Preserved streetcars entertaining a new generation.
Connecticut Trolley Museum at Warehouse Point.An old New Orleans Perley A. Thomas car takes visitors for a spin.The 32 volt lamps are of another era.Cornstalks and a Montreal streetcar. Lumix LX7 photo.The old car hums as its DC motors gain speed. Lumix LX7 photo.A skilled hand at the throttle. Lumix LX7 photo.Do streetcars look better in black & white? I made this monochromatic view with my Lumix LX7.
Yet for me the most intriguing elements of the museum are the cars I once knew from the streets of Boston. These are tucked away toward the back of the collection.
There, awaiting for another day when they may run again, are old PCCs that once worked for Boston’s MBTA. They were among the first vehicles I ever put on film.
I remember when PCCs worked the Riverside Line. I made photos with my dad’s Leica at Newton Centre and Eliot. Lumix LX7 photo.
Hidden from public view are these old familiar picture window cars. Lumix LX7 photo.
These old PCCs are like some post apocalyptic vision of the future. Nature is cruel to paint and old metal. They remind me of rotting pumpkins.
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It was a clear bright morning and Tim Doherty and I made our annual visit to the Mattapan-Ashmont Red Line extension to photograph the PCC cars. See: MBTA Sunday October 27, 2013—Part 1.
A vintage Massachusetts Bay Transportation Authority PCC crosses Central Avenue on October 25, 2014. Exposed with a Lumix LX7.
Some of my earliest photographic efforts focused on MBTA PCCs, albeit on the Riverside Line.
These photographs were exposed digitally. Tim was working with film using a Pentax 6×7 120 roll film camera.
Approaching Cedar Grove inbound. I tried this angle last year but I wasn’t 100 percent satisfied with my result, so I tried it again. Exposed using a Canon 7D with 100mm lens. I shaded the front lens element using my note book to minimize flare.Near Cedar Grove, the first stop from the Ashmont terminal. A Red Line rapid transit car can be seen in the distance. Canon 7D with 200mm lens.Pausing for a station stop at Cedar Grove. Lumix LX7 photo.PCC cars benefit from rapid acceleration.MBTA displays its heritage at Cedar Grove. October 25, 2014. Lumix LX7 photo.The Matapan-Ashmont line was one of the earliest examples of a heavy rail to trolley conversion. This had been a New Haven Railroad line and for several years heavy rail freight service lines ran parallel to the trolley line. Today the railroad right of way is a rail trail. The trolley line fly-over crosses the old railroad in the distance. Exposed from the platforms at Butler.
Clear blue skies south of Boston. Lumix LX7 photo.Lumix LX7 photo. Contrast adjusted in post processing.
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A few years ago, Irish Rail rebuilt its Youghal Branch between Cobh Junction and Midleton. After decades of inactivity, this route now enjoys a regular interval passenger service. I find it fascinating that this long closed railway is again alive with trains.
A year ago, on a previous visit to Cork, I tried some photos at this location near the Midleton Station. However, it was a flat dull morning and my results weren’t up to par.
So a few weeks ago, Irish Rail’s Ken Fox drove me back to this spot, and on this visit it was bright an sunny. Moments before the train arrived, a thin layer of high cloud momentarily diffused the sunlight, which complicated my exposure.
As the 2600-series railcar approached, I made several digital images with my Canon EOS 7D and 200mm lens and a single Fujichrome color slide using my Canon EOS 3 with 40mm pancake lens.
Digital image made with a Canon EOS 7D fitted with 200mm lens.Exposed Fujichrome Provia 100F with Canon EOS 3 with 40mm pancake lens. This image looks great projected on the screen.
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It was the afternoon of August 16, 2011, Chris Guss and I were on a three day visit to Kansas City Southern’s north-south mainline. We were chasing the ‘Dodger’—what I’d call a local freight—led by freshly painted GP38 in the revived ‘Southern Belle’ scheme. This locomotive was originally Penn-Central 7800.
We set up on this grade south of Neosho. I worked with my Canon EOS 7D with 28-135mm lens and Canon EOS 3 with 200mm and Fujichrome. This view was made with the digital camera.
Canon EOS 7D with 28-135mm lens set at 127mm; exposed at ISO 200 f6.3 1/500 second.
What impressed me most about the ‘Dodger’ was its crew’s exceptional efficiency. They wasted no time when switching. There are lessons to be learned from these guys!
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It’s been nearly 20 years since New England Central assumed operations from Central Vermont.
In that time New England Central has had three owners. Originally a RailTex property, it was owned by RailAmerica for more than a dozen years and now is a Genesee & Wyoming railroad.
Despite that, a few of its original GP38s remain painted in the blue and yellow scheme introduced when the railroad began operations in February 1995.
NECR 3850 was working job 603 in Palmer and paused for a minute on the interchange track. Although I’ve photographed this old goat dozens of times in the last two decades, I opted to make a series of images with my Lumix LX7 to demonstrate the different color profiles (color ‘styles’) built into the camera.
As I’ve mentioned in previous posts, one of the great compositional tools available with the Lumix LX7 (and other cameras too) is the ability to quickly change from one color profile to another (including black & white modes).
Although, it is easy enough to adjust and alter color in post processing, I find it is useful to be able to compose a scene on-site knowing how the camera will react to color and contrast.
Below are a sequence of similar images of 3850 using different built-in color profiles. I’ve adjusted the B&W ‘monochrome’ profile in-camera to better suit my personal taste.
Image 1—Lumix ‘Vivid’ color profile.Image 2—Lumix ‘Natural’ color profile. Please note that term ‘Natural’ is purely subjective and does not infer any unusual treatment as compared with the other profiles. In other words ‘natural’ is just a name.Image 3—’Scenery’ Lumix color profile.Image 4—’Monochrome’ Lumix color profile.Image 5 ‘High Dynamic Range’ setting. (this blends three images exposed automatically in rapid succession. Fine for static scenes, but not practical for moving trains).
Which of the photos do you like the best?
Of course every computer display has its own way of interpreting color and contrast. Compare these images on different screens and see how they change.
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Three years ago, I’d positioned myself in Palmer, Massachusetts for the annual autumn westward appearance of the Ringling Brothers Circus train. It was a bright clear day and lots of enthusiasts had gathered to see it.
CSX’s normally quiet former Boston & Albany route was alive with traffic that day. I recall four eastward freights meeting the circus train on the controlled siding between CP 83 and CP 79 in Palmer.
Lesson learned.
A long time ago I notice that when special trains operate, there is often lots of other movement as well. Having studied railroad operations for decades, I can offer no conclusive explanation as to why, yet I’ve often found this to be true.
On Monday October 20th, 2014 I went out with hopes of catching the circus train, again expected to make its appearance in Palmer, but I was prepared for, and expecting other trains. As it happened, CSX ran a fleet of eastward intermodal freights. I heard the first of these roaring up through Palmer about sunrise.
I arrived trackside about 9am, and over the course of the day photographed five eastbound freights, plus Amtrak’s Lake Shore Limited and the Palmer local.
