If I captioned this post, ‘23K passes Shirley’, would you have looked any way?
The other day when Paul Goewey, Bob Arnold and I were photographing trains at Shirley, Massachusetts, I exposed these views of the daily westward intermodal train symbol 23K that originates a few miles to the east at Ayer.
The Lovely Trees: These two massive trunks have fascinated me for years, and make for an excellent means to frame up a photo. Here, in the first view the intermodal train is almost incidental to the scene.
Exposed with a FujiFilm X-T1 digital camera fitted with a Zeiss 12mm Tuoit lens.
Which of these views of Norfolk Southern/Pan Am Southern’s 23K do you prefer?
A closer view made moments after the first. In this image I’ve emphasized the train.This is an ‘enhanced’ version of the above. Working from the RAW file, I’ve made a variety of subtle changes to contrast, exposure, saturation and clarity in Lightroom as a means of making a more pleasing image.
These modern locomotives have been on the move in New England for a few months now, but they managed to elude me. Or my camera anyway. (I saw one in Worcester some weeks ago.).
Pan-Am Railways symbol SEPO typically operates with run-though locomotives. The eastward freight is pictured at Ayer, Massachusetts. Fuji Film X-T1 digital camera.CSX logo on a new ET44AH diesel-electric.
The Tier 4 are the most modern high-horsepower freight locomotives offered by General Electric. They are designed to meet EPA’s Tier IV emissions standards.
While similar in appearance to other late model GE freight locomotives, they have a distinctive large capacity radiator and vents at the back. This provides increased heat exchange area in the radiator cab is required to meet the stricter Tier 4 exhaust emission requirement using by using Exhaust Gas Recirculation
On the morning of Tuesday January 26, 2016, Pan Am’s SEPO is seen at the Willows, east of Ayer, where the Stony Brook Branch diverges from the Fitchburg Route. The Stony Brook handles Pan Am’s though freights to Maine and New Hampshire destinations. This set of three locomotives demonstrates an evolution in modern radiator profiles. The lead locomotive has the most modern Tier 4 design, while the second locomotive is one of GE’s Evolution Series that was in production from 2004-2014, third out is a 1990s era design: the AC4400CW .
On Tuesday, January 26, Bob Arnold, Paul Goewey and I found CSX 3308 working symbol freight SEPO (CSX Selkirk Yard to Portland, Maine) at Ayer, Massachusetts.
I always like to catch new power on the move and we caught this freight at several locations.
GE’s modern Tier 4 locomotives can be instantly recognized by their enormous radiator profile. When photographing these modern locomotives, a trailing view such as this one offers a better view of the technologically distinctive features.This telephoto trailing view emphasizes the radiators. FujiFilm X-T1 digital camera.
What about a classic three-quarter ‘roster view’ you ask? Well, I exposed that on color slide film, of course!
The other day down in the valley I heard the roar of a train ascending the old New London Northern grade to State Line.
EMD diesels working hard.
“Hmm. That’s odd. Daylight move on the New England Central?”
In recent months, New England Central’s freight south of Palmer, Massachusetts has been largely nocturnal.
I thought I’d best investigate, I hopped in my car and headed south to intercept.
Driving toward Stafford Springs, Connecticut I heard a telemetry hit on my scanner. (That’s the FRED—the end of train device the sends a signal reporting air-brake pressure from the tail end of the train to the engineer’s cab.) I knew the train was close.
Then, chatter on the radio: engineer to conductor. They were working the ground. The train was switching.
I altered my path and went to the south switch at State Line siding at Crow Hill Road, Stafford.
There I found the train: An NECR local freight from Palmer putting cars in the siding.
View from Crow Hill Road, Stafford, Connecticut. Lumix LX7 photo. I manually underexposed by 2/3s of a stop to compensate for the snow.
Sixteen loads and five empties.
At one end was a GP38 that’s nearly as old as I am. At the other end was NECR’s Tunnel Motor, engine 3317. A former Southern Pacific engine.
After dropping its cars on the siding, the crew of NECR’s local freight pulled across and prepared to head back north to Palmer. This allowed me to take a good look at the Tunnel Motor—so-called because of its specially designed air-flow arrangement originally configured for high-altitude operation in tunnels and snow sheds on Southern Pacific’s rugged line over Donner Pass in the California Sierra.
That’s neat. I’d never seen NECR’s Tunnel Motor south of Palmer before.
Sorry, did I mention that New England Central’s reporting marks are NECR?
NECR’s conductor sets the derail on the siding. Lumix LX7 photo.I drove to the north-end of the siding which begins just north of the Connecticut-Massachusetts line. Look to the right of the engines and you’ll see the crudely cut granite marker for the border.Not so many years ago, six-motors were banned from operation south of Palmer. These days it’s not so unusual. However, daylight moves don’t occur on a regular basis. Lumix LX7 photo.
In August 2011, I exposed this vertical (portrait oriented) interior view of the famous Cincinnati Union Terminal. The station is an architectural masterpiece designed by architects Fellheimer & Wagner.
