scan0011-SharpenAI-Softness
Rediscovering Photography-1983
I was in a period of inactivity for train photography in 1983. In truth, it was a funk. I recall being bummed out that the L&N, plus the Clinchfield and other “Family Lines” affiliates, were gone—replaced by Seaboard System. And now, the Southern and N&W were being erased as well by the cursed NS thoroughbred. I wondered if continuing my railroad photography was worth it, or just a waste of money and time.
I’m not sure what changed my mind, but initially it was the realization that enough of the “fallen flag” company paint schemes would be around for a couple of years. I could possibly go out in a blaze of silver bromide color transparency film. My first move was to upgrade my camera equipment. I remember getting on the phone with someone at B&H in NYC. He was not pushing me to consider the most expensive options but was quite helpful as I asked questions about various options of Nikon cameras and lenses. This was before the internet (at least for me) so I had to fall back on my general understanding of camera specs to think through the options. Money was also a factor, so I wasn’t interested in buying any top-of-the-line product that had more bells and whistles I would never need or use. Ultimately, I opted for a Nikon FG, a Vivitar 70-150 f3.8 zoom, and Nikon primes for 28mm and 50mm. I would later add a used fixed Nikon tele 300mm from a camera store in Kingsport, and a very solid tripod and cable release. I stashed away most of my “old” stuff in the closet and went about getting familiar—again—with photography.
From that day forward, I threw myself into rediscovering the joys of railroad photography. I made my peace with Seaboard System and the dreaded NS “horse” and went to work. I revisited favorite spots from earlier years but expanded my domain and fanned out to record trains in places I had overlooked much of the previous decade. Sure, the “good stuff” was gone, but the replacements weren’t too bad. Simultaneously, I began to consider lighting and composition far more than I had before. This epiphany confirmed there were literally no limits to the possibilities of great photography. I had encountered the great reawakening.
I think this was a day or two after my new equipment arrived. I had the Nikon FG loaded with color negative film, and it was November 17, 1983. On the way home from work, I passed an eastbound “C” train on Southern’s Appalachia Division (well…NS technically) topping the hill at Oreton. I backtracked to the US 23 overhead bridge at Harvey, Va. and used the Vivitar lens to get the headend, and the mid-trains remotes. Eureka! Everything was still painted in the Southern paint scheme. That older Nikon film model (and particularly the Vivitar lens, which proved to be one of the best I ever owned) produced incredible results (with some help from me, of course).
“The Present is the point at which Time touches eternity.”
C.S. Lewis
scan0011-SharpenAI-Softness
Rediscovering Photography-1983
I was in a period of inactivity for train photography in 1983. In truth, it was a funk. I recall being bummed out that the L&N, plus the Clinchfield and other “Family Lines” affiliates, were gone—replaced by Seaboard System. And now, the Southern and N&W were being erased as well by the cursed NS thoroughbred. I wondered if continuing my railroad photography was worth it, or just a waste of money and time.
I’m not sure what changed my mind, but initially it was the realization that enough of the “fallen flag” company paint schemes would be around for a couple of years. I could possibly go out in a blaze of silver bromide color transparency film. My first move was to upgrade my camera equipment. I remember getting on the phone with someone at B&H in NYC. He was not pushing me to consider the most expensive options but was quite helpful as I asked questions about various options of Nikon cameras and lenses. This was before the internet (at least for me) so I had to fall back on my general understanding of camera specs to think through the options. Money was also a factor, so I wasn’t interested in buying any top-of-the-line product that had more bells and whistles I would never need or use. Ultimately, I opted for a Nikon FG, a Vivitar 70-150 f3.8 zoom, and Nikon primes for 28mm and 50mm. I would later add a used fixed Nikon tele 300mm from a camera store in Kingsport, and a very solid tripod and cable release. I stashed away most of my “old” stuff in the closet and went about getting familiar—again—with photography.
From that day forward, I threw myself into rediscovering the joys of railroad photography. I made my peace with Seaboard System and the dreaded NS “horse” and went to work. I revisited favorite spots from earlier years but expanded my domain and fanned out to record trains in places I had overlooked much of the previous decade. Sure, the “good stuff” was gone, but the replacements weren’t too bad. Simultaneously, I began to consider lighting and composition far more than I had before. This epiphany confirmed there were literally no limits to the possibilities of great photography. I had encountered the great reawakening.
I think this was a day or two after my new equipment arrived. I had the Nikon FG loaded with color negative film, and it was November 17, 1983. On the way home from work, I passed an eastbound “C” train on Southern’s Appalachia Division (well…NS technically) topping the hill at Oreton. I backtracked to the US 23 overhead bridge at Harvey, Va. and used the Vivitar lens to get the headend, and the mid-trains remotes. Eureka! Everything was still painted in the Southern paint scheme. That older Nikon film model (and particularly the Vivitar lens, which proved to be one of the best I ever owned) produced incredible results (with some help from me, of course).
“The Present is the point at which Time touches eternity.”
C.S. Lewis