This entire five image sequence was exposed with a Lumix LX3 set manually at f2.8 for 15 seconds, ISO 80.
Going back to at least the 1980s, a group of us would convene in Palmer on Friday evenings. It used to be that after closing Tucker’s Hobbies on Fridays, Bob Buck would come down for dinner along with customers and friends from the store. Afterwards, we’d head over to ‘the station’ to watch the railroad.
I recall seeing Central Vermont’s old Alco RS-11s on sultry summer evenings, belching clouds of exhaust and sparks, while we waiting for the parade of westward Conrail trailvans (intermodal piggy-back trains); TV-5, TV-13, and etc. Back in the day, I’d make night shots with my Leica 3A. That seems like a long time ago.
This past Friday, a group of us convened at the usual spot; Doug and Janet Moore, Bill Keay, Rich Reed and myself. After a few trains, Doug and Janet were the ‘heroes’ as Bob would have called them; they headed home and a little while later the signals at CP83 lit up. To my astonishment, the ‘C’ light was flashing (the small lunar-white light between the main signal heads). I rushed for my cameras . . .
Lumix LX3 set manually at f2.8 for 15 seconds, ISO 80.
The signals at CP83 are approach-lit. So, when the signals light, it means that something (usually a train) has shunted the circuit. Among other things, CSX’s CP83 governs the switch at the west end of a controlled siding that begins at CP79 (about four miles to the east). When the signals light with a high green, it means a westward train has been cleared to continue past CP83.
Conrail installed the present signaling system back in 1986 when it converted the Boston & Albany route from directional double track under Automatic Block Signal rule 251 ( ‘signal indication will be the authority for trains to operate with the current of traffic’) to a largely single main track system with controlled sidings and governed by Centralized Traffic Control-style signals with cab signaling.
As a result there are now only wayside signals at dispatcher control points such as CP83. CSX assumed operations from Conrail 14 years ago.
It’s rare, but occasionally a locomotive suffers a cab-signal failure, or a locomotive that isn’t cab signal equipped leads a train. There is a provision with the signal system using the ‘C’ light, to allow a dispatcher to authorize a train to proceed without operative cab signal.
Lumix LX3 set manually at f2.8 for 15 seconds, ISO 80.
CSX rule CR-1280A names the ‘C’ light aspect as ‘Clear to Next Interlocking’. This gives the train permission to proceed the full distance to the next block ‘approaching next home signal prepared to stop’.
Why am I going into such specific operational details? Because, I’m fascinated by signals, but also in the 27 years since Conrail installed this signal system I’ve only witnessed a ‘C’ light lit, three times. And, I’d never before seen the C-light lit at CP83. I’ve been to CP83 more times that I can count, so for me, that is a really unusual event. (I saw a shooting star that night too, but those are common by comparison!)
Fortunately, I had cameras handy, and, perhaps more to the point, I had my dad’s Gitzo tripod, which made this sequence of images possible. (Other wise I would have trying to balance the camera with stacks of coins on the roof of my Golf, but, we’ll save that for another event . . .)
I just wish that Bob Buck could have been there with us to watch the train pass. He would have enjoyed that.
Lumix LX3 set manually at f2.8 for 15 seconds, ISO 80.
All images exposed with a Lumix LX3 set manually at f2.8 for 15 seconds, ISO 80.
Lumix LX3 set manually at f2.8 for 15 seconds, ISO 80.
About 10 months ago (July 2012), I started Tracking the Light. In the short time span since then I’ve had about 19,000 hits. While small numbers compared with Gangnam Style’s viral You-Tube dance video (with more than 1.7 billion hits), it’s a gratifying start. (BTW, there are some train scenes in Gangnam Style, so it isn’t a completely random reference).
In my introductory post, I offered a bit of my background with a taste of my philosophy on the subject of railway photography; ‘There is no ‘correct way’ to make photographs, although there are techniques that, once mastered, tend to yield pleasing results. I hope to expand upon those themes in these Internet essays by telling the stories behind the pictures, as well as sharing the pictures themselves.’
Irish Rail Intercity Rail Cars converge on Islandbridge Junction, May 2013. Lumix LX3 photo. I routinely post images of Irish railways. Check regularly for updates. Also, I have a special page on Dublin that is more than railway images. For more Irish Rail click here!An empty timber from Waterford near Donamon, County Roscommon, Ireland. Canon 7D with 100mm f2.0 lens.
What began as an infrequent opportunity to share work via the Internet has evolved into a nearly daily exercise. In the interval, I’ve learned a bit what makes for an interesting post, while working with a variety of themes to keep the topic interesting.
