HERRON RAIL VIDEO Since 1985. The Leader in Vintage Rail Video The Best Lens For Rail Photography?


TRADITIONALLY, THE BEST LENSES for railfan photography have been in the 28-35mm mild wide angle, or 50mm “normal” focal length range. (Note: For the purpose of this article we will be discussing focal lengths in terms of a film 35mm camera equivalent or large sensor DSLR; your mileage will vary using a digital camera with a smaller sen- sor; read on). These lenses are favored be- cause they allow a non-distorted image of a locomotive or train typically taken with a ³⁄₄ wedge type of composition.


Small power telephoto lenses of around 100mm to 150mm are also useful when nec- essary to get a frame filling image of distant subjects that are inaccessible. Bigger tele- photos have generally been avoided for most railfan use, especially for straight-forward documentation, as they can introduce more extreme compression distortion to a scene. Ditto for lenses wider than 28mm that cre- ate a stretched distortion.


This 28mm wide angle to 150mm small telephoto range is also the most popular type of zoom lens for use on cameras that take interchangeable lenses, as well as be- ing found on most point and shoots and ad- vanced digital cameras that have a non-re- movable lens. But moving beyond the basic function of selecting a focal length as need- ed to capture a frame-filling image, under- standing the traits of different focal lengths can help achieve a more eye-catch- ing photo.


50mm “Normal” If you had to choose just one lens to use on an SLR (single lens reflex) camera, consider it being the 50mm. Lenses of around 45mm to 55mm have traditionally been labeled as “normal” for the common 35mm film format, in the sense they record subjects with the same perspective as the unaided human eye, making them the best choice for most rail- roading scenes without any of the distortion present with wider or more powerful lenses. 50mm lenses are also typically among the sharpest lenses you can buy. Stopped down to ƒ11 or smaller, you will have a range of sharpness (depth of field or DOF) to infinity when focused on the lead locomotive, allow- ing a sharp image back through multiple lo- comotives and the entire train. Most 50mm lenses are ƒ2.8 or wider, es- sential to maintain shutter speeds of ¹⁄₂₅₀th of a second or faster for use on a moving train when low light conditions cause a need for more exposure. The bright viewfinder from this wide aperture makes quick and accurate manual focusing easy. And 50mms are light- weight, making them easy to carry and use. A final benefit for the 50mm? You get all the above advantages at the lowest cost. New top brand 50mm lenses for single lens reflex digital and 35mm cameras are priced in the $115 to $200 range.


Wide Angles


Lenses in the range of around 24mm to 35mm can also be used for general trackside photography, but because they take in a


wider view than the 50mm, they are espe- cially convenient for use in tight confines, such as inside a locomotive shop, round- house or small rail yard. A wide angle trait to watch out for is a “stretching distortion” when they are used up close to a subject. The wider the focal length and the closer to the subject, the greater will be this perspective distortion. (Note: Be careful when photographing a moving train with a wide angle that you are not standing too close to the tracks when trying to get a frame-filling composition. Be- cause of the perspective distortion, your sub- ject will look farther away in the viewfinder than it really is.)


Telephotos


While wide angles distort by stretching the perspective in a photo, photos taken with telephoto lensess exhibit just the opposite look: perspective “compression,” which is more evident the larger the lens focal length. And while this compressed look is generally


eschewed for traditional train


photography, it can be used to purposely im- part a dramatic or creative element to ap- propriate subjects.


In the accompanying photos on the next page taken from the same location but with different lenses (and different trains), note the difference in perspective caused by the different focal lengths. To the naked eye and with a 50mm lens, the mild ascending grade (about 1.5 per cent) here is evident, but in the 17mm shot it looks almost level. A much different and more dramatic effect is seen when shot with a 300mm lens. Note, too, how the multiple locomotives appear “stretched out” with the 17mm, but bunched together in the big telephoto shot. And note the different effect of each lens on the back- ground hillside.


Large telephotos (200mm, 400mm and greater) are best used to create a dramatic train image like this 300mm shot by shoot- ing near head-on down the tracks at an on- coming train. This type of composition uses a telephoto’s inherent perspective compres- sion to emphasize a stiff grade, or use multi- ple rails and switches, especially if brightly back-lit, for an artistic effect. But avoid large telephotos if you do not care for these effects. (Note the term “near head-on” was used


instead of “head-on.” Never stand on or too close to the tracks for a direct head-on photo, no matter how big your telephoto or how slowly the train is moving.)


Zooms


Zoom lenses have the advantage of allowing different compositions with the same train. As the train approaches, zoom out to the biggest telephoto power for your first photo, then keep shooting while gradually turning the zooming ring to smaller focal length set- tings as the train approaches. With an SLR you will need autofocus to do this effectively, to avoid having to use the zoom ring and fo- cus ring at the same time. Point and shoot zooms are usually autofocus.


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