I was visiting for the annual Summerail event (due to be held this year in Marion Ohio).
For this angle I used my Lumix LX3, which is a tool well suited for making interior views with mixed lighting.
Cincinnati Union Terminal’s art deco styling lends well to semi-abstract images. I especially like the enormous flag, which helps anchor the photo while providing both perspective and context.
Cincinnati was inspired by one of my favorite Scandinavian railway terminals—also featured on Tracking the Light. Do you know which one?
If you would like to read more about classic railway stations, including details on Cincinnati Union Terminal, consider ordering my book Railway Depots, Stations & Terminals published by Voyageur Press and available through Amazon and local book dealers.
As a contrast to this morning’s frosty portrait view of a tightly cropped SEPTA Silverliner reflecting the snow on its inbound journey over former Pennsylvania Railroad rails, I thought I offer this summer evening’s view.
Berwin, Pennsylvania on the evening of June 30, 2012.
Like the earlier photo along the old Main Line (so-called because from the old ‘Main Line of Public Works) this depicts a Silverliner heading toward Philadelphia 30th Street.
However, this was a glorious summer’s evening with warm low sun in the western sky and fresh green leaves on the trees.
The camera and lens combination were also similar. This morning’s tightly cropped image was exposed with my Canon EOS7D with a 200mm telephoto, while this view used the same camera body but with a 100mm telephoto.
Anyway, if the weather today has you longing for the warmer months, here’s something for which you may look forward!
Please note, if you are viewing this post on Google Plus, Tumbler, Facebook or other sites, you’ll need to view Tracking the Light at: http://briansolomon.com/trackingthelight/ for the correct (unmodified, compressed or cropped) perspective on this image.
It was exactly two years ago; on this day, January 23, 2014, I made this tightly composed portrait-view (vertically oriented) photograph of a SEPTA Silverliner IV at Overbrook, Pennsylvania.
Over the years I’ve made many photographs along the former Pennsylvania Railroad Main Line, and more than my fair share of views at Overbrook.
SEPTA’s Silverliners are common enough, so I tried something a little different. Using my Canon EOS 7D with 200mm telephoto, I composed a tight vertical image of the SEPTA train as it glided through the station.
This is the full-frame portrait oriented view as I exposed it on January 23, 2014.
As a follow-up to Wednesday’s Tracking the Light post featuring vintage Ektachrome slides of Boston’s MBTA Mattapan-Ashmont PCCs from the late 1970s, I thought I’d present some of the images of this classic transit operation that I’ve made in the digital era.
I’ve featured this colorful trolley line about a once a year in Tracking the Light, but since the topic is timely as operation of the historic cars now appears to be under threat, I thought a Mattapan-Ashmont PCC review might be of interest.
Looking toward Ashmont from Cedar Grove. The Mattapab-Ashmont trolley line serves as an extension of MBTA’s Red Line. Exposed with a Canon EOS7D with 200mm lens.A classically painted PCC approaches Cedar Grove. Lumix LX3 photo, contrast adjusted in post processing.Milton was the station I featured in Wednesday’s post showing the old trackage arrangement. The 1979 view showed some PFE refrigerator cars delivered by Conrail on freight trackage that is now just a memory. Canon EOS7D with 40mm Pancake lens.A Mattapan bound car approaches Central Avenue. Exposed with a Canon EOS7D with 200mm lens.On an overcast May day, an MBTA PCC crosses Central Avenue. I like the contrast between the six decades old streetcar with modern automobiles. How much longer will scenes like this be possible on MBTA? Lumix LX7 photo.Careful inspection will reveal vestiges of the old New Haven Railroad freight trackage that ran parallel to the trolley line. Lumix LX7 photo.Mattapan is on the Red Line, served via vintage PCCs—at least for now. Lumix LX7 photo.It’s an era steeped in history, so it will be shame to see the old cars go. This is Boston’s equivalent of San Francisco’s Cable Cars—antique streetcars maintained for a modern application. LX7 photo.
I was searching through my Panasonic Lumix LX3 files from five years ago and I found this frosty low-sun photograph of Amtrak’s Vermonter departing CP83 in Palmer, Massachusetts for Springfield.
Rich winter sun offers a wonderful quality of light. While cold days maybe pose an endurance challenge for the photographer, the results can be outstanding.
Amtrak’s southward Vermonter heads west on CSX’s former Boston & Albany on January 25, 2011. (The train was working its southward schedule, although this portion of the railroad line is oriented East-West, which presents difficulties in captioning without long-winded explanations and a bit of historical background.) Exposed with a Panasonic Lumix LX3.
Staying with the theme of low-sun glint and color slide film. The other day I scanned this photo I exposed back in October 2006.
My brother Sean and I had been exploring SEPTA’s Route 15. At the end of the day (literally) I made this view looking west on Girard of an eastbound PCC.
SEPTA PCC on the Route 15 line, exposed on Fujichrome Velvia 100 using a Canon EOS-3 with 200mm lens.