TTC Streetcar at corner of King and Queen Streets, Sunnyside, Toronto, February 8, 2010. Lumix LX-3 set at ISO 80. Originally Posted February 8, 2013
Regular viewers may have observed common threads and topics. While I’ve made a concerted effort to vary the subject matter considered ‘railway photography,’ I regularly return to my favorite subjects and often I’ll post sequences with a common theme.
Occasionally I get questions. Someone innocently asked was I worried about running out of material! Unlikely, if not completely improbable; Not only do I have an archive of more than 270,000 images plus tens of thousands of my father’s photos, but I try to make new photos everyday. My conservative rate of posting is rapidly outpaced by my prolific camera efforts.
New England Central GP38 3850 leads train 608 at Stafford Springs on January 25, 2013. A series of difficult crossings in Stafford Springs is the primary reason for a 10 mph slow order through town. Especially difficult is this crossing, where the view of the tracks is blocked by a brick-building. Protection is offered by a combination of grade crossing flashers and traffic lights. Canon 7D with 40mm Pancake Lens; ISO 400 1/500th second at f8.0. In camera JPG modified with slight cropping to correct level and scaling for web. A RAW image was exposed simultaneously with the Jpg. Originally posted on January 26, 2013.
Someone else wondered if all my photos were ‘good’. I can’t answer that properly. I don’t judge photography as ‘good’ or ‘bad’. Certainly, some of my images have earned degrees of success, while others have failed to live up to my expectations (It helps to take the lens cap ‘off’). Tracking the Light is less about my success rate and more about my process of making images.
A couple pair of laden Bord na Mona trains struggle upgrade, laying sand down as they ascend a short steep grade on the run back toward Mountdillon. This is the same stretch of track pictured in Irish Bog Railways–Part 2. Originally posted on March 4, 2013
I’m always trying new techniques, exploring new angles, while playing with different (if not new) equipment.
The most common questions regarding my photography are; ‘What kind of camera do you use?’ and ‘Have you switched to digital?’ I can supply neither the expected nor straight-forward responses. But, in short, I work with a variety of equipment and recording media. I aim to capture what I see and preserve it for the future. I try to have a nice time and I hope to entertain my friends.
Learn my secrets, click here. This image was made in Spring 2012 on Fuji Acros 100 film exposed with a Leica 3a and 21mm lens and specially processed for scanning.Semaphores are one of my themes. See my post from September 23, 2012. Eastward Delaware & Hudson symbol freight ‘Jet1’ passes semaphores at milepost 320 (measured from Jersey City) east of Adrian, New York on May 14, 1988.
Originally posted on December 1, 2013. CSX Q427 rolls through Palmer, Massachusetts, at 11:01 pm on November 30, 2012. Notice the photographer’s shadow superimposed on the blur of the train. Single exposure with Panasonic Lumix LX-3 with Leitz Summicron lens, zoom set to 5.1mm, ISO 200, exposed in ‘A’ mode with +2/3 over-ride, f2.2 at 7 seconds. Entirely exposed with existing light; no flash.
CSX General Electric Evolution-series diesels work west at Palmer, Massachusetts on May 17, 2013. Exposed digitally with my Canon EOS 7D.
CSX Q264 at West Warren, Massachusetts.
Martinez, California, as viewed from Carquinez Scenic Drive. Canon EOS 3 with 100-400 mm lens, Fujichrome slide film.The number plate on a smoke box door catches the hint of a blue sky beyond. Canon EOS7D with 28-135mm lens.
Something a Bit Darker: Enigmatic or just playing around?
Palmer in Gloom and Rain, May 24, 2013.
Friday evening May 24, 2013 wasn’t the driest night in recent days. I was in Palmer, Massachusetts to meet some friends for dinner. On the way in, I timed my arrival to intercept CSX’s westward Q437 (Worcester, Massachusetts to Selkirk, New York). I’d learned that one of the specially painted ‘Diversity in Motion’ AC4400CWs was leading.
The day was in its final moments with just a hint of blue in the sky. The signals at CP 83 (dispatchers control point, measuring 83 miles from South Station, Boston) lit up moments after I arrived. That gave me about six minutes to think up a photo solution. Since the car-park (parking lot) at Steaming Tender was comparatively empty, I opted for a broadside pan. All I had to work with was my Lumix LX3.
CSX Q437 rolls through CP83, Palmer, Massachusetts. Lumix LX3 photo.
