The Rollei’s viewfinder allowed me to shoot from the hip. The combination of the low angle and softer contrast and muted color balance allowed me to get this alternative view of Palmer and unlike those I tended to produce with my old Leica 3A. Compare this image with the 2002 Polish branch line view displayed yesterday’s post; Polish Time Machine.
Trying something different: in October 1984, I was taking a course in photography as part of my studies at Hampshire College in Amherst, Massachusetts. This involved an introduction to color printing. For this exercise I exposed a few rolls of 120 Kodak professional color negative film rated at 160 ISO. This material appears to have been designed for low-contrast imagery, such as portraiture, and so had a very different color palate than the 35mm Kodachrome slide film I was used to.
Using my father’s Rollei Model T, I made a series of railway images around Palmer, Massachusetts. I made prints for my class, then I filed the negatives along with my other work and promptly forgot about them. A couple of years ago, I rediscovered them while digging through the archives. Color negatives tend to be less robust than either slide film or black & white, and my negatives had suffered from a variety of light abrasions that would have made conventional printing problematic. Through the magic of digital technology, I was able to easily scan them and then touch up the scratches in Photoshop.
Among the more interesting photographs is this view of the dwarf signal at the Palmer diamond, back when Conrail’s Boston & Albany line was still equipped with directional double track and traditional multiple-tier code lines. It was a crisp clear October afternoon with a light breeze, and the trees were approaching their autumnal peak.
A horse-drawn wagon crosses the line at Nowa Weis, Poland. The semaphores have ‘x’s’ on them indicating they are out of service. Exposed on 120 black & white film with a Rollei Model T.
One my favorite images from the April 2002 Polish adventure is this timeless scene of three middle-age men on a horse-drawn wagon crossing the line at Nowa Weis. I caught this on film shortly before sunset with my Rollei. It was on PKP’s (Polish National Railways) secondary line that runs southeast from Wolzstyn to Leszno across through unspoiled pastoral countryside. The largely steam operated and under-maintained railway, added to a rural charm that harked back to another generation. For me it was like stepping back a half century, or more.
Regularly scheduled revenue steam-powered passenger train in rural Poland in April 2002.
As a follow up to yesterday’s view of a 2-10-0 on disused track, here’s a view of a regular revenue train from that same visit to Poland in April 2002. On a scheduled run from Poznan to Wolsztyn, PKP Ol69-111 passes German-style semaphores on approach to a rural station. At this time, several of the daily passenger Poznan-Wolzstyn trains routinely operated with steam, with Ol69 class 2-6-2s being the most common type on them. This was a secondary main line, and although weedy, the track was in reasonably good shape. Chasing the trains on the road was a challenge.
I made this image with my Rollei Model T on 120 black & white film, hand processed using my preferred recipe. The combination of traditional subject matter and the classic camera with 75mm Zeiss Tessar lends to a timeless view. Only, the rake of East German-built double-deck passenger carriages might seem incongruous to un-trained eyes. In fact, these cars were standard in the late era and consistent with Polish passenger practice. In this picture they are dressed in a olive drab livery, however some were later painted in a dandelion yellow, which truly seems out of character behind steam.
Check Tracking the Light tomorrow for more on this theme!
PKP Ty3-02 works grassy track at Kozuchow, Poland in April 2002. Exposed with a Nikon F3T and 105mm lens on Kodak Ektachrome Elite 100 slide film.
In April 2002, I made this image of a railfan’s excursion led by PKP (Polish National Railways) 2-10-0 Ty3-2 gingerly negotiating a disused line at Kozuchow. This trip covered a variety of closed lines southwest of the steam depot (shop) at Wolsztyn. For me, there is something romantic and compelling about old locomotives plying decaying infrastructure. Perhaps it’s a Byronesque inspiration, or an influence from 18th and 19th century art; paintings that depict vestiges of Roman ruins dotting pastoral landscapes which convey a nagging reminder of the great empire—centuries gone. Here we have the leviathan of another era, plying track barely visible through the grass.
Of course in Poland, there’s layers of complicated history behind such scenes. Railways in this part of western Poland are a legacy of the old Prussian state; while locomotives such as this one stem from 1940s German design. Following World War II, political boundaries were redrawn to reflect the desires of the victors, which placed this part of Germany back in Polish-territory. Cold war politics and economic stagnation combined with large supplies of Silesian coal, compelled Poland to sustain regular steam operations for decades later than most European railways. Following the collapse of Soviet control in the late-1980s, Poland re-adopted a capitalist system. As a result Poland’s railways, especially lightly used lines, such as the secondary route pictured here, suffered. Many lines fell into disuse. Like the fortresses, aqueducts, and amphitheatres of the old Roman Empire, disused Polish railways survived as vestiges of the earlier eras.
The process continues. While Poland has invested in its mainlines, its rural lines continue to fade. Recently, I learned that thousands of miles of lightly used Polish railways may be abandoned. I question the wisdom and shortsighted rational of such a transportation policy, but I cannot help but imagine the pictorial possibilities.
CSX westward hopper train approaches ‘Z’ Tower in Keyser, West Virginia.
This was the icon-image used to advertise my November 2008 Silver & Steel photographic exhibition. I’d exposed it six years earlier on a three-week autumnal photographic exercise that began in Vermont, and brought me as far west as Omaha. I returned east via Cincinnati, Roanoke and Washington D.C.
The photograph was among those made on the outward leg of the trip. I’d met some friends for a few days of photography on CSX’s Mountain Subdivision, the old Baltimore & Ohio ‘West End’—the original B&O mountain crossing. On the morning of October 18th, we found this westward empty hopper train working west through the fog covered Potomac River Valley. Getting ahead of the train, we exposed a sequence of images of it near ‘Z’ Tower at the west-end of Keyser Yard. The sun had begun to burn off the fog, some of which still clung to the river valley and surrounding hills making for a cosmic setting worthy of the old B&O.
Working in silhouette can be tricky; low light and fog helps. An image like this works when the main subject is clearly defined from the background. The ditch-lights on the leading locomotive are crucial to maintaining compositional balance both identifying a focal point and indicating action; without the lights the image takes on a completely different character.
I was working with my Nikon N90s and a Nikkor f2.8 180mm lens and Fujichrome Astia 100 film. Fuji introduced Astia in 1997, and supplied it concurrently with its Provia 100. Astia offered a slightly warmer color balance, and a rich black, remaking it an ideal medium for autumnal situations. Unfortunately, Astia was replaced with Astia 100F in 2003. While nominally sharper, I never found the Astia 100F as pleasing as the original Astia. Asked about this film choice, my friend Brian Jennison, once exclaimed, ‘Its nastia with Astia!’ Indeed it is!
East Broad Top number 15. Nikon F3T with f4.0 200 mm lens with Fuji Provia 100 film.
East Broad Top’s Baldwin-built Mikado 15 works northward from Orbisonia, Pennsylvania in September 1996. This is another of my favorite railway images, I’ve used it in several books and it was among those I displayed in my Silver & Steel exhibit in November 2008. It captures the first excursion over the line in several days, and the engine is working rusted rail, which adds to the timeless aura of a bucolic scene. EBT is fantastic; the soft yet clear sounds of the locomotive exhaust coupled with a distant mournful whistle followed by a whiff of coal smoke will send you back to a simpler day.
East Broad Top is a treasure, a railway frozen in time. The railway was a relic of another era when it ceased common carrier operations in 1956. Resuscitated by the scrapper that took title to it in the mid-1950s, today it is among America’s most authentic historic railways. I’ve made hundreds of photographs on the line over the years. However, due to difficulties beyond my understanding, the line didn’t operate its regular excursions last year. I wonder; might it re-open this year? Even without a locomotive under steam, EBT remains a compelling subject.
See my book Baldwin Locomotives for a host of classic Baldwin photographs and detailed information on East Broad Top’s Mikados among many other engines.
A MAV InterCity Train basks under sodium and mercury vapor light at Budapest Keleti Station; exposed with a Nikon F3T and f.1.8 105mm lens on Fujichrome.
Following the Ghost of the old Hapsburg Empire
I selected this image of Budapest Keleti Station as part of a exhibition of more than twenty of my photographs titled Silver & Steel that made its debut in November 2008 at the GONe Studio. I exposed it at the beginning of an Eastern European rail adventure that ultimately brought me across Hungary, through Romania to Vlad Tepe’s birthplace, over the Carpathians and then into eastern Ukraine. Keleti or ‘Eastern’ Station is a principle Hungarian terminus for international rail travel; it’s a classic railway temple featuring a magnificent train shed that faces the city through an enormous fan-shaped window.
The trick to getting this dramatic angle was working my old Nikon F3T with its detachable prism. I focused manually, then removed the prism, and laid the camera on the platform, fine-tuning composition looking down on the mirror image while using a combination of Euro coins to prop up the lens. During exposure, I used my notebook to shade the front element from flare. To minimize vibration, I set the self-timer and stood back. My faithful Minolta IV light meter was key to calculating base exposure, but I then added a full stop to compensate for the cavernous quality of the train shed and the film’s reciprocity failure (owing to long exposure time). I made several exposures, most of which came out blurred because of nominal camera vibration. Ultimately, I locked up the F3T’s mirror for this final image.
Norfolk Southern’s former Nickel Plate Road mainline from Buffalo to Cleveland navigated 19th Street in Erie, Pennsylvania. This unusually long section of street trackage offered some great photographic opportunities. In October 1994, I was visiting Erie on my way from West Virginia to Wisconsin, and I made this image of a lone NS GP59 leading a westward double-stack train down 19th Street. The soft light of a dull day works well here by allowing the texture and hues of autumnal foliage to offer the illusion of a long corridor, with effect of haze giving added depth. The train seems endless. I was working with a Nikormat FT3 with Nikkor f4.0 200mm lens on a Bogen tripod and Fujichrome 100 slide film.
This street trackage was sacrificed as a condition of the Conrail split in the late 1990s. To eliminate the slow running and please unsympathetic neighbors of the railroad, NS shifted its operations through Erie to the parallel former New York Central grade-separated line (owned and operated by CSX after the 1998-1999 split.)
Broadstone Station, Dublin greets the new millennium. Rollei Model T with f3.5 75mm Zeiss Tessar lens.
Broadstone Station was the Dublin terminus of Ireland’s Midland & Great Western Railway. This enigmatic railway was built west from Dublin parallel to the suffering Royal Canal, and Broadstone Station was located adjacent to the existing Royal Canal basin in the north city center. M&GWR was among lines consolidated as Great Southern Railways in 1924, a move that sealed the fate of Broadstone; it was closed as a passenger terminal in 1936 (although tracks remained for freight services into the 1970s). The buildings survive as a Dublin Bus depot (garage). The old canal basin was filled in many years ago and is now car park. The canal bridge that once spanned the road adjacent to the station is remembered in period photos on the walls of neighborhood pubs. Soon rails will return to Broadstone in the form of a LUAS light rail extension.
Broadstone Station is a vestige of Irish railways long gone. The station was executed in an Egyptian revival style and completed in 1850. I find the building fascinating, yet difficult to photograph because it is hemmed in by the five inhibitors of urban railway photography: pavement, walls, fences, wires and unkempt brush. On a weekday, cars and buses surround the old structure, which lend to ironic images of a grand decayed station encircled by transport modes that contributed to its redundancy. Making a simple image that captures the grandeur of the station isn’t easy. Here are two of my efforts: one was made with my old Rollei Model T on 120 size black & white film on January 3, 2000. I exposed the other digitally last Tuesday afternoon (February 19, 2013) using my Canon 7D and 40mm pancake lens.
Dublin’s Broadstone Station, February 19, 2013. Exposed with Canon 7D fitted with 40mm pancake lens.
General Motors Electro-Motive Division SD40-2 is classic North American locomotive design. This rugged, powerful, and reliable model was built in the thousands between 1972 and the early 1980s. Its essential boxy utilitarian form shares the same functional appearance common to most of EMD’s American road-freight locomotives built from 1963 until the general proliferation of Safety-Cab designs in the early 1990s. Canadian Pacific ordered large numbers of SD40 and SD40-2s from General Motors Canadian subsidiary and these were its dominant road locomotive for the better part of two decades. In the early 2000s, they remained standard on CP’s Delaware & Hudson lines in New York and Pennsylvania.
Canadian Pacific’s classic 1970s ‘Pac-Man’ icon on the rear hood of SD40-2 5952. Exposed with a Nikon F3 fitted with f2.0 135mm lens. Fujichrome Astia 100F slide film.
On October 12, 2003, I made a series of photographs of Canadian Pacific SD40-2s on a southward/westward freight at Delaware & Hudson’s Bevier Street Yard in Binghamton, New York. Here the locomotives were paused in nice light giving ample opportunity to make photographs from different angles. I was working with a pair of Nikon F3s (one F3HP, one F3T), and a Contax G2 rangefinder fitted with an unusual super wide-angle lens. Displayed here are a few of my results. The broadside Contax view at the bottom of the post was among the images featured in my recently published North American Locomotives by Voyageur Press.
Canadian Pacific’s classic 1970s ‘Pac-Man’ icon on the rear hood of SD40-2 5952. Exposed with a Nikon F3 fitted with f1.8 105mm lens.Broad side view of Canadian Pacific SD40-2 6007 at Bevier Street Yard in Binghamton, New York. Exposed with a Contax G2 rangefinder with 16mm Hologon lens. (This is a flat field design to obviate barrel distortion).
