Last week at North Conway, New Hampshire hot humid afternoon gave way to rain forest-like torrential rains.
In the twilight of early evening, I exposed this raining view using my Lumix LX7 handheld.
The slight blurred effect is a combination of the cascading downpour and relatively slow shutter speed. For me the combination of heavy rain, dusk, and slight camera blur makes for a painterly effect that helps transcend the decades.
Dusk is a mystical time to photograph; highlights are subdued, shadows are deep, while the prevailing light is soft and cool. Window light is equivalent to the outdoors, and railroad signal light seems more intense.
The short SEPTA line to Cynwyd in the northwestern Philadelphia suburbs is a vestige of Pennsylvania Railroad’s Schuylkill Valley line that once reached northward into anthracite country.
Today Cynwyd is the end of the line.
Until last week, it was one of the last segments of SEPTA’s Regional Rail network left for me to travel.
I arrived at dusk, and in that ‘blue hour’ and I made these photographs using my Lumix LX7 and FujiFilm XT1 digital cameras.
All things being equal I would have used a tripod, but I didn’t have one so with the XT1, I boosted the ISO to unusually high levels to compensate for the dim conditions.
The other evening I arrived at Trenton, New Jersey on board Amtrak train 55 the Vermonter.
The blue glow of dusk prevailed. That moment between daylight and evening when the hue of the light adds a extra atmosphere to photographs.
That is of course, unless your camera has its ‘auto white balance’ set, which will neutralize the color and make for blander, duller images.
To avoid this problem, I set my white balance to ‘daylight’, which forces the camera to interpret the bluer light more or less as I see it.
These images were exposed using my Panasonic Lumix LX7 in ‘Vivid’ mode at ISO 200.
Other than scaling the in-camera Jpgs for internet presentation, I’ve not made changes to the appearance of these photos in Post Processing; color balance, color temperature, contrast, exposure and sharpness were not altered during post processing.
Tim Doherty asked me a few weeks back, “Have you ever tried a shot from the north side of the Millers Falls high bridge?” I’d looked a this several times, but was discouraged by the row of trees between the road and the railroad bridge.
So, on January 12, 2014, at the end of the day (light), Tim and I went to this location with the aim of making images of Amtrak’s northward Vermonter crossing the aged Central Vermont span.
As there was only a hint of light left, I upped the ISO sensitivity of my Canon EOS 7D and I switched the color balance to ‘tungsten’ (indoor incandescent lighting which has the same effect as using tungsten balance slide film (such as Fujichrome 64T), and so enhances the blue light of the evening.
A call to Amtrak’s Julie (the automated agent) confirmed the train was on-time out of Amherst. Running time was only about 20 minutes (a bit less than I thought) but we were in place, cameras on tripods, several minutes before we heard the Vermonter blasting for crossings in Millers Falls.
The result is interpretive. The train’s blur combined with view through the trees and the deep blue color bias makes for a ghostly image of the train crossing the bridge.