It was just an ordinary day when I made this impromptu view of Irish Rail 225 working a Mark 3 push pull set on Dublin’s Loop Line crossing over Gardner Street Lower.
What was common in 1998 seems pretty neat today. I’m glad I exposed the slide!
To make the most of this photograph, I scanned the slide using a Nikon Super Scoolscan5000 then imported the TIF file into Lightroom for contrast and exposure refinement plus colour balance and colour temperature adjustment.
It was dry evening a few weeks back, when photographer Jay Monaghan and I ventured down to Dublin’s North Wall yards seeking the laden Tara Mines train.
First we caught it arriving from East Road, then we legged it down to Alexandra Road to make photos of it arriving at Dublin Port.
This one of the only places in Ireland where tracks share space with a road, making it a distinctive place to picture trains.
I’m fond of this atmospheric trailing view exposed in black & white using Nikon F3 with an old-school Nikkor non-AI f1.4 50mm lens.
My film choice was Superpan 200, processed using multistage development.
Working with a Nikon F3 with f1.4 50mm lens loaded with Fomapan 100 Classic, I exposed these portraits of some of the men working Railway Preservation Society’s 18 March 2019 trips from Dublin Connolly Station to Maynooth.
I processed the film in a non-standard way to obtain a period look while giving photos optimal tonality in a contrasty situations.
First: I pre-soaked film it in a very dilute bath of Kodak HC110 (measured 3 parts per 1000 with water, plus wetting agent) for about 7 minutes at 72 F;
Second: primary developer consisted of Ilford ID-11 1 to 1 with water at 69 F for 6 minutes;
Third: following stop bath, two fixer baths, and a thorough 10 minute rinse, I toned the negatives in a 1-9 selenium solution (outdoors to avoid breathing toxic fumes) for 8 minutes. This was followed by several rinse cycles and a final rinse in distilled water.
Negatives were scanned in colour to retain the selenium tint.
On Monday afternoon, 15 April 2019, I made this sequence of photos from Dublin’s Conyngham Road.
In just a few minutes I photographed four trains passing over the Branch that connects Islandbridge Junction with lines to Connolly Station/North Wall yards.
Exposed using my Lumix LX7; files adjusted for colour balance and contrast using Lightroom.
At 1452 (2:52pm a Hazelhatch-Grand Canal Docks ICR passed; note the signal with feather at left).
Less than a minute later this Grand Canal Docks-Hazelhatch train passed.
Minutes ago (on 4 April 2019) I made this view from Conyngham Road in Dublin as an ICR working a Grand Canal Docks-Hazelhatch service exited the Phoenix Park Tunnel and crossed the lattice bridge over the River Liffey.
Spring is in bloom and the trees are just getting their leaves, yet it is freezing outside with a harsh nip in the wind.
Exposed using my Lumix LX7; RAW file imported into Lightroom for colour and contrast adjustments.
This week Tracking the Light is on ‘auto pilot’ while Brian is traveling.
On 23 March 2019, I set up in Drumcondra along the Royal Canal on Dublin’s north side to photograph trains working the Newcomen Line.
Normally the visually intriguing Newcomen line trackage is only lightly used during midday with most moves scheduled for weekday rush hours.
Instead, Irish Rail typically routes trains on the parallel double-track line via Drumcondra Station; however on the weekend of 23-24 March 2019 works on that line resulted in diversions to the Newcomen Line.
I made these views using my FujiFilm XT1 digital camera.
Last Thursday I used my Lumix LX7 to make this view of DART electric trains serving Blackrock on the shores of Dublin Bay. Nothing remarkable here.
Except that this line opened in 1834 as the Dublin & Kingstown and represents Ireland’s oldest railway line and is considered as World’s first suburban railway.
Well that’s extraordinary, isn’t it?
Brian Solomon is traveling, but Tracking the Light still posts Daily!
I made this photo on the morning of 18 March 2019 using my FujiFilm XT1.
I’ll admit that if you’re not closely familiar with Irish Rail’s Dublin operations my title to today’s Tracking the Light post might seem cryptic.
Two of the Irish Rail 201 class General Motors diesels, 231 and 233, are painted in a minimalist silver, black and yellow livery. These are colloquially known in the enthusiast community as ‘raccoons’ (or ‘badgers’).
Engine number 233 has been shy lately and rarely seen out on the mainline.
RPSI stands for the Railway Preservation Society of Ireland.
