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I was looking at Mark Bailey's image of NKP 765 passing the Lima locomotive works when I started to reflect on the quality of light in that picture. It almost looks painted, perhaps a watercolor. Most of the images that turn my crank have real drama in them. It doesn't matter whether the drama is created by lighting, judicious use of a telephoto lens or other compositional technique. Successful images reach out an grab you and pull you in so that you can imagine that you were there when they were taken. I think that's one of the reasons why the Warbonnet is so loved by railfans. That dramatic red, especially against a desert backdrop, really pulls the viewer into the scene. All you railfans in the south west have an unfair advantage! I have always been attracted to storm light (especially the drop-under variety) and look forward to CTC Board's annual feature on that subject. However, anything taken during the first or last couple of hours of daylight has the potential to impress. Which brings me to a question...how can one successfully use the high angle sun of the early afternoon hours to produce a pleasing, SOTM caliber, image? Is it possible at all, or do we just set up, kick back and snooze our way through the afternoon. I would like to see some images that were taken in the *really* difficult light around 2pm on a cloudless summer afternoon. ...John Reay, Bowmanville, ON [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED] http://ourworld.compuserve.com/homepages/John_Reay/cdnmlw.htm Assistant sysop, CompuServe TrainNet forum ======================================================= -> SPORRS: 'Serious Photographers Of Railroad Related Subjects' -> Web Site: http://www.anet-stl.com/acphotog/sporrs/ -> Message © 1998 SPORRS® - All Rights Reserved =======================================================