Normally, if I saw two eastbound freights in that same time frame, I’d feel I had a successful day. But capturing this parade made Monday October 20th one of the best day’s I’ve spent photographing the B&A East End in about four years!
CSX’s local freight was working the Palmer yard when I arrived. This pair of GP40-2s departed with 66 cars for West Springfield yard. Canon EOS 7D with 200mm lens. By carefully controlling flare, I was able to lighten the shadow areas in this backlit image. I included brush on the left to add depth and add to the autumnal effect.CSX’s local snakes through CP83 as it stretched its train out of the yard at Palmer. The GP40-2s made a good roar going up the hill out of town. Canon EOS7D with 200mm lens.The first of the four eastward intermodal trains I photographed on Monday October 20th. CSX symbol Q020 rolls by the old Palmer Union Station (now Steamling Tender restaurant) at 11:16 am. On a normal day, I’d expect just one late morning intermodal train. Canon EOS 7D with 200mm lens.New England Central 603 was switching its consist in Palmer.At 12:25pm, CSX Q022 glides through CP 83 on the main track. This is the intermodal train I often see pass Palmer about this time of day. Canon EOS 7D with 100mm lens.Hot on the heals of the Q022 was CSX symbol Q012, which I photographed crossing the Palmer diamond at 12:40pm. Lumix LX7 photo.I heard chatter on the scanner that hinted at a 4th eastward freight. Not wanting to repeat my efforts at Palmer, I went up the Quaboag Valley to Warren and waited there. I was rewarded by yet another eastward intermodal train. Word to the wise; rarely I have I ever seen four eastward intermodal trains in daylight on the B&A route in modern times. Lumix LX7 photo. (Adjusted for contrast in post processing).This last intermodal train had the added bonus of a Union Pacific GE in the consist. Canon EOS 7D with 20mm lens at Warren, Massachusetts.Warren’s common featured a bright orange tree, but including this in my composition was difficult because of the row of dark trees between it and the tracks. I ended up using the tree at the right as a frame. Fortunately some high clouds softened the sun to reduce the contrast of the tree’s shadow. Canon EOS 7D with 20mm lens.West Warren was my choice for a setting to capture the Circus Train. I’ve photographed it a various locations on the Boston & Albany route over the years, but never here. It sure would have looked nice if it came west at this time. What’s that? Do I hear another eastward train climbing up the valley from Palmer? Lumix LX7 Photo.CSX Q264, the loaded eastward autorack train destined for the East Brookfield & Spencer at East Brookfield passes milepost 75 in West Warren. Canon EOS7D with 100mm lens. Nice foliage here.CSX Q264 passes the waterfall at West Warren. Lumix LX7 photo. The clouds were rolling in from the west and soon the light would be flat and dark.
Not only did I make a number of satisfying photographs, but at every location I visited, I met friends and fellow enthusiasts.
On the downside: The circus train encountered a host of delays working its way west. Despite unusual perseverance, by 4pm the light had fade from a clear blue dome to a dark dull evening. At 410pm, I gave up. The circus train passed the bridge at West Warren where I’d been waiting about 40 minutes later.
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We had a late start, the weather was a bit iffy, and there wasn’t much running, but my father and I set out anyway to make a few railroad photos in the fall foliage.
Since Amtrak’s Vermonter is in its final months of using the New England Central route between Palmer and East Northfield, Massachusetts, we made a point to intercept it in both directions.
A New England Central local freight was working the interchange track in Palmer. Canon EOS7D with 200mm lens.For more than 19 years, New England Central’s blue and yellow GP38s have worked around Palmer. I wonder how much longer they will last? Lumix LX7 photo.Richard Solomon waves.Amtrak train 57, Saturday’s Vermonter works south of Amherst at milepost 82. A hiking trail runs parallel with the line at this location. New welded rail has been laid along the line. Canon EOS 7D with 200mm lens.
A stop by Pan Am’s East Deerfield Yard found little moving except the hump engine.
The old Boston & Maine line was pretty quiet. This is the view looking west from East Deerfield where I’ve made a great many photographs in the last 30 plus years. Canon EOS 7D with 200mm lens.A burst of sun at East Deerfield Yard. No less than four sets of road power were idling and the yard was full of cars, but not much was moving.
Not everyday is busy in central Massachusetts, but I can always find photographs. Here’s just a few from our afternoon’s exploration.
A spin over to Montague found a GATX slugset working the East Deerfield hump job. Canon EOS 7D with 200mm lens.I made this panned view of the GATX slug using my Lumix LX7.Millers Falls, Massachusetts, October 18, 2014.Amtrak train 54 the northward Saturday Vermonter crosses the Millers River at Millers Falls. Canon EOS 7D with 100 mm lens. Image adjusted for contrast and color balance.
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On, October 15, 2014, I was giving a tour to some visitors from France, and we passed through Ware on our way from the Quabbin Reservoir to West Brookfield’s Salem Cross Inn.
Earlier in the week, I’d noticed that Mass-Central had parked its rare Electro-Motive Division model NW5 2100 in Ware yard near the Route 9/32 overpass. So, we made a quick diversion so that I could make a photograph of the locomotive.
Mass-Central 210 rests at Ware yard on former Boston & Albany trackage on October 15, 2014. Exposed with a Canon EOS 7D with 20mm lens.
I’ve written about this before, but it was about 1981, when I rode my bicycle from Monson to Ware, specifically to photograph this locomotive, which had then just recently been delivered to Mass-Central.
When I think about all the locomotives that have come and gone in that time, I can’t help but smile. Old 2100 has nine lives, and then some! And it’s not that I need another photograph of it, but I make them anyway.
Mass-Central NW5 2100 is one of 13 such locomotives built by General Motors Electro-Motive Division between 1946 and 1947. It was originally bought by Southern Railway, but has worked Mass-Central’s Ware River Branch since the early 1980s. Exposed with a Lumix LX7 using the ‘Vivid’ color profile. Compare with the high dynamic range (HDR image below.)My Lumix LX7 has a HDR setting that makes three images at different exposure settings in rapid succession and then combines them in-camera to create a single image with greater highlight and shadow detail than possible with a single digital exposure. Notice how this effect mutes the color and lowers contrast. Which image is better? You decide. Lumix LX7 photo.
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I made this photo of an inbound 2600 series railcar on the afternoon of October 6, 2014 near the church at Glounthaune, Co. Cork. Exposed with a Lumix LX7 and modified in post-processing.A similar view of another 2600, this one exposed using my Canon EOS 7D with 20mm lens. This photo is unadjusted, except for scaling. I use different camera/lens combinations to alter my perspective. Compare these two images at Glounthaune, exposed only minutes apart, but with different cameras and slightly different angles.
Irish Rail operates an excellent and well-patronized service on its Kent Station to Cobh line. In conjunction with this service are trains running on the recently reopened line to Midleton. Yesterday’s post focused on Cobh Junction, Glounthaune, where the lines divide.