RPSI owns an historic set of Cravens-built passenger carriages.
These are stored/maintained at Irish Rail’s Inchicore works (repair shops), and when they are required for an excursion, Irish Rail makes a transfer run across Dublin to deliver them to Connolly station for boarding.
The graded three-track line from Islandbridge Junction to Inchicore runs through a cutting along Con Colbert Road known as ‘the Gullet’.
While I’ve covered most of this previously, I figure it doesn’t hurt to review the esoteric every so often to avoid confusion.
Tracking the Light is on Auto Pilot while Brian is Traveling.
Last Friday (22 March 2019), Mark Healy and I met in the Dublin city centre to seek out an elusive tram, recently dressed in a yellow advertising livery.
A steady rain was falling by the time we found it.
I made these photos with my Lumix LX7. In post processing, I adjusted the camera RAW files using Lightroom to improve colour temperature, make the contrast more appealing, and restore texture to the afternoon sky.
I exposed this pair of digital photos about a month ago of LUAS trams crossing the old cast iron Kingsbridge (Sean Heuston Bridge) at Dublin’s Heuston Station.
Soft and orange-tinted evening light made the interesting scene even nicer.
Here are some more digital photographs from Monday’s (18 March 2019) Railway Preservation Society of Ireland steam trips behind Great Northern Railway 85.
Runs were scheduled to depart Dublin Connolly Station at 1100 and 1505 and operated between Irish Rail’s regularly scheduled trains.
RPSI’s trips were very well patronized.
Special thanks to everyone at RPSI and Irish Rail for a great railway experience!
—Some nocturnal views of Dublin suburban operations—
Working in the gloom of night has its challenges and benefits.
It’s especially challenging when the camera I intended to make film photos was suffering from a flat battery, again (so I thought).
One of my Nikon F3s was again showing signs of no electricity. Changing out the batteries on an railcar, I began to suspect something else . . .
Anyway, last week Paul Maguire, Jay Monaghan and I arrived at Pearse Station as a potential location to picture Irish Rail’s Sperry train that was making its run to Bray to inspect rail conditions.
We decided to try the next station down the line, and traveled on a DART electric train to Grand Canal Docks. With my Nikon dead in the water, I opted to work with my Lumix LX7 and FujiFilm digital cameras instead. This changed my perspective as I’d hope to make black & white film photos.
Grand Canal Docks viewed from Irish Rail’s station of the same name. Lumix LX7 photo.DART at Grand Canal Docks. Lumix LX7 photo.Irish Rail 29000 series CAF-built diesel train. Lumix LX7 photo.A Howth-bound DART at Grand Canal Docks, FujiFilm XT1 photo.Irish Rail 086 leads the Sperry detection train at Grand Canal docks. FujiFilm XT1 with 90mm f2.0 prime telephoto.
As we waited on the platforms for the Sperry train. I made photos of the DART and suburban diesel railcars, which dominate operations on this route.
Diesel haulage is the attraction of the elusive Sperry train; and on this evening Irish Rail 086 did the honors.
Tracking the Light Posts Daily!
Oh yeah, about the F3T’s battery problem. Later, I discovered that the plastic cartridge that holds the batteries appeared to have developed a short. Luckily, I have a spare F3 and swapped out the cartridge solving this difficulty.
On Monday, 18 March 2019, Railway Preservation Society of Ireland operated its annual The Midlanderexcursions from Connolly Station along the Midland route following the Royal Canal to Maynooth.
This resulted in an uncommon visit by Great Northern Railway (of Ireland) engine number 85 to the historic Midland Great Western route.
The trains were well patronized and reportedly sold out.
I both traveled and made photos line-side as two trips were operated; the first departing Connolly at 11am, the second just after 3pm.
Below are a few more views of Dublin buildings coloured with green light for the 2019 St Patrick’s Day Festival.
Exposed digitally using my Lumix LX7 and FujiFilm XT1 cameras.
Trinity College at College Green.Dublin’s Custom House.Irish Rail’s Connolly Station on Amiens Street at dusk.
Loop Line Bridge over the River Liffey.
Brown Thomas on Grafton Street. Harp shaped Becket Bridge in the Dublin Docklands.LUAS Green Line at St. Stephen’s Green. Royal College of Surgeons at the right.
Radio media reported that a bus-tram collision occurred after 7am this morning (16 March 2019) at the intersection of Benburb and Queen Streets on Dublin’s north side.
