I realize that today’s title might not catch everyone’s eye.
How about: ‘Clean GM Diesel on a Freight’?
Or, ‘Irish Rail at Rush Hour’ ?
Anyway, this post is about light.
I was waiting on the Up IWT liner (International Warehousing & Transport Ballina, County Mayo to Dublin Northwall container train)with recently painted Irish Rail 071 class diesel number 082.
Just ahead of this Dublin-bound freight was the Up-Galway passenger train with a common set of ICRs (InterCity Railcars).
I was photographing into the sun. My intent was to work the glint effect. (That’s when the sun reflects off the side of the train).
Usually, I find this is most effective when you shade the front element of the lens to minimize flare. Notice the two variations with the ICR.
By the time the freight reached me clouds had partly shaded the sun leaving only a hint of back-lighting.
All the photos were made using my FujiFilm XT1 with 90mm f2.0 lens. The camera RAW Files were all adjusted for colour balance, colour saturation and contrast using the same ratio of change. (In other words, although I’ve manipulated the final result, all the photos have received the same degree of alteration).
Belmond is a high-end tour train operator that since 2016 has served Ireland with its Grand Hibernian sleeping car train.
This has been a popular topic for railway photographers as it represented a return of the Mark 3 carriage to Irish rails and makes for a decidedly different passenger train in contrast with Irish Rail’s regularly scheduled services.
Yet, as previously mentioned on Tracking the Light, the train itself is challenging to capture in images owing to its largely unbroken dark navy-blue paint.
In dull light this looks nearly black.
I’ve found that the most effective photographs of the Belmond Grand Hibernian are made in bright sunlight.
These views were exposed at ‘the Gullet’ west of Dublin’s Heuston Station. One was made with my Lumix LX7 with the Vivid colour profile; the other two with my FujiFilm X-T1 using the Velvia colour profile.
Files were scaled in Lightroom for internet presentation, but were not altered in post processing in regards to exposure, colour balance, colour temperature or contrast.
A couple weeks ago, I met fellow photographer Jay Monaghan in Cabra to document the passing of Belmond’s luxury tour train that was making it’s scheduled move to Dublin’s Connolly Station.
Using my FujiFilm X-T1 digital camera, I opted for this portrait-oriented (vertical) telephoto view to accentuate the Dublin Mountains. In contrast to my view, Jay executed a very nice wide-angle photograph that better shows the cutting and the length of Belmond’s train.
The Grand Hibernian uses 10 custom refurbished former Irish Rail Mark3 carriages, making it the longest regularly scheduled passenger train in Ireland.
In this instance an Irish Rail class 071 diesel is working the train, but for most moves Irish Rail 216 specially painted in Belmond navy-blue is assigned to it.
In season, Belmond’s high-end excursion train makes tours of Irish railways.
On the morning of 27 March 2017, freshly painted Irish Rail class 071 locomotive number 081 worked the down IWT liner.
I made the time to catch this from my often photographed location at Islandbridge Junction near Dublin’s Heuston Station.
Among the advantages of this spot is good morning lighting on westward trains (where most other places face difficult backlighting), ample elevation and the iconic Wellington Testimonial, which is located in the Phoenix Park on the north side of the River Liffey.
Last year Irish Rail cleared its cuttings on the northern approach to the Phoenix Park Tunnel in Dublin in preparation for introduction of a regular passenger service over the line to Grand Canal Docks.
This work had the secondary effect of improving a number of photo locations, such as this view from the Dublin’s Old Cabra Road.
Last week on advice from Colm O’Callaghan, I opted to work from this vantage point to photograph an Irish Rail empty ‘Spoil train’ [that carries debris left over from line works etc] that had been scheduled to run to the North Wall in Dublin.
Shortly before the focus of my effort came into view an empty Irish Rail passenger train arrived and was blocked at the signal outside the tunnel.
My question to you: are the photographs made more interesting by the presence of the passenger train?
Tracking the Light Intends to Post Every Day, 365 days a year.
At dusk on the evening of March 2, 2017, I exposed this view of the River Liffey in Dublin.
An Irish Rail DART (Dublin Area Rapid Transit) electric train is crossing the Loop Line bridge on its way to Connolly Station.
The most prominent elements of the image are the Custom House, an 18th century relic of the British Imperial presence in Ireland, and coloured lights reflecting in the Liffey. The railway takes a secondary role.
When the Loop Line bridge was built in the late 19th century, pundits moaned that it spoiled the view of the Custom House. Were they lazy or just being ironic?