I set the LX3 for 200 ISO, switched ‘off’ the image stabilizer (I’ve found this tends to interfere with long pans), and selected ‘aperture priority’ with f2.6 and +1/3 exposure compensation. Then I set the focus manually and waited. There’s a slow order through Palmer, and Q437 passed traveling not faster than 30mph. I made a long pan and the camera selected a shutter speed of 1/3.2 seconds. A long exposure, but not long enough. I still needed to lighten the image in post processing using the program’s ‘curve’s’ feature.
After dinner, it was raining steadily. Rich Reed, Bill Keay & I returned to CP 83 to observe the arrival of a southward New England Central freight. I made a couple of more long pans in the gloom of night. Then, I placed the camera on an old railroad tie to make one final exposure of the train in the rain.
New England Central freight arrives at Palmer yard. Lumix LX3 ISO 200 set at f2.6 1.3 seconds, panned hand held in the rain.I grabbed a second pan shot, as with the previous image, this one was with the Lumix LX3 ISO 200 set at f2.6. Slightly longer exposure: 1.6 seconds, also panned hand held in the rain.Rain at Palmer yard. May 24, 2013. New England Central freight . Lumix LX3 ISO 200 set at f2.5 1/1.6 seconds.
Something a bit different anyway and it cost me nothing but a few moments of my time (and suffering some gratuitous dampness.)
Detail of the GATX GP15-2 operating on Mass-Central. The GP15 model features an unusual airflow pattern. Canon 7D.
My brief encounter with Mass-Central’s borrowed GP15-2 on May 10, 2013 (see Quaboag Valley in Fog and Sun, May 10, 2013 encouraged me to seek out this locomotive and spend some more time photographing it on the former Boston & Albany Ware River Branch.
This branch is one of my longest running projects. Back in 1981, I rode my 10-speed bicycle from Monson to Ware to make photographs of Mass-Central’s recently acquired EMD NW5, number 2100. Now, more than 30 years later, that old engine is still on the property, and I’ve been up and down the line by road (and rail) dozens of times.
Despite this familiarity, at least once a year (if not once a season) I’ll take a photo-trip along the line. So, having a nice freshly painted locomotive against fresh spring leaves is a good excuse to get out and the exercise cameras.
Northward Mass-Central freight near Creamery on May 13, 2013. Canon 7D with 20mm lens.Mass-Central crosses Rt 67 at Barre, Massachusetts on May 13, 2013. Lumix LX-3 photo.Mass Central at Barre, Massachusetts on May 13, 2013. Lumix LX3 photo.
Much of the line is on a southwest-northeast angled alignment; and since trains tend depart northbound in the morning from Palmer and return after midday, I’ve found that the southward return chase can be the most productive for making clean locomotive images.
On Monday May 13th, I spent the morning writing and running errands. Then in late morning, I followed Mass-Central’s line up to Gilbertville where I waited for the weekday freight to pass on its northbound run. (Just to clarify; the weekday freight is all I’d ever expect to see. The days of Boston & Albany’s steam hauled mixed train and milk specials have long since passed!)
My timing was good, and after a little while the GP15-2 rolled through northbound with two cars. Not much of a train, but it collected a few more cars near Creamery and continued to South Barre where it worked for about an hour delivering and collecting freight cars.
As expected, the southward chase offered better angles and nicer train. Not only did the southward train have a decent consist of cars, but the sun made some well-timed appearances.
Mass-Central working the spur at South Barre. This light industrial branch diverges near the end of track on Mass-Central’s line at South Barre. Canon 7D.Mass-Central freight near Barre, Massachusetts on May 13, 2013. Canon 7D with 20mm lens.
I made photos with both film and digital Canon bodies as well as my Lumix LX-3, while following all the way south to Palmer (where Mass-Central interchanges with both CSX and New England Central).
Canon 7D.Mass-Central crossing Rt 32 near Creamery, Massachusetts. Canon 7D.Mass-Central catches the sun at the Rt 181 crossing near Palmer, Massachusetts. Canon 7D with 28-135 lens.
I’ve learned to take advantage of unusual or new motive power on the branch, as things can (and do) change quickly. To use a cliché; it’s best to strike when the iron is hot! I was pleased with my results featuring the GP15-2 and I wonder what motive power I’ll find next time I follow the line?
6:38 am on the morning of May 10, 2013 finds heavy fog at Hospital Road in Monson, Massachusetts. This view is looking south on New England Central’s former Central Vermont Railway. Canon EOS 7D.
May 10th holds symbolic railroad significance as the anniversary of completion of the first Transcontinental Railroad in 1869—an event that had great national and international importance. Many other railway anniversaries can be linked to May 10 as well.
In 2007, I coordinated a team of 37 photographers to document a full day’s worth of North American railway activity from Nova Scotia to southern California and from the Pacific Northwest to southern Florida in what became a book titled The Railroad Never Sleeps published by Voyageur Press.
