I’ll call this, Flushing Line Revisited. My first visit was with my dad about 1968. They’ve changed the cars since then
The New York metro-area generates its own quality of light. By afternoon on this day a mix of high cloud and four flavors of atmospheric pollution had tinted the skylight grayish orange with hints of smoggy yellow.
I made these views with my Lumix LX7 from the Manhattan-end of the double-deck Queenboro Plaza station. The Manhattan skyline looms in the distance.
My Lumix LX7 is a great tool for photographing the subway. It has a fast lens (f1.4) while the camera body is light, compact, flexible, and discrete.
For my New York City Subway photography exercise; I set the ISO to 200, the white balance to ‘auto’, set the exposure to dial to ‘A’ (for aperture priority, meaning I manually select the f-stop and the camera selects the appropriate corresponding shutter speed for optimal exposure ) and open the f-stop to near it’s widest setting.
The Lumix LX7 allows me turn off all the sounds and lights, so when I release the shutter nothing beeps or flashes.
I exposed both RAW and Jpeg files simultaneously. While the camera’s automatic exposure was close, I needed made minor adjustments to contrast and white balance in post-processing using Lightroom.
Typically this is necessary to bring the highlights under control while opening up (lightening) the shadow areas to make detail more visible.
Tracking the Light post Original Material, please share with your friends!
I was making my way from Grand Central toward Penn-Station and took a few minutes to photograph New York City’s famous Times Square Shuttle using a Lumix LX-7.
Although I’ve been making subterranean photos since the 1970s, I find that the digital photographic medium makes the process much easier, and my results generally are better.
In the 1990s, I made many New York City subway photos using a Nikon F3T with Ektachrome 200 and various filter combinations to compensate for artificial light conditions.
Calculating exposure was difficult, and despite the filtration my color balance was never 100 percent.
For these images, I set the camera for 400 ISO, selected the ‘A’-mode (Aperture priority) and set the aperture to f2.0, dialed in +1/3 exposure compensation (my standard override for interior photos), and allowed the camera’s auto-white balance take care of the artificial light.