Railroad Photography - Brief Article

Photographing trains has become a full-time hobby for a large group of enthusiasts. As a result, a whole methodology has evolved over the years that is unique to "rail fan photography." The three-quarter wedge shot has become the standard for portraying motive power and the zoom lens has become king. Let's explore some of the nuances of railroad photography.

Passenger trains are capable of speeds in excess of 125 mph and therefore fast shutter speeds are the norm. Freights run the gamut from heavy coal drags climbing steep 2% grades at less than 20 mph to double stacks whizzing by at 60 mph. Train speed, grades and curves determine how effectively a photographer can chase a train to optimum photo locations along the right of way. One major problem, experienced by all railroad photographers, is the intrusion of people and/ or automobiles into the photo area. Unfortunately, the train doesn't wait until the distractions have left the scene; in fact, the train itself causes these problems in the areas of grade crossings. There is also the problem of access, since railroads frown upon trespassers and this drives the need for longer focal length lenses. The most popular films are Kodachrome 64 and Fuji Velvia (ASA 50) and this drives the need for fast lenses.

The best areas to photograph trains are near grade crossings, and areas where the tracks cross bridges, run through rock cuts, near bodies of water, or near grain elevators and other track-side structures. As with most photography, the best time of day is just after sunrise or just before sunset; midday train photos lack impact.

Often, railroads, commuter agencies, or rail historical societies run organized railfan trips. These trips are especially productive because they almost always utilize vintage and/or historical equipment. The sponsors will often arrange for one or more photo "run-by's," where the passengers are allowed to disembark the train to form a photo line along the right of way. The train is then backed up for a considerable distance and then runs by (past) the photographers at track speed. After everyone has gotten their pictures, the train once again backs up and the passengers get back aboard. These events present excellent opportunities to get great pictures. It is often better, however, to chase the train than to ride it. If you ride the train, you have to contend with a mob of people with less than perfect photo etiquette. This often results in pushing and shoving to get the best spot and people running in front of your camera; it will be almost impossible to get a decent photo without someone getting in the picture.

In order to chase, you obviously need to be able to drive along faster than the train. While this may seem risky, there are several factors in your favor. You can certainly get past the train to your next photo location during a run-by; the excursion train must stop in sidings to allow revenue (freight) trains to pass; the excursion trains do not typically run at high speed, especially if using vintage equipment; and railroad tracks tend to follow land contours (many sharp curves) in order to minimize grades. If the highway is fairly straight and runs parallel to the average track direction, this gives you another opportunity to pass the train, arrive at the next location and set up your equipment before the train arrives.

It is best to scout your photo locations a day or so beforehand because you will not have time to become selective on the day of the trip. Be sure you know the direction of the sunlight, trim any obstructing vegetation and clear away any litter from your photo locations.

Local chapters of the National Railroad Historical Society (NRHS) sponsor night photo sessions. These are excellent for record photos of vintage equipment. There are group size limits and they are well controlled, so you will not have other photographers blocking your view. You will need to set your camera on `bulb' and you will be told what aperture to use and when to open the shutter. After everyone opens their shutter, flash bulbs will be fired at various parts of the locomotive (or rail car) to ensure even illumination. Finally, you will be told to close your lens at the end of the exposure. The intensity and number of flashes are carefully calculated beforehand, so that it is nearly impossible to get a bad exposure.

The use of filters will enhance your railroad photographs. I often use a graduated blue filter on overcast days to control the brightness of the sky; an alternative is to use a polarizer, but then you will have to increase the exposure by one or two stops. You can use star filters at night to enhance locomotive headlights and signal lights. Locomotives can be duplicated with multiple image filters. Kodaliths of trains have great impact for slide competitions.

Dennis
Zaccardi
Palm Harbor, FL

COPYRIGHT 2001 Photographic Society of America, Inc.
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