I made these views of a CSX freight operating on the former Reading Company in Philadelphia. My vantage point was from the sidewalk on the road bridge near the Strawberry Mansion Bridge over the Schuylkill.
The day was bright, but partially overcast, which benefitted my photography since bright sun would have resulted in a difficult and unflattering high-contrast situation.
This northward freight was moving slowly, allowing me to work with two digital cameras and expose a series of images as it went by.
A side-benefit for me of transatlantic jet lag is that I’m wide awake for sunrise.
The other day, I drove to Stafford Springs, Connecticut as the sun was rising.
Typically New England Central 608 passes the village between 7 and 730 am. On this day it appeared about 724 am.
Working with my FujiFilm XT1 with 12mm Zeiss Tuoit lens, I made a series of images of the freight passing.
I carefully exposed my RAW files to retain some sky detail, intending to adjust exposure, contrast and color in post processing.
It would be fallacious to suggest that the RAW file represents reality. It doesn’t.
It is important to understand that the camera RAW file is an equivalent of a ‘negative’ in film photography. The RAW file simply represents the raw data as captured by the camera sensor. This data requires interpretation to produce an image that resembled what the human brain perceives.
I made a series of small adjustments to highlights, shadows, color temperature, and color balance, while working with masks in the sky to control detail and color.
My only regret is that my graduated neutral density filters were still packed away in my luggage, as these would have been useful in this situation by allowing for improved sky detail by effectively selective expanding the dynamic capture of the sensor.
I’ve included both the RAW file (scaled for internet) and my interpreted post-processed JPG. To give hints as to what I’ve done, I’ve also included screen shots of the Lightroom work windows.
The other evening I arrived at Trenton, New Jersey on board Amtrak train 55 the Vermonter.
The blue glow of dusk prevailed. That moment between daylight and evening when the hue of the light adds a extra atmosphere to photographs.
That is of course, unless your camera has its ‘auto white balance’ set, which will neutralize the color and make for blander, duller images.
To avoid this problem, I set my white balance to ‘daylight’, which forces the camera to interpret the bluer light more or less as I see it.
These images were exposed using my Panasonic Lumix LX7 in ‘Vivid’ mode at ISO 200.
Other than scaling the in-camera Jpgs for internet presentation, I’ve not made changes to the appearance of these photos in Post Processing; color balance, color temperature, contrast, exposure and sharpness were not altered during post processing.
These days most of CSX’s scheduled through car-load freights tend to traverse the east end of the old Boston & Albany during darkness.
True, there’s a couple of intermodal trains, and Amtrak’s Lake Shore Limited during the day, but if you want to see an old-school freight train in daylight you’ll have a long wait.
Early in the morning of June 23, 2017, I went over to CP83 (control point 83 miles from South Station) on spec to see if I could catch some freight on the move.
I have a sixth sense or really good hearing (or both), because I stepped out of the car, and I could hear a distant freight with GE diesels laboring toward Palmer.
I fitted my FujiFilm X-T1 with my fast (f2.0) 90mm lens and walked up to the South Main Street bridge, where I’ve made hundreds of photos over the years.
As the train approached, I realized that it wasn’t an intermodal train, as I expected, but a carload freight. It was CSX’s Q422 (Selkirk, New York to Worcester, Massachusetts).
At 5:29am I made these photos with my camera set to ISO 800, f2.2 1/250 second handheld. The ability to raise the ISO to a faster (more sensitive) setting combined with my fast telephoto lens allows for photos like this one.
In my old Kodachrome 25 days, my exposure with my Nikon F3 and f2.8 135mm lens (offering an equivalent focal length to the 90mm with the small sensor on the X-T1) would have been: f3.5 at ¼ second. The resulting image of this moving train would have been dramatically different.
For the discerning photographer, summer midday high-light presents difficulties with contrast and deep shadows.
In my Kodachrome days, I’d put the camera away from 10 am to after 2 pm during June-July. Kodachrome’s palate and contrast didn’t work with midday high-light and the slides would suffer from inky shadows, exceptionally harsh contrast, and bleached highlights.
Using digital photography and post processing, I can overcome some of the difficulties presented by summer high sun by adjusting color temperature and carefully controlling highlight and shadow detail.
Another tool is the external graduated neutral density filter. By attaching one of these filters to the front of the lens, I can darken the sky to better hold highlight detail and color saturation, while lightening the lower portions of the image area to make for a better balanced exposure and increasing the relative amount of data captured.
Final adjustment is still required in post processing to lighten shadows.
Thursday morning on my way to breakfast, I made this photo of Irish Rail’s IWT Liner (Dublin to Ballina) passing Islandbridge Junction.
I timed my visit well and so only waited a few minutes for the freight to pass.
I’ve often photographed the IWT at this location, so this was really just an exercise.
Soft morning clouds made for some pleasant lighting, but also a post-processing quandary.
My FujiFilm XT1 allows me to simultaneously expose a Camera RAW file and a camera interpreted JPG. Among the features of the Fuji cameras is the ability to select a film-like colour profile for the Jpg.
In this instance I’ve opted for the Velvia profile, which closely emulates the colour and contrast of this popular slide film.
Another colour adjustment is the white balance control. In this situation I selected ‘auto white balance’, which means the camera interprets the color temperature.
When I processed the photos, I wanted to see if I could improve upon the camera JPG by making subtle changes to the Camera RAW file (which has ten times more information imbedded in it than the Jpg, but serves in the same role as a ‘negative’ and is intended for adjustment rather than uninterpreted presentation).
Below are three images; the a JPG from the unmodified Camera RAW, Camera created JPG, and my interpretation of the Camera RAW file.
Incidentally, by using Lightroom, I can make adjustments to the RAW files without permanently changing the original data. This is very important since it would be a mistake to modify the original file. That would be like adding colour dyes or bleach to your original slide to ‘improve’ the result.