An Irish Rail six-piece Intercity Railcar works down road at milepost 4 1/4 near Clondalkin. Canon 7D with 100 f2.0 lens. ISO 200 1/500th second at f5.6.
This morning (February 21, 2013), Dublin dawned frosty and dull. On Thursdays, Irish Rail runs a pair of intermodal freight liners between Dublin port and Ballina, County Mayo for shipping company IWT (International Warehousing and Transport). Today, the first of the two IWT Liners (as the freights are generally known) departed the yards at the North Wall just after 9:31 am. As it was led by a common 201-class diesel and the weather remained especially dull outside, I opted to let it pass undocumented, as I’ve often photographed this train in nice light. The second train, however, was running with Irish Rail 074, one of the 1970s-era General Motors-built 071 class diesels, which is of greater interest to me. So this afternoon, my friend Colm O’Callaghan and I went to a favored spot near Clondalkin in the western suburbs at milepost 4 ¼ , where we waited patiently in Baltic conditions. While the temperature was a balmy 3 degrees Celsius (about 37 Fahrenheit), the biting wind and general dampness made it feel much colder. Just ten days ago I was out in much colder conditions at Palmer, Massachusetts (USA), where it was about -17 degrees Celsius (1 degree Fahrenheit), and it hadn’t felt so bad. There’s nothing like a raw Irish day to cut through you.
Irish Rail 074 leads the second Dublin-Ballina IWT liner near Clondalkin on February 21, 2013 at 1:20 pm. Canon 7D with 40mm pancake lens; ISO 200 1/500th at f5.0.
Clondalkin is on the short stretch of quad-track mainline between Cherry Orchard (no cherries near the place!) and Hazelhatch that was expanded from the old double-line at the end of the Celtic Tiger-era boom years. The slight curve at the end of a long tangent in an area of industrial estates makes for an interesting setting to capture trains on the roll. However, it isn’t the nicest place to stand around exposed on a cold day. Complicating photography are high palisade fences and other fencing on the bridge that requires some creative solutions to overcome. While waiting for the down IWT liner, we witnessed the usual parade of passenger trains, all running to time, on the new Irish Rail time table.
The mildly overcast conditions encouraged us to make a cross-lit view of the liner from the north side of the line, rather than the more traditional three-quarter angle from the south side. I like the north side view on a dull day because it offers a better angle on the quad track and signaling.
Ireland’s Bord na Móna (Peat Board) was the topic of my post, Gallery 8: Irish Bog Railways—Part 1 in November 2012. Yesterday, February 16 2013, I made another exploratory trip into the bog. Where previous investigations focused on operations at Edenderry, County Offaly, this trip was to the network that serves the Lough Ree Power Station along the River Shannon at Lanesborough, County Longford. Among the peculiarities of Bord na Móna’s narrow gauge operations are its temporary sidings laid out on the bog for the purpose of loading trains. Until put in place, these tracks resemble those of an oversized model railway and are in fixed sections held together by steel sleepers (ties), and often stacked in piles awaiting installation. The bog itself is spongy and wet, thus ill suited to permanent infrastructure. Since temporary track is only used at very slow speed for short periods of time, niceties normally afforded railway lines, such as grading, leveling, and drainage, aren’t considered.
Bord na Móna feeder for temporary track near Mt Dillon, County Longford; exposed with a Canon 7D with f2.8 200mm lens; ISO 400, f4.5 1/640th second.
This telephoto view exaggerates the undulating quality of a roadside Bord na Mona spur used to access an area of bog ready for harvesting. This particular section of track may be left in place for years to tap short-lived harvesting spurs.
This photographic adventure is among my works in progress; I plan to display more images of Bord na Móna in upcoming posts.
Here’s another view from along the old Erie Mainline. Once common, the picket-fence effect of multiple-tier code lines along American mainlines has largely vanished in recent decades. These poles and wires are a vestige of another time, another era. Today, when wireless information reigns supreme, such archaic remnants remind us how much has changed. I exposed this view with my Canon EOS-3 and f2.8 200mm lens on Fujichrome. Will film soon go the way of the code line? Banished to realm of obscure obsolescence? Relegated to curiosity by newer technology—faster, easier, cheaper, and yet more ephemeral.
Here’s an unpublished image from my archive. In the gloom of early morning on April 7, 1989, I made the hour and 15 minute drive from Scottsville to Portage, New York to make time exposures of the old Erie Railroad Portage Viaduct. I featured this pioneering tower-supported viaduct in an earlier post (see: Erie Railroad’s Portage Bridge May 12 2007). Blessed by a stunning setting and significant history, the old Portage Viaduct has been a favorite subject on many occasions over the years. For this image, I used my Leica M2 rangefinder with 50mm Summicron lens to make a long exposure (about 8 seconds) in the pre-dawn twilight. The predominantly blue light combined with Kodachome’s spectral sensitivity to produce a near monochromatic view. The roaring Genesee falls have taken on an otherworldly ethereal quality, while the dark sky lends a nightmarish cast. This image exists only on film; at the time of exposure, it seemed very different to my eye. Later in the morning, an eastward Delaware & Hudson freight eased over the bridge at restricted speed; I followed this for several hours, making numerous images of it, mostly in black & white.
For years, friends have asked my advice on camera exposure, typically on-site with a train bearing down on us. Politely, I’ll offer suggestions—based on conditions, but such advice can be deceiving since conditions change quickly. For my photography, I often refine exposure as the scene unfolds. A train entering a scene may alter my anticipated exposure, which requires subtle adjustments at the last moment.
Using the camera’s histogram to judge exposure is part of my latest technique for refining exposure and making optimum use of the digital camera sensor. A histogram reflects exposure information collected by the sensor. This is displayed as a graph that offers exposure quantification: it shows the range of data recorded by the sensor and alludes to data lost. The histogram allows me to gauge when the scene is over- or under-exposed. It solves much of the guesswork previously necessary when shooting film, while providing real information by which to adjust future exposures. What it doesn’t tell me, is as important to what is displayed on the graph.
Using film, ‘over-exposure’ inferred that too much light reached the emulsion and resulted in an image that appears too bright, while ‘under exposure’ inferred that too little light, thus and a dark image. It was never as simple as that, but that’s good enough for the moment.
The advent of digital imaging combined with the ease of post-processing using digital technology has changed the definitions of exposure, so far as I’m concerned. I can now use information from camera sensor on-site to help capture the greatest amount of information.
This is not much different than my traditional approach to black & white photography. The new tools offered by modern digital cameras have altered my means for calculating exposure. More to the point; the need for obtaining desired visual balance between light and dark in-camera isn’t part of my exposure technique because the appearance of the exposed image in the thumbnail on the camera display doesn’t accurately reflect data collected, while the final image may be best refined after exposure.