Tracking the Light works with Film and Digital, and Color and Black & White.
Sometimes small operational anomalies on a railroad will combine to benefit the photographer by opening up different angles or opportunities.
Last Wednesday, delays on Mass-Central’s northward run (owing in part to congestion at Palmer Yard that resulted in a later than usual departure) combined with operation of engine 1750 with a southward facing cab opened some different winter angles on the old Ware River Branch.
I was traveling with Bob Arnold and Paul Goewey and we made the most of the variations in winter lighting along the route.
As I mentioned in an earlier post, over the last three decades, I’ve made many photos along this line. So, I’m always keen to find new viewpoints of this operation.
Low clear sun in January makes for rich colors and wonderful contrast, but also posed problems caused by long shadows.
It is true that carefully placed shadows can augment a scene, but random hard shadows too often do little more than add distractions and disrupt a composition.
Below are a few of the more successful angles I exposed on this southward trip.
Three-quarter lighting at South Barre, allowed for nice illumination of the railroad’s logo on the side of GP38-2 1750, while showing the old Mill that is now home to the Wildwood Reload. Exposed with my FujiFilm X-T1 with 18-135mm lens.Beautiful afternoon light near Barre Plains makes for great contrast that brings out the texture in the foreground grasses. Exposed with a FujiFilm X-T1 digital camera.I could make this view of the old Mills at Hardwick any day of the week, and I’ve been meaning to drive up one of these days to make the most of the light. So as I was walking into position to make my set on the far side of the Ware River at Gilbertville (featured below, I exposed this view with my 12mm Zeiss Touit. The old Boston & Maine line that ran parallel to the B&A Ware River Branch had run behind these mills. The tracks were lifted in the 1930s, although the Hardwick station survives. Mass-Central’s present line is behind me.The sun had swung around at Gilbertville, so we tried this angle to feature the buildings alongside the tracks. I’ve cropped this 12mm view to eliminate the harsh shadows in the foreground.Must all railroad photos be serious? Mass-Central’s crew are friendly, so we gave them a passing wave. I was multitasking, by waving and photographing at the same time. Photo exposed with my Zeiss 12mm Touit.A telephoto view south of the Church Street crossing Ware off State Route 32. Exposed with my 18-135mm lens set at 135mm.Same location as above but with a wide-angle setting on my zoom lens to take in the Ware River Valley. At one time B&M’s line was located on the opposite side of this narrow valley.Afternoon lighting at Ware made for some nice texture on the old coal sheds along the Boston & Albany. In summer these tend to be obscured by foliage.South Street in Ware was lit nicely. This is the same location (albeit from a different angle) featured on Tracking the Light on Thursday January 7, 2016. In those earlier images I was standing in St. Mary’s Cemetery. See: Mass-Central on Ware Hill; Boston & Albany’s Ware River Branch in a Modern Context. (link below).
Sometimes the shadows conspire against making the desired view of the train. By the time Mass-Central arrived at Thorndike, the shadows had covered the tracks. Oh well, a challenge for another day.
Not happy with these? I’ll try again on another day when the freight runs a bit earlier, or in a softer day, when there are no harsh shadows.
Tracking the Light explores new angles; New Posts Daily!
While on the roll with Mass-Central, I thought I’d present some more of my latest views. Made over the last week or so, these portray the railroad and its environs in the Ware River Valley.
In my photography and writing, I believe that providing context is an important component of telling a story.
Not all these photos depict trains, but together they are intended to paint a picture of modern railroading in this historic New England valley.
Since Mass-Central’s history is closely tied to the geography and industries that once-populated the Ware River Valley, to relay this story, it is important to capture more than just pretty pictures of the locomotive engine.
The old textile mills, villages, mill-ponds, and local highways all play an important part of the greater story.
Forest Lake.Gilbertville.
Tomorrow, I’ll take a slightly more focused approach and highlight Mass-Central’s southbound run to Palmer. This will feature a variety of classically inspired views in low winter sun.
South Barre, Massachusetts.South Barre, Massachusetts.South Barre, Massachusetts.South Barre, Massachusetts.Gilbertville.Along Route 181 in Palmer, Mass.Along Route 181 in Palmer, Mass.
Someone once said, ‘never photograph by aiming directly into the midday sun’. And, this advice has been melded into the cardinal rules of good railway photography.
The other day, while photographing along Mass-Central’s former Boston & Albany Ware River Branch at Gilbertville, I opted to violate this basic premise of good photography.
Three considerations;
Over the years (35 of them) I’ve exposed a great many images of the Mass-Central on its former B&A branch. (A fair few of these images, I feel are indeed quite good, and perhaps border the category of ‘above average’.) So, if I end up making a bad photo (or two), who cares?
My 12mm Zeiss Touit lens is an unusual piece of equipment. Owing to the nature of its design and exceptional high quality glass, I can make photos that frankly wouldn’t work so well with more conventional equipment.
By selecting a very small aperture (f22), I can create a sunburst effect in a clear polarized sky while continuing to retain shadow detail.
