ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ-> This is The 'SPORRS' Mailing List -> Info File: http://www.anet-stl.com/acphotog/sporrs/infosporrs.htm -> Note: Remember to include your name in each list post or reply. -> Please delete all unnecessary quoted text from the original message! ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ Hi Greg,
I have a few comments about shooting pix, about what really drives me to get excited about RR images. BTW, I have to throw this little segment in first, though. Dave and I shot a train today!! Yipee! Hoorah! Except for my last business trip to Utah, I hadn't shot a train in 3 months. And our first shot of the afternoon was our buddy Dan S leading a coal train into the plant at Labadie. Shot a couple of others, then we knew it was over when we headed for the Lion's Choice (at least it wasn't Hardee's) and Dave said as soon as we get in line, a train will go by in the nice AHHRAANGEE sun. Soon as we pulled up to the window, UP train went wizzing by at Allenton. Oh well. Anyhow, thanks for your comments on my shots. Those late evening shots are really cool. I have a hard time convinving Dave to stay out long enough to shoot them anymore, but I really like them. One thing I like to show when shooting pix, is to emphasize the drama of railoading, to enhance the picture to beyond just an image of a train. There are a few ways to do that, one is the early morning or late evening light. Another way is the in your face variety of an image. All though its not quite in your face, the inclusion of the power plant behind the coal train or the Sioux picture enhances the picture beyond your typical shot, it gives some substance to the coal train out in the middle of the floodplains, and it brings the train into an environment, an identifiable scene. And one of my favorite ways is to show what obstacles the train has working against it. Snow, mountains, the train itself winding around S-curves or loops. Something that dramatizes or paints a picture, something that sticks in your mind. When shooting wide-angle, be sure and include objects in the scene, that add interest, add to the depth of the scene. One perfect example is yesterday before I hooked up with Dave, I shot a wide-angle shot of a BNSF train at Clarksville on the K-Line, right along the river, with a big tugboat right next to him. Can't wait to see how that comes out. Many times, we all hop out of the car, and take a grab shot, just focusing out attention on the train. But always keep in the back of your mind where you are. Know your surroundings and take advantage of them. Although the second time out to Soldier Summit I had an idea of the area much better than the first, all the trains I shot were on a chase basis. However, I maintained some semblance of my surroundings, and what I wanted in my pictures, and made all my stops and shots according to those criteria. The Smelter shot, I saw that early on my first trip and knew that was a good shot. But the opportunity to shoot there didn't happen until late that evening, and as I was getting close and knowing the sun angle, I knew it would be a perfect shot, and I made sure thay I was in the correct position. Shooting RR images can be much more than just going to the trains and shooting, its creating scenes with the area you are in. Rick ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ-> SPORRS: 'Serious Photographers Of Railroad Related Subjects' -> Web Site: http://www.anet-stl.com/acphotog/sporrs/ -> Message © 1998 SPORRS® - All Rights Reserved ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ
