This day last week (13 October 2018), I traveled on and photographed Railway Preservation Society of Ireland’s autumn diesel tour called The Southwestern.
Damp dark weather may make it difficult to expose over the shoulder lit three quarter views, and it may ruin Lumixes (See: Final Frame? Lumix LX7 Coils Up), but it’s ideal for making black & white photos on film.
Working with my battle-worn Canon EOS-3 with a 40mm pancake lens, I exposed this view of the train at Cork’s Kent Station using Kodak Tri-X.
On Monday, I processed the film using Ilford ID11 mixed 1-1 with water. Following a presoak with exceptionally dilute HC110 to initiate development, I gave the film 7 minutes and 30 seconds in the ID11 at 68F (20C) with intermittent agitation.
I scanned the negatives using an Epson V500 flatbed scanner and made nominal contrast adjustments using Lightroom.
Kodak Tri-X view of Cork’s Kent Station on 13 October 2018.
Michael B. Barry’s beautiful new book on Málaga makes the connection between two Kent Stations, one in Cork the other in Málaga. Both were named for politically active Kents who were related.
Michael’s book is available from Andulas Press.
My photo is at the bottom of page 80, and depicts Cork’s Kent Station. The top photo is of Victoria Kent Station in Málaga.This is the cover of Michael B. Barry’s new book
A couple of weeks ago Irish Rail’s Sperry train made a visit to Cork.
This train is essentially comprised of the weed-spraying consist with the addition of a container that carries the Sperry ultrasonic rail-defect detection equipment.
I made these views of the unusual train under the train shed at Cork’s Kent Station. The spoil wagon in the consist was a novelty.
I’ve often photographed trains under Kent Station’s curved train-shed, which is one of the most distinctive locations on Irish Rail.
Tracking the Light will be on autopilot for a week while Brian is traveling. New material will continue to post everyday, but notices will be delayed. See the Tracking the Light home page at: http://briansolomon.com/trackingthelight.
Kent Station Cork:
For me there’s something about a Victorian train-shed that begs for black & white. I made this photo on my most recent trip to Kent Station in Cork on Kodak Tri-X using a Leica IIIA with 35mm Nikkor lens.
Kodak Tri-X processed in Agfa Rodinal Special (not to be confused with ordinary Ordinal) mixed 1:30 with water, 68 degrees F, at 3 minutes 15 seconds with 2 minute pre-soak (with a trace quantity of developer). After initial processing (dev, stop, 1st fix, 2nd fix, hypo clear, 10 minute wash), negatives were treated with Selenium toner for 7 minutes, then carefully rewashed in running water for 15 minutes). Scanned using Epson V500 flatbed scanner, and digitally processed using Lightroom.
Tracking the Light normally posts new material daily.
Among the subjects I photograph are Irish Rail’s Cork area suburban trains.
Although not the most varied of operations (2600 series diesel railcars are the rule), the Cork Commuter system is an interesting subject. It provides a reliable, functional and well-utilized transportation system that works on a regular interval timetable.
The scenery is pleasant and over the years I’ve made many interesting images of the trains.
These are recent views made over St. Patrick’s Day weekend (2017).
Kent Station Cork. Exposed with a FujiFilm X-T1.Passengers await the arrival of a 2600 railcar at Kent Station. Exposed with a FujiFilm X-T1.
Schematic map of Irish Rail’s Cork Commuter network.Glounthaune, Co. Cork.Approaching Glounthaune, Co. Cork.St. Patrick’s Day observers watch a passing 2600 railcar while waiting for Glounthaune’s parade. Exposed on Tri-X using a Leica IIIa.Moments before Glounthaune’s St. Patrick’s Day Parade. Exposed digitally with a Zeiss 12mm Touit Distagon lens.Littleisland signal cabin.Cobh, Co. Cork.
Thanks to Irish Rail’s Ken Fox for recommending locations and supplying history and context.
Irish Rail’s Kent Station in Cork City is a cool place to make photos. It’s unusual curved train shed, plus antique platform awnings and brick station buildings have a Victorian appearance that offer a contrast with the modern trains that now serve passengers here.
