On August 13, 1994, I traveled with Mike Danneman to the Mississippi River. At East Dubuque, Illinois we caught up with a Chicago Central & Pacific coal train working eastbound on the old Illinois Central.
Mike was familiar with the territory and after making a few photos on the joint Burlington Northern-CC&P line, we drove to Galena to catch the train working up grade out of the Mississippi Valley.
The weather was less than ideal; a ‘heavy’ summer’ afternoon—hot humid and overcast.
Working with my Nikon F3T and f4 200mm lens, I made this view of the train crawling by the old Illinois Central station.
As previously described on Tracking the Light, Kodachrome 25 slide film had a cyan to red color bias (cyan when fresh, red when aged).
To correct for the cyan tint and adjust contrast, I imported the scan into Adobe Lightroom for a few nominal corrections. Below are scaled Jpgs from both the uncorrected and corrected files.
In June 1994, I exposed this Kodachrome 25 slide using a Nikkormat FTN fitted with a Nikon AF28mm lens (focused manually) of Amtrak number 5, the westward California Zephyr as it worked upgrade along the Truckee River on Southern Pacific’s famous Donner Pass crossing.
The other day, I scanned this slide and then imported the unmodified scan into Adobe Lightroom to make corrections.
Kodachrome 25 was an amazing film with very fine grain and a tremendous exposure latitude. Among the difficulties with the Kodachrome emulsions was its cyan/red color bias. When the film was fresh it tended toward a cyan (blue-green) bias, and as it aged it shifted red.
The roll I used was relatively fresh and required significant color adjustment to produce a near neutral bias.
I’ve included scaled versions of: the unmodified scan, the color and contrast adjusted scan, and the Lightroom work window.
Working with slide film had its perils. Normally, I used 36 exposure roles.
However, I’d carefully load my manual cameras and try to squeeze as many photos out of each rolls as possible.
This was risky, because often the last frame would get ruined in processing. So, I typically save that final frame for something less important, but still interesting.
On April 23, 1997, my father and I waited on a Shinkansen platform at Nishi Akashi west of Osaka. I made a few photos of this passing Series 300 Series highspeed train as it blasted by at approximately 186mph.
Working with my old Nikon F3T, I exposed this final frame on a roll of Fuji Provia 100 as the train passed me at speed. In processing, Fuji cut the last little bit of the slide (to the left of the train).
For years this slide sat in a box, unworthy of slide shows. I scanned it yesterday. Below are two versions. One is full frame, the other is cropped.
On a visit to New York City in 1998, my father and I made a trip on the Flushing Line of the New York Subway.
I exposed these photos using Fuji Sensia II (100 speed slide film) with my Nikon N90S.
Last week I digitized the slides using a Nikon Super Coolscan5000 scanner powered by VueScan software.
To make the most of the dark contrasty images I opted for multiple pass scans—a feature offered by VueScan that is similar in concept to the HDR setting used my some modern digital cameras—that blend several scans of the same image at different exposure values into one file to maximize shadow and highlight detail.
After exposure, I adjusted the scans using Adobe Lightroom and outputted these images with watermark for internet presentation.
On November 24, 1998, photographer Mike Gardner and I were wrapping our photography for the day, having spent it following the old Erie Railroad mainline in New York state. A railroad then operated as part of Conrail’s Southern Tier District.
Just after sunset, we were visiting the old bridge (since removed) over the east end of the Gang Mills Yard (near Corning, New York). A bit of evening ‘drop under’ sun had tickled the clouds pink, when a headlight appeared to the west.
Working with my Nikon N90S with 80-200mm lens, I made a sequence of photos on Kodachrome 200 of the passing Conrail piggyback train. This film offered speed, but it was difficult to work with. Not only was K200 grainy, but it had a fairly narrow expose latitude as compared with either Fuji Sensia or Kodachrome 25.
At the time I made the slide, I’d exposed for the sky, aiming to retain the texture and color, but as a result the tracks and train were a bit under exposed. Last night, I made a multiple pass scan from a slide in the sequence. Then in post processing, I lightened the foreground, while adjusting color and contrast for a more pleasing image, yet one that hopefully looks like it was exposed on Earth, and not on Mars.
Below are two comparisons. The first is the unadjusted scan (scaled for internet), the second is my adjusted scan.
VueScan offers me a high degree of control, but I’ve found requires a bit of practice and experimentation to obtain the best scans.
I typically scan Kodachrome 25 slides at 4000 dpi (dots per inch) and then output as a Tif file to obtain the greatest amount of data. For this slide I opted to make a multiple pass scan to retain a higher degree of shadow detail. (VueScan offers the multiple pass option under its ‘Input’ pull down menu).
To make the most of the scan for internet presentation, I imported the Tif file into Lightroom and lightened the shadows and balanced the highlights, before outputting as a scaled Jpg. (The original scan remains unchanged during this process).
Kodachrome slides recorded tremendous amounts of information and the original Coolscan Tif is far too large to present here.