Although this seems to be out of print, it remains a stunning photographic collection, which is especially impressive considering it was entirely accomplished within the limits of just one day!It’s hard for me to believe that six years have passed since that day.
Yesterday (May 10 2013), I got up early and aimed for Palmer, Massachusetts, with an aim of making a variety of railway images on this significant day. In the course of just a few hours, I’d photographed five train movements on three different railroads. I was home by 9:30 am. (Although, I was out again later in the day to investigate some changes to railway infrastructure).
When I began my photography there was thick fog clinging to the valleys; this gradually burned off leaving bright sun. Here’s a selection of my efforts.
6:43 am. New England Central 608 led by GP38 3857 works south of Palmer Yard approaching Hospital Road in Monson, Massachusetts. On May 10, 2013, the sun was out, just not here. Canon EOS 7D.7:49 am. The fog had begun to lift when I made this view along Mass-Central’s former Boston & Albany Ware River Branch near Forest Lake, Palmer, Massachusetts. May 10, 2013. Canon EOS 7D.7:52 am. Here was a complete surprise for me; I was unaware that Mass-Central had borrowed a GATX GP15-2 locomotive until I saw it leading the northward freight. Some quick driving on my part put me in position at this broadside view where the line crosses Forest Lake. I was pleased, that’s a nice looking locomotive in fresh paint. Canon EOS 7D with 40mm Pancake Lens.Crossing the mountain from the Ware River Valley to the Quaboag River Valley, I heard CSX Q264 call the signal at CP83 in Palmer. I altered my course to intercept it at West Warren, where recent undercutting and brush work has opened up a nice view for morning trains headed east. The sun was just emerging from the fog at 8:15 am making for some rich soft light. Canon EOS 7D with f4.0 200mm lens.8:29 am. Only a few minutes behind Q264 was this eastward intermodal train. The sun was out brightly in Warren and I could hear the roar of EMD diesels well before the train reached me. Canon EOS7D with 28-135mm lens at 28mm.
Yesterday morning, jetlag had me awake and alert considerably earlier than I’m accustomed. By 7 am, I’d photographed three trains on two railroads in two states and was on my way home to get some work done. Crazy thing, jetlag.
New England Central’s former Central Vermont Railway line looking north toward Washington Street in Monson, Massachusetts. Canon 7D with an f2.0 100mm lens.
The highlight of the morning’s impromptu photo excursion was this image of New England Central’s ‘Pride of Palmer’ (GP38 3851) climbing through Monson, Massachusetts with a short freight for Willimantic, Connecticut. This is passing Monson’s ‘tornado alley’, where, nearly two years ago a freak afternoon twister made splinters and memories of many fine buildings and trees.
At 6:16 am on May 8, 2013, New England Central 3851 approaches the ‘Monson tunnel’, now nearly an underpass below Main Street. Canon 7D with an f2.0 100mm lens, ISO 400 exposed at f4.0 1/250th, white balance set for ‘cloudy.’New England Central 3851 approaches Main Street, Monson. Exposed with a Lumix LX3, set at ISO 200. Image modified with Adobe Photoshop to compensate for exposure extremes and to warm the color balance.
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.
Shafts of morning sun illuminate exhaust from the Palmer yard office, while snow is blown from tracks at New England Central’s yard on February 10, 2013. Temperature = 0 Fahrenheit; image exposed digitally with a Canon 7D and 200mm lens; ISO 200.
The media loves storms; and they always have. New England’s first big snowfall of the on February 8th and 9th, seems to have made news everywhere. Friends from London called to say that the New England storm was a lead-in story on BBC.
New England Central at Washington Street, Monson—looking north before the storm, Friday February 8, 2013. Lumix LX-3 photo.Two days later: New England Central at Washington Street, Monson—looking north after the storm, Sunday February 10, 2013. Lumix LX-3 photo.
On the morning the snow began, I made a few photos at Washington Street in Monson with my Lumix LX-3 (for later comparison). Historically this was the site of Monson’s railway station, gone nearly 60 years now. Blankets of snow fell on Monson, Massachusetts through the day on Friday and into Saturday. I spent Saturday clearing off cars and whatnot, as you do after a heavy snowfall. The railroads were quiet, and a general ban on highway travel, plus dire road conditions discouraged me from going anywhere to make photos.
Churning blades of the snow-blower clearing Palmer yard. Canon 7D with 200mm lens.
Clearing New England Central’s Palmer Yard on February 10, 2013. Canon 7D with 200mm lens.New England Central’s Palmer Yard on February 10, 2013.