A bus bound toward the City Centre on Queen Street collided with eastward Red Line tram (unit 3003) heading toward The Point.
The leading section of the tram was derailed and there was damage to both vehicles.
News media have reported eight injuries and that it may hours before the tram line is open to traffic.
Looking east on Benburb Street. Exposed with a Lumix LX7 .
I exposed these photos minutes ago.
I find this accident especially shocking since I’ve often watched trams pass at the adjacent pub, and I travel this route regularly, having been on a tram to Bus Aras just last night.
Benburb and Queen Streets were closed to road traffic.
I’ll post more photos to this site shortly. To make photos quicker/easier to load I’ve lowered the resolution. Hi-res images from my cameras are significantly sharper, but might slow down this site.
Tram 3003. View looking east on Benburb Street. Exposed with a Lumix LX7 .
Looking North on Queen Street, with Benburb Street and tram behind the photographer Bus was traveling southward toward Dublin City Centre. Exposed with a Lumix LX7 .Looking south on Queen Street at the intersection of Benburb Street. View of the eastward section of tram 3003. City Centre toward the left. Photo at 0830 16 March 2019.Looking east on Benburb Street. Exposed with a Lumix LX7 .Looking south on Queen Street toward the intersection of Benburb Street. Damaged bus on right. View of the eastward section of tram 3003. City Centre toward the left. Photo exposed at about 0830 16 March 2019.
Looking east on Benburb Street. Lo-res view Exposed with a FujiFilm XT1
Looking east on Benburb Street. Lo-res view Exposed with a FujiFilm XT1.
Damaged bus on Queen Street.
Looking south on Queen Street. Lo-res view Exposed with a FujiFilm XT1.
Looking west on Benburb Street. Lo-res view Exposed with a FujiFilm XT1.
Looking west on Benburb Street. Lo-res view Exposed with a FujiFilm XT1.
Looking north on Queen Street. Lo-res view Exposed with a FujiFilm XT1.
Brian Solomon’s Tracking the Light posts every day.
A little while ago I made this pair of photos at Islandbridge Junction in Dublin.
In a repeat of a few weeks back clouds were racing across the sky making for wild changes in the quality of light from moment to moment.
First up was today’s (14 March 2019) IWT Liner from Dublin’s North Wall to Ballina, County Mayo. This had 073 in retro orange. A few minutes later, Irish Rail 080 came around with an empty LWR (Long welded rail train).
The clouds foiled my first effort. But breaks in the cloud allowed for respectable telephoto view of the LWR. On the downside, my 50mm colour slide of same won’t be as impressive as the clouds quickly dampened the light again.
Such are the challenges of photographing moving trains in Ireland.
Sunday morning 10 March 2019, I paid another visit to the old Midland Great Western terminus at Broadstone in Dublin.
You have to admit the name is cool. Broadstone just sounds like something substantial in a medieval way.
Anyway, this old Dublin railway terminal has served as a bus depot (garage) for decades, and in recent years has been nearly encircled by the new LUAS Green Line Cross City tram route.
Continued landscaping has much improved the grounds around the old railway station.
Working with Czech-made Fomapan Classic in my Nikon F3, I’ve wandered the streets of Dublin seeking timeless images.
By careful chemical manipulation in the processing of the negatives, I aimed to extract exceptional shadow detail, maintain rich black tones and control highlight areas.
I’ve exposed these views over the last few weeks. In many instances, I’ve set my lenses to their widest apertures both to let greater amounts of light to reach the film, but also for the effects offered shallow depth of field.
Weather, including fog, added to the challenge and the atmosphere.
Here’s a few black & white views exposed last week on Kodak Tri-X of Irish Rail’s branch from Islandbridge Junction to the North Wall/Connolly.
Recently, Irish Rail has expanded service on the Grand Canal Docks—Hazel Hatch/Newbridge run and now trains run at least hourly throughout the day.
Following a Grand Canal Docks bound passenger train was the daily Up IWT Liner (Ballina to North Wall, Dublin).
Since these trains were coming out of the relatively harsh midday sun, I opted to work with black & white film, which makes the most of the contrast and allows me to control shadow and highlight detail to a greater degree than with my digital cameras, while giving the images a period look.
Irish Rail 234 with Up IWT Liner (Ballina to North Wall, Dublin) at Old Cabra Road in Dublin
To maximize tonality and detail from the negatives I employed a ‘split process’ using two developers.
