On July 3, 2020, Conway Scenic sent engine 216 out on the Redstone Branch to collect a Boston & Maine boxcar I’d been using for advertising.
I documented the move with digital photos, as previously presented, and also on film.
For these images, I worked with a Nikon F3 with f2.5 Nikkor 105mm lens and Fomapan Classic 100 black & white film. I first sampled Fomapan on a trip to the Czech Republic in 2016.
Operating 216 was Adam, a Conway Scenic engineer trainee.
I processed the film using customized split-development that begins with a very dilute solution of HC110 with PhotoFlo as a presoak followed by primary development with Ilford ID11. After processing, I scanned the negatives using an Epson V600 flatbed scanner then imported the scans into Lightroom for final adjustment and scaling for presentation.
I made my first visit to Rigby Yard in Portland back about 1983 using directions provided to me by the late Bob Buck of Tucker’s Hobbies of Warren, Massachusetts.
Over the weekend, I traveled with Kris Sabbatino and retraced my steps to Rigby.
Working with a Nikkormat FT with 105mm telephoto, I exposed this view on Fomapan 100 Classic black & white film, which I then processed yesterday. To obtain a greater sense of depth and texture, I aimed through some tall grass in the foreground, while focusing on the Pan Am Railways EMD diesels in the distance.
Using split development with twin development bath, I produced negatives that were ideal for scanning.
My recipe: Kodak HC110 mixed 1-300 with water and a drop of Photoflo for 9 minutes at 70 F (with minimal agitation); then Ilford ID-11 1-1 with water for 5 minutes 30 seconds (agitating very gently for three inversions once a minute); stop, twin fix bath, rinse, perm awash, 10 minute wash, and final rinse in distilled water.
During last month’s Steam in the Snow event at the Conway Scenic Railroad sponsored by the Massachusetts Bay Railroad Enthusiasts, I made a lot of digital photos and some video footage in my capacity as the railroad’s Manager, Marketing and Events.
But that wasn’t all.
Working with my Nikon F3 and a 50mm lens, I also exposed some Fomapan 100 Classic black & white film.
I first sampled this film on a trip to the Czech Republic in October 2016. I like the tonality and classic black & white appearance of this emulsion when processed in Ilford ID11 1-1. To boost shadow detail, I let the film pre-soak in a very weak bath of HC110 and Kodak Photoflo before primary processing.
Here’s a sample of my images.
Coming up soon, Conway Scenic will be running more trains in the snow. The railroad plans to run seven round trips a day from February 15th to 29th using Budd RDC number 23 Millie. The first trip departs North Conway at 730am and trains will run every 90 minutes to Attitash.
I’d use ‘gray’ in place of ‘dark’, but apparently the phraseology has assumed new meanings.
I could just say ‘Dublin in Black & White’, but that isn’t really correct either.
Working with my Nikon F3 loaded with Foma Classic 100 black & white film, I made these photos during March 2018 wintery weather in Dublin.
To keep my camera steady for long exposures, I used various tripods, depending on the surface and circumstance.
My exposures varied, but most were between 1 and 8 seconds. I calculated exposure manually using a Minolta IV Flash meter (in reflective mode).
I processed the Fomapan 100 film in Ilford ID-11 stock mixed 1-1 with water at 68F for 7 minutes 15 seconds, plus pre-soak with a token amount of Kodak HC110, then scanned negatives using an Epson V500 flatbed scanner.
The little town of Eagle Bridge is a eerily fascinating place.
Here the old Boston & Maine station survives as a relic, complete with the mast for the old train order signal.
At Eagle Bridge the Battenkill Railroad’s former Delaware & Hudson line connects with Pan Am Southern’s Boston & Maine route via a steeply graded junction. The old station sits between the tracks.
I made these views the other day using my Rollei Model T (with Zeiss Tessar lens) loaded with Fomapan Classic (ISO 100).
I processed the film with a Jobo processing machine and Kodak D76 (mixed 1 to 1 with water) as my primary developer. For added shadow detail, presoaked the film in water-bath mixed with a drop of Kodak HC110.
This was the first time I tried Fomapan 100 in the 120 size format (the Rollei makes 2 1/4 inch square images). These negatives demonstrate great detail, but they needed some nominal adjustment in post processing using Lightroom to manipulate contrast/exposure.
All things being equal I like my chemical process to yield negatives that don’t require post–processing adjustments. However, that level of refinement usually requires a bit of experimentation when using an unfamiliar emulsion type.