{"id":3484,"date":"2013-08-10T05:40:57","date_gmt":"2013-08-10T09:40:57","guid":{"rendered":"http:\/\/briansolomon.com\/trackingthelight\/?p=3484"},"modified":"2013-08-08T05:34:01","modified_gmt":"2013-08-08T09:34:01","slug":"west-warren-massachusetts-october-2000","status":"publish","type":"post","link":"http:\/\/briansolomon.com\/trackingthelight\/west-warren-massachusetts-october-2000\/","title":{"rendered":"West Warren, Massachusetts, October 2000."},"content":{"rendered":"

Another Exercise with 120 Size Transparency Film.<\/span><\/strong><\/p>\n

In yesterday\u2019s post<\/a>, I told about working with a Hasselblad<\/a> and 120 Kodachrome<\/a>. Although, 35mm slide film was my stable format for more than 25 years, I\u2019ve periodically dabbled in larger formats.<\/p>\n

\"CSX<\/a>
The former Boston & Albany mainline along the Quaboag River<\/a> in October 2000, exposed with a Rolleiflex<\/a> Model T on 120 Fujichrome Velvia<\/a> 50.<\/figcaption><\/figure>\n

I made this image of CSX<\/a>\u2019s former Boston & Albany mainline at West Warren, Massachusetts<\/a> in October 2000 using a Rolleiflex Model T with f3.5 Zeiss Tessar lens to expose 120 size Fujichrome Velvia 50.<\/p>\n

While I have many images of trains at West Warren, this remains among my favorite. The trees and brush had been cleared from the north side of the tracks, opening up a angle on the tracks not often possible here. I’ll like the stumps too. My grandfather would have approved.<\/p>\n

The lack of train allows for good juxtaposition between the railway, waterfall, and old mill buildings on the far side of the Quaboag River. If I\u2019d let a train into the scene, it would either cause a distraction or block the waterfall. One solution to this puzzle is to work from the other side of the tracks, but that loses the timeless quality offered by this angle.<\/p>\n

Nearly peak autumn color is a nice touch, while soft overcast light adds to the autumnal atmosphere.<\/p>\n

Caption: The former Boston & Albany mainline along the Quaboag River in October 2000, exposed with a Rolleiflex Model T on 120 Fujichrome Velvia 50.<\/p>\n

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