First I use a very weak solution of Kodak HC110 mixed 1 to 250 to water. To intensify the detail in shadows while avoiding over processing highlight areas, I keep the developer temperature comparatively high (73F) and allow it to work to exhaustion. My second developer is Ilford ID mixed 1-1 for 6 minutes 45 seconds with one minute agitation intervals. Then stop; fix 1, fix 2, rinse for 3 minutes, hypoclear, then a series of final washes. Dry and scan.
A misty morning gave way to bright sun as Irish Rail 075 got the signal to depart the sidings at Dublin’s Heuston Station with an empty HOBS (high output ballast system) destined for Port Arlington.
I made this view with my Lumix LX7. Working with a slight telephoto, I aimed to bring in the Wellington Testimonial in Dublin’s Phoenix Park across the River Liffey from Heuston Station.
Although I’ve made countless images from this vantage point which is a mere five minute walk for me, its always nice to catch something relatively unusual on the move.
When I see a thick fog rolling in during the fading light, I see photo opportunities everywhere.
Fog is one my favorite photographic conditions, and the thicker, the better!
The fine thick mist has many benefits. It acts as a diffuser, which spreads the light, reducing contrast between the brightest highlights and shadows. It also tends to allow for photography in every direction, which opens up numerous angles and perspectives that I may not consider on a bright day.
Most importantly fog adds depth and mystique to a scene, making even the most mundane places intriguing, while masking unsightly elements such as garbage, graffiti and wires.
The other evening a thick fog settled over Dublin and I made my way to Connolly Station. Below are a few views from my Lumix LX7.
On Tuesday, 26 February 2019, working with my FujiFilm XT1 with 90mm Fujinon telephoto, I made these digital sunset views from the windows of the Irish Railway Record Society near Dublin’s Heuston Station.
This evening 28 February 2019 at 730pm at these same IRRS premises, I’ll be presenting my traditional slide program General Motors Diesels in North America. Visitors are welcome!
JPG adjusted and produced from Fuji camera RAW file using Lightroom.Camera JPG scaled for internet presentation without adjustment.
This morning (24 February 2019) saw a stunning bloody-red sunrise over Dublin.
I made a series of photos with my digital cameras.
It’s probably just as well I brought three cameras, since halfway through my photography with my Nikon F3 loaded with Kodak Tri-X, the button-battery in the camera ran out of juice.
And you say, ‘of course you brought a spare battery’.
No, no I didn’t.
And why was I photographing a blood red sunrise on black & white film anyway?
Yesterday, 21 February 2019: A bright morning! A bright locomotive on the IWT Liner. And me at my regular place at Islandbridge Junction.
This is a lesson in getting ‘clouded’ (there are less polite ways of phrasing this.)
The liner rolled out of the Phoenix Park tunnel in bright sun. However as it a approached, a puffy white cloud intersected the sun—Twice!
Below is my sequence of photos.
In these, I’m displaying the in-camera JPGs without manipulation or adjustments (other than scaling for internet) so the effects of the cloud can be seen.
FujiFilm XT1 digital camera with 90mm lens.FujiFilm XT1 digital camera with 90mm lens. Cloud nipped!FujiFilm XT1 digital camera with 90mm lens. Now sun at 95 percent, but not for long!
Yesterday, 20 February 2019, Irish Rail operated two Ballina-Dublin IWT Liners—container trains.
The first, running as K801, had the 071 class leader in the as-built heritage-livery.
I photographed this train at Memorial road in Dublin.
The second, running about two hours behind the first, had freshly painted Irish Rail 074 (in the current gray and yellow). I caught this one from above the entrance to Dublin’s Phoenix Park Tunnel off the Conyngham Road.
In both instances, I worked with my FujiFilm XT1 with 90mm Fujinon telephoto lens.
I made these views the other day on Beresford Place near Bus Aras in Dublin.
An outbound LUAS tram on the Red Line had stopped for traffic Gardner Street, while a southward DART suburban train rolled across the Loop Line Bridge on its way from Connolly Station to Tara Street.
Lumix LX7 photo.Lumix LX7 photo.
This is the sort of common scene that is repeated hour after hour, day after day, and yet only rarely get recorded.
The ‘Old Liffey Ferry’ that had ended service back in 1984 has been revived by Dublin Port, and so now you can cross the Liffey again by boat in the Dublin Docklands.
Although advertised as the ‘Old Liffey Ferry’, it was a new experience for me.