Here’s a difference between film and digital: Film sensitivity is less definitive than with digital sensors; simply, the data accumulated during a digital exposure fits between definite parameters, while with film significantly more information may be retained than is readily visible to the naked eye. Beyond these limits with digital, data isn’t recorded (to the best of my understanding). Thus to obtain the greatest amount of visual information a digital exposure must be calculated to be carefully placed between the image’s deepest shadows and brightest highlights. The tool needed to gauge this decision is the camera’s histogram.
A histogram displays a series of lines progressing from dark to light. These lines reflect the number of pixels exposed in the various gradations. How this data is collected isn’t important for this exercise. Crucial, is the assessment of the histogram in order to make future exposures that don’t lose critical information in extreme highlight or shadow areas.
When I make snow photos, I expose in a manner to place the bulk of information toward the center of the graph. I pay close attention to highlight falloff. Losing detail in the brightest parts of distant clouds, or at the center of locomotive headlights isn’t a problem, but losing detail in snowy foreground is undesirable. Ideally, the graph will taper gently into the extremes, indicating the smallest degree of loss in the deepest shadows and brightest highlights.
The histogram is extremely useful when exposing bright snow scenes, because most camera automatic settings are not tuned to expose for large fields of white and tend to grossly misjudge a brightly lit and largely white scene. This typically results in under exposure which renders snow gray rather than white and, risks opaque shadows (a substantial loss of information). It renders many elements too dark (such as the train passing through the scene). However, a few modern digital cameras have ‘snow settings’ that should overcome these difficulties.
Before making my desired image sequence, I’ll make a series of test exposures to check the effect of camera settings. Based on information displayed by these graphs I’ll make exposure adjustments to place highlights and shadows appropriately. As my subject approaches, I’ll further refine my exposure by making adjustments in 1/3-stop increments. I’ll continue to compensate for exposure changes caused by the train entering the scene (including variations caused by locomotive headlights and ditch lights).
Displayed here are both hypothetical graphs to show how I read histograms, and images of the real graphs from my Canon 7D exposed in snowy scenes last Sunday, February 10, 2013. Both types of images are intended to illustrate how I’ve selected exposures.
I use the histogram feature all the time, but find it most useful in extreme situations. It has proved its value by eliminating uncertainties previously caused by the extremes of snow photography.
Some advice for the graph-adverse photographer working in snow: use the camera meter to gauge base exposure then override the meter by opening up by 2/3 of a stop (for example open from f11 to f9).
CSX light engines roll through CP83 at Palmer, Massachusetts on February 10, 2013.
Artificial light illuminates the snow at New England Central’s Palmer, Massachusetts yard office on the evening of February 22, 2011. How much snow covers the yard tonight? And how much will be there by Saturday morning (February 9, 2013)? Exposed with Lumix LX-3 on a Bogen tripod. Set on aperture priority mode, f3.5 at ISO 80, with a plus 1 stop override to compensate for snow and artificial lights. If I’d allowed the camera to pick the exposure without compensation, an underexposed (dark) image would have resulted.
Tonight (February 8, 2013) a blizzard rages outside the window. The roads are closed, the railroad is quiet (so far as I know), and I’m not out, knee-deep in snow, trying to make night photos. (Ok, so I’m as mad as hatter, or worse—used to be lots of hatters here in Monson, back in the day.) However, I pulled up an image from my digital archive of Florida East Coast GP40-2 417 at New England Central’s Palmer Yard office on February 22, 2011. There’s something incongruous about a Florida East Coast locomotive in the snow. I’d met Bob Buck of Tucker’s Hobbies that evening for dinner, and later we’d stopped by Palmer yard to see what was about.
Since that night, nearly two years ago, New England Central has applied its own lettering to several former Florida East Coast locomotives; Bob has passed on; and New England Central has become part of the Genesee & Wyoming short line railway empire. Everything changes.
Braving frigid temperatures to take advantage of incredible low-light; on this day, three years ago (February 8, 2010), Pat Yough, Chris Guss & I were in Toronto photographing in suitably arctic conditions. Cold but clear—there’s a fantastic, surreal quality of light in sub-zero temperatures which can lead to great images if you chose to endure the conditions. Not, only were we up early, but the night before we spent an hour or more making night shots from the Bathurst Street Bridge. It didn’t get any warmer by daybreak, which we photographed from the lake front west of the city center. On that morning, after setting up the tripod, my numb hands only managed to record in my note book, “0646 [6:46 am]—ugg. Twilight—cold.”
View from Bathurst Street, Toronto approaching Midnight on February 7, 2010. Lumix LX-3 time exposure.Sunrise on Lake Ontario, February 8, 2010. Lumix LX-3 on tripod.
While we made an intense tour of Toronto area railroading, among the most memorable images were those exposed toward the end of daylight near Queensway & King Streets along the Canadian National quad-track line west of Union Station. This is one of the busiest lines in Canada, and hosts a flurry of trains at rush hour. For me the highlight was a pair of in-bound GO Transit trains with new MP40PHs running side-by-side as the sun hugged the horizon over lake Ontario. A few minutes later, I scored a VIA train gliding under a signal bridge in last glint of sunlight. At the time, I was still working primarily with film, and I kept both Canon EOS-3s busy. One was fitted with my 100-400 IS zoom, the other with a 24mm AF lens. The only digital camera I had was my Lumix LX-3, which I learned tends to chew through battery power in sub-zero conditions. By the end of the day, I’d drained three full batteries. The McDonalds on King Street made for a nice place to thaw hands on cups of hot chocolate while watching TTC’s trams glide by at dusk. On the way back we swung by Niagara Falls, my first visit to the famous waterfall, despite having photographed trains crossing the gorge on several occasions over the years.
Eastward GO Transit trains near Sunnyside at sunset on February 8, 2010. Canon EOS-3 with 100-400 zoom; Fujichrome RVP-100, exposure not recorded.Eastward GO Transit trains near Sunnyside at sunset on February 8, 2010. Canon EOS-3 with 24mm lens; Fujichrome RVP-100, exposure not recorded.Eastward VIA Rail train approaches Sunnyside at sunset on February 8, 2010. Canon EOS-3 with 100-400 zoom; Fujichrome RVP-100, exposure not recorded.View of TTC streetcar on King Street from McDonalds on corner of Roncesvalles Avenue and Queen at dusk on February 8, 2010. Lumix LX-3 ISO 80 at f2.8.TTC Streetcar at corner of King and Queen Streets, Sunnyside, Toronto, February 8, 2010. Lumix LX-3 set at ISO 80.Time exposure of Niagara Falls from the Ontario side. Exposed digitally with a Lumix LX-3 on a Bogan tripod.
