On our SEPTA exploration January 2, 2019, we visited the Norristown Transportation Center, where we changed from the former Reading Company heavy rail line to the old Philadelphia & Western ‘High Speed’ line.
The elevated station for the old P&W route offers a stunning view of the trestle over the Schuykill River.
A grand view, yes, but the light was about as uninspiring as it gets; I was faced with dull, colorless January gloom.
I made a few photos of a Norristown-bound car scuttling across the bridge.
As color photos these are pretty hopeless.
You might ask, ‘why didn’t I just make a B&W film photo?’
My answer is: ‘I was traveling light, and didn’t bring a film camera’
I think I’ll just need to return on a brighter day.
Tracking the Light Posts Every Day. Even when its dull and colorless.
On Wednesday January 2, 2019, my brother and I made an adventure of exploring the SEPTA system.
We bought Independence Passes, which offer essentially unlimited travel on the SEPTA transportation system for a day, and we sampled a variety of modes and lines.
We began at Parkside Avenue by boarding the number 40 bus (GASP!), then to the Market-Frankford rapid transit. At Jefferson Station/Market East we picked up a heavy rail train to Norristown where we transferred to the old Philadelphia & Western high-speed line to 69thStreet.
From there the Media trolley to its namesake (yes, there’s a town called Media, Pennsylvania, and it’s one of the last with a single track trolley right up the main street.) Reaching the end of the trolley line at Orange Street, we walked to the old PRR station, and boarded a train that ran through to West Trenton, New Jersey, although we alighted at Woodbourne, PA to meet our friend Pat Yough, who took us by road to a nearby pub.
Our return trip retraced our steps to Philadelphia’s suburban station, where after some trials and missteps, eventually found the appropriate bus (GASP!) and this brought us back to where we began.
The light was dreary, but I made photos anyway using with both my Lumix LX7 and FujiFilm digital cameras.
Last night a damp inky gloom greeted us as we alighted from Amtrak’s Vermonter at the former Pennsylvania Railroad station at Wilmington, Delaware.
A SEPTA Silverliner V electric multiple unit set sat on the opposite platforms waiting to depart for Philadelphia.
I made several exposures with my Lumix LX7. Working with the RAW files in Lightroom, I maximize the amount of visual information in the photos by lightening shadows and darkening highlights while adjusting contrast and color saturation.
A couple of weeks ago five cartons of slides were discovered in a closet.
These contained photos I exposed in the 1970s and early 1980s that I’d later rejected as ‘unsuitable for presentation.’
Sometimes the ‘rejects’ prove more interesting than the ‘keepers’.
When I was a teenager, I had a different vision than I did in later years. Although I grew up in a rural area, I was fascinated by urban settings.
My visual inspiration came from slide shows with family friend (and now regular Tracking the Light reader) Emile Tobenfeld, who specialized in innovative and creative urban abstract images. Other inspiration included Donald Duke’s book Night Train (published in 1961), and various main-stream media, including the film 2001.
By intent, I made color slides that were dark and minimalistic. These are raw images made by a kid with a Leica who could see, but who had very little technical prowess. They were intended for projection in dark room.
Later when I learned more about photography, I was discouraged from this sort of raw minimalism. Instead I was urged to photograph to capture greater detail, where sharpness was prized among other qualities. My photography adopted qualities that were ‘better suited for publication and commercial application’.
Although my vision continued to embrace some of the same compositional threads that I’d worked with in my earlier years, by the mid-1980s I rejected these early efforts because they were raw and unrefined. Today, I find them fascinating.
SEPTA has a small fleet of electric locomotives; seven are AEM-7s (kin to Amtrak’s now retired fleet), one is a similar model ALP44 built by ABB Traction in 1996.
This one SEPTA ALP44 carries the road number 2308. It is among the regional rail operator’s most elusive locomotives. NJ Transit also operated ALP44s, but these have been out of service for a number of years.
Last week (November 2017) I was in the right place at the right time and caught 2308 arriving at Temple University (station) with a train destined for Thorndale. I boarded and traveled to Jefferson Station (formerly called Market East), where I made these images using my Lumix LX7.