This morning (February 10, 2013) I aimed for Palmer, where it was clear and bright, but all of 1 degree Fahrenheit. Between 18 inches and 2 feet of snow covered the ground, with drifts several feet deep in places. Yes, it was a good dump, but not a record by my estimation. I’ve seen more snow.
Clearing New England Central’s yard was a bucket loader fitted with a snow blower. This made for a few impressive scenes, which I’ve tried to capture here. However, in general, traffic on the railways was quiet. CSX sent a set of light engines east. These stopped about a mile west of Palmer (milepost 84.5) because what I understood to be an axle problem with one of the General Electric locomotives. After a few minutes, these were on the move, and I made some views of CSX passing the old Palmer Union Station at CP83—now occupied by the Steaming Tender restaurant—a favorite eating place of mine.
Mid-morning on February 10, 2013, CSX light engines roll eastward passed CP83 in Palmer, Massachusetts. The old Palmer Union Station is now the Steaming Tender restaurant. Canon 7D with 28-135 zoom lens. Exposed at ISO 200 f10, 1/1000 second, metered manually.
About noon, New England Central dispatched a pair of GP38s south as ‘Extra 608’. Although once standard, today finding a pair of New England Central’s yellow and blue GP38s together is a rare treat. These ambled southward through Monson over Stateline Hill (so named because it crests near the Massachusetts-Connecticut border), which allowed ample opportunities for photographs. Extra 608 was destined for Willimantic to help clear the line and collect interchange left by the Providence & Worcester. All in all, this was a productive day for photography. I worked with my Lumix LX-3, Canon 7D, and Canon EOS-3. The Velvia 50 I exposed won’t be processed for a while; I’m on the big green bird tomorrow afternoon! Perhaps while traveling, I’ll write a detailed post on my experience exposing railway images in the snow.
New England Central extra 608 approaches Bridge Street in Monson, Massachusetts on February 10, 2013. Canon 7D with 100mm f2.0 lens.New England Central extra 608 at Stafford Springs, Connecticut on February 10, 2013. Lumix LX-3 photo.Trailing view of New England Central GP38s passing Stafford Springs, Connecticut. Canon 7D with 40mm pancake lens.
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.
This image appears on page 49 of my book Vintage Diesel Power published by Voyageur Press in 2010. I exposed it on October 13, 2008, courtesy of Genesee Valley Transportation. GVT was operating the locomotive on its Falls Road Railroad between Lockport and Brockport, New York. This is a relatively rare Alco RS-32 built for New York Central. It often operated on the Falls Road for New York Central and later Penn Central. The photo was exposed with a Canon EOS-3 and 20mm f2.8 lens on Fujichrome film.
Locomotives have long been the subjects of photographic study. The earliest images are believed to be Daguerreotypes from the early 1850s. As early as the 1860s, locomotive manufacturers routinely photographed locomotives to document their construction and to help interest prospective buyers. The nature of the steam locomotive meant that a great deal about the machine could be gleaned by studying it from the outside. Railway enthusiasts were enamored with locomotives from the very beginning; sketches and drawings of engines date to the earliest days of railroading, while railway enthusiast photography certainly dates to at least the 1890s, if not earlier. While I’ve always been fascinated by railways, I didn’t routinely examine locomotives on film until I was about ten. My earliest railway photography tended to feature signals. If there were any locomotives in my pictures, these seemed to appear on the horizon in the form of a looming headlight. Later, I made a great many images of locomotives, sometime picturing them at work, other times resting between jobs, and often I examined them on a macro level; in other words, up-close and in detail. I’ve written a number of books on locomotives, and these chronicle their evolution and development, intended application and service, and performance. My body of locomotive photography has aided in illustration of these efforts. This selection of images is intended as the first installment in Tracking the Light of my exploration of locomotive geometry: the shapes of the machines. Later installments will focus on specific railway fleets, individual types, and perhaps some individual machines.
Mass-Central NW5 2100 is an old favorite. Built for Southern Railway in 1947 to work the New Orleans Union Station, it found its way to Massachusetts when I was in junior high school. On the afternoon of October 18, 1983, my late friend Bob Buck of Tucker’s Hobbies in Warren phoned to say that Mass-Central was on its way to Palmer to collect interchange from Conrail. I caught the antique Electro-Motive engine by the old Boston & Albany freight house. Exposed with Leica IIIA with Summitar f2.0 50mm lens on Kodachrome 64 slide filmI grew up to the sounds of Central Vermont GP9s roaring away in run-8 as they clawed their way up State Line Hill in Monson, Massachusetts. I often photographed these locomotives in my youth. By the time I made this photo on December 23, 1986, I had begun my photographic studies at Rochester Institute of Technology, and was back for Christmas Break. Old 4442 was a favorite machine. It is climbing State Line as it had countless times before. Leica IIIA fitted with a Leica Visoflex II and 65mm Elmar Lens, Kodachrome 25 slide film.