Last Thurday it was bright and warm, and I met with Mark Healy for a photo wander in Dublin and we crossed the Liffey twice by boat.
The posted fare is 2 Euro and the crossing takes just a few minutes. This is a novel way of seeing the Dublin Docklands and offered a variety of photographic opportunities.
The other evening I made a few handheld photos of Irish Rail class 201 diesel number 217 River Fleskat Dublin’s Heuston Station.
217 was working a Mark4 set on the 2100 schedule to Cork.
There are myriad approaches to night photography. In this instance, I worked with my Lumix LX7 without a tripod.
I’m fortunate because I have an unusually steady hand. The Lumix further aids my efforts because it has image stabilization.
I set the camera to ISO 200, and working in ‘A’ (aperture priority) I manually set the lens aperture to its widest opening, which in this case is f1.8. The wider the aperture, the more light passes through the lens to reach the sensor, so having a ‘fast’ lens (one with a small maximum aperture number, such as my f1.8 lens) is a huge benefit.
This set up allowed me work with a 1/10 of second shutter speed, which is adequate speed for a static photograph.
Lumix LX7 photo f1.8 at 1/10th second hand-held, ISO 200, auto white balance. JPG adjusted from a camera RAW file using Lightroom.
Lumix LX7 photo f1.8 at 1/10th second hand-held, auto white balance
If I had been using my FujiFilm XT1 with the kit zoom lens, my widest aperture would have been about f4.5, which is nearly two full stops slower than f1.8, which means at ISO200, I’d require about ½ second exposure to obtain a comparable result, which is too slow for a sharp handheld image in most instances.
Another way of approaching this would be raise the ISO. So with the FujiFilm set up just described, I could increase the ISO setting to 800, which would boost the effective sensitivity of the sensor by two stops (bringing me back up to 1/10thof a second using f4.5). However, this would also boost the noise level and reduce sharpness.
Back in the old days, I would have used Kodachrome, and that would have required a tripod, and probably some filters to colour-correct for the artificial light. Today, digital cameras when set to ‘auto white balance’ do an admirable job of balancing the colour for fluorescent, sodium vapor and other forms of artificial light that tend to tint an image.
Normally for night work with the Lumix, I’d dial in a 1/3 over exposure compensation (+ 1/3 on the exposure compensation dial) however in this situation the relatively bright night sky where low cloud was illuminated by lots of artificial light combined with the silver body of the locomotive and bright platform lighting, obviated the need for boosting the exposure by 1/3 of a stop.
However, I did make some very subtle changes in post processing to help visually separate the roof of the locomotive from the sky.
Monday, 11 February 2019 was bright and sunny in Dublin.
Although I was only just back across the Atlantic, I made use of the morning when I’d heard that Irish Rail 073 in heritage orange paint was working the down IWT Liner (container train operated from Dublin’s North Wall to Ballina, Co. Mayo).
As this exited Dublin’s Phoenix Park Tunnel approaching Islandbridge Junction, an Irish Rail ICR working the Hazelhatch-Grand Canal Docks service came the other way.
I hadn’t anticipated a ‘rolling meet’, but as luck had it I got two trains for the price of one.
This sequence of photos was exposed using my FujiFilm XT1 digital camera with 27mm pancake lens.
Pearse Station features a capacious Victorian-era balloon-style train shed. Presently this is under-going restoration making for seen very different scene today than this one that I exposed 21 years ago.
I was very impressed by the Pearse Station shed and exposed a number views to make the most of the structure.
This is among my favorites. I’m standing near the south entrance to the shed, and the illumination effects resulting from combination of the broad southward opening and skylights produce an excellent effect on the train and platforms.
My composition is simple, yet clever. I’ve centered the DART train— which some photographers would frown upon, insisting instead on arbitrary placement using rules of thirds or other preconceived notions—and so made the most of the train shed, which is really the subject of my image.
By allowing for greater amounts of interior space to the right of the train, I’ve caused visual tension, while helping to expand the space in the photograph occupied by train shed. This draws the eye away from the train, while the lighting on the front of the train pulls the eye back. Placement of the rails to the lower right corner has another effect, allowing the eye to follow lines of perspective back to the north opening of the shed.
A novice artist might crop this image by cutting the space to the right of the train, moving the corner from the rails, and thus spoiling the intended effects while placing greater emphasis on the DART train, and in so doing ruining my intended composition.
