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ww.RonRailPictures.com PHILADELPHIA MEMORIES


VOLUME THREE - THE RED ARROW TROLLEYS


The story of a surviving suburban trolley system from the 1950's to today. Includes Routes 101 - 102 - 103 and 104. As seen through the Super-8 lens of Gary Grahl, a look back at the marvelous Brill, St. Louis and Kawasaki rail cars through Delaware County to West Chester, Ardmore, Sharon Hill and Media. 126 Minutes ONLY $29.95


VOLUME TWO - SUBWAY AND SURFACE LINES


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Philadelphia SEPTA City Transit: Juniper St to 40th St subway lines through Woodland and Chester Ave surface lines and more. 1970’s PCC Cars through 1980’s Kawasaki. Experimental color schemes and one of a kinds. Includes Routes 10 - 11 - 13 - 34 - 36. ONLY $29.95


The Rio Grande Ski Train hustles west through Arvada, Colo., on a bright winter’s morn. Delta 3200 film exposed at ISO 1600 was used to allow the 1


/1000 of a second shutter speed necessary to Approx.


Three hours


ONLY $29.95


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RonRailPictures .com


RonRail2@aol.com


ditions, especially backlit or deeply shadowed locomotives, or uses telephotos for perspective distortions. It is a goal of getting the best ren- dition of a specific locomotive or train, vs. a goal of creating a dramatic, although perhaps generic, image of railroading.


Tripod vs. No Tripod


How many times have you seen several rail- fans waiting together at trackside, some with their cameras (even a small point & shoot) mounted on a tripod, others hand-holding their cameras? Photography publications have long preached to “always use a tripod for the sharpest photos” to eliminate the effects of hand held vibration. Yet if using a small lens and a shutter speed of 1


/500 or faster, which


is de rigueur to stop train movement, camera shake is not a problem, while using a tripod can slow you down. You have to lug the tripod to your photo location and take the time to set it up. Then every time you change com- position you have to re-set your tripod, which could mean missed shots if photographing busy rail activity. And a tripod is a definite hindrance when getting on and off a train for runbys when on a photo charter. Tripods do have their uses, such as for a


slow shutter speed with a stationary subject in low light, or time exposures at night. They are also useful with a big telephoto lens to prevent hand held vibration, or to lock the camera in place to help achieve precise focus and prevent unintentionally cutting off part of an area on the edge of a tight composition. When shooting video, having the camera on a tripod avoids shaky movies. Use a tripod when needed, but do not be a slave to one.


Film vs. Film vs. Digital


The forefathers of modern railfan photogra- phy (mainly the “engine portraitists” of the early 1900s) much preferred reliable medi- um or large format b&w film for the edge in quality over what was then considered “small format” 35mm film and lenses; b&w was also


preferred because there was not much in the way of good color films that were fade resis- tant. But as 35mm film, cameras, and lenses got better, this difference in camera choice was not related to quality. Color 35mm slides eventually won out for most photographers, although b&w medium format film, with its unique appeal of the dramatic tonal play be- tween light and shadow, has kept its share of devotees to this day. Speaking of slides, for years 35mm Koda-


chrome was the film of choice for serious rail- fanning. In the 1990s this started to change with the introduction of Fuji’s Velvia, touted as being richer in color than Kodachrome (which already had a reputation for richly saturated colors). Railfans either staunchly rejected using Velvia out of a concern for this different color saturation or their allegiance to the tradition of Kodachrome, or they just as strongly espoused a move to Velvia. The in- troduction of Fuji’s Provia line of films (espe- cially the ISO 400 Provia) further eroded the allegiance to Kodachrome. Today digital has made this choice irrel-


evant; in fact, digital has killed off Koda- chrome, along with many other varieties of film. But digital has opened up a new contro- versy — some railfans swear by RAW format, but others are happy with JPEG. Technically, RAW captures thousands more levels of color than JPEG, giving a higher “dynamic range” for better retention of detail in the shadow and highlight areas, and more image data to adjust under- or overexposure. JPEG looses image data with its file compression. RAW does not compress the image files, nor does it automatically apply in-camera sharpening, noise reduction, white balance, and tonal cor- rections, which with JPEG looses more image data. With low quality JPEGs, some of the visual results include artifacts (unwanted blemishes in the image). For most railfan use, be it image shows,


web site, blog, conversion to TIFF for pub- lication, or most print sizes, you may find


steadily hand hold the heavy 6x7 Pentax camera and 300mm lens, rather than lug a tripod to the location. The ISO 1600 grain actually gives a trace of nostalgia to this scene from the past (the Ski Train was discontinued in 2009).


The Colorfull Years - 1970’s and 1980’s


PHILADELPHIA MEMORIES


From the lens of Gary Grahl. See Philadelphia PCC’s during the colorful 1970’ and 1980’s on Routes 6, 15, 23, 53, 56, and 60.


VOLUME 1 SURFACE LINES


RonRail w Pictures


1 Hour 7 Minutes


VOLUME ONE - SURFACE LINES


Two Discs Set 2 Hrs 23 Min Two Discs Set 2 Hours 23 Minutes 20


RonRail Pictures


Includes Routes 6 - 15 - 23 53 - 56 - 60


From the lens of Gary Grahl. See Philadelphia PCC’s during the color- ful 1970’ and 1980’s on Routes 6, 15, 23, 53, 56, and 60. ONLY $29.95


Add $4.00 S&H per order (PA add 6% tax) See us on the web at www.ronrailpictures.com or mail check or M/O to RonRail Pictures, DeptT


5552 Republic Way, Bethlehem, PA 18017 WRP_Susquehanna_Jan15_6v_Layout 1 11/30/14 6


Susquehanna and Western


Before the era of container trains and big diesels, we take a fond look back at the old Susquehanna operations from Jersey City tidewater into the mountains and coalfields of eastern Pennsylvania. You’ll enjoy rare black and white views of Ten-Wheelers and Decapods, early Alco and EMD diesels, as well as streamlined motorcars and Budd RDCs.


SHORTLINE CLASSIC


$16.95


Plus shipping & handling Order Item #NYSW-CRS


(877) 787-2467


WHITERIVERPRODUCTIONS.COM P.O. BOX 48, BUCKLIN, MO 64631


55 New York,


PHILADELPHIA MEMORIES Vol 1 Surface Lines - The Colorful Years - 1970’s and 1980’s


NEW!


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