In yesterday’s post, I focused on a series of sunrise images exposed overlooking Cobh Junction. For this view, made minutes before sunrise, I used my Canon EOS 7D with 100mm telephoto. By raising the ISO and using the lens nearly wideopen (f2.0) I was able to stop the action despite relatively low light. For the sunrise, I used both Fujichrome slide film and digital photography.Glounthaune Station at Cobh Junction was just a short walk away. I made this image from the footbridge at the station to show the yellow signal with a feather (indicating a diverging route with the next signal at ‘danger’ [red], seen in the distance). A Midleton-bound railcar was signaled to depart the station, but needed to wait for an inbound train before it could proceed to Midleton.Here’s my view with the Lumix LX7 of the Midleton railcar departing Glounthaune. There was excellent ridership from this station in the morning.
Irish Rail’s Ken Fox gave me a personal tour of the line, driving me by road to best spots and advising me on train times, the history of the railway, and his personal experiences with the line.
While the equipment on the line consists largely of the 1990s-built 2600-series diesel railcars, the frequency of trains and the great scenery along the line, make for ample photographic opportunities.
I’m always looking for a new angle, but also to recreate the angle I used in older photos. I’d made my first images on the Cobh branch back in 1999, and since then the line had been re-signaled among other changes.
Irish Rail 2612 approaches its station stop at Carrigaloe, County Cork. Exposed with my Canon EOS 7D.Looking across Cork harbour toward Passage West, which was served by a narrow gauge suburban line until the 1930s. Canon EOS 7D photo.Lumix LX7 view of a 2600 along Cork harbour at Carrigaloe.Trailing view from a hillside at Carrigaloe.Irish Rail 2612 makes its station stop at Rushbrook, County Cork on its way to Cobh. I had time to swap lenses and make a few colour slides while the train dropped off its passengers. Canon EOS 7D with 100mm lens.Same train and location as above, but using my 40mm pancake lens.Cobh Station.Irish Rail display at Cobh Station. Lumix LX7.A railfan dog gazes with enthusiasm as a 2600 series railcar roars out of Cobh on its way back to Kent Station, Cork. Canon EOS 7D with 200mm lens.Afternoon view looking compass west at Cobh Junction toward Glounthaune Station. Canon EOS 7D with 200mm lens.
Having bright sun for the duration of our photography on October 7th was a great benefit.
Thanks Ken!
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Last week on my visit to Cork, I met with Ken Fox and Donncha Cronin, who are helping me with a book project on overseas rail travel.
During discussions about travel to wild and exotic places, Donncha says, “you might like my view. I don’t know, maybe you can do something with it?”
I’ve said this before, but you have to be there to get the photo.
It helps to have the right tools. In my case, I’d brought a full range of lenses to Cork, and based on my experience last year, I was prepared to make a long telephoto view at Glounthaune.
I wasn’t, however, expecting to make this elevated photograph of the rising sun. That was a bit of luck. Having inspected Donncha’s view, I decided, that ‘yes’, I might be able to work with that.
A few minutes before sunrise, Irish Rail 2600-series railcars pass at Glounthaune, Cork. At this hour the light changes quickly. Thankfully with modern digital cameras it is easy to adjust the ISO setting.
Fortunately, the next morning was mostly clear, and Irish Rail runs an intensive morning service with trains every half hour from Cobh and Midleton to Kent Station, Cork. (Cobh Junction is where the two lines join.)
With a copy of a working timetable in hand, and my Canon EOS 7D at the ready, I exposed this series of photos as the sun brightened the day.
One trick: I manually set the camera’s white balance to ‘daylight’ to avoid the camera trying to balance out the effect of the colored sunrise.
In addition to these digital photos, I made a couple of color slides.
Looking into the rising sun at Glounthaune, Cork. A layer of low cloud and mist help control the contrast while adding a bit of color to the scene. I had only a few minutes when the light was at its optimum to make a dramatic image. Thankfully, Irish Rail runs lots of trains at this hour. Canon EOS 7D with 200mm lens.An Irish Rail 2600 pauses at Glounthaune. The car catches the glint of the sun. In a moment it will depart the station and head out onto the causeway that connects Fota Island. Canon EOS 7D with 200mm lens.Here the 2600 railcar is on causeway to Fota Island. Canon EOS 7D with 200mm lens. The difficulty is selecting the best exposure. This image like the others presented here is unmodified, except for necessary scaling for internet presentation.
This was only the auspicious beginning to another very productive day documenting railways around Cork. More to come in tomorrow’s post!
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Now and Then: How Changes to Infrastructure Affect Composition.
Photographic pairs showing locations that have been changed by time are nothing new. Yet, usually there are decades between photo pairs, not just one year.
In the interval between my September 2013 visit to Kent Station, Cork and my subsequent visit in the first week of October this year, the station suffered damage during a fierce storm.
On December 18, 2013, high winds caused the collapse of the historic canopy that had protected the platform serving tracks 1 and 2. In the wind, the old cast iron columns supporting the canopy snapped like toothpicks, and wooden sheathed canopy turned to splinters.
Kent Station, Cork on September 25, 2013. The old canopy is a central element to this image, exposed with my Lumix LX3. I’ve used the canopy in several ways, including to block out much of the textureless white sky, and to divide the frame in a meaningful way.The canopy is now gone, but that makes it more of story than in the earlier image. Here, on October 6, 2014, the ominous sky alludes to the storm some 10 months earlier, while the boxed vestiges on the platform hint at the old cast iron columns. I’ve made no effort to precisely duplicate my earlier photograph. That would only result in an awkwardly composed contemporary image. Lumix LX7 photo.
When I arrived off the train from Dublin in the afternoon of October 6, 2014, I was well aware of the change to the canopy, having read about it on RTE’s internet news and again some months later in the Journal of the Irish Railway Record Society.
However, a change such as this cannot really be fully appreciated until witnessed in person. The old canopy was an important fixture of Kent Station and it altered the quality of light on the platforms, as well as protecting passengers from the elements.
In this September 25, 2013 image, I’m looking away from Kent Station toward Cobh and Midlton. Here the black mass of the canopy helps balance the shapes of the rail cars while shadowing the platform and ground making for a more contrasty image. Lumix LX3 photo.I’m nearly in the same place for this photo as I was in the 2013 image above. But without the canopy to add a balancing element, I focused more intently on the 2600-series diesel railcars. The lighting in both photographs is similar. Which do you prefer? Lumix LX7 photo exposed on October 6, 2014.
In these photo pairings, my goal wasn’t to make precise comparisons to show the exact nature of the changed scene, but rather to show how the canopy, and the lack there of, affected the way I composed my images. I was keen to show the broken cast iron columns because they now tell the story.
Likewise, someday the semaphores will go. And when they are gone, I’ll no longer be intent to frame trains with them. Some other element of the scene will take their place.
In this September 25, 2013 view I’ve carefully used the old canopy as a frame for the 2600 railcar departing Kent Station. Notice the relative location of semaphores, lighting masts and cast iron canopy supports. Lumix LX3 photo.In the above photo, the canopy serves more as a frame than as subject. While in this October 6, 2014 image, the broken cast iron column is an element of interest, especially after you know the story. Imagine the sound it made when it broke! Here an arriving 2600 railcar passes the old semaphores, long may they last! Notice how I’ve included more platform is this more recent image. Lumix LX7 photo.