Soon SEPTA will be receiving a fleet of new Siemens-built electrics, so I would assume that old 2308 is on borrowed time.
Recognizing rare equipment is part of making interesting railway images.
Is SEPTA’s 2308 the modern-day equivalent of the Pennsylvania Railroad’s DD2 electric (a rarely photographed, one-of-a-kind machine that looked similar to PRR’s common GG1)?
I made good use of the pass, traveling over several heavy rail routes to make photos.
One of the greatest features of this pass is the ability to get on and off trains without concern for cost, or trying to explain to the conductor where I’m are traveling to. This allows me to change my plan on the spot if I see an interesting location.
SEPTA offers regular interval service on most of its suburban lines, with extra trains in the evening rush hour.
These digital photos were made using my Lumix LX7 and FujiFilm XT1 digital cameras.
Dusk is a mystical time to photograph; highlights are subdued, shadows are deep, while the prevailing light is soft and cool. Window light is equivalent to the outdoors, and railroad signal light seems more intense.
The short SEPTA line to Cynwyd in the northwestern Philadelphia suburbs is a vestige of Pennsylvania Railroad’s Schuylkill Valley line that once reached northward into anthracite country.
Today Cynwyd is the end of the line.
Until last week, it was one of the last segments of SEPTA’s Regional Rail network left for me to travel.
I arrived at dusk, and in that ‘blue hour’ and I made these photographs using my Lumix LX7 and FujiFilm XT1 digital cameras.
All things being equal I would have used a tripod, but I didn’t have one so with the XT1, I boosted the ISO to unusually high levels to compensate for the dim conditions.
To the uninitiated a cold windy rainy night might not seem like a good time to make urban photographs.
In my eye this is a fantastic opportunity to make unconventional images.
My brother and I planned to ride SEPTA’s No. 15 streetcar along Girard Avenue to have burgers and beer at Johnny Brenda’s located on Girard near the crossing of the Market-Frankford rapid transit line.
I worked with my Lumix LX7 hand-held to expose this selection of images.
Some of the street views were exposed using the Lumix’s ‘night mode’ that exposes a burst of images in rapid succession and combines them in-camera as a composite.
As you can see it was really lashing down and the most difficult part of this exercise was keeping the lens dry.
It’s dusk and too dark for a conventional photograph without boosting the ISO to high levels.
So, I opt for a panned image, where I use a comparatively slow shutter speed and move the camera to follow the motion of the subject.
I’ve found that it helps to pick a point on the vehicle and stay with it.
It also helps to begin panning well before the shutter is released and continue to pan without changing your overall motion after the picture has been made.
This last part is crucial. Many pans are ruined when the photographer stops panning (or slows) at the very moment the shutter is released, which unfortunately can be a natural inclination that must be overcome with practice.
Two weeks ago on my visit to Philadelphia, I was on my way to the University of Pennsylvania for a brief tour before heading to Amtrak’s 30th Street Station to board the Vermonter for Connecticut, on the way there in an ‘Uber’ (taxi) I notice the trolleys on the street.
Apparently SEPTA had its Center City trolley subway closed (for maintenance?) and so the trolleys that normally went below ground were working rarely utilized street trackage on 38th street instead.
How long this diversion as to be employed was beyond my knowledge at the time, but since I knew that I won’t be back in Philadelphia for many months, I only had this brief window to photograph this unusual operation.
I had just a few minutes to make images as I need to accomplish my tour and reach the station in little over an hour.
These photos were exposed using my Lumix LX7 digital camera.
This is my variation of the old ‘Take a Ride on the Reading’, since SEPTA is part Reading. (That’s the old Reading Company.)
SEPTA’s also part Pennsy—the late great Pennsylvania Railroad.
Buy Independence Pass on the train, and ride transit all day to your heart’s content.
Most of these photos (but not all, see captions) were made using my Lumix LX-7 compact digital camera over the course of a few days wandering around Philadelphia last week.
I’ve found that this low-key image-making device is great for urban environments. It’s small & light, easy to use, flexible & versatile, features a very sharp Leica lens, makes a nice RAW file and a color profiled JPG at the same time, and, best of all: it’s reasonably inconspicuous and non-threatening.