In February, 1995, New England Central Railroad (NECR) assumed operations of the former Central Vermont Railway. By that time, CV’s GP9s had been gone a few years. NECR’s first locomotives (and the only ones painted for the line) were a fleet of handsome GP38s. By the late 1990s, these were an equivalent age as had been CV’s GPs when I knew them a decade earlier, yet somehow they didn’t seem so ancient. After all, age is largely perception. NECR GP38s rest in the afternoon sun at Palmer Yard in March, 1997. Nikon F3T with Nikon 24mm f2.8 Lens, Kodachrome 25 slide film.Former Boston & Maine Alco S4 1271 was on a siding at Middleborough, Massachusetts, on July 10, 1987. Warm afternoon sun was ideal for a study with Kodachrome, so I put my recently purchased Leica M2 and 50mm Leitz Summicron to work.Baltimore & Ohio GP9 6145 worked on Rochester & Southern’s former B&O Brooks Avenue Yard in Rochester while I was studying at the Rochester Institute of Technology. I made many photographs of this Electro-Motive diesel; this image exposed on October 22, 1987. with my Leica M2, 50mm Summicron and Kodachrome 25 slide film. If I knew why it was called “The Mighty Jumbo”, I’ve forgotten now.
Preserved Western Pacific diesels at Portola, California, on May 10, 2008 capture the spirit of another era. This image appeared in my 2009 title Railroads of California published by Voyageur Press. The photo was exposed on Fuji Velvia 100 slide film using a Canon EOS-3 and 100mm f2.0 lens. WP 608 is an Electro-Motive Corporation model NW2 built in 1940 for Union Pacific, and later acquired by WP. While WP 707 is a GP7 bought new by the railroad.I’ve always enjoyed intense sound produced by Electro-Motive’s 20-cylinder 645 diesel engine. That doesn’t translate to photography, except that I have a disproportionate number of images of diesels powered by that engine. On May 4, 1996, I made this photo inside Wisconsin Central F45 6656 to feature the big prime mover. Exposed using a Nikormat FT3 with Nikon 28mm AF lens, Fujichrome Provia 100 slide film, exposed manually.
On this warm May evening in 1986, I exposed a trailing view of Amtrak’s westward Lake Shore Limited as it hits the Central Vermont diamond at Palmer. The train radiates the glint of the setting sun. Between eastward and westward main-tracks, Conrail has installed the dispatcher controlled switch that in July 1986 became ‘CP83’ and resulted in the removal of the old westward main track on the Boston & Albany route between Palmer and Springfield (CP92). [The numbers of the control points signify the approximate distance from Boston’s South Station.] At the left is the canopy on Palmer’s Union Station which Conrail removed in November of 1986. Today the old station has been restored inside and serves as the popular Steaming Tender railroad-themed restaurant.
At 7:13pm on May 28, 1986, Amtak 449, Boston section of the Lake Shore Limited clatters across the Palmer diamond on Conrail’s former Boston & Albany mainline. At Albany-Rensselaer this will join with the New York section for the journey over the Water Level Route to Chicago. Exposed on 120 B&W film with a Rolleiflex Model T twin-lens reflex fitted with 75mm f3.5 Zeiss Tessar lens. This camera was not fitted with a prismatic view finder. Thus the finder image was a mirror of reality which made composition of moving trains challenging. Nor did this camera have a meter, so exposure was calculated using a hand-held meter and the photographer’s experience. In truth, bright sun shining off the stainless-steel passenger cars resulted in an overexposed negative that was adjusted with Photoshop after scanning.
It’s late, it’s dark, and it’s bitterly cold (ok, it’s been colder). I’m tired and I’m in Palmer where I’ve made countless thousands of images. I left my tripod at home. However, I’ve been eying the odd wintry textured sky, and then the CSX home signal at CP83 clears to a high green. There’s a train coming west, and it’s not too far away. As always, I’ve got my Lumix LX-3. I dither for a couple of minutes. No, I should make a photo. I’m here, there’s no good excuse not to. So, I walk to the South Main Street overpass. This was rebuilt in the 1990s in a manner ill suited to photography. A high concrete parapet combined with a chain link fence blocks most places I’ve like to work from. Yet, the fence proves my salvation. (I’ve done this before, now what did I do?)