When you make photos, how do you balance the elements in the scene? Do you focus on just the primary subject or do you adjust your composition to take in secondary elements, such as that offered by the platform canopy and semaphores in these images? Think about it.
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Dublin’s LUAS Red Line tram route follows an east-west alignment on Abbey Street.
This one of the older streets on Dublin’s North Side. Technically the thoroughfare is comprised of St. Mary’s Abbey Street, Abbey Street Upper, Abbey Street Middle, and Abbey Street Lower.
I’ve often walked this route, which has given me a good idea where the light falls during different times of day and over the course of the year.
On the evening of October 4, 2014, I aimed to make a few glint photos of the trams gliding through the city center.
The silver-sided LUAS Citadis trams reflect the setting sun nicely.
On October 4, 2014, an inbound LUAS tram approaches the intersection with Capel Street. I like the sunset reflections on the tram and the sides of the buildings. By staying in the shadows, I minimize the effect of flare caused by bright light hitting the front lens element. Lumix LX7.
To make a dramatic glint light image, it’s important to retain highlight detail, even if this results in opaque shadows. With the Lumix, I use the ‘A’ mode (aperture priority) and then manually stop down ‘underexpose’ the image in order to keep the highlight density where I want it.
If I didn’t override the camera meter, the Lumix would attempt to balance the lighting by brightening the shadow areas and the result would cause the glinting tram to be overexposed (too bright).
Alternatively, I could set the camera manually, but I find in a rapidly changing setting of a city street, I can get a more effective exposure by letting the camera do some of the work.
An outbound tram catches the sun on St. Mary’s Abbey Street. I’ve used the same exposure technique described above to hold highlight detail on the front of the tram. Lumix LX7 photo.I’ve chosen a low angle to add a bit of drama. Also, I’ve allowed the sun in the image which has caused a little bit of flare. In this situation, I feel that the flare works well, and makes for a distinctive image. Lumix LX7 photo.
Back in the old days, I’d have used Kodachrome 25 slide film, which had an excellent ability to retain highlight and shadow detail. To calculate my exposure I use my hand held light meter.
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Sometimes familiar locations work best. In the past, I’ve made many photographs along the Boston & Albany at West Warren, the combination of easy of access, scenic environment, identifiable scene, and excellent afternoon lighting continue to make it one of my favorite places to photograph Amtrak’s Lake Shore Limited, train 449.
The afternoon of October 12th was clear and bright with hints of autumn color tinged in the trees. My father and I opted to intercept 449—one of the few trains running at that time of the day on a Sunday—and so we put ourselves in position on the road bridge near the old mill race. After a short wait the train came into view.
Richard J. Solomon at West Warren, Massachusetts on October 12, 2014. Richard has a mix of modern digital cameras and a traditional Rolleiflex loaded with color negative film.
I worked with my Canon EOS 7D and Lumix LX7, my father exposed a photo using his vintage Rolleiflex Model T on a Gitzo tripod, and used his Lumix LX7, plus Minolta Mark IV light meter and various other bits and pieces.
Amtrak 449 The Lake Shore Limited rolls west along the Quaboag River at West Warren, Massachusetts on the afternoon of October 12, 2014. Exposed with a Canon EOS 7D with 100mm lens.Amtrak 449 The Lake Shore Limited rolls west along the Quaboag River at West Warren, Massachusetts on the afternoon of October 12, 2014. Exposed with a Lumix LX7.Trailing view of Amtrak 449 passing milepost 75 at West Warren, Massachusetts, the site of the old station. Canon EOS 7D with 100mm lens.
This maintained our long tradition of going out to photograph the Lake Shore Limited that dates back to the 1970s.
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In summary: After a decade of my relative neglect, in the last two years I’ve made a dozen or so excursions to explore and photograph Ireland’s Bord na Mona railways.
These consists of several rather extensive three-foot gauge networks largely focused on the delivery of milled peat to electrical generating stations in Ireland’s midlands counties.
The largest and busiest network is that focused on the Shannonbridge power plant along the River Shannon. Although this network demands the most amount of turf and in theory runs the most number of trains, it is one the more difficult systems to photograph.
This is partly a function of the bogs served by the railway, which are largely inaccessible by road. Also, some of the trains cross the Shannon by a bridge, and there is no comparable road bridge, so it makes following these trains very difficult.
However, I’ve found that using good maps and remaining patient pays off. On this September afternoon about a month ago, Denis McCabe, Colm O’Callaghan and I visited several locations on the Shannonbridge system.
Based on previous experiences, we aimed for known good locations. While we only found a few trains moving, the photography was successful. This a sampling of my recent results.
Hunslet builders plate on a old Bord na Mona locomotive. Lumix LX7 photo.Bord na Mona locomotives at Shannonbridge. Lumix LX7 photo.panel track trucks. Lumix LX7 photo.Bord na Mona empties approach a grade crossing near the Blackwater depot. Canon EOS 7D with 200mm lens.Bord na Mona loads catch the evening sun near Blackwater, September 2014. Canon EOS 7D with 100mm lens.
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A perfect opportunity to photograph old and new together.
Both are commonly seen on Irish railways, but both are foreigners. The 461 was 1923 product of Beyer Peacock in England, while the ICR was built by Rotem in Korea. Where else can you see such an eclectic combination?
The steam locomotive was one of two built for the Dublin & Southeastern, and is one of only a few operating steam locomotives in Ireland. The ICR is Irish Rail’s standard type of train for intercity services. Do you think the ICR will still be around in 91 years?
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Essex Bridge, River Liffey, Dublin. Lumix LX7 photo.Custom House with spooky autumnal sky. Lumix LX7 photo.Christ Church. Lumix LX7 using the Monochrome colour profile.Trees in Phoenix Park. Lumix LX7 photo.
April 9, 2010; a group of my Irish friends and I were on a week long trip to the Rhein and Mosel Valleys.
The Rhein is great place to experiment with equipment and technique. Busy double track mainlines occupy both sides of the river amid stunning scenery and historic architecture.
I was set up at the south end of the station platform at Kaub on the Right Bank. This is the busier freight line, with trains passing in fleets. Rarely ten minutes would pass without something clattering along.
My vantage point also gave me a good view of the Left Bank and the Pfalzgrafenstein—a colorful castle situated on an island in the middle of the river. Working with my Lumix LX3, I played with the camera’s aspect ratios as an exercise in composition.
A DB class 151 electric leads a southward container train at Kaub, Germany. I’ve used the Lumix LX3 with the 1:1 (square) aspect ratio to frame the train with the castle on the side of the hill and lighting masts on the left. April 9, 2010.I made this image of a northward car train from the same location as the above photo. By selecting the Lumix’s 16:9 aspect ratio I had a panoramic frame with which to compose my photo. My intent was a juxtaposition of the castle in the river with the freight train. Would this photo work if the DB locomotive wasn’t bright red?
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Great Victoria Street, Belfast. Exposed with a Lumix LX7. I also made a similar view on Fujichrome Provia 100F.