I exposed these views on 16 March 2017.
Digital image exposed using a FujiFilm X-T1 with Zeiss 12mm Touit Distagon.Black & white film photograph exposed on Fuji Acros 100 with a Leica IIIa fitted with a screw-mount 35mm Nikkor wide angle lens.2600 railcars bask under sodium vapour lamps at Kent Station Cork. Digital image exposed using a FujiFilm X-T1 with Zeiss 12mm Touit Distagon.
Here’s a variation on the then-and-now theme. The same rail car, with the same semaphores, on the same track, but viewed more than 17 years apart!
Irish Rail 2616 at Kent Station, Cork in August 1999. Exposed with a Nikon on Fujichrome Sensia II.Same railcar, same spot, exposed on Sunday 2 October 2016 using a Fujifilm X-T1 digital camera. Who would have thought back in 1999 that those mechanical semaphores would still be in place!
Only see one photo? Well you’ll need to visit Tracking the Light‘s original post to get the comparison. Click on the link below.
I arrived at Kent Station, Cork on the 0800 train from Dublin.
Irish Rail ICR at Kent Station, Cork on the morning of 28 September 2016. Exposed with a Lumix LX7.
My timing was tight; I was aiming to catch Rail Tours Ireland’s Emerald Isle Express under the curved roof.
After arriving in Cork, I had less than five minutes to get into position.
Although visually fascinating, Kent’s Victorian-era shed is a tricky place to make photos. The characteristic curvature makes selecting the best angle tough, while the lighting under the roof is limiting.
Using my Lumix LX7 at ISO 200, I was restricted to 1/15th of second at f2.2.
Sometimes limitations force me to make more interesting photos.
The characteristic roar of an EMD 645 diesel reverberates under the ancient roof.As the Emerald Isle Express approached with engine 083 in the lead I opted to slightly pan the train. This provides a sense of motion while setting the shed off in a sea of blur.
When I learned to use my old mechanical Leica there were three primary controls on the camera; a ring to adjust the focus (gauged with the aid of range finder using a ghost image overlaid on the main image); dials to adjust the shutter speed; and a ring on the lens to change the size of the aperture (lens hole) as indicated by a logarithmic scale with ‘f-stops/f-numbers’.
Other than merely pointing the camera, I needed to understand how these controls worked to make successful photos.
Today most imaging making devices take care of details such as exposure and focus, allowing image makers to snap away without concern for the mechanics.
In many instances this freedom facilitates the ability to make photos quickly and with relative ease. Yet, this loss of control steals from the photographer crucial tools.
I still like to set my aperture manually. This has less to do with obtaining the correct exposure (since in camera metering can quickly suggest or set appropriate shutter-speed/aperture combinations) and more to do with adjusting the depth of field to manipulate my composition.
A detailed discussion of how the f-stop (f-number) is determined on a lens and what the numbers mean can fill a textbook.
What is important here is knowing a few basics, such as; a smaller f-number represents a larger aperture size and, but more importantly, how you can use this.
As the size of aperture is increased more light is let into the camera, however with a big hole comes a decrease in depth of field (relative focus); conversely, the smaller the hole size (larger f-number), the less light and the greater the depth of field (relative sharpness between near and far objects).
By using a larger aperture (small f-number, say f1.4) the relative focus will be narrow, with those points not in focus appearing relatively soft compared with the subject in focus.
This relationship becomes exaggerated with longer focal length lenses. Where a super wide angle lens offers great depth of field even with a large aperture opening (small f-number), a long telephoto lens will offer relatively shallow depth of field even when using a small aperture (large f-number, say f16).
While the f-number may used as a constant gauging mark, what is most useful is controlling the degree of relative focus to achieve a desired effect.
Personally, I like the effect of a long lens with relatively shallow depth of field because this allows me to draw the eye of the viewer.
Full frame and uncropped; I exposed this view at Kent Station, Cork in January 2005 using a NikonF3 with 180mm lens at f2.8— its widest aperture.
