At 8pm on December 27, 1997, I exposed this view looking west at CP83 in Palmer, Massachusetts.
Mike Gardner and I were returning from one of our all day photo adventures in the Albany area and we decided to make a few more photos before heading home.
The signals lit and there was a green on the mainline, indicating a westward train was near.
This back in Conrail days, when the Boston & Albany route was still very busy with freight. It was years before the old Union Station was transformed into the Steaming Tender restaurant. And there were a few more buildings and businesses on Palmer’s main street.
It was more than a decade before I bought my first digital camera and I exposed this using my Nikon N90S on Provia 100F color slide film.
On the evening of 26 Nov 2005, I exposed this Fujichrome slide on the platform at Mallow, County Cork.
A relatively long exposure was needed, so I mounted the camera on a Manfrotto tripod. The swirling steam leaking from Irish Rail’s Cravens carriages added to the mystique of the image.
This was a regularly scheduled train for Tralee, and toward the end of locomotive-hauled Cravens service on the Cork-Kerry runs. Not too long after this photo was made Irish Rail replaced the old steam-heated Cravens on this run with diesel railcars.
I tried to pick and exciting sounding title! These are some more of my thoughts on railroad night photography, the nuts and the bolts:
The other evening at Clontarf Road in Dublin, I was experimenting with various ISO settings in preparation for a more serious photo I was about to expose under the wires on Irish Rail.
Normally with my Lumix LX7, I limit the ISO settings to between 80 and 200, because this camera tends to get noticeably noisy/grainy at the higher settings.
Higher ISO increases the effective sensitivity of the sensor but does so at the expense of image quality, especially in regards to exposure latitude and noise. (Technically that’s not exactly correct, but for the sake of space and clarity that’s how I’m going to explain it here.)
In my night situation using a higher ISO setting will allow me a faster maximum shutter speed, which I need to stop a train in motion. Yet with each one-stop increment the image quality suffers more severely.
Keep in mind with each doubling of the ISO, the camera gains one stop: So, ISO 100 to 200 is one stop, 200 to 400 one stop, etc; and each jump allows an equivalent one stop increase in shutter speed. So in the lighting conditions at my location and using my LX7 aperture set at f1.4, ISO 100 allowed 1/15 of a second; ISO 200 1/30th; ISO 400 1/60th; ISO 800 1/125. Obviously, I needed to go higher than ISO 200 to stop the action. (Or simply pan the train, but that’s a story for another post).
Here are two views of static DART electric trains in low light that I made simply as comparison tests to see how the higher ISO setting compared visually. (Ignore the minor variations in composition).
At the small size displayed for internet viewing there’s only a slight difference. One is at the camera’s minimum ISO setting which is 80; the other is at 800, which three and a third stops faster.
The other evening at the modern Amtrak station in Sturtevant, Wisconsin, Trains Magazine’s Brian Schmidt and I set up to photograph Hiawatha Corridor trains during their station stops.
The southward train arrived first, and featured one of the former F40PH diesels, now a cab-control/baggage car in the lead. These are colloquially known as ‘cabbages’, and this one was painted to honor American veterans.
Working with my FujiFilm XT1 and 27mm lens, I set the camera to ISO 6400 and panned the train as it arrived to allow for the effect of motion.
It was an arctic evening at East Brookfield when we crossed the bridge over the tracks near CP64.
There it was, making an alien roar: the Loram rail-grinder in the old sidings.
Hard snow on the ground and the moon rising.
‘This will just take a couple of minutes’.
We were on our way to a gig at Dunny’s Tavern, but I wanted to make a few photos of this machine. Interestingly, it was my old friend Dennis LeBeau that both invited us to the gig and alerted me to the Loram grinder.
I tried a few photos using my Lumix LX7 in ‘night mode’. But the extremely low light levels didn’t make for great results.
So then I balanced my LX7 in the chain-link fence, dialed in 2/3s of a stop over exposure, set the self-timer to 2 seconds, pressed the shutter and stood back.
I did this several times until I made an acceptably sharp photo.
I manipulated the RAW files in Lightroom to better balance the information captured during exposure.
I know someone will moan about the tree at left. There’s nothing I can do about that, it’s part of the scene. Sorry 2001-fans, no black slab! So far as I can tell, anyway.