The other evening I arrived at Trenton, New Jersey on board Amtrak train 55 the Vermonter.
The blue glow of dusk prevailed. That moment between daylight and evening when the hue of the light adds a extra atmosphere to photographs.
That is of course, unless your camera has its ‘auto white balance’ set, which will neutralize the color and make for blander, duller images.
To avoid this problem, I set my white balance to ‘daylight’, which forces the camera to interpret the bluer light more or less as I see it.
These images were exposed using my Panasonic Lumix LX7 in ‘Vivid’ mode at ISO 200.
Other than scaling the in-camera Jpgs for internet presentation, I’ve not made changes to the appearance of these photos in Post Processing; color balance, color temperature, contrast, exposure and sharpness were not altered during post processing.
The other day my brother and I drove along Philadelphia’s Girard Avenue on the way back from an errand.
This gave me the opportunity to make a few photographs along the way.
I had two cameras to play with. A Nikon F3 with 24mm lens loaded with Fomapan 100 Classic, and my Lumix LX7.
Inspired by my monochrome successes earlier this month, photographer Mike Gardner had encouraged me to make more Philly streetcar photos using black & white film, and so that’s what I did.
But, as you read this the images on film are still latent. As I worked the F3, I also popped off a few digital photos with the LX7. While anticipating the black & white, we can enjoy the digital images.
Not only does the LX7 produce instant results, but it’s a flexible tool with a very sharp lens.
Film versus digital? How about having your cake and eating it too?
The other night, I used my Lumix LX7 to expose these views of SEPTA’s route 15 trolley on Girard Avenue in Philadelphia.
Working in ‘A’ mode (which allows me to select the aperture while the camera picks the shutter speed) I dialed in a 1/3 stop over exposure to allow for a more pleasing overall exposure to compensate for the dark sky and bright highlights.
I also made a couple of exposures using the Lumix’s built in ‘hand held night’ (one of the scene mode pre-selects, available by setting the top dial to SCN , pressing the menu button and scrolling through the options).
The hand-held night mode was recommended to me by Denis McCabe. This makes a blended composite image from a half-dozen or so exposures automatically exposed in a relatively rapid sequence. It’s not perfect, but allows for decent images of relatively static scenes if you hold the camera steady.
As a contrast to this morning’s frosty portrait view of a tightly cropped SEPTA Silverliner reflecting the snow on its inbound journey over former Pennsylvania Railroad rails, I thought I offer this summer evening’s view.
Like the earlier photo along the old Main Line (so-called because from the old ‘Main Line of Public Works) this depicts a Silverliner heading toward Philadelphia 30th Street.
However, this was a glorious summer’s evening with warm low sun in the western sky and fresh green leaves on the trees.
The camera and lens combination were also similar. This morning’s tightly cropped image was exposed with my Canon EOS7D with a 200mm telephoto, while this view used the same camera body but with a 100mm telephoto.
Anyway, if the weather today has you longing for the warmer months, here’s something for which you may look forward!
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It was exactly two years ago; on this day, January 23, 2014, I made this tightly composed portrait-view (vertically oriented) photograph of a SEPTA Silverliner IV at Overbrook, Pennsylvania.
Over the years I’ve made many photographs along the former Pennsylvania Railroad Main Line, and more than my fair share of views at Overbrook.
SEPTA’s Silverliners are common enough, so I tried something a little different. Using my Canon EOS 7D with 200mm telephoto, I composed a tight vertical image of the SEPTA train as it glided through the station.
On Wednesday June 10, 2015, my brother Sean and I took a spin on SEPTA’s PCCs that work Route 15 along Girard Avenue in Philadelphia.
The cars and stops featured service-notices advising passenger of a scheduled bus replacement due to begin on Sunday June 14 to September 5th.
The reason for this service alteration is necessary track work on approximately two miles of line.
While the cars were running, we made a variety of photographs.
I noticed a gauzy rosy quality to the afternoon light, which I assumed was typical urban pollution. As it turns out there were wildfires burning in Canada and the smoke had spread across the eastern United States. This was especially noticeably in the late afternoon.