At 8:08 AM on April 27, 2018, New England Central 611 was on the move south from Brattleboro, Vermont.
Bright hazy sunshine made for excellent conditions for photography.
Working with my FujiFilm XT1 with 90mm telephoto, I exposed this view looking across the Connecticut River backwater south of Brattleboro yard.
To make the most of this contrasty scene, I imported the Fuji RAW file into Lightroom and made minor adjustments to highlight and shadows to improve the appearance of the image, then slightly boosted saturation to make for a more pleasing photograph.
NECR freight 611 was on the move toward Palmer, Massachusetts and a bright morning on hand, so the chase was on!
Picking the best exposure is an important part of photography.
Today with modern metering, computer guided exposure aids (program modes) and automatic lenses, most photographers don’t spend a lot of time worrying about exposure details.
It might surprise some Tracking the Light readers that in most instances I set my exposures manually, and I only use camera metering in an advisory capacity (In other words I look at the camera meter but don’t necessarily accept its advice).
While I often use my Lumix LX7 in ‘A’ mode, I routinely over-ride the camera’s exposure advice using manual controls. With my FujiFilm XT1 and Canon digital cameras (and film cameras), I almost always set my exposure manually.
Last week, working with my FujiFilm XT1 I made these views of New England Central freight 611 working south of Brattleboro, Vermont. The stunning scenic setting of the Connecticut River backwater combined with dramatic morning cross-lighting and a dark background makes for an excellent illustration of a difficult lighting situation.
Here, many camera automatic modes might grossly overexpose the scene in a misguided attempt to compensate for the dark background.
I’ve metered manually and gauged exposure using the camera’s histogram (set up to show the distribution of pixels in regards to exposure.) I’ve offered two variations here, exposed 1 full stop apart.
A ‘stop’ is a standard increment of exposure. The amount of light reaching the sensor or film doubles/halves with each change of one stop. So going from an aperture setting of f4 to f5.6 (one stop) cuts the light by half. Likewise, a shutter speed change from 1/250 to 1/500 will also cut the amount of light by half.
The darker image was exposed at f5.6 at 1/400th of a second at ISO 400; while the lighter image was exposed at f4 at 1/400th of a second at ISO 400. (In other words the only the aperture setting was changed.)
Both exposures are acceptable, but you may have a preference for one versus the other. The photos here have not been altered for density, color balance or color temperature in post processing; both are scaled versions of the camera produced JPGs.
Last week I made this digital portrait of New England Central 3476 using my FujiFilm XT1 with f2.0 90mm lens.
Soft cross lighting combined with a wide aperture made for pleasing photographic conditions to picture this engine against a backdrop of Vermont colorful autumn trees and distant New Hampshire hills.
The locomotive was working New England Central’s Brattleboro (Vermont) to Palmer (Massachusetts) turn freight, job 611, and was among many images I exposed that day.
This old EMD-built locomotive has a long history, having worked for Southern Pacific and Union Pacific before coming east to New England. I wonder if I crossed paths with it up on Donner Pass, in the Tehachapis, or on former Rio Grande lines in Colorado and Utah?
My Leica was loaded with Kodachrome 64 on December 28, 1985. I was traveling with Brandon Delaney. First we photographed Boston & Maine local freight ED-4, seen here just north of the Brattleboro yard.
Later in the day we caught road freight CPED coming down from it’s interchange with Canadian Pacific. This was a big freight led by 5 or 6 GPs and we followed it all the way to East Deerfield yard.
K64 was an excellent film, but tended to have a magenta bias, as evident in this wintery view. Also, I found that the sky tended to reproduce a bit lighter than other films. By mid-1986, I’d largely switched to K25 for my color work.
Beginning with the February 2017 issue (expected toward the end of December), I’ll be featured in a regular opinion column for Trains Magazine.
This is a new and exciting opportunity for me. With it I hope to explore a range of topics over the coming months
The idea for a regular Brian Solomon column came about as result of my conversations with Editor Jim Wrinn and Assistant Editor Brian Schmidt who were intrigued by my comparisons between European and North American railroading.
Unlike Tracking the Light, which is focused largely on photography, my Trains columns will be aimed at the railroad industry, its operations and practices.
I’ll be writing narratives that draw from my knowledge of history and technology. My hope to is to both entertain and inform, while also offering unusual perspectives on railroads.
Tracking the Light will continue to post everyday!