By selecting a small aperture and carefully exposusing manually by close attention to the camera’s histogram, I’ve optimized the digital sensors data capture. Essentially, I’ve attempted to retain some detail in the shadow areas while controlling the highlights. The use of a very small aperture (f22) creates the sunburst effect. This would be far less effective with this lens set (for example) at f5.6.Another tip: to help reduce the exposure of highlights (bright areas) I’ve taken advantage of a high wispy cloud that muted the direct effects of the sun. Exposed with a 12mm Zeiss Touit lens on a FujiFilm X-T1 digital camera. This is a camera produced Jpg, unaltered except for scaling necessary for internet presentation.An extreme lighting situation. Another effect of using a very wide-angle lens set with a very small aperture is tremendous depth of field (the relative focus between near and far objects in the photo). A jet contrail help diffused the light. I’ve also made a very nominal global contrast adjustment to lighten the shadow areas. In this instance, I have not applied any external filters.
So, are these photos good? Will I be fined by the aesthetics police? That’s up to you to decide!
But, honestly, what else would you have me do with a northward train coming directly out of the midday sun? I could have made no photos, but that wouldn’t make for a very interesting post, now would it?
Winter is an excellent time to photograph Mass-Central former Boston & Albany Ware River Branch.
The lack of foliage and a dearth of heavy underbrush opens up angles for photography obscured during the warmer months.
My challenge is to find new views on this railroad that I’ve often documented over the last 35 years.
On Monday, January 4, 2016, I made these views of the southward Mass-Central freight descending Ware Hill on its return run to Palmer.
Here I present two of the sequence of images. Compositionally, I feel the first image works better as it allows the eye to wander from the locomotive at right to the other subjects. The second image places too much emphasis on the left side.
Mass-Central 1750 leads the railroad’s southward freight near South Street in Ware, Massachusetts on January 4, 2016. Color temperature and contrast adjusted in post-processing, notably with the addition of a ‘graduated filter’ setting over the sky area to improve detail. (Note, this is not a true external graduated filter, as will be detailed in later posts.)Color temperature and contrast adjusted in post-processing, notably with the addition of a ‘graduated filter’ setting over the sky area to improve detail. (Note, this is not a true external graduated filter, as will be detailed in later posts.) Both images exposed with a FujiFilm X-T1 digital camera with Zeiss 12mm Touit lens.
Which do you prefer?
Tracking the Light Explores Photographic Technique Daily!
Before January 2, 2016, I’d never seen a SEPTA PCC making the loop from 40th onto Parkside Avenue, then on to the normal number 15 route along Girard Avenue.
My motto is always have a camera at the ready. So while waiting at the traffic light, I made these views with my Panasonic Lumix LX7.
It was rare glorious sunny day back in September 2015. Irish Rail had a full complement of trains on the move. Catching clean 071 class diesel 077 with the second IWT Liner was a bonus.
I exposed these photos along the Dublin-Cork line at Hazelhatch (about ten miles southwest of Dublin). Special thanks to John Cleary, who advised me on the day’s program, provided road-based transport and suggested some angles.
Down Irish Rail InterCity Railcar at Hazelhatch. FujiFilm X-T1 photo.
Photos by the rules:
Sunny day; tick!
Sun at least 30 degrees above the horizon and over right shoulder and positioned for evenly-lit three-quarter view; tick!
Rolling stock nearly free from shadows; tick!
Polls and wires minimized; tick!
View of railway wheels; tick!
shutter speed fast enough to stop the action; tick!
Trees and fences safely in the distance; tick!
Bonus qualifications: nominal elevation, clearly identifiable location and clean equipment.
Points subtracted: zoom lens used instead a prime ‘standard lens’. Digital used instead of film. Colour used instead of black & white. Evidence of people in some of the photos (minus two points, Tsk!)
Everyday Tracking the Light presents new material (qualified and otherwise).
The backyard is always a good place to experiment with a new lens:
See familiar territory in a new way; if something goes wrong, nothing is lost. If you succeed, you’ll know your new equipment’s strengths, but if something isn’t right, you’ll learn how to work around the problem before setting out to photograph less familiar places.
Wright’s Mills, West Warren, Massachusetts. Exposed digitally with a 12mm Zeiss Touit.
On St. Stephen’s Day, I took a drive up the Quaboag Valley along the old Boston & Albany route and made some photos with my FujiFilm X-T1 fitted with a new Carl Zeiss 12mm Touit super wideangle lens.
These are some of the digital images I exposed with my new camera-lens combination. I adjusted image contrast in post processing to maximize shadow and highlight detail for internet presentation.
Looking west at Warren, Massachusetts. Exposed digitally with a 12mm Zeiss Touit.In the shadow of Warren station. Exposed digitally with a 12mm Zeiss Touit.Warren common. Exposed digitally with a 12mm Zeiss Touit.Boston & Albany’s West Brookfield Station. Exposed digitally with a 12mm Zeiss Touit.West Brookfield Station.Old Western Rail Road freight house at West Brookfield.