It had been nearly four years since my last visit to Northern Ireland, so during the course of my recent exploration of Belfast with my cousin Stella (as mentioned in yesterday’s post) I took a few minutes to photograph NIR’s trains.
After arriving at Belfast Central on the Enterprise from Dublin, we changed to an NIR local bound for Great Victoria Street.
Later in the day we reversed this exercise on the return to Dublin. In the meantime, I also made a few photos from a location I previously explored along the River Dargan.
Photographing NI Railways [http://www.translink.co.uk/Services/NI-Railways/] is relatively easy, since there is ample access from public places and trains run on interval frequencies to most destinations.
In addition to these digital photos, I also exposed a handful of colour slides with my Canon EOS 3.
My first up close experience with a 4001 class railcar.Interior of a CAF-built 3001 series diesel railcar. Lumix LX7 photo.An NIR train crosses the River Lagan in Belfast. Lumix LX7 photo.Wide angle view of the River Lagan on September 26, 2014.A bit of glint; NIR 3020 arrives at Great Victoria Street in the evening light. Lumix LX7 photo.Waiting to depart Great Victoria Street in the afternoon.Contrasty evening light at Belfast Central. To compensate, I adjusted the image locally and globally using Photoshop. Hopefully the result is more pleasing. Lumix LX7 photo.
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I’d booked tickets on-line for my cousin Stella and I. As planned we took a spin from Dublin down to Belfast on the Enterprise.
Dublin’s Connolly Station is the terminus for the Enterprise, Ireland’s only cross-border service. Lumix LX7 photo.
I made a variety of photos to capture the experience. The train departed Connolly at 9:35am, as per schedule.
The Enterprise under the shed at Connolly Station Dublin. Lumix LX7 photo.The Enterprise service is one of the few regularly scheduled locomotive hauled passenger trains in Ireland. Most trains use diesel rail cars. Irish Rail 231 worked our trains on both legs of the journey.In long standing tradition, I walked to the top of the platform for a photo of the train before boarding. LX7 Photo.I reserved our seats on-line a week before traveling. LX7 Photo.
I’d first made this journey in February 1998. Back then Belfast still had a bit of an edge to it. I’d stepped out of Belfast Central Station on blustery damp morning and was immediately cautioned by a middle aged couple who told me to watch out where I walked.
On Friday’s trip, we were greeted by bright sunny skies and a much warmer welcoming Belfast. I was traveling light: only my Lumix LX7 and a Canon EOS 3 with just two lenses.
We rode an NIR local train from Central to Great Victoria Street, then spent the next six hours exploring on foot. We opted to return on the 6:05 pm train, which put us back in Dublin early enough for dinner and to meet a few friends.
Northern Ireland is blessed with some wonderful scenery. Lumix LX7 view from the Enterprise.Looking west from the Enterprise.The Enterprise has its own logo and runs with distinctive equipment.While we walked around Belfast, locomotive 231 made a round trip to Dublin with the Enterprise. More than six hours after we left the train, it was back again waiting to take us up to Dublin. An NIR DMU rolls into Belfast Central as the Enterprise idles before boarding.The trains were well patronized in both directions. Afternoon light illuminates the subdued carriages of the 6:05pm Belfast-Dublin Enterprise service. Soon we were rolling along in the evening glow back to Dublin. LX7 photo.
Tracking the Light posts new material every morning.
One of the strengths of the Lumix LX-series is the ability to make close-up and detail photos.
The camera’s optical system allows for great depth of field, while the ability to focus manually has allowed me unusual flexibility to make detailed photographs.
While experimenting with the LX7 at the Streamliners at Spencer event held by the North Carolina Transportation Museum, I made many detailed views. This was an idea time to get close, since there was a great variety of equipment on display with great pedestrian access.
Pennsylvania Railroad E8A 5711 on display at Spencer, North Carolina in May 2014.High gloss made for an opportunity to capture reflections and expose innovative compositions. LX7 photo.Union Pacific E9 949 had come a long way for the event and was looking well polished. LX7 Photo.These days an Amtrak F40PH is a novelty. LX7 detailed view.An old Missouri-Kansas-Texas stainless steel clad passenger car harked back to the streamlined era. Lumix LX7 view.The event was all about EMD locomotives, yet not everything on display was streamlined. LX7 photo.North Carolina Transportation Museum has plenty of regular exhibits. I recall flying Eastern Airlines back in the day.Birth certificate for decapod.
Tracking the Light posts new material every morning.
There’s only a few days during the year when the setting sun pierces deep into the darkness of the train shed at Heuston Station.
On the evening of September 20th, I made this image using my Lumix LX7 of the 7pm departure to Cork.
I had my camera set using the ‘A’ aperture priority mode, which automatically selects a shutter speed based on my manual selection of an f-stop. To compensate for the extreme contrast between the darkness shed roof and bright sunlight, I used the manual exposure over-ride to stop down (underexpose). This was necessary if the in-camera meter tries balances the scene it would have led to a total loss of highlight detail.
ISO 80 f2.8 1/80th of a second. RAW file manually adjusted to control contrast and exported as a scaled Jpg for internet presentation.
An alternative means to select the exposure, would have been to use the camera in ‘M’ mode and manually select both shutter speed and F-stop, but in this situation that would have taken too much time.
I had only a few moments to catch the Station Inspector with his arm raised to give the train the signal to depart.
To make the most of the information captured in this instant, I worked with the RAW file to make some contrast adjustments in post-processing. Using Photoshop, I adjusted contrast locally in highlight areas, while making some over all adjustments to the scene to best portray what I’d seen with my eye.
I wanted to retain the glint effect on the underside of the shed roof while making sure the relatively small silhouette of the Station Inspector wasn’t lost in the direct glow of sunlight.
After making my adjustments I export the file as a Jpg and then scaled this for internet presentation. The camera RAW file is 12.MB, much too large for presentation here, while my scaled image is just 737KB.
Tracking the Light posts new material every morning.
Looking west toward Duncormack, Wexford on the rusty South Wexford Line. A black & white print of a train climbing the grade here decorated my wall for years. Canon EOS 7D with 200mm lens.
Today saw a rare movement on a line devoid of regular traffic. Railtours Ireland’s Emerald Isle Express train was operated as empty carriage across the length of the South Wexford line from Rosslare Strand to Waterford.
Looking east toward the Robinstown Level Crossing. September 29, 2014, exposed with my Canon EOS 7D with 200mm lens.
Railtours Ireland’s Emerald Isle Express is a high-end tour train making a week-long tour of Irish Rail. This position-move was the most direct means of getting the train from Wexford to Waterford and saved a lengthy deadhead via Dublin and Cherryville. It was operated by Irish Rail in conjunction with the Railway Preservation Society of Ireland.
This was the first time I’ve photographed a train on the South Wexford in about six years. This line is storied ground: it was a favorite subject of mine a decade ago when a regular passenger service ran from Rosslare Harbour to Waterford using vintage General Motors diesels, and Cravens carriages like those that traveled the line today.
It was also the route of seasonal sugar beet trains that loaded at Wellingtonbridge, County Wexford for processing at Mallow, County Cork. Between 1999 and 2005, I made more than 50 trips to photograph the sugar beet, a project that resulted in thousands of color slides, black & white negatives, and DAT audio recordings. I could make a book of it.
