New England Central’s grade over State Line Hill climbs through Monson, Massachusetts. When I’m in Monson—where I live for part of the year—I can hear the trains as they pass through town.
In recent posts, I’ve focused my cameras on New England Central’s weekday freight, job 608, that runs from Willimantic, Connecticut to Palmer and back.
In the long days, the present schedule for 608 finds it in a number of classic locations that are well-lit for photography.
I can go after the train on any given morning, as often as I choose, and this allows me the freedom to explore different angles, photographic techniques, and visit locations repeatedly to make more interesting images.
I like to work in black & white and I choose to use traditional film cameras with which I can craft images in the old school. I process the film myself using custom-tailored recipes, and then scan for presentation here.
Why black & white film? First of all it’s not simply monochrome. My black & white photography is the culmination of decades of experimentation. This shouldn’t imply that the photos are inherently better than simple digital snap shots, but infers that I’ve put more thought and energy into achieving my end result.
Here I’ve displayed three variations of a black & white image I exposed using a Leica IIIa with 35mm Nikkor lens at Bridge Street in Monson. I’ve adjusted the contrast and tonal range producing subtle differences in each interpretation. For comparison, I’ve also supplied a similar digital color view that I exposed with my Lumix LX7.
I wonder how many viewers will notice the fundamental difference between the digital photograph and the film image variations?