Still available through the
Erie Lackawanna Historical Society
use unauthentic looking home-built passenger cars. There will also be far fewer spectators and passengers around to get in the way of a good photo. Note: Always be respectful
if passengers are in the way of your otherwise “authentic” looking composition, and pa- tiently wait for them to move away. Never shout at them to move so you can take a clear photo. Remember that the paying passengers make the steam operation possible. • Photograph the train-
The Merchant’s Engines by Jerry Segrue
The history of the Lackawanna Railroad’s Pacific Steam engines with a concentration on the famous “Streamstyled Pacifics”. This 60 page softbound book includes over 50 photographs and separate scale drawings of each of the four streamstyled engines. Also covered is the construction of the DL&W’s several classes of 4-6-2s and their unorthodox numbering. Member price
$2100 plus $8.95 s&h
Non-member price $2495
Erie USRA Heavy Pacifics
by D.G. Biernaki
This 80 page book provides comprehensive coverage of these fascinating locomotives
Member price Non-member price
$1500 plus $8.95 s&h $1800 2013 ELHS Calendar
PHOTOGRAPHY: GREG MONROE
Member price $795
14 great photos plus
$4.25 s&h US Funds Only Visit us online at
www.erielackhs.org Dealer Inquiries Welcome
Order from: ELHS, Department RF Jay Held, 10-10 ELLIS AVE, FAIR LAWN, N.J. 07410 No phone calls will be accepted For information send SASE
N.J., PA & Ohio res. add sales tax. Outside US extra s&h.
ELHS membership at $35 per membership cycle. Cycle includes four issues of our magazine “The Diamond” and four newsletters with modeling
information. Separate check please. Send to: ELHS c/o Randy Dettmer, 290 W. Prospect St., Hudson, OH 44236
14 AUGUST 2013 •
RAILFAN.COM
tograph where line side bushes or trees hide any unauthentic passenger cars. • Shoot from an angle that allows the lo- comotive itself to block out the rest of the train, such as near head-on, or as the loco- motive leans into a curve blocking the view of any unauthentic cars behind. • Sometimes on the first or last run of the
Non-member price $995
day the train may have fewer passengers, and if open passenger gondolas are behind the tender, composing so that only the empty portions of the first gondola(s) are visible can result in the appearance of a steam freight train. • Shoot in the rain or falling snow when passengers may move out of open gondolas behind the tender into any closed cars. • Shoot in the rail yard. Arrive early or
stay late as the locomotives are always serv- iced before and after the day’s runs, present- ing compelling compositions including un- der the water tank, on the turntable, or switching moves. Photographing just the lo- comotive before it couples onto its train is al- so an especially good tactic for railroads that
Photographing just the locomotivebefore it couples onto its train is also a great way to eliminate non-authentic passenger cars from your composition. Here, the Black Hills Central 2-6-6-2T No. 110, a 1928 Baldwin, takes on water before the first run of the day in the rail yard in Hill City, S.D. (above). Photographing this Cumbres & T
oltec Scenic
, as well as the old boxcars with windows cut into the sides which serve as passenger cars. Note how the box cars’ brake wheels are visible, helping with the illusion of this being an olde tyme steam freight train.
train (below) drifting into Cumbres Pass in southern Colorado from a head-on composition allows the locomotive to hide the open gondola of riders directly behind the tender
men. The restrictions on in- cluding people in your photos do not apply to a fireman, brakeman, or engineer who is dressed appropriately (such as overalls and engi- neer cap). This adds human interest and a further touch of authenticity. • Look for period railroad structures. Including origi- nal water tanks, roundhous- es, coaling towers and depots in your compositions not only helps eliminate modern sur- roundings, it greatly adds to the illusion of the genuine old tyme photo that you are trying to achieve. Even close- ups of these structures by themselves make for some very nostalgic photos. • Plan for smoke. The
most dramatic photos will include a locomotive throw- ing out plenty of black smoke and/or white steam, such as when the locomotive is start- ing up after a stop, or climb- ing an uphill
grade. For
plumes of white steam, pho- tograph at road crossings or anywhere else the engineer is blowing the whistle. As most steam trains are
as likely to run without showing much smoke as they are with heavy smoke, one
technique, if you can make the acquaintance of a friendly engineman in the yard before a run without interrupting his work, is to ask where the train may likely be putting out good smoke. Some may even agree to show you smoke if you tell them where you will be waiting. Even steam photographers in the 1940s and ’50s have been known to ask a fireman for smoke at a certain location. • Use long shutter speeds. You may have
noticed that many train photos of a century or more ago have been “posed.” The train is stopped, and trainmen and passengers are standing around the locomotive, all holding still. The subjects are sharp, while any smoke and steam is recorded as a soft blur, due to the long shutter speeds often re- quired in that era. Emulate this blurred smoke effect today by using ¹⁄₈ of a second or slower shutter speed on a stationary locomotive. A low dig- ital or film ISO, cloudy days or during dawn or dusk, a red filter (with b&w) or neutral density filter to bring the effective ISO rat- ing down several stops, and stopping the
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