As with many successful stories, it often helps to lead your audience on an unexpected path before giving them what they want. I’ll often tease a viewer by leaving some crucial element of an image just beyond the range of sharpness, while placing the focus on something else, like say a railroad signal. Or vice versa.
I can’t tell you what to look at, but I can try to draw your eye. Notice where I’ve placed the focus, but also those things I’ve allowed to be less than fully sharp. The larger this photo is viewed, the more relevant the topic of relative focus. An image viewed at 3×5 inches won’t necessarily convey the same impression when viewed much larger.
Tracking the Light offers daily discussion on Photography.
Click the link to Tracking the Light to see both photos.
I made these views featuring Irish Rail 076 in passenger service using Fujichrome slide film.
The top view was made on 28 April 2006 crossing the River Barrow at Monasterevin; the other was exposed on this year’s IRRS Two Day Tour at Kent Station Cork (9 April 2016).
Irish Rail 076 roars down road across the River Barrow. In modern times, the tone off of 076’s 645 engine is slightly different than the other 071 diesels owing to a replacement engine installed circa 2002. This has a different turbocharger, which I’m told is actually the original model of turbo used on the 071 class. I could always tell when this engine was getting near because of the sound.Irish Rail 076 is surrounded by fans, photographers and curiosity seekers at Kent Station Cork. How many photographers were using colour slide film on this day?
Funny thing; I didn’t see lots of people at Monasterevin that day ten years ago!
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Cork’s railways were once vastly more complex than they are today.
Over a three-day span beginning 7 May 2016, I was given a thorough tour of Cork’s historic railways that included: a walking tour of the route of the old Cork City Railway; a cycle tour of the route of the Cork, Blackrock & Passage; and a detailed look at the numerous railway terminals that once served this southwestern Irish city.
I made numerous photographs composed to document railway settings as they are today. In many instances service was discontinued decades ago and the lines lifted and so the role of the railway is more conceptual than literal.
Thanks to Ken Fox, Donncha Cronin, Brian Sherman, Kevin Meany and Richard Lee for their expert guidance and historical knowledge.
I arrived by Irish Rail’s Mark4 from Dublin. This view of Cork’s Kent Station (Glanmire Road) was made from the foot bridge over the right of way of the line to the old Summer Hill Station. I featured Kent Station in my book Railway Depots, Stations and Terminals.I’ve always liked Kent Station’s Victorian-era curved train shed. Exposed with a FujiFilm X-T1 digital camera.Irish Rail 201-class diesel 220 at Kent Station Cork on 7 May 2016. Lumix LX7 photo.Old footpath over the line to Summer Hill Station. Kent Station is 180 degrees behind this view.Site of Summer Hill station that once handled trains working the line toward Cobh.Detail of the iron work on the foot bridge near Summer Hill station.Kent Station viewed from the Glanmire Road bridge. The earlier Penrose Quay station was located to the right of the curved shed.Donncha Cronin holds a vintage photo of the Capwell Station at the old station building (now used by a Bus Eíreann maintenance depot). Historically, Capwell was the terminus for the Cork & Macroom Railway.Panoramic composite of the old Capwell Station (centre).Old railway gate at the site of Cork, Blackrock & Passage’s Albert Road Station. Lumix LX7 photo.Cork, Blackrock & Passage Railway’s Albert Road Station.The former offices for the Cork, Bandon & South Coast Railway near Albert Quay in Cork City.Quayside trackage on the Cork City quay.Right of way of the old Cork City Railway.Right of way of the old Cork City Railway.Perhaps one of the last vestiges of track relating to the Cork City Railway located near Albert Road in Cork.Perhaps one of the last vestiges of track relating to the Cork City Railway located near Albert Road in Cork.The old train staff that had been used to authorize train movements on the Cork City Railway. Photo courtesy of Kevin Meany.Site of the old Western Road station (now a hotel).Cork, Blackrock & Passage was originally a broad gauge line, later converted to a largely double track 3 foot gauge suburban railway (similar in concept to the Boston, Revere Beach & Lynn). Now a popular urban cycle path, seen here at Blackrock.Site of Blackrock Station on the Cork, Blackrock & Passage Railway.Near Monkstown Station on the Cork, Blackrock & Passage Railway right of way.Near Monkstown Station on the Cork, Blackrock & Passage Railway right of way.Ken Fox studies a sign illustrating the history of the Cork, Blackrock & Passage at Carrigaline, Co. Cork.A sign illustrating the history of the Cork, Blackrock & Passage at Carrigaline, Co. Cork.Site of the Crosshaven terminus of the Cork, Blackrock & Passage suburban narrow gauge.Irish Rail’s footbridge at Glounthaune Station. Lumix LX7 photo.Glounthaune Station.An Irish Rail 2600-series railcar passes the old container terminal at North Esk, last served by Irish Rail in summer 2005.