Changing skies on Montana’s Marias Pass. On July 6, 1994, an eastward intermodal train approaches Grizzly on the former Great Northern mainline. I exposed this image less than a week after announcement of the Burlington Northern-Santa Fe merger. Nikon F3T with f1.8 105mm lens; exposed on Kodachrome 25.Montana Rail Link light helpers on the former Northern Pacific grade over Mullen Pass, west of Helena, Montana on July 9, 1994. Kodachrome 25 film exposed with a Nikon F3T with 35mm PC lens.
Look up, take in the heavens and transform a railway scene in to a cosmic image. That’s a theory anyway. During my 1994 visit to Montana, I was awed by the amazing skies for which the state is famous. Big sky and wide-open vistas can make for impressive railway images, yet getting the balance between right between atmosphere and railway is no easy chore. Here, I’m offering two of my most successful attempts. Both were exposed on Kodachrome 25 using my Nikon F3T. The peculiarities of Kodachrome’s spectral sensitivity made it a great medium for working with textural skies and dramatic lighting. Not only did Kodachrome 25 benefit from exceptional dynamic range, but also the way it translated blue light I found conducive to dramatic images featuring impressive skies.
While these slides look great when projected on a screen, and both were successfully reproduced in my 2005 book Burlington Northern Santa Fe Railway, I found they required a bit of adjustment using Adobe Photoshop to make them look good on the computer screen.
Different tools yield different results and I wonder how I might I use my Canon 7D or Lumix LX-3 in similar lighting situations.
In June 1993, I traveled with fellow photographer Brian Jennison to eastern Oregon to make images of Union Pacific’s Challenger (locomotive 3985) which was working its way east over the Blue Mountain grades. After a couple of days with the steam locomotive, we wandered into central Idaho, exploring locations along the Union Pacific mainline. This image was made looking east toward the Snake River at UP’s timetable location called Reverse (Idaho Division, Third Subdivision at milepost 393 between Glenns Ferry and Mountain Home). Have you noticed there’s been a theme over the last few days?
Nikon F3T with 28mm AF lens exposed on Kodachrome 25 at f8 1/125 second.
Railway tracks; classic converging lines aimed toward distant horizons, a symbol of progress and travel, and often the primary subject of for my camera’s lens. Here I’ve presented just two images of railway tracks. One is of the throat to DB‘s Frankfurt Hauptbahnhof (Frankfurt am Main, Germany) the other is yard trackage on Pennsylvania’s narrow gauge East Broad Top Railroad at Orbisonia. The German photograph portrays well-maintained, heavily used infrastructure with ladders of double slip switches designed to maximize route flexibility. This was made on a sunny summer evening and exposed to retain detail in ballast and avoiding a harsh silhouette (although that can be an effective imaging technique). By contrast, the East Broad Top image shows a preserved three-way stub switch, representing a vestige of lightly built 19th century-style infrastructure, and exposed in the soft light of a foggy autumn morning. In both images railway tracks lead the viewer’s eye out of the frame to unseen horizons. To allow for a level of intrigue. I’ve deliberately masked where the tracks lead.
Frankfurt Hauptbahnhof, June 13, 2001.East Broad Top Rock Hill Furnace Oct 12 1997.
Both images were exposed on Fujichrome slide film with my Nikon N90S.
Many years ago my dad advised me, ‘photograph everything, because everything changes’. In October 2002, I made this photograph of Green Mountain Railroad’s excursion train passing the wooden covered truss at Bartonsville, Vermont. At the time this was a seasonal daily occurrence. While I was fond of the vintage Alco diesel, there was nothing unusual about the scene, and there was no special urgency in capturing the moment. Today, this image is a prize, but not for the Alco, which remains in excellent condition—I photographed it again last summer at White River Junction where it was positioned to power a Vermont Rail System excursion. The old covered bridge is only a memory today. It stood here since the 1870s, but on August 28, 2011 it was swept away by flood waters caused by Hurricane Irene. Its temporary replacement wasn’t as interesting to photograph; thankfully a replica truss bridge is under construction.
Exposed this image on Fujichrome with a Contax G2 rangefinder fitted with a Zeiss 28mm Biogon lens.
Today’s (January 9, 2013) Metro East. See the Springfield Republican for full story and photos!
There’s a front page write up about my Irish photography and my Ebook for Apple iPad Dublin Unconquered in today’s Springfield (Massachusetts) Republican’s Metro East section. Pretty neat! I wasn’t expecting that!
Norfolk Southern SD70 2561 leads the westward empty Mt. Tom coal train at Hoosic Falls, New York on October 13, 2001. Exposed on Fujichrome Sensia 100 with an F3T with 24mm Nikkor lens. Shortly before the train entered the scene, a cloud diffused the sun. . . . Hey Tim, what was that you said just then?
What?
Picking photos for Tracking the Light can be a challenge. Everyday since March 2013 I’ve posted original photos to this site. That means, come rain or shine, I’ve selected photos and put words to them.
For this post, I though I’d try something a bit different. Rather than work from my semi-organized labeled material, I selected a random box of raw and unsorted slides and just plucked out a photo randomly.
While not the best picture in the box, frame 22 isn’t a bad photo.
I made it on the afternoon of October 13, 2001. Mike Gardner, Tim Doherty and I had been following an empty Mt Tom coal train since it left the plant near Northampton, Massachusetts. We caught it a multitude of locations on Guilford Rail System’s former Boston & Maine.
The last place we photographed this train was at Hoosic Falls, New York. My notes from the day read: “Hoosic Falls in a fascinating little American town—once prosperous, but on a decline . . . certainly worth some photography.”
And so there you go! Random Slide Number 22, displayed and explained.
: In the 1990s, Santa Fe’s line through California’s Franklin Canyon featured jointed rail, searchlight block signals, and traditional code lines strung from poles along the right-of-way. The sun sets on the track at the west switch at Christie. Exposed with Nikormat FT3 and 105mm f1.8 lens on Fujichrome 100 slide film.
In the mid-1990s, I often photographed Santa Fe in the bucolic splendor of Franklin Canyon. While I made many images of Santa Fe’s trains, for me this atmospheric image captures the wonderful quality of the place and I featured it in my big book on the Burlington Northern Santa Fe Railway published by MBI Publishing in 2005. (Out of print)
Norfolk Southern freight 309 eases over the former Erie Railroad Portage Viaduct on May 12, 2007. Exposed with a Rollei Model T (f3.5 75mm Zeiss Tessar) on 120 size Fujichrome Veliva 100—RVP100.
During the second week of May 2007, I was in western New York to photograph for my book The Railroad Never Sleeps. This project involved coordinating 37 photographers across North America who produced railroad images on May 10th — the anniversary of the completion of the first trans-continental railroad in 1869. The concept was one full day of railroad photography organized chronologically. Each photographer picked their own topics and techniques. I opted to work my old territory from college, which included a cab ride (by prior arrangement) on Genesee Valley Transportation’s Falls Road Railroad. While the book featured the best of the photography on May 10th, I continued to make images over the next few days traveling with fellow railroad photographer Hal Reiser.