CSX Q427 rolls through Palmer, Massachusetts, at 11:01 pm on November 30, 2012. Notice the photographer’s shadow superimposed on the blur of the train (lower center). Single exposure with Panasonic Lumix LX-3 (equipped with Leitz Vario-Summicron lens) zoom set to 5.1mm, ISO 200, exposed in ‘A’-mode with +2/3 over-ride, f2.2 at 7 seconds. Entirely exposed with existing light; no flash.
I wedge the Lumix into the chain-links, using the fence to hold my camera. I set the exposure using Aperture Priority (A on the dial), and as explained previously (see: Installment 4: Lumix LX-3—part 2: Existing Light Digital Night Shots) I use the toggle switch to manually override the exposure, setting it to +2/3. This will compensate for the evening’s relative darkness and lighten up the gloomy sky.
I hear the westward train approaching. It’s about a mile away rolling under the Tennyville Bridge (Route 32). Looking west, I make a test exposure at about 7 seconds, but manage to jiggle the fence in the process. My exposure is spot-on but the is photo softened by blur—no good. I try again, but this time the auto-focus can’t find a focus point and the picture is worse.
Now the lights of the train are illuminating the signals. I’d better get it right this time. I make two more exposures. While the first is too dark, the second is spot-on. In this one, CSX’s Q427 (a manifest freight that originates on Pan Am Railways and is destined for CSX’s Selkirk, New York yards) is racing toward the signal. I’ve got it. It works. Yea! Success. I can go back to my car and thaw out, and never mind CSX’s westward Q119 following two blocks behind.
New England Central milepost 65, Palmer, Massachusetts, July 2012. Exposed with Leica M4 and f1.4 35mm Summilux on Fuji Acros 100; unmodified scan.
Technique: Customizing process for optimal tonality with minimal post-process adjustment
I promised to reveal secrets! While I won’t tell you which American railroad CEO is a serious railfan, nor will I divulge which North American railway company is on the verge of centrifugal destruction, I will spell out the details of my proven black & white process!
Windsor, Connecticut, July 30, 2012. Exposed with Leica M4 and f1.4 35mm Summilux on Fuji Acros 100; unmodified scan.
In Installment 5 Black & White revisited Part 1, I elaborated on my philosophies and theories behind my traditional black & white photography. I’m not going to rehash that any more than necessary, instead I’ll detail the formulas and specifics of my process so that other photographers may take advantage of my experimentation, and perhaps further refine the process. I go into great detail, so hopefully the specifics will be easily understood.
Back in the late 1980s, I’d refined my B&W photography using Kodak Tri-X and other period films. Typically, I’d overexpose by a stop (basically by rating ‘400 ISO Tri-X’ at 200 ISO—a one stop difference, although in actual practice my system of exposure was more complex). Then, using a diluted mix of Kodak D76 or Ilford ID11 (1:1 developer to water), I’d under-process the film by about 20-25 percent from recommended time. My intent was to produce negatives that while appearing on ‘thin’ side in fact offered adequate detail to produce beautifully rich prints with deep blacks, and a full range of grays with minimum visible grain (in an 8×10 inch print). At that time I preferred prints with relatively low contrast and lots of gray, yet which retained clean, white highlights.
Today my process is different. First of all, I now expose film with the intent of scanning the negatives and not for making chemical prints. Secondly, I’ve altered the process to produce a higher contrast image, one that I feel is better suited for digital display. Instead of Tri-X I’ve been largely working with Fuji Neopan 100 Acros (ISO 100). While initial experiments required a bit of post processing manipulation in Photoshop to adjust the gamma curve of the film image, ultimately I aimed to produced negatives that don’t require this time-consuming post processing adjustment, and more to the point, look great on a computer screen; the intended output is Apple’s iPad.
Southward Vermont Rail System freight at Inwood, Vermont July 11, 2012. Exposed with Leica M4 and f1.4 35mm Summilux on Fuji Acros 100; unmodified scan.
As I mentioned in Installment 5, Black & White revisited; Old Tech for a New Era part 1, I experimented using my antique Leica IIIa with a 21mm Super-Angulon; with these tests I exposed Acros at its recommended 100 ISO, while using a hand-held Minolta Mark IV light meter in reflective mode to calculate exposure (and fine tuning the exposure aided by more than 25 years of my experience working with that unforgiving medium called ‘color slides’). With my exposure calculations my goal was not just to get a satisfactory exposure for each individual frame, but to maintain consistency through-out the entire roll of film, as I would with color slides. (Just for reference my typical daylight exposure with 100 ISO film in ‘full’ New England sun would be f5.6 at 1/500th of a second.)
