’s Harrisburg Line. The combination of the angle of light and pollution lingering in the western sky makes for some excellent evening glint.
We paused at our usual place at Jefferson Drive in Greenfield, east of downtown Lancaster, Pa., and here I caught Amtrak’s westward Keystone train 653 that was running just a few minutes behind the advertised time.
I made a series of NEF RAW files using my Nikon Z7-II with the 24-70mm lens set at 70mm.
Below is a comparison between post-processed files.
The top reflects the NEF RAW file before Adobe Lightroom adjustment and correction; the next is the same NEF file following Lightroom adjustments to lighten shadows, control contrast, and correct for color; the second to last photo is the same image-file converted into a DNG using PureRaw and then adjusted using Lightroom. The last image is a screenshot of the Lightroom work window of the DNG conversion following processing corrections which shows the position of Lightroom slider controls.
You tell me: can you see the difference in processing?
NEF RAW file prior to adjustment and correction.NEF RAW file following Lightroom adjustment and correction; notice the effect on shadow areas and changes to the sky.NEF RAW file converted into a DNG using PureRaw and then adjusted using LightroomAdobe Lightroom work-window showing the postions of adjustment slider controls reflecting the corrections and changes to the converted DNG file.
Kris and I were sitting on the platform enjoying dinner at Palmer, Massachusetts’ Steaming Tender restaurant when the unmistakable sound of wheels clattering across the CSX-New England Central diamond grabbed our attention.
Amtrak’s 448 wasn’t running, so what was this?
Eastward Amtrak Light engines!
This included a Cabbage painted for Downeaster service and a P42 in the new ‘Phase 7’ scheme—the first that we’ve seen.
Just one more week until my 7pm illustrated program featuring more than 6 decades of photography of Philadelphia’s Trains and Trolleys.
This will held by the Philadelphia Chapter NRHS at the Elkins Park SEPTA station on June 19th.
I will include a variety of photographs. Many of them are from mine and my father’s archives, including this December 31, 2016 view looking west on Girard Avenue.
Exposed using a FujiFilm XT1 with 18-135mm lens set to 99mm.
We paid a visit to Amos Herr Park in Landisville, Pa., which provides trails near Amtrak’s Harrisburg Line.
I made a few telephoto photographs on a sunny afternoon of Amtrak Keystone 665 as it rolled west under wire.
My favorite is the trailing view of ACS64 638 framed by trees (third photo).
The arrangement of catenary masts with single supports on the north side of the line aids photography by minimizing the number of vertical distractions.