The old Erie Railroad is one of my favorites, and on the morning of May 12th we were poised at Letchworth State Park near Portage, New York to photograph the famous viaduct over Genesee Upper Falls in Letchworth Gorge. At 8:17 am, Norfolk Southern’s detector at mp 359 (near old River Junction) sounded alerting us to a westward train. The roar of the falls can make it difficult to hear a train approaching and it is helpful to have some advanced warning. A few minutes later NS freight 309 inched across the trestle with now-rare C39-8 ‘Classic’ 8554 in the lead. I made a series of color photographs with my Canon EOS-3 and Rollei model T. One of the telephoto vertical views appeared on page 13 of my 2011-title Modern Diesel Power published by Voyageur press.
To learn more about the significance of Erie’s Portage Viaduct see my detailed and illustrated response in ‘Ask TRAINS,’ page 64 of the February 2013 issue (on stands soon!). For this article, I show the bridge with a westward Delaware & Hudson freight exposed on Kodachrome almost 19 years earlier (May 14, 1988).
Norfolk Southern C39-8 crosses Erie’s Portage Viaduct on May 12, 2008. Exposed on Fujichrome Provia 100F with Canon EOS-3 with 200mm f2.8 lens.
As a follow up to my November 7, 2012 post Irish Rail in November Light , I thought I’d post a scan of a slide I made the same day as the digital photos. RPSI 461 was its way back to Dublin as part a trial run on November 6, 2012. I exposed this image with a Canon EOS-3 on Fujichrome Provia 100F. I intentionally aimed into the sun to silhouette the locomotive as it crossed the open lands of the Curragh. My feelings on the photo are mixed. While I captured the essence of the scene and the photo is razor sharp, it isn’t precisely what I’d hope for. The sky lacks the texture and color I remember, and I’m not comfortable with the angle. Not every image works perfectly.
Railway Preservation Society Ireland 4-6-0 number 461 crosses the Curragh, County Kildare on November 6, 2012.
Detailed study of an EMD’s rear hood shows radiator air-intakes, engine compartment doors, handrails, and the engine water level sight-glass that helps distinguish Dash-2 models from their earlier counterparts. Fuji Velvia 100F slide film.
Finding static locomotives in nice light offers an opportunity to make studies of the equipment. Wisconsin & Southern operated a fleet of clean, well-maintained second-hand General Motors Electro-Motive Division (EMD) diesels. These were representative of the classic models built at La Grange, Illinois, during the mid-20th century and dressed in a handsome red and silver livery. For me they were prime examples of GM’s finest American diesels, yet at the time I was photographing them, these locomotives were past their prime and harked back to an earlier era. General Motors locomotives, even their more utilitarian models, were characterized by well-balanced aesthetic designs, while their classic postwar streamlined locomotives are icons of American railroading. These images are a small selection focused on the locomotives.
Wisconsin & Southern GP9 4491 was leading a train on the line to Prairie du Chein; the crew had tied down the locomotive, so the lights are on but there’s nobody home. This low view at a grade crossing captures the long hood with ditch-lights and headlights blaring. Exposed with a Nikon F3T and f1.8 105mm lens on Kodachrome 25 slide film. Key to making this image was ability to detach the F3T’s viewing prism, thus allowing a view ‘from the hip’ (or in this case from ‘the rail’).Detail of Wisconsin & Southern GP9 4491 showing the battery box door and company logo. Nikon F3T and f1.8 105mm lens on Kodachrome 25 slide filmWisconsin & Southern SD40-2s are ‘blue flagged’ at the Janesville, Wisconsin roundhouse. The SD40-2 was the most common locomotive of the 1970s, a powerful, reliable 3,000 hp six-motor freight hauler, and in their day, one of the best-liked engines by crews. Although in their prime they were so common as to be barely worth a second glance, today they are American classics. Exposed with a Nikon F3T and Nikkor f1.8 105mm lens on Fuji Velvia 100F slide film.
SD40-2s in light and shade. Clean balanced design was among the admirable external characteristics of EMD diesels. Fuji Velvia 100F slide filmThe initials ‘EMD’ was General Motors’ signature on its locomotives.Detailed view of EMD’s very successful HT-C truck ‘High-Traction’ with ‘C’ for three-motors that was standard equipment on its SD40-2.Wisconsin & Southern operated former Milwaukee Road streamlined E9s on its business train.Model E9 was EMD’s last E-unit. This nose detail of Wisconsin & Southern E9 10C shows the engine’s dual headlight arrangement, the top headlight is an oscillating light, the bottom light is fixed. While oscillating lights are commonly known as ‘Mars light’, in this situation both headlights are Mars products. Among the classic EMD equipment on this locomotive are the grab irons and nose-door handle. Fuji Velvia 100F slide film.Wisconsin & Southern SD40-2s at work: a freight growls over a highway crossing at Avalon, Wisconsin on August 20, 2011. Canon EOS-3 with f2.8 24mm lens on Fuji Provia 100F slide film.Not a ‘pure’ EMD creation; Wisconsin & Southern ‘SD20s’ were a hybrid models built by Illinois Central Gulf at Paducah, Kentucky. This one was originally a Union Pacific cab-less SD24. Wisconsin & Southern 2051 displays a patriotic sticker in 2002.
Light and shade on Washington Street, San Francisco; a cable car begins its steep descent. Exposed with Canon EOS 3, f2.8 200mm lens on Ektachrome Elite 100 (EB3), approximate exposure f11 at 1/500 second.
On the afternoon of August 21, 2009, I worked San Francisco’s famous hills aiming to make images of Muni’s cable cars, arguably one of America’s most pictured railway operations. I set the exposure manually using the camera’s spot meter to base my judgment. I sample the sky and street and aimed for texture in the highlight areas, allowing the shadows to go dark. My choice of film was Kodak Ektachrome Elite 100 (EB3) which offered an ideal color-balance for such a silhouette. San Francisco’s many above ground wires added a geometric framing to the image.
Valley Railroad 3025 at Essex, Connecticut on December 15, 2012. Tracking the Light now posts new material every morning!
Last night (December 15, 2012) I made this atmospheric image of Valley Railroad 3025 at Essex, Connecticut before it departed with one of the railroad’s popular North Pole Express excursions. I felt that evening twilight and the crescent moon added a timeless quality to the scene. The locomotive is a 1989-product of China’s Tangshan Locomotive Works and was cosmetically modified to resemble a New Haven Railroad J-1 class Mikado. I worked with my Canon 7D fitted with a 28-135mm lens ( at 38mm) on a Gitzo tripod; camera set at ISO 200 with an exposure of 0.8 seconds at f5.6. To enhance the hue of the sky and balance the headlight, I set the camera’s white balance to tungsten (indicated by a light bulb in the WB menu). I chose the exposure manually and deliberately silhouetted the locomotive boiler while retaining subtle detail in the moon and number board. This image is present full frame, although it might be later tidied up with some selective cropping—photographer’s prerogative.