Today, I traveled down from Dublin with Mark Healy to catch this unusual move. It was strange (and sad) to see this once-familiar line with rusty rails and heavy over growth along the right of way.
While my best photos of the day were exposed on Fujichrome Provia 100F with my trusted Canon EOS 3, I’ve published a few of my digital results here.
The Emerald Isle Express works west of Robinstown, County Wexford on September 29, 2014. Canon EOS 7D with 200mm lens.The Emerald Isle Express works west of Robinstown, County Wexford on September 29, 2014. Canon EOS 7D with 200mm lens.FInally after weeks, months, and years of disuse, a train comes to polish the rails. (I’m not counting the weedsprayer, inspection cars, or other perway moves, for the sake of sentiment.) The Emerald Isle Express works west of Robinstown, County Wexford toward Duncormick on September 29, 2014. Canon EOS 7D with 200mm lens.Rusty bullhead track at Ballycullane, County Wexford.The Emerald Isle Express passes Ballycullane, County Wexford on September 29, 2014. Regular schedule passenger service was withdrawn in 2010. The last sugarbeet train passed in early 2006—more than eight years ago. Canon EOS 7D with 100mm lens.Trailing view at Ballycullane, County Wexford. Lumix LX7 photo.
Among the built-in features of the Panasonic LX7 is a HDR—High Dynamic Range—setting in ‘Scene Mode’.
The theory behind HDR is the ability to produce a digitally exposed photograph with better highlight and shadow detail through post-processing blending of two or more images of the same scene exposed at different light settings. (In other words, a multiple exposure).
A common way to accomplish this is to place the camera on a tripod and make three images of identical composition with one image over-exposed (too light), one normally exposed, and one underexposed (too dark). Then combine all three images as multiple exposure.
When done effectively this can be used to overcome the limited dynamic range inherent to digital sensors. It can also be used creatively through extreme exposure variations to produce some outlandish images with nightmare skies and penetrating shadows.
The LX7s feature makes exposing a basic HDR style image exceptionally easy as the camera automatically takes three photos in rapid sequence and processes them immediately in-camera to produces a blended Jpg available for viewing.
I found this most effective in high contrast scenes, such as sunsets, that might be difficult to capture because of the camera’s limited exposure range. In other situations, it seems to flatten the contrast and doesn’t necessarily make for a more pleasing photograph.
Another point, if the scene isn’t static, ‘ghosting’ will occur of moving elements. My sense is that camera’s software must have a comparative feature that attempts to minimize the effect of ghosting, but the results can appear unnatural if not outright bizarre. Especially, when the subject, say a passing locomotive, become transparent!
Below are a few of my experiments. With most I’ve first included a comparison image (an ordinary non-HDR photo) exposed in the normal way.
This is the non-HDR normal photo. I’ve intentionally selected a high contrast scene to test the difference between a normal image and the HDR. Princeton Junction, exposed with Lumix LX7 in ‘A’ mode.Exposed in HDR mode. Notice that this does a much better job of retaining shadow and highlight detail. It is easier to see into the cab of the train and the clouds are better separated from the blue sky. Princeton Junction, exposed with Lumix LX7 in HDR ‘scene’ mode.This NJ Transit train had paused at Princeton Junction in high midday June sun making for an ideal opportunity to test the effect of HDR. This my ‘normal’ non-HDR comparison image. Note the nearly opaque underside of the locomotive where wheels and equipment are lost in an inky black. Princeton Junction, exposed with Lumix LX7 in ‘A’ mode.This is the HDR photo of the same scene. By using multiple exposures, the HDR feature has added detail to the shadows making equipment on the underside of the locomotive more visible. I’m not sure if I like the effect on the trees, which to me seem like a painted backdrop compared with those in the normal photo above. Princeton Junction, exposed with Lumix LX7 in HDR ‘scene’ mode.I thought I’d try the HDR feature on a rapidly moving train. One of Amtrak’s Keystone trains is passing Princeton Junction at speed. Notice the effect of double exposure where the cab car is ghosted into the coach. This is curious aberration, but probably not the best solution for railway action photography. I don’t have a ‘non’-HDR image of this scene. Princeton Junction, exposed with Lumix LX7 in HDR ‘scene’ mode.This high contrast scene at Overbrook, Pennsylvania in early July 2014, made for another opportunity to make comparisons. This is the ‘non-HDR’ image, exposed with Lumix LX7 in ‘A’ mode.SEPTA at Overbrook, exposed with Lumix LX7 in HDR ‘scene’ mode.Sunset at CP83 in Palmer, Massachusetts. Owing to the extreme contrast of the scene, I opted to expose for the sky in the normal (non-HDR) image. If I exposed to make the tracks lighter, I’d lose the effect of the sunset. Exposed with Lumix LX7 in ‘A’ mode.Here’s the HDR image. While it retains sky and track detail, it radically altered the effect of sunset. Is this a more realistic portrayal of the scene? Exposed with Lumix LX7 in HDR ‘scene’ mode.View of an Irish Rail ballast train at Islandbridge Junction in Dublin. This is the ‘non-HDR’ comparison, exposed with Lumix LX7 in ‘A’ mode.While waiting for the ballast train to get the signal, I took the opportunity to make an HDR comparison. It was free, so why not? However, I don’t think this improved the scene, now it just looks washed out to me. Exposed with Lumix LX7 in HDR ‘scene’ mode.
This is a work in progress, and I’ll follow up in more detail in a later post.
Lumix cameras. My old LX3 is at top left. Top right and bottom are LX7s. Exposed with a Canon EOS 7D.
My first digital Camera was a Panasonic LX3 that I bought in late 2009 on suggestion of my digital photography advisor, Eric Rosenthal.
At the time, I’d planned to use the camera as a light meter, to make supplemental photos, and to photograph in social situations where having an email ready photo quickly was an advantage.
In the first few months, I occasionally used this camera for railway action photos, but for the most part I continued to rely on my Canon EOS-3s for important situations.
CSX Q006 rolls south along the Hudson River at Iona Island, New York in March 2012. Lumix LX3 photo.Rural station at Riachos T. Novas, Portugal. Lumix LX3 photo.Lisbon Metro. Lumix LX3 photo.Train interior, Porto, Portugal. Lumix LX3 photo.
I gradually concluded that the LX3 was a fantastic image-making tool. For the next five years I carried this camera everywhere. I exposed more than 64,000 images with it. I’d still be using it, except it broke! (Some observers suggest that I wore it out) The digital display at the back of the camera stopped functioning reliably.
My father lent me his LX7 for a few weeks, and I quickly concluded that I needed one.
Overall it is a much better camera.
On the downside, it is nominally larger.
On the plus side:
1) It is easier to use.
2) When set up properly there’s virtually no delay in making an image from the time the shutter is released.
3) It cycles much faster.
4) It has a better lens, which lets more light in and has a longer telephoto setting.
5) It offers a variety of features that allow for more creative images, including: a built in neutral density filter; an automatic High Dynamic Range mode that rapid blends three images in a sophisticated manner.