Are these elements insidious intrusions or compositional aids?
The other day I was inspecting a nature photography magazine. Each and every photograph featured a stunning landscape free from the hand of man. Waterfalls and luscious skyscapes, arctic views and verdant forests.
Nowhere were there poles, wires, or tarmac roads. This magazine had portrayed a world free from industry, electricity, commerce, and railways!
Fear not good citizen! Tracking the Light will fill these photographic omissions!
Take for example these images of Pan Am Railways/Norfolk Southern’s intermodal train symbol 22K, photographed in November 2015 near its Ayer, Massachusetts terminal.
Intermodal train 22K at Ayer, Massachusetts in November 2015. Lumix LX7 photo.
A ruinous landscape? Just imagine this scene free from roads, wires, and the hand of man. What would be left to photograph?
Here’s a similar view of Pan Am Railways/Norfolk Southern symbol freight 22K at Ayer. Exposed with my Fuji X-T1 digital camera.
Gardner, Massachusetts, exposed on December 15, 2015 with a FujiFilm X-T1 digital camera.
I exposed these views of Pan Am Southern symbol freight 28N at Gardner, Massachusetts on the old Boston & Maine Fitchburg mainline.
Dark Clouds on the Horizon.
Heavy wintery clouds were rolling in from the west, yet a few shafts of sun remained. The contrast between the bright sun and billowing churning clouds allowed for dramatic lighting; ‘storm light’.
Gardner, Massachusetts, exposed on December 15, 2015 with a FujiFilm X-T1 digital camera.
I was traveling with Bob Arnold and Paul Goewey. Our bonus on this day was catching one of Norfolk Southern’s recently acquired former Union Pacific SD90MACs (a large General Motors model, built to accommodate a 6,000 hp diesel, but in this case powered by GM’s more reliable 16-710 engine with a more conservative rating).
Pan Am’s 28N is a autorack train that drops cars at Gardner and Ayer, Massachusetts. At Gardner Providence & Worcester interchanges, and often P&W’s WOGR (Worcester-Gardner) arrived about the same time as an eastward Pan Am freight.
Gardner, Massachusetts, exposed on December 15, 2015 with a FujiFilm X-T1 digital camera.
By the time the P&W arrived at Gardner, the dramatic light had faded, yet the sky was still full of texture.
My photo at Shirley offers the hope of safe journey in 2016, but also a reminder to photographers that 2016 will see the decommissioning of many old signals such as these old General Railway Signal searchlights.
How many more days will these old signals serve as intended?
Tracking the Light has been Posting Daily since 2013!
(only see one sunrise photo? click thislink to view Tracking the Light’s site.)
Looking forward to 2016: I’ve decided to usher in the New Year with a collection of sunrise views that I’ve made over the years.
Sunrise is one of the best times to make photos as the light is low, colorful and dramatic. Sunrise is always varied.
Also, I’d like to dispel a myth that I’m never up early. 😉
Of these varied views, which do you like the most?
Sunrise, Dublin. Lumix LX7 photo.Sunrise, San Francisco, exposed with a Nikon F3T on Fujichrome slide film in 2009.NJ Jersey Transit sunrise at Matawan, New Jersey in December 2015. Lumix LX7 photo.Sunrise, CP83 Palmer, Massachusetts October 25, 2009. Lumix LX3 photo.Sunrise, West Warren, Massachusetts, November 2015. Lumix LX7 photograph.Sunrise near Oulu, Finland, July 2015. FujiFilm X-T1 digital camera.Boston & Albany sunrise, Tennyville, Palmer, Massachusetts, December 2015. FujiFilm X-T1 digital photo.1990s smoky sunrise at Solitude, Utah.Sunrise at Newark, New Jersey, December 2015. Lumix LX7 photo.Another Palmer sunrise. Sometime, before today.
Back in the day, a long long time ago (1906, I think), a self-appointed man of knowledge carved into stone the rules of good railroad photography. When translated these read something to the effect:
To take a good train picture you must:
Always use a standard lens;
Expose on bright sunny days;
The sun should be at least 30 degrees above the horizon and over your left shoulder positioned for an evenly lit three-quarter view;
Keep shadows off all railroad rolling stock;
Minimize or eliminate all wires and poles;
Refrain from including people;
Always select a vantage point that allows for a clean view of locomotive wheels;
Select a fast enough shutter speed to stop the action;
Avoid distracting or complicated backgrounds.
Keep trees and fences in the distance.
Amtrak ACS-64 652 leads Keystone train 648 east at Trenton, New Jersey in a December 2015 downpour. Digitally exposed using a Lumix LX7.
Today, December 28, 2015 marks the first anniversary of Amtrak’s final runs of the Vermonter on the old New London Northern line between East Northfield and Palmer, Massachusetts.
Until February 1995, this railroad line had been operated by Central Vermont, which at that time conveyed it to New England Central, which hosted Amtrak’s trains.