Amtrak’s westward Lake Shore Limited (train 449) at West Warren, Massachusetts on August 3, 2012. Exposed with Leica M4 and f1.4 35mm Summilux on Fuji Acros 100; scan modified slightly using Photoshop to improve sky texture.
I then processed the film in Kodak HC110, using the as-recommended ‘dilution B’. (HC110 is a syrupy developer with a variety of different recommended dilutions; dilution B, as I mixed it, is one part HC110 syrup with 31 parts water. Since I require 32 ounces of developer, this makes for a relative straight forward mix. )
[Note: While a metric equivalent needs only to maintain the ratio; for reference: 1 ounce = 29.6 ml; 32 ounces = 946.2 ml]
From start to finish, my black & white process goes like this:
1) Load film on plastic reels into plastic tanks (in total darkness); cover tank and turn on darkroom lights.
2) Bring all chemistry to ideal developer temperature (in this case 68ºF/20ºC).
3) Pour 32 ounces of water into tank as a pre-bath, soak for 1-2 minutes (with very gentle agitation every 30 seconds; three slow inversions, then a firm tap with the tank at a 45-degree angle to dislodge any air-bubbles, sometimes giving a second tap if bubbles appear).
4) Drain pre-wash, and add developer, agitating to start for about 15 seconds (constantly, but very gently), then returning to the 30 second agitation interval as noted. My total process time at 68ºF was 4 minutes 45 seconds.
5) Drain developer, and quickly add stop-bath, agitating for 30 seconds total time.
6) Drain stop-bath, and add First Fix for 2-3 minutes. (My First Fix is typically already been used, and is ideally Ilford Rapid Fix mixed 1:4 with water). Agitate in same manner as developer.
7) Drain First-Fix, add Second-Fix (same mix as first fix, but freshly mixed) for 2-3 minutes.
8) Drain Second-Fix.
9) Rinse in running water for 3 minutes.
10) Inspect negatives.
11) Add Perma Wash/Hypo Clearing agent for 3 minutes.
12) Rinse in running water for 10 minutes.
13) Add Kodak Selenium toner solution (mixed 1:9 water), agitate very gently once every 30 seconds; total time for toning not more than 9 minutes. (Caution: Selenium toner is unhealthy; extreme care is required to avoid contact with the solution and toning should be done in a well ventilated place, typically outside. Wear gloves.)
14) Rinse in running water for 10-15 minutes.
15) Final rinse in clean de-ionized water with a few drops of Kodak Photo-Flo 200 (wetting agent).
16) Remove from reels and hang dry.
I’ve scanned the negatives at 3200 dpi using an Epson V600 flatbed scanner. After making hi-res TIFFs for my archive, I scaled selected images into the JPEG format for Web display. (While my initial application is computer/iPad display, I want a hi-res image for future use.)
Amtrak timetable rack, Berlin, Connecticut, July 2012. Exposed with Leica M4 and f1.4 35mm Summilux on Fuji Acros 100; unmodified scan.
Using this process, I obtained satisfactory results for the iPad, but the negatives required too much post processing to adjust the gamma curve for desirable contrast. Specifically I needed to improve highlight and shadow areas. Also, I found that the peculiarities of the 21mm lens were complicating matters. This lens has almost a polarized contrast/color-palate which made for some challenging black & white images. Some of the photos are pleasing, but my success ratio was less than hoped for.
I found two more pleasing alternatives: One was my Nikon F3 with traditional lenses (topic for another post), the other was working with my Dad’s Leica M4 and a 35mm f1.4 Summilux lens. Using this latter camera/lens combination, I then further refined my processing. Specifically, I increased development time by 30 seconds to 5 minutes 15 seconds, then ultimately to 5 minutes 30 seconds while making two other small changes:
First, I added a very small amount of developer to my pre-bath. This is a technique I use for other B&W processes that seems to have helped here as well. In theory, a very small quantity of developer in the pre-wash should get the development process underway which allows for slight better shadow detail without a dramatic increase of overall negative density.
Second, I cut my Selenium Toning from 9 minutes to 5 minutes, then further to 4 minutes 30 seconds, in order to reduce the effect of the toner on the highlights.
Amtrak station at Berlin, Connecticut, July 2012. Exposed with Leica M4 and f1.4 35mm Summilux on Fuji Acros 100; unmodified scan.
Using these final process modifications, I found that most of the resulting negatives made with the M4/Sumilux required virtually no post-processing and some were ready for display directly from the scanner. All of the photos displayed in this post were exposed and processed as described using the Leica M4 with 35mm Summilux lens with Fuji Across 100, and processed using the basic formula as illustrated. As always, I’ll probably continue to make adjustments to this formula as needed.