6) It has a traditional aperture ring.
7) It has a built in level that can be displayed on the screen.
8) It has the option of an external digital viewfinder.
Over coming weeks, I’ll continue to discuss the virtues (and drawbacks) of these various cameras. Incidentally, recently Panasonic announced another new camera, the LX100, which looks to be even better than the LX7.
The LX7 has excellent reaction time; I stopped the Acela Express at speed at Princeton Junction. The train was moving faster than 125mph. LX7 photo (uncropped, unmodified—except for scaling for internet usage).The LX7 is easy to use and well suited to making railway photos. LX7 photo.Irish Rail ICR’s roll along a speed near Clondalkin. The camera’s small size makes it easier to shoot through fences, such as those on highway bridges over the track. LX7 Photo.
On the afternoon of February 6, 2010, Pat Yough, Chris Guss and I were photographing along the former Pennsylvania Railroad at Emporium, Pennsylvania. This route is operated by the Western New York & Pennsylvania, a short line famous for its late-era use of Alco Century diesels.
I was primarily photographing on Fujichrome using my pair of Canon EOS-3, however, I was experimenting with my relatively recently acquired Panasonic Lumix LX3.
Western New York & Pennsylvania’s westward Driftwood Turn (the ‘DFT’) was switching near a grade crossing in nice winter sun. This gave me ample opportunity to try various modes with the Lumix, so I varied the aspect ratio (the parameters of the frame) and sampled various built-in color profiles.
Lumix LX3 set at 16:9 aspect ratio with standard color profile.Lumix LX3 using 16:9 aspect ratio in the vertical. An annoying wire has interfered with my composition!Here I selected the 4:3 aspect ratio which maximizes the use of the sensor. I selected the ‘Natural’ color profile which is slightly less saturated than ‘Standard’.I wanted to see how the digital camera would cope with extreme backlighting and flare.I like the sunburst effect but I was disappointed by the lack of highlight detail. I found that the Lumix couldn’t match the dynamic range of Fujichrome, which limits its ability to capture high contrast situations. My LX-7 has an ‘HDR’ feature that partially overcomes this problem, but is only useful for static situations (topic for another post). 16:9 aspect ratio; ‘Standard’ color profile.
I was curious to see how the camera handled backlighting and flare, so I made a few cross-lit silhouettes to push the limits of exposure. These are a few of my results. The files are unaltered except for scaling for internet display. I haven’t adjusted color or exposure in post processing, nor have I cropped them.
As regular readers of Tracking the Light are aware, since that time, I’ve made great use of the LX3. I wore it out, and a few months ago I replaced it with a Panasonic Lumix LX7, which is an even better camera.
We followed a pair of empties from Shannonbridge, eastward toward Ferbane. Access is limited, owing to the nature of the bogs. Toward the end of the day, we set up at the N62 highway overpass, where the Bord na Mona’s line climbs away from the River Blackwater.
Bord na Mona’s three-foot gauge tracks looking west toward Shannon Bridge in August 2014. Canon EOS 7D with 200mm lens.
My challenge was making the most of the backlit scene. The sun was setting almost immediately behind the train. I opted for my 200mm lens in order to compress the perspective, eliminate the sky, and minimize the effects of flare. I positioned myself near post on the side of the road to help shade the front element of my lens.
Here the effects of backlighting combined with the long telephoto lens make for a cinematic look; the exhaust of the locomotive is more pronounced, the wavy condition of the tracks are exaggerated, and the pastoral scene made more impressive.
Exposed with a Canon EOS 7D fitted with f2.8 200mm lens set at 1/500th of a second at f5.6. Front element of the lens was shaded from direct sun.
I particularly like the silhouette of the train driver in the cab, which emphasizes the human element.
My only disappointment with the photos is that the following train hadn’t effectively enter the scene. (Often Bord na Mona trains working in pairs follow one right after the other. In this situation, the following train was just around the bend.) But, I’ve had plenty of opportunities to make images with two or more Bord na Mona trains, so I’ll settle for this one of a lone train.
Tracking the Light posts new material every morning.
Last week I posted photos of freshly painted Irish Rail class 201 number 215 working the IWT liner. Today, it worked to Cork and back. I photographed it a little while ago passing Islandbridge Junction.
Irish Rail 215 works at the back of a Mark4 set from Cork. I panned this using my Canon EOS 7D with 40mm pancake lens at 1/40th of a second at f10, ISO 100. 12:45pm on September 18, 2014.Irish Rail 215 works at the back of a Mark4 set from Cork, seen approaching Heuston Station in Dublin at 12:45pm on September 18, 2014. Lumix LX-7 ISO 80, f3.5 1/500th second.
Irish Rail’s only four track mainline transits the west Dublin suburbs. This was built toward the tail-end of the Celtic Tiger boom years. Rail traffic flows in fits and starts, but midday on week days can result in some interesting action.
Irish Rail 229 leads IWT liner.
The prize this day was catching Irish Rail’s General Motors-built 071 class locomotive 079 hauling the elusive per-way ‘Rail trucks’ (rail train) on its run from Platin (on the Navan Branch) to the per-way depot in Portlaoise.
I worked with my Canon EOS 7D, which handles the cloudy bright lighting conditions admirably.
Tracking the Light posts new material every morning.
Fish with man-legs, scenes of torment and pleasure gardens, along with medieval apocalyptic visions were among the topics painted by Jheronimus van Aken aka Hieronymus Bosch who hailed from the Dutch city of ‘s-Hertogenbosch, or ‘Den Bosch.’
This is a city of narrow canals, winding cobblestone streets, traditional market squares, surrounded by post World War II ‘Lego-block’ sprawl.
Market square Den Bosch in August 2014. Lumix LX7 photo.
The railway station is an unusual blend of an 1896-built iron and glass train-shed with modern facilities.
My visit to the station was brief. I explored for about half and hour, making a variety of images. I was surprised by the arrival of one of NS’s older Hondekop ‘dog face’ EMUs. I’d photographed some of these ancient units back in the 1990s and didn’t realize that any remained in traffic.
The old shed dates from 1896. Lumix LX7.NS operates an interesting variety of distinctive equipment. There’s no mistaking these Dutch trains for those in other countries. Canon EOS 7D with 200mm lens.I found the shed to be very photogenic. I made this study from a modern mezzanine using my Lumix LX7.Blast from the past! One of the older ‘dog nose’ electric multiple units.Den Bosch station with a decorative lion. Exposed from an escalator using my Lumix LX7.An express train passes on a middle track with an electric locomotive shoving at the back.
As across most of the Netherlands, passenger trains operate on regular interval frequencies (typically every half hour) to most major points.
The station was remarkably clean, and despite the dull light, made for an interesting place to photograph.
Tracking the Light posts new material every morning.
On my short spin on the Rotterdam Metro I made these photos with my Lumix LX7.
Rotterdam Metro at Wilhelminaplein. Lumix LX7 photo.Rotterdam Metro at Centraal Station.Rotterdam Metro Centraal Station.
It’s amazing how well digital cameras perform when photographing in the difficult lighting of subterranean railways.