New England Central GP38 3850 shoves on the back of southward freight number 608 crossing Route 32 in South Monson. Contax G2 with Zeiss 28mm Biogon lens, Agfa Scala black & white reversal film.
I often make interesting images when I’m just playing around. Between 2001 and 2007 I regularly worked with a Contax G2 rangefinder and I typically used it to expose either Fuji color slide film or black & white negatives. One day, in autumn 2001 I loaded the camera with Agfa Scala, a distinctive black & white reversal film that when processed offered high-contrast monochrome slides. Among my subjects was New England Central which runs right through Monson, Massachusetts. This day, the southward freight required a helper out of Palmer Yard to assist its ascent of State Line Hill. While not unheard of, New England Central doesn’t use helpers every day. I caught the train several times with my G2, then waited an eternity for the slides to come back. No fault of the lab: after I sent them in, I’d returned to Dublin, and so it was about three months from the time I exposed the photos to when I finally examined them. Interesting! That was eleven years ago now.
New England Central’s 608 climbing State Line Hill approaches Smith Bridge (Stafford Hollow Road). This was a favorite spot of my late friend, Robert A. Buck of Warren, Massachusetts, and on many occasions he photographed Central Vermont’s 2-8-0s here laboring up the grade. There were fewer trees back then. (And even more in 2012 than in 2001!) Contax G2 with 28mm Zeiss Biogon lens, Agfa Scala black & white reversal film.The old coal elevator at Squires Lumber & Hardware in Monson, Massachusetts. This classic structure was dismantled a few years after I made this photo. Contax G2 with 45mm Zeiss Planar lens, Agfa Scala black & white reversal film.
Yesterday (Wednesday Dec 12, 2012) I made productive use of winter light while photographing between Ayer, Fitchburg and Gardner, Massachusetts. Where many of my images focused on the railroad, delineating it from its surroundings, on reviewing my work, this scene at Gardner caught my eye. Here, almost lost in a modern setting, is the hood of a GP40-2L with only ‘Rail System’ helping to identify this transportation hardware in virtual visual geometric patchwork quilt. Is this how most of the world perceives railways? I wonder.
Canon 7D with f2.8 200mm lens; ISO 400, f6.3 at 1/1000 second.
One of my favorite late-season projects was documenting Irish Rail’s annual sugar-beet campaign. This combined many of my railway interests in one action-intensive activity. Sugar beet was delivered to the station at Wellingtonbridge County, Wexford and loaded into antique purpose-built four-wheel freight wagons. Trains typically weighed 775-Tonnes, and were hauled using Irish Rail’s General Motors diesels to a processing plant at Mallow, County Cork.
Wellingtonbridge was a quiet place most of the year, except in beet season when it was a hotbed of railway activity. A signal cabin at the west end of the platform controlled movements using a network of rods and wires to move points and set semaphore signals. The single-line between Wellingtonbridge and Waterford was governed using a traditional electric train staff system, and was often at the limits of capacity. As soon as an empty train would arrive, a laden train would take the staff and head west toward Waterford. Leaving Wellingtonbridge the line climbed sharply up Taylorstown Bank, and here GM diesels would roar away in Run-8 (maximum throttle) for several minutes to keep moving. Irish Rail prohibits sanding the rail, and on damp days (which are common to Ireland) the diesel’s would slip. While most of the time they’d make the grade, there were some hairy moments.
Beet season taxed Irish Rail’s diesel fleet to its limits and in the 2005-2006 season Northern Ireland Railways 112 was borrowed to help out. On this November 2005 morning it roars up Taylorstown Bank on its way to Waterford with a train-load of freshly harvested sugar beet. Nikons and Fujichrome captured this scene—forever gone.On November 20, 2004, as the last light of a dull day fades, the signalman at Wellingtonbridge cabin is hard at work. The slap of levers against the clopping sounds of beet being loaded was the sounds of Wellingtonbridge in beet season. Nikon F3T with Fujichrome slide film.Wellingtonbridge was a bee hive of activity during beet season. In December 2005, locomotive 072 waits for a signal to reverse onto a laden train.
In 1999, I began photographing ‘the beet’—as my Irish friends called it, and continued my work until January 2006. Every season was threatened to be the last, and so it was little surprise when the operation finally ended after the 2005-2006 season. The reasons for this were complex, but were directly related to a withdrawal of European Union subsidy. The wagons were cut up as were many of the locomotives that hauled them. A few years after the beet finished, the South Wexford Line’s (Waterford-Wellingtonbridge-Rosslare) sole daily passenger service was suspended, leaving the tracks empty. Today the railway at Wellingtonbridge is dormant, so I have no regrets making pilgrimages to stand in frosty damp mucky fields on dark days, hoping for a bright moment as 645 diesels roared my way. I’d be there now doing the same if I had the chance.
Western New York & Pennsylvania HNME growls westward toward Columbus, Pennsylvania, shortly before sunrise on October 8, 2009. This was one of several locations where Erie maintained separate alignments for eastward and westward tracks. Conrail abandoned one of the lines in the 1980s, and today only one track remains.
Since the mid-1980s, I’ve made a project out of the former Erie Railroad. (See posts: Curiously Seeking Erie Semaphores and Erie Semaphores Revisited). For more than two decades, I’ve examined the old Erie route on film, exploring its lines across its old network. While the Erie has been gone for more than half a century, the context of this historic property lends continuity to my photography, despite a variety of different modern operators. In addition to photos of moving trains, I’ve documented structures, bridges, as well as both active and abandoned lines. I spent a week in October 2009 photographing along the Erie between Hornell, New York, and central Ohio. On the morning of October 8, 2009, I followed Western New York & Pennsylvania’s westward freight HNME (Hornell to Meadville) from Niobe Junction to its terminus at the former Erie yard in Meadville, Pennsylvania. It passed Niobe Junction at 6:45 am, and my first photos that day were made in the early twilight. Speed restrictions on the line made for ample opportunities to photograph the freight as the sun brightened the sky. Changeable October conditions lent for a cosmic mix of low light and ground fog. Working with my Canon EOS 3s and color slide film I produced a variety of satisfying images that fit in well with my greater body of Erie photography.
At 8:14 am, Western New York & Pennsylvania M-636 637 (a former Quebec Cartier locomotive) and C-430 430 lead 17 cars west of Union City, Pennsylvania. Ground fog make for a stunning morning silhouette. This image appeared on page 70 of my book Vintage Diesel Power published by Voyageur Press in 2010.
