As per my last post, I’ve decided on a subject for the ‘People & Activity’ assignment:
- The changeover of steam trains at Pickering station on the North Yorkshire Moors Railway
Although I’m not a trainspotter by any means, I do like living in a town that has a working steam railway station as it gives me lots of opportunities for striking and interesting photographs. I’ve previously used the station as one of the subjects of an earlier Art of Photography assignment, but that was focusing more on the architecture (it was for Elements of Design) and included other railway stations as well. This will be much more focused, first on Pickering station, secondly on people and thirdly and most specifically on the activities they undertake when a train comes in then leaves the station.
A little explanation: Pickering station is a terminus, and the end of the line is a dead stop, not a turntable or anything fancy. So when a train comes in, it needs to follow a particular process to be able to go out again:
- Driver brings train in, stopping a couple of engine-lengths short of the end of the line
- Guards open doors, passengers disembark
- Driver’s mate gets down between engine and first carriage, decouples the two to free the engine
- Driver moves engine down to the very end of the line then manoeuvres it across to the other track
- Driver brings engine past all carriages to rejoin the main line just past the far end of the train
- (optional step) if needed, driver moves down to water pump at end of platform to fill up with water
- Driver moves engine back onto far end of train
- Driver’s mate gets down between engine and end carriage, connects the two together
- Guards let new passengers onto train
- Platform guard blows whistle
- Train guard usually hangs his head out of the window as the train departs
- Platform guard retires to his office to complete the paperwork
While on the last assignment (A portrait) I prepared a detailed shooting list, and sketched out what I had pre-visualised, for this assignment it seemed to me that this would be more challenging to be very prescriptive as I would be unable to pose or direct any of the proceedings. So in this instance I had a general framework in mind (based on the overall process observed above) and only a few specific shots that I was keen on capturing – related to the ‘moment’ and ‘explaining’ points in the brief:-
- The driver’s mate between the engine and the carriage doing the coupling/decoupling itself
- The platform guard, arm raised, blowing the whistle
- The train guard’s head poking out of the end carriage window as the train sets off again
Beyond these shots I decided to just capture what I thought was interesting and weave the narrative out of it from the library of shots that I collected.
More important to me than specific shots is the desire to capture good shots of people! That’s the real point of this section and therefore this assignment.
One of the reasons I chose the subject is that the people who work on the railway are mostly volunteers, and do this because they’re passionate about it. There’s something in their faces, in their eyes when you see them working. It’s quite inspiring, even if you don’t share their exact passion, to see people doing something they love. This is what I want to capture!
As noted in the post on my choice of subject, one of the advantages of shooting the train changeover is the multiple opportunities to get images – there are a normally about half a dozen trains a day on early summer weekends. So I have made shooting expeditions down to the station I think 5 or 6 times over a period of a few weekends. It’s important to have this opportunity to re-run the session as getting all the shots needed, to the right kind of quality, would be very difficult if it was a genuine one-off, as the whole turnaround window is only 10-15 minutes.
In order to get in close enough to the action but remain on the safety of the platform, I had to overcome my unease with using telephoto lenses. In this circumstance though I felt fine shooting with a long lens as the participants are most likely used to people taking their photographs and so I felt less stalker-ish than I might otherwise have done.
For one of the trips, and for the first time on an assignment, I took two camera bodies with different lenses mounted. One was a long zoom (50-230 mm / 75-345 mm EFL) to get in close on the details, and on the other I alternated between a shorter zoom (16-50 mm / 24-75 mm EFL) and a prime lens, 35 mm (52 mm EFL). While the logistics of switching between cameras was a bit of a learning curve, it did afford me the opportunity to get a good variety of shots in a short space of time.
Colour or black/white?
I had this dilemma with the last assignment too… should the end results be in colour or black and white?
My initial instinct was black/white. In fact, I shot in b/w in the viewfinder (as I set the JPG style to mono, but also shot Raw to give me the choice to revert to colour if needed). I default to b/w for the vast majority of pictures I take at the railway station, it just really seems to suit it; it’s a combination of the architectural lines suiting it, and the nostalgia vibe. I was also influenced a lot by the overwhelming prevalence of b/w in the whole genre of street photography – I appreciate this isn’t street photography per se, but I do like the implied authenticity that b/w brings to candid people shots and I see the similarities.
However… as with the first assignment, looking at the early shots I’m starting to think that colour might work better? Using colour would place the series more in the modern day, without the fake nostalgia of b/w, and this might help to get over my message that these are volunteers, who do this because they love it. Using b/w would make the images look like they could have been taken any time, and that’s not really my intention – I want to focus on the volunteering aspect.
So at the moment I’m erring towards colour. Although at this stage in my last assignment I was firmly in favour of b/w and switched, so anything could happen in the edit!
I think that’s a reasonable summary of my preparation so far, albeit written up after the event.
By the time I wrote this I’d already shot 400+ images over a few weekends. The challenge now is to edit them down to a shortlist and construct the overall narrative…