Now and Then: How Changes to Infrastructure Affect Composition.
Photographic pairs showing locations that have been changed by time are nothing new. Yet, usually there are decades between photo pairs, not just one year.
In the interval between my September 2013 visit to Kent Station, Cork and my subsequent visit in the first week of October this year, the station suffered damage during a fierce storm.
On December 18, 2013, high winds caused the collapse of the historic canopy that had protected the platform serving tracks 1 and 2. In the wind, the old cast iron columns supporting the canopy snapped like toothpicks, and wooden sheathed canopy turned to splinters.
Kent Station, Cork on September 25, 2013. The old canopy is a central element to this image, exposed with my Lumix LX3. I’ve used the canopy in several ways, including to block out much of the textureless white sky, and to divide the frame in a meaningful way.The canopy is now gone, but that makes it more of story than in the earlier image. Here, on October 6, 2014, the ominous sky alludes to the storm some 10 months earlier, while the boxed vestiges on the platform hint at the old cast iron columns. I’ve made no effort to precisely duplicate my earlier photograph. That would only result in an awkwardly composed contemporary image. Lumix LX7 photo.
When I arrived off the train from Dublin in the afternoon of October 6, 2014, I was well aware of the change to the canopy, having read about it on RTE’s internet news and again some months later in the Journal of the Irish Railway Record Society.
However, a change such as this cannot really be fully appreciated until witnessed in person. The old canopy was an important fixture of Kent Station and it altered the quality of light on the platforms, as well as protecting passengers from the elements.
In this September 25, 2013 image, I’m looking away from Kent Station toward Cobh and Midlton. Here the black mass of the canopy helps balance the shapes of the rail cars while shadowing the platform and ground making for a more contrasty image. Lumix LX3 photo.I’m nearly in the same place for this photo as I was in the 2013 image above. But without the canopy to add a balancing element, I focused more intently on the 2600-series diesel railcars. The lighting in both photographs is similar. Which do you prefer? Lumix LX7 photo exposed on October 6, 2014.
In these photo pairings, my goal wasn’t to make precise comparisons to show the exact nature of the changed scene, but rather to show how the canopy, and the lack there of, affected the way I composed my images. I was keen to show the broken cast iron columns because they now tell the story.
Likewise, someday the semaphores will go. And when they are gone, I’ll no longer be intent to frame trains with them. Some other element of the scene will take their place.
In this September 25, 2013 view I’ve carefully used the old canopy as a frame for the 2600 railcar departing Kent Station. Notice the relative location of semaphores, lighting masts and cast iron canopy supports. Lumix LX3 photo.In the above photo, the canopy serves more as a frame than as subject. While in this October 6, 2014 image, the broken cast iron column is an element of interest, especially after you know the story. Imagine the sound it made when it broke! Here an arriving 2600 railcar passes the old semaphores, long may they last! Notice how I’ve included more platform is this more recent image. Lumix LX7 photo.
When you make photos, how do you balance the elements in the scene? Do you focus on just the primary subject or do you adjust your composition to take in secondary elements, such as that offered by the platform canopy and semaphores in these images? Think about it.
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