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Dave wrote:
"Many people start off shooting trains on print film and actually have
no idea where they are as far as exposure goes, so when they do finally
figure this situation out, they are again 'back to the beginning'. How
frustrating, and how avoidable this is. That's also no way to learn
anything (Are we having fun yet?)."
Greg wrote:
I've found the on-going conversation on film types interesting but a
bit over my head. But the comment above rang true for me. I'll admit
to being a print sort of guy during my early years at this hobby and
learned this lesson the hard way. I can still remember the frustration
at getting my first set of slides back that were under and over exposed,
and wondering what went wrong with my camera.
Hell I was so green at rail photography that I'd get frustrated
everytime one of those "damn" fadded blue MP locomotives were on the
point of a train at Kirkwood, instead of those nice clean yellow UP
units. I got smart enough to at least appreciate the last of the
yellow/green MKT units before they were repainted, but not enough to
capture them on slide film.
Anyway, I agree with Dave's comment about exposure accuracy being
important. In my mind it's the next most critical issue after holding
the camera still, focusing, and compostion. I'll tempt fate by jumping
in to this discussion with the veterans by saying that from my
perspective there seems to be so many variables to getting a good slides
and prints (developing, film type, film freshness, camera mechanics,
lens, etc,etc.) that it's real hard for me (and others) to know what
skewed the quality of the shot. I think the answer is to start removing
as many of the variables from the process until you've got your act
together.
Greg Anderson
St Louis
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-> SPORRS: 'Serious Photographers Of Railroad Related Subjects'
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