Below are two views of Irish Rail’s 071 with a ballast train at the old Guinness sidings at Dublin’s Heuston Station.
This locomotive has been popular with photographers since its repainting in the 1970s heritage livery last year.
What I’m trying to demonstrate here are the various effects of lighting and technique. One view was made on black & white film in the fading daylight of early evening. The other is a digital colour photo exposed the following morning.
So do you go out in poor light to catch something unusual? That’s your choice.
Sometimes I hold off for fine weather or good light to make images. Other times I’m faced with catching something in prevailing conditions. The railway doesn’t run for sunshine.
Once a week Irish schedules an extra IWT Liner (International Warehousing & Transport—Dublin North Wall to Ballina, Co. Mayo). In recent months, this has operated with the elusive container pocket wagons (CPWs). But it doesn’t necessarily run every week.
I have plenty of photos from Islandbridge Junction, and no shortage of images depicting the IWT Liner, and while I’ve photographed the CPWs over the years, last week I knew for certain (that’s railway certain, which is at best uncertain) that the CPWs were on due to pass.
The other day, Mark Healy and I continued our review of Dublin’s LUAS Cross City construction.
Track laying is well advanced through the city centre, yet gaps remain. Beyond Broadstone on the old Midland Line, preparatory work is on-going, while a short section of double track in the cutting near the Cabra Road is now in place.
I made these photos using my Lumix LX7 set in ‘A’ mode, but with a + 1/3 exposure override to compensate for the white sky and keep the shadows from blocking up.
All the images presented are scaled Camera JPGs. I have not modified the files for exposure, contrast or color.
For the last week, Irish Rail class 201 number 231 has been working the International Warehousing & Transport Liner (Dublin North Wall to Ballina, Co. Mayo) with IWT identification marks on the Ballina-end and the sides of the loco.
Photographically this is a boon because it positively distinguishes the IWT liner from other trains.
While last week, I’d either been busy or out of position when 231 worked the train; but this morning I made the effort to catch it from my usual location at Islandbridge Junction in Dublin.
Do I have too many photos from this spot? Undoubtedly, but it’s better to have a publishable image of a distinctive train from an identifiable location, than not to have a photo of the train at all. So, for the sake of a 5-minute walk, I’ve got the IWT Liner looking the part.
Here’s another contemporary black & white view on Dublin’s O’Connell Street.
In the window of Ulster Bank is a view from 1916 showing the ruins of Dublin’s General Post Office, destroyed during the 1916 Easter Rising. Old trams grind along near the old terminus at Nelson’s Pillar.
A child looks at us across the void of time.
Modern pedestrians are a focused on their phones or the ATM at the side of the bank.
Today, tracks are being re-built on O’Connell Street, and after a long absence tram service is expected to resume in 2017.
Track and platform construction continues in Dublin on Ireland’s latest rail-transit route.
When completed LUAS Cross City will extend the Green Line north through the Dublin City Centre via Parnell Square to Broadstone and beyond to a new terminus at Broombridge.
The other day Mark Healy and I made an inspection of the work in progress.
Safety fences combined with the visual chaos of this urban setting makes for challenging photography. I’m hoping to add these images to my file of now and then images once the project is completed and functional.
Thursday morning on my way to breakfast, I made this photo of Irish Rail’s IWT Liner (Dublin to Ballina) passing Islandbridge Junction.
I timed my visit well and so only waited a few minutes for the freight to pass.
I’ve often photographed the IWT at this location, so this was really just an exercise.
Soft morning clouds made for some pleasant lighting, but also a post-processing quandary.
My FujiFilm XT1 allows me to simultaneously expose a Camera RAW file and a camera interpreted JPG. Among the features of the Fuji cameras is the ability to select a film-like colour profile for the Jpg.
In this instance I’ve opted for the Velvia profile, which closely emulates the colour and contrast of this popular slide film.
Another colour adjustment is the white balance control. In this situation I selected ‘auto white balance’, which means the camera interprets the color temperature.
When I processed the photos, I wanted to see if I could improve upon the camera JPG by making subtle changes to the Camera RAW file (which has ten times more information imbedded in it than the Jpg, but serves in the same role as a ‘negative’ and is intended for adjustment rather than uninterpreted presentation).
Below are three images; the a JPG from the unmodified Camera RAW, Camera created JPG, and my interpretation of the Camera RAW file.
Incidentally, by using Lightroom, I can make adjustments to the RAW files without permanently changing the original data. This is very important since it would be a mistake to modify the original file. That would be like adding colour dyes or bleach to your original slide to ‘improve’ the result.