Marcel says:
Extreme good attention on lighting and contrast. with the sun in front, a "don't". Colors fade away and give character.
Could be a promotional poster!
Full color, full object? Look at old railway promotional posters* to understand. The whole train is seldom included. Restrictions in printing, lead to a few colors. less is more
* till ca 1965. Each railway muceum has samples; also in their store and perhaps their internetstore
Marcel says:
The weather as attribute. In this case; after a very strong and dark storm. The light is diffuse. the air is light and sharp, the clouds dark and dirty. The conditions for outspoken landscape photos.
Of course in this circumstances people tend to stay safe at home. Weather changes are the friend of a photographer. Believe me I can know; I live in a microclimate with quick and continue changes.
Marcel says:
"It is better to concentrate at one very good photo as to click fast on all what is moving" (molto alto)
Get a way from the whole train.
Architectorial treatment of the photo.
Long preparation time is worth to do. (The maker told hewondered long how to get the liines of the windows at both sdes. ). this patience and dedication results in a lovely fragment with own signature
Marcel says:
1. Each subject has a lifecyclus. Often the totall end of the line is forgotten. After the last day of duty on thr tracks, the train is out of sight for many.It is interesting why the last part of the life cyclus maintains to often out of focus. There is life after being scheduled, even after the tracks
2. The metal and diry environment of a scrapyard. Trains broken in pieces.
The place for surrealistic train subjects; melancholic spirits.
Marcel says:
Trainphotography is also about landscape photography? If is admitted to these theory, the next question is. Primair attenion on the landscape? If that is done; the trein transformed to an important but no langer esential oart of the picture. The train brings life, but the picture can maintain without the train. Often the train adapts somehow to the landscape. As iin this case , the curvy track is needed to climb the mountains
Marcel says:
There are often topics on the trains itself in trainphotography. the whole cargotrain or not. 45 angle or not. That kind of beta stuff. Often is forgetten it is about photography. lightfall and decor can be elements that really makes a photo strong. No matter what train is taken. This photo shows such a decor with beautiful light. Everything is right. in this case it is a big bonus that the train is special (it is an old livrei). That does not make the photo strong. See.
Marcel says:
What objective do we use to catch a train. Often it is debatted as a matter of tast. It is. The paradox is that it is not a matter of taste!. It is about knowing the limits of the material we work with. In my opinion every objective can be used. This sample is done with a 300 mm tele (analogue ca 500mm) That is not easy, cause it well react heavily on each tiny movement. A tripod will be helpfull, but is also an extra limitation. That many limits are often translated as "matter of taste" instead as "too difficult". Well as human we all have our limits. Sometimes a location requires extreme tools. This S curve is made for a tele. The result is a swinging train! Oh yes once is decided for this tool, it will be a struggle with limitations. in this case also the bare (cold) weather!And we have to accept more mistakes. As trans are running, it can lead to missing the boat; one or two catches with mistakes and the train is gone.
So this is also about taking risks and accept such a forehand. A mental matter. This one is meant so, after an atempt a day earlier. sometimes the limits' requires some attempts/days to produce a good photo result. This these is valid for special objective, like wide angle, tilt shift, super tele, color filters (b/w) and even (i dont know how!!) macro objectives!
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