It was on a snowy evening nearly three years ago that I used my Canon EOS 7D to expose this image of the old New London Northern station at Amherst, Massachusetts.
Step back 135 years. Before New England Central, before digital photography, Amtrak, or commercial electricity . . .
Poet, Emily Dickinson, today one of the best-known American wordsmiths of her generation, lived just a few blocks from this station.
On occasion Emily Dickinson may have traveled by train from Amherst to Monson, where she’d have visited members of her family who lived there. Perhaps she traveled to other destinations further afoot via connections with the Boston & Albany at Palmer.
Back in 1880 a train journey to Monson was easier than today, since then New London Northern served Amherst with three daily trains in each direction.
Two southward runs from Brattleboro afforded travel to Monson; one stopped at 6:46am, and required a change to a New London train in Palmer, which stopped in Monson at 8:24 am. The other was a through all-stops evening train that departed Amherst at 5:50 pm and stopped in Monson at 7:13 pm. There were similar schedules for northward trains.
Which of these schedules might she have traveled?
Her train’s consist, I imagine, was a light wood-burning 4-4-0 leading a wooden baggage car or possibly a combine coach and a second coach. Track speed was probably about a steady 30 mph, except climbing Belchertown Hill, and likely faster heading downgrade. More research would be necessary to track down the particulars.
Among the lines of her famous poem about her train travels read:
I like to see it lap the miles
And lick the valleys up,
And stop to feed itself at tanks . . .
From this description, it sounds more like the 5:50pm that routinely took water in Palmer before continuing its journey southward. But then, perhaps she was penning her lines about a northward run on its way back toward Amherst. Maybe the water tank mentioned was that located near the Amherst station. Just some educated guesses.
Tracking the Light takes an angle on Literature in an effort to make more compelling images.
Consult your schedules, watch the signals, listen for the hum of the rail, and stay poised.
This is the heart of Amtrak’s Northeast Corridor, a raceway for passenger action. In between the fast flying Acela Express runs and Amtrak Regional trains are hourly all-stops SEPTA local runs.
Trains Under Wire.
On the morning of December 19, 2015, Pat Yough and I visited SEPTA stations north (east) of Philadelphia on the former Pennsylvania Railroad electrified four-track line. No GG1s today, but we did catch two old AEM-7s.
Low level platforms here are soon to be ‘improved.’Amtrak ACS-64 number 651 leads train 153 at Levittown, Pennsylvania. FujiFilm X-T1 photo.
Tips of the day: stay sharp and remember that the long distance trains (Silver Star, Silver Meteor, Crescent, etc) are not listed in the Northeast Corridor schedule and can run ahead of the posted station times as listed in their respective schedules in the Amtrak National Timetable.
SEPTA local 9714 makes a station stop at Levittown, Pennsylvania. FujiFilm X-T1 photo.Many times I’ve traveled on this train; Amtrak 56 the Vermonter, seen here approaching Levitttown behind ACS-64 635.Amtrak Keystone 663 is led by Siemens-built ACS-64 610. The sharp photographer needs to keep the train numbers distinct from engine numbers. This can get a bit confusing on this section of line since both the ACS-64 locomotives (motors) and Keystone trains use 600 series numbers. Just remember one is a piece of equipment, the other is a scheduled service.Ouch! Bad luck, on an otherwise clear morning one lingering fluffy cloud quenched the sunlight just as one of two AEM-7s of the day passed. Engine 927 leads Amtrak train 155 at Levitttown, PA. FujiFilm X-T1 photo, adjusted in post processing with Lightroom to correct contrast, exposure and color temperature.Amtrak Keystone 662 is in push-mode with ACS-64 636 at the back. (In other words this is a trailing view.) FujiFilm X-T1 digital image with Zeiss 12mm Touit lens.Who said you can’t use a wide-angle when photographing a high-speed train? Acela Express 2250 was racing along at an estimated 125 mph when I exposed this view with my FujiFilm X-T1 digital image with Zeiss 12mm Touit lens. I had the camera in ‘CF’ (Continuous Fast, what I call ‘turbo flutter’) and the shutter speed at 1/2000th of a second.SEPTA 9707 makes a station stop at Levittown on its way to Trenton, New Jersey.Amtrak 98 rolls eastward (northward) at Levittstown on the final leg of its trip from Florida to New York Penn-Station. Remind me, why did Amtrak invest in new baggage cars?Amtrak Keystone 664 had this battle-worn AEM-7 at the back. Quick action at Croydon allowed for a satisfactory trailing view of the aged electric in action.I always like to catch the long-distance trains under wire. Amtrak ACS-64 606 leads train 91 the Silver Star on its run to Miami, Florida. Photographing the German-designed electrics under old PRR signal bridges makes for a contrast in time and technology that helps tell the story of today’s Northeast Corridor.Amtrak train number 20, the Crescent was running ahead of its posted time when it passed Croydon. Pat Yough had checked the time on his smart phone, so we were poised for action when its headlight appeared.
