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Greetings,
Judging from a few misdirected e-mail to Dave (via the general
SPORRS list) some of you shared my problem of selecting a best shot.
I've sent my pick to Dave earlier this weekend but wanted to comment
on some of the other shots that struck a cord with me for several
different
reasons. Anyway its a point to start discussing great selection of
shots.
Rick Newton's Smelter Utah shot was the first of several potential
vote getters. I really liked the orangeish lighting (this showed in my
shot of the
signal bridge at Hermann). I think the propensity for orangish/yellow
lit subjects goes back to being "stamped in my sub conscience by a
mother who loved the colors of yellow, orange, gold and black. perhaps
viewimg the world through her yellow shears made Rick's shot stick out.
The mountainside scene didn't hurt that shot either.
Dave's Old Junk shot was another one that trip that same color bias
switch
in my head. The low sun angle plus the super positioning of the UP
against a graveyard, and old building and cars made it a rich scene.
The sort of shot that you could look at on a calendar and always see
something subtle in it that you hadn't seen before. Sort of like watch
a
rerun of MASH or Barney Miller on TV.
Dave's BN-Belfontaine Bridge shot and Rick Newton's shot at Portage
De Sioux were also appealing shots. To those of you unfamiliar with the
St. Louis rail scene these shots were taken near the northern edges of
the St. Louis metro area. I live on the far south side of St. Louis
County and tend not to travel to these spots because after driving 30
minutes I'm up to the Cuba Sub on the BNSF and the UP Sedalia Sub and
stop there. It's a bad habit and I'm frustrated when I see these neat
shots that I've skipped right over. Old habits are hard to break. For
me it's easier to drive 3.5 hours to see the old AT&SF between Chil. ILL
and Marceline MO than to shoot around northern St. Louis metro area.
Keith Wilhite had three on my preferred list AT&SF GP60M 107 in the
snow (I like snowy shots), the KCS 736 on the bridge. I think the neat
bridge helped make the shot but the powerlines were distracting (yes I
hate powerlines and he had little control of that aspect of the shot.
Keith can you bump up to a longer lens and crop those things out, or
does the loss of the horizon/sky hurt the resulting image? If you've
ever shot
Cajon you'll quickly learn to hate power lines. My hear goes out to our
European electric power and east coast corridor shooters who have to
deal with that on a regular basis. I also liked Keith's Burnside bridge
shot. That's one of those places I'd like to shoot myself. Keith is it
hard to find a gap in the trees to shoot through?
Dave's artsy farts shot (pot calling the kettle black) on the sunset
is a neat shot with real intense color. It goes to prove there are more
shots to be found after the power roles by the tripod.
Frank Keller's Afton CA shot is another one that has neat light in
it. The shadows in the back ground helped frame the shot but they still
seemed a little too harsh. Perhaps a longer lens set in a portrait
format might help minimize the shadows while still highlighting the
silver bridge and UP engine.
My winner selection (already sent to Dave) was Steve Brown's Steam
wheels N&W 611 & 1218 shot. Why did I like it? The others were too
conventional and thus had too many elements that were similar to each
other. Steve's was an atypical shot (I'd have shot a typical; 3/4
wedgie
and may be one more grab shot. Steve's shot looks like he had
intentionally set up for just that shot. The drivers and rods, and the
track have neat geometry and lead the viewer down the track to the far
engine. Considering it was a gray or hazy day he made the most of less
than ideal conditions.
If you think my opinions are full of BS and you have a different
opinion I'd like to hear it. This forum is most interesting when we
talk Monday morning quarterback to each other, so lets have at it.
Greg Anderson
St. Louis, MO
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