This was just brief glimpse of a railway that hereto I was only vaguely aware. Perhaps there will be another opportunity further exploration on another visit.
Tracking the Light posts new material every morning.
As a follow up to yesterday’s special post, I’ve included a few more photos. Since Monday, Irish Rail’s freshly painted class 201 number 215 has been working the IWT Liner between Dublin and Ballina, Country Mayo.
Wednesday’s (September 10, 2014) IWT Liner passes Islandbridge Junction near Heuston Station, Dublin. Thin cloud diffused the sun. Lumix LX7 photo.Today’s (September 11, 2014) Ballina to Dublin IWT near Clodalkin-Fonthill Station. Lumix LX7 photo.
Rotterdam Centraal as photographed in August 2014. Lumix LX7.
Opened earlier this year. Rotterdam Centraal doesn’t look like any other railway station on the outside. (Although on the inside it reminded me of the entrance hall at Warsaw Central.)
Like much of Rotterdam’s modern architecture it’s hard to ignore! Photographically I found it fascinating. On another trip, I’ll bring a tripod for some extended night exposures.
Beneath the shed beyond the station building, Nederlandse Spoorwegen (loosely translated as ‘Dutch Railways’) trains connect most major destinations in the Netherlands, as well as through trains to Belgium and France, including Thalyshigh-speed services. Some 100,000 passengers use the station daily.
Rotterdam Centraal as photographed in August 2014. Lumix LX7.Train to the ‘Hook of Holland’.Rotterdam Centraal as photographed in August 2014. Lumix LX7.In the fading dull light with a North Sea sky; Rotterdam Centraal as photographed in August 2014. Lumix LX7.
Sometimes when your mind is pre-occupied with the problems of the world, the best medicine is go trackside and focus on something trivial (like hoping for sun light on a freshly painted locomotive).
Yesterday (September 9, 2014), I was poised for photography at an over-bridge near Lucan South in the Dublin suburbs. Colm O’Callaghan, Noel Enright, John Cleary and I were anxiously waiting for Irish Rail’s Up-IWT liner led by class 201 diesel number 215 (which had made its first trip in fresh paint the day before and was on its return run).
Although it was a dry bright day, a group of fair weather clouds were loitering in the sky between us and the sun . At one point all four of us were staring skyward hoping the cloud would move.
Irish Rail’s Mark4 from Cork on September 9, 2014. Canon EOS 7D with f2.0 100mm lens. 1/1000th of second at f3.5 ISO 200.Canon EOS 7D with f2.0 100mm lens. 1/1000th of second at f5.6 ISO 200.
The Cork-Dublin passenger passed in cloudy light; but the Inter City Railcar behind it was blessed with sun. But then clouds returned. I fussed with my light meter.
As the freight approached, the clouds parted and the sun-light seemed to roll across the landscape.
I fired off a burst of digital images using my Canon EOS 7D, followed by a couple of Fujichrome Provia 100F colour slides with my EOS 3 with 40mm pancake lens.
Fresh out of the paint shop: Irish Rail 215 leads the Ballina to Dublin IWT liner. This is the first 201 class diesel on the road to wear the new Irish Rail logo (on the side of the engine). Canon EOS 7D with f2.0 100mm lens. 1/1000th of second at f5.6 ISO 200.
If there was one problem with the last burst of sunlight it was that I may have overexposed my slides by 1/3 of stop. But I won’t know until I have the film processed in a few weeks time.
Tracking the Light posts new material every morning.
Terminus of Rotterdam‘s number 7 tram near the very Dutch sounding Tulip Inn. Lumix LX7 photo
I visited Rotterdam for an afternoon and evening. This is considered The Netherland’s architechtural capital and certainly features a wide variety of unusual modern buildings.
Rotterdam had been left in ruins after the Second World War, and over the last seven decades has been rebuilt in a style unlike any place else I’ve even seen. For me, its next closest cousin is Toyko, and that’s a bit of a stretch.
Lego-land on steroids! Lumix LX7 photo.The famed Cube House, which allows you to wander into an Escher-like setting. Lumix LX7 photoRET train passing below the Cube House. Lumix LX7 photoA burst of sun illuminates at tram paused at a waterfront station. Canon EOS 7D with 200mm lens.Trams with skyscrapers, Rotterdam. Lumix LX7 photoWhat better way to see a city? Rotterdams trams are clean and feature large windows. Lumix LX7 photo
The city has an excellent modern tram system, a stunning underground metro, and world-class railway connections.
The city revolves around the port, is one of the busiest in Europe, and a central focus of much of the water-front architecture.
I found it an intriguing place to make photographs. My regret was that my visit was so short. My three cameras were kept busy through my wanderings.
Lumix LX7 photoErasmusbrug, Rotterdam.Containers outbound at Erasmusbrug, Rotterdam. Lumix LX7 photo.Tram pan in central Rotterdam. Lumix LX7 photo.RET number 8 tram.Number 7 tram terminus.
Tomorrow! Rotterdam Centraal—one of Europe’s newest stations.
Tracking the Light posts new material every morning.
A modern Alstom Citadis tram glides across cobblestone streets in Reims, France in August 2014. Lumix LX7 photo. Notice the ground-level power supply.
In August, I made a brief visit to Reims in northeastern France. This city is steeped in history and now boasts one of Europe’s newest tram networks, which opened in Spring 2011.
Reims cathedral. Lumix LX7 photo.Trams pass in Reims. Lumix LX7 photo.Canon EOS 7D with 200mm lens.
Operated by Veolia Trandev, this system covers just 11.2 kilometers (just under seven miles). Like Dublin’s LUAS it uses modern Alstom Citadis trams. These have a distinctive styling variation with front sections designed to mimic the shape of a champagne flute—which pays homage to Reims’ role as ‘capital of the champagne region’
The trams make the same ‘bong bong’ warning sounds as they navigate city streets.
Interestingly, the relatively small tram fleet are dressed in eight different colours.
One of the most innovative elements of the Reims system is its application of a modern ground level power supply that is used through the historic city center to avoid unsightly wires.
In my few hours wandering Reims, I made just a handful of digital photos plus a couple of colour slides.
Eight different colours decorate Reims trams. Lumix LX7 photo.Vestiges of Reims original narrow gauge tram system remain. The modern system is standard gauge. Lumix LX7 photo.A Roman arch tells of Reims history. Augustus was here. Lumix LX7 photo.Near the Roman arch the trams change power supply, going from ground level to overhead wires. Lumix LX7 photo.Lumix LX7 photo.Lumix LX7 photo.
Tracking the Light posts new material every morning.
![Glounthaune Station at Cobh Junction was just a short walk away. I made this image from the footbridge at the station to show the yellow signal with a feather (indicating a diverging route with the next signal at 'danger' [red]). A Midleton-bound railcar was signaled to depart the station, but needed to wait for an inbound train before it could proceed to Midleton.](https://i0.wp.com/briansolomon.com/trackingthelight/wp-content/uploads/2014/10/Signal_with_feather_at_Glounthaune_IMG_9037.jpg?resize=474%2C711)