Is it a retro railroad fantasy to make images that resemble those of the late-Reading Era in 2015?
Reading & Northern GP39RN 2532 leads one of the company’s Santa Trains at Becks near Cressona, Pennsylvania. This locomotive was originally classified as EMD GP30 and is painted to resemble Reading Company freight locomotives as they appeared in the 1970s. FujiFilm X-T1 photo.
Traveling with Pat Yough, I made this selection of photographs at the former Reading Company yards at Cressona, Pennsylvania in December 2015.
Back in the 19th Century, Philadelphia & Reading consolidated various railroads primarily for the movement of anthracite. In its heyday, this railroad was one of the busiest and most profitable in the United States.
Coal demand and transport has changed dramatically in the last 130 years.
Reading Company’s operations entered a long decline in the 20th century and were finally folded into Conrail in 1976. Reading & Northern emerged as a Conrail spinoff in the 1980s.
Reading & Northern’s old Reading Company yards at Cressona, Pennsylvania. Exposed in ‘monochrome mode’ with my LX-7. I’ve adjusted the tonality with an in-camera red-filter setting.
Today, using a host of vintage railroad equipment R&N provides freight service and seasonal excursions in the spirit of the old Reading Company. Anthracite remains among the commodities moved by the railroad.
R&N paints its vintage locomotives and some freight cars to resemble those of the late-era Reading Company.
This is a similar view to the black & white image above, and aimed to include R&N’s GP39RN. This could be a view of an R&N freight, or perhaps almost passable (if we cropped the ‘derail’ sign, and ignore the graffiti-covered 1980s era freight cars) as a view of the Reading Company from the 1970s. Yet, it’s really a modern R&N Santa Train excursion. Restored CNJ 0-6-0 113 is puffing away at the back of the train. Lumix LX7 photo.Trailing view of R&N’s neo-GP30 disguises the true nature of the day’s excursion. This could easily pass as a R&N freight. FujiFilm X-T1 photo.
The line between documentation and photo recreation is blurred.
Through select cropping, I can either reveal the nature of the passenger excursions, or at first glance make R&N’s excursions operation appear like a Reading Company freight from the mid-1970s, or even its own weekday freights.
When does documentation become a re-creation? In the case of R&N does such a distinction even matter?
R&N offers a window on the old order, which is a relief for a railroad photographer aiming to step back from the contemporary scene dominated by massive class I carriers with modern six-motor safety-cab diesels moving unit trains of coal, ethanol and intermodal containers, and modern passenger trains.
LX7 panned photo—relatively slow shutter speed and careful continuous panning motion allowed the main subject to remain sharp while the background slips into a sea of blur.
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Restored Central Railroad of New Jersey 0-6-0 number 113 worked Reading & Northern Santa Trains between Minersville and Schuylkill Haven on December 20th, 2015.
Approaching Minersville, Pennsylvania. Exposed with my FujiFilm X-T1 digital camera.
Pat Yough and I made the most of this photographic opportunity, including exposing images of R&N GP30 2532 that worked the Schuylkill Haven-end of the train.
At Minersville, I focused on the locomotive’s details.
Last year, (see: Happy Christmas from Tracking the Light: Doubleheaded Steam) we’d photographed double-headed trains with CNJ’s 113 trailing behind Reading & Northern’s Pacific number 425. Where last year we had overcast weather, this year we had a mix of bright sun and high cloud.
Another change was that 113 recently had had its boiler jacketing restored. While a subtle improvement for the casual observer, it really made for more authentic looking photographs.
Central Railroad of New Jersey 0-6-0 113 charges through Schuylkill Haven, Pennsylvania on December 20, 2015.Trailing view at Cressona Yard on December 20, 2015.
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On the roll at Schuylkill Haven. Panned using my FujiFilm X-T1 with 27mm pancake lens.
New Hope & Ivyland’s former Reading Company station at New Hope, Pennsylvania. Exposed with a Lumix LX7 digital camera, nominal shadow adjustment from a RAW file.How about a happier, brighter, super-saturated version of the same photo? Here the contrast, exposure, saturation, color balance and clarity have been boosted in Lightroom for maximum holiday cheer. Hark the ho ho, and all that! LX7 photo.
In the hustle to get to where you going, don’t forget to take in the finer points of traveling.
The week around Christmas is one of the busy travel seasons for Amtrak and can be an interesting time to make photographs.
Amtrak’s former Pennsylvania Railroad Station at 30th Street in Philadelphia is one of the nicest large terminals in North America.
Lumix LX7 photo.
I made these photos at 30th St. the other day with my Lumix LX7 while waiting for Amtrak train 148, which connects Washington D.C. with Springfield, Massachusetts. (This is a direct train, and one of the few that still changes from electric to diesel at New Haven.)
ACS-64 number 649 leads train 148 on track 4 at 30th Street Station. I boarded the Quiet Car.
After exposure I made nominal adjustments to the RAW files using Lightroom. To clean up the images and make them more pleasing to the eye I adjusted contrast and color saturation.