New England Central SD40-2 722 pauses on the former Central Vermont Railway bridge over the Millers River at Millers Falls, Massachusetts on December 9, 2012. Canon 7D 28-135mm lens at 135mm, ISO 200, f5.6 1/400th second.
This morning (December 9, 2012), New England Central 603 worked north from Palmer, Massachusetts to the Pan Am Railways interchange at Millers Falls. To pick up and drop cars, the train worked a north-facing switch that required it to pull out onto the high bridge over the Millers River. The span is classic; a pin-connected Pratt deck truss built in 1905 by the American Bridge Company of New York. The contrast of New England Central’s former Union Pacific SD40-2 on the 107 year old truss looks more like a model railroad diorama than a scene typical of modern American freight railroading. Here the soft early-afternoon sun accentuates the diesel’s details, while offering a stark view of the bridge structure against the backdrop of late-autumn trees. In the summer fully foliated trees tend to minimize the impact of the bridge’s cross members.
I’m mindful of pending change. New England Central is a Rail America railroad, and if the Surface Transportation Board approves Genesee & Wyoming’s bid to acquire Rail America, New England Central’s operations and locomotive colors may soon be different. The implications for photography are impossible to gauge, but the wise photographer will capture the scene as it is today and make the most of every opportunity, for each may be the last.
Every so often trains converge and pause, presenting opportunities to make interesting and dramatic images. Such was the case yesterday, December 5, 2012, at the junction known as ‘the Willows’ east of Ayer, Massachusetts (where the former Boston & Maine Fitchburg Mainline meets the B&M Stony Brook line). Where the Fitchburgh continues toward Boston, and now used by MBTA commuter trains, the Stony Brook serves as part of Pan Am Railway’s primary freight route. A pair of freights had come west over the Stony Brook and were waiting to continue over the Fitchburg line to Ayer, (where they would diverge and head southward on the former Boston & Maine line to Worcester).
Overcast conditions combined with the bright headlight and ditch lights on CSX 8747 made for a challenging set of circumstances. Canon 7D fitted with 28-135mm zoom set at 135mm, ISO 400 f5.6 1/500 second.
On the left is Pan Am Railways’ POSE (Portland, Maine to Selkirk) with CSX (former Conrail) SD60M 8747 leading. (At Worcester this will become CSX Q427 for its journey over the former Boston & Albany toward CSX’s Selkirk Yard, see post Palmer, Massachusetts 11:01pm November 30, 2012). On the right is an empty coal train returning from the generating station at Bow, New Hampshire to the Providence & Worcester. This was led by a mix of P&W General Electric diesels, leading is former Santa Fe DASH8-40BW 582 in BNSF paint with P&W lettering. Both trains were waiting for an MBTA equipment move coming from Worcester (MBTA has been detouring equipment using the Worcester-Clinton-Ayer route as to bypass a damaged bridge on Boston’s Grand Junction Branch—which normally handles transfers between South-side and North-side operations.)
There’s nothing like a bit of sun to brighten your day. By changing my angle to the locomotives I minimized the objectionable effect of headlight flare. Canon 7D and 28-135mm zoom set at 122mm, ISO 200 f8 1/500 second.
My friend Rich Reed and I arrived at the Willows to catch the unusual MBTA move with the hope of also seeing the pair of freights. This easily accessibly junction is split by a public grade crossing. When we found the two freights side by side this became the main photographic event. The day offered a changeable mix of sun and clouds and so my initial exposures were made under overcast conditions. Complicating my exposures were headlights and ditch lights on CSX 8747 which when photographed straight-on flared and proved too bright relative to the rest of the scene. To compensate I waited for the sun to come out (thanks sun!) and then made a few views off axis to minimize the effect of the ditch lights while taking advantage of the better quality of light. While this solved the difficulty of the flared lights, it wasn’t as dramatic as the head-on view and didn’t show the freight cars, just the locomotives.
Moving back from the trains and using a longer lens increased the drama offered by a pair of freights ‘coming at you’. However, the sun had going in again, and the result amplified the effect of the light flare. Canon 7D fitted with 200mm lens, ISO 400 at f5.0 1/500 second.
Switching from a 28-135mm zoom to a 200mm fixed lens proved part of the solution by offering a more dramatic angle, but ,if anything, this exacerbated the difficulty of the engine lights. The longer lens forced me to move back from the locomotives in order to fill the frame. I made some test pictures, and analyzed them on-site while I waited for a moment when clouds partially diffused the sun. This allowed for bright light on the front of the locomotives, not only increasing the drama, but it offered the necessary compromise condition to better cope with locomotive lights (making them less objectionable). Another trick, I adjusted the white-balance in-camera for a slightly warmed tone (by setting the WB to ‘overcast’—pictured with a puffy cloud). After about 10 minutes, I could hear the MBTA special approaching from the West and shifted the focus of my photography. Soon after this passed, the coal train received a signal to proceed westward, and the whole scene changed.
With this view, the sun is slightly softened by light cloud, yet bright enough to help balance for the lights. The lighting is rich and warm, while the angle is dramatic. On both trains, the angle reveals freight cars behind the locomotives which tells part of the story; these are freight trains and not just modern locomotives posed side by side. Canon 7D with 200mm lens, ISO 400 at f6.3 1/1000 second.I always check focus by enlarging a selected portion of the image. This detail of the P&W GE displays a high degree of sharpness. I’ve cropped a portion of the Camera RAW file in Photoshop for display here.
In February 1998, Colin Nash brought me for a productive visit to Britain’s preserved Great Central Railway. It was typical winter’s day in Leicestershire; the dawn brought crisp cold sun, yet the ground was damp. In other words, excellent conditions for photographing steam locomotives at work. To attract visitors, many railway museums and preserved railways focus operations on summer months, with trains tending to run during the middle part of the day. While this obviously suits casual visitors, it isn’t the optimum time for photography. Harsh high light, and warm dry days offer precious little to enhance the drama of a steam locomotive. I’d much prefer rich low sun of winter with high-dew point and frosty temperatures, that result voluminous effluence from steam locomotives and dramatic contrasts that portray the machinery in dramatic light.
Thankfully, Britain is blessed with a variety of top notch preserved railways, many of which operate during the colder months. During the past 15 years, I’ve made numerous trips to the United Kingdom in search of steam, as well as to make images of revenue mainline railways. This exposure was made with my Nikon F3T and an f2.8 135mm lens on Fuji Astia 100.
Locomotive 34039 Boscastle works toward Leicester North in February 1998. This engine is one of Oliver Bulleid’s famed West Country 4-6-2 Pacifics built for Southern Railway. The image was exposed with Nikon fitted with f2.8 135mm lens on Fuji Astia 100 slide film.