Slight adjustments can make a photo ‘snap’ which gives that extra something special that helps grab your attention. Extreme adjustments can alter the image and produce far-fetched fantasy images. (Which at Christmas in Philadelphia could be a good thing, right?)
In the spirit of the season, I made this image of Black River & Western’s 2-8-0 number 60 leading the North Pole Express across the Copper Hill Viaduct west of Flemington, New Jersey.
Black River & Western, former Great Western 2-8-0 number 60. Exposed on December 19, 2015 using a FujiFilm X-T1 digital camera fitted with a Zeiss 12mm Touit lens. File adjusted using Lightroom to control contrast and color balance.
I made my first photographs at the old Lackawanna Hoboken Terminal with my father back in 1976. He made his first photos there about 20 years earlier.
Today, Hoboken Terminal survives as one of the last great waterfront railroad terminals. Perhaps, the last great American waterfront terminal.
There’s no longer a Lackawanna Limited for Buffalo, nor any of the Lackawanna EMD F3s or F-M Trainmasters that my dad saw, but New Jersey Transit’s Hoboken Terminal remains as one of the most atmospheric locations in the New York City area to make railway images.
Hints of the old order; the Delaware, Lackawanna & Western was one of the great railway companies of the early 20th century.
While I’ve featured Hoboken Terminal previously on Tracking the Light, (see: Hoboken?!) I exposed all of these photos in one morning about ten days ago using my Lumix LX7.
My intent here was no to make one photo, but rather a group of images that capture the character of the place.
I arrived in Jersey City on NJ Transit’s Hudson-Bergen Light Rail a few days ago. While I was checking out some comparative ‘now and then’ locations, I made these photos of the modern cars with my Lumix LX7.
(for those viewing via Facebook or other sites, you’ll need to click the link to Tracking the Light for the full effect.)
Then and Now, I think.
Back in 1983, I was fascinated by the Pennsylvania Railroad’s waterfront operations in Jersey City, especially at Exchange Place.
On a family trip, we spent an hour or so exploring the decay around Jersey City so that I could make photos that I’d ultimately planned to use to build a diorama/model railroad.
23 years previously, my father had made photos at the old Exchange Place Terminal. We had difficulties locating anything definable at the site of the once massive station, but made a few photos around the Conrail former PRR yards.
In February 1983, my father exposed this view of Conrail locomotives at Jersey City on Kodachrome 64 using his Leica. I made some similar views that are less impressive as stand alone photographs, by proved useful in trying to relocate this place last week.
Over the last year, I’ve taken a few trips through Jersey City on the Hudson-Bergen Light Rail and found the place totally transformed from my mental images of the place stemming from the early 1980s.
So, I decided to try to recreate some of our 1983 angles, and last week armed with maps and photos in-hand I went exploring.
This USGS topo map shows the way Jersey City would have been c1950. I’ve placed a blue arrow to show my photo location. (Manhattan Island is located at the far right).
When a cityscape changes beyond recognition, it can be difficult to produce practical ‘now and then images.
These photos are part my work in progress.
I made some cheap copies of the 1983 photos and started exploring Jersey City. While I’d expected to find the 1983 site covered with modern development, I was surprise that the nearest location of our locomotive photo remained undeveloped, albeit surrounded by modern buildings.Is this the exact spot where we made our photos in 1983? I’m not sure, but when I climbed up the embankment it seemed very familiar, although the setting has been transformed. Sorry, no vintage EMD NW2 switchers in December 2015! Exposed with my Lumix LX7.
I’ll call this, Flushing Line Revisited. My first visit was with my dad about 1968. They’ve changed the cars since then
The New York metro-area generates its own quality of light. By afternoon on this day a mix of high cloud and four flavors of atmospheric pollution had tinted the skylight grayish orange with hints of smoggy yellow.
I’ve adjusted contrast in post-processing with the use of a digitally applied gradated neutral density filter to help balance the sky detail.A slightly closer view of the same train. Note the inbound train on the lower level of the elevated structure. Both are moving.
I made these views with my Lumix LX7 from the Manhattan-end of the double-deck Queenboro Plaza station. The Manhattan skyline looms in the distance.
My Lumix LX7 is a great tool for photographing the subway. It has a fast lens (f1.4) while the camera body is light, compact, flexible, and discrete.
For my New York City Subway photography exercise; I set the ISO to 200, the white balance to ‘auto’, set the exposure to dial to ‘A’ (for aperture priority, meaning I manually select the f-stop and the camera selects the appropriate corresponding shutter speed for optimal exposure ) and open the f-stop to near it’s widest setting.
The Lumix LX7 allows me turn off all the sounds and lights, so when I release the shutter nothing beeps or flashes.
I exposed both RAW and Jpeg files simultaneously. While the camera’s automatic exposure was close, I needed made minor adjustments to contrast and white balance in post-processing using Lightroom.
Typically this is necessary to bring the highlights under control while opening up (lightening) the shadow areas to make detail more visible.
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