It's no secret to anyone that 2020 was a pretty bad year for most of the world - we all know exactly why.
It's not to say that it was all bad, however. My 2020 had its ups and downs, but when it comes to photography, 2020 was - surprisingly enough - my best year. Comparing the year-by-year gallery on the main photos page, the 2020 collection is generally brighter and more colourful, more varied subjects, and far more interesting compositions. By finally keeping myself on full-time manual and RAW shooting, I've learned a lot in taking more interesting photos, but there is still much more to learn.
Throughout 2020 - and particularly the back-half of it - I took more shots that I was happy with compared to previous years. Some needed a lot of time in the editing booth to come out right, others were in and out in mere minutes. I visited more places, chased more trains, met more people, and learned more about operations and locations than ever before. Some of the lessons I've learned this year may seem obvious in hindsight and to those who've been doing this for longer, but I'm just slowly stumbling my way through this all mostly on my own. The best way to learn is by making those mistakes through trial and error, I find, so that's how I'm taking it.
With all these shots I've taken this year, I wanted to make this small gallery and pick out my ten favourite images I've taken this year and explain why they're my favourites - the context behind them, the reasons for their names, stories related to the shot, and more.
So, take a seat as we meander through a particularly strange year and the photos that have come from it.
It's not to say that it was all bad, however. My 2020 had its ups and downs, but when it comes to photography, 2020 was - surprisingly enough - my best year. Comparing the year-by-year gallery on the main photos page, the 2020 collection is generally brighter and more colourful, more varied subjects, and far more interesting compositions. By finally keeping myself on full-time manual and RAW shooting, I've learned a lot in taking more interesting photos, but there is still much more to learn.
Throughout 2020 - and particularly the back-half of it - I took more shots that I was happy with compared to previous years. Some needed a lot of time in the editing booth to come out right, others were in and out in mere minutes. I visited more places, chased more trains, met more people, and learned more about operations and locations than ever before. Some of the lessons I've learned this year may seem obvious in hindsight and to those who've been doing this for longer, but I'm just slowly stumbling my way through this all mostly on my own. The best way to learn is by making those mistakes through trial and error, I find, so that's how I'm taking it.
With all these shots I've taken this year, I wanted to make this small gallery and pick out my ten favourite images I've taken this year and explain why they're my favourites - the context behind them, the reasons for their names, stories related to the shot, and more.
So, take a seat as we meander through a particularly strange year and the photos that have come from it.
#10. Flashpoint
Flashpoint was sort of the turning point for me this year. I'd been in a bit of a photography rut for most of the year by this point, what with excursions and trips being cancelled en masse. Only in the months before had I finally started to take a proper liking to shooting diesel power - or rather, the idea of shooting it. Work and school kept me inside for a while, then quarantine came about, and not long after, I was furloughed for a time. It was, frankly, a very depressing time.
But, there was yet good news, as a few friends I'd met online from my general area informed me that N&W 2156 was being transported via the NS line just south of where I lived. I gladly agreed to come out and shoot it without hesitation. I'd never even shot the NS line, hardly knew about it at all. By this point, I didn't know much about who ran where other than CN through home. This was to be a big learning experience.
It was a thrilling chase from Tolono to Decatur, and the best shot of the day was far and above the old Wabash bridge coming into Decatur. Yes, light was on the wrong side, but frankly? I can live with that. This short shooting day was a flash of light in what was so far just an increasingly darker year, and with the way the sun highlighted the faces of the locomotives, the name Flashpoint felt fitting (and is a song reference, of course). At the time, I didn't know what I would be doing in the future, but I did know that something was set to change.
But, there was yet good news, as a few friends I'd met online from my general area informed me that N&W 2156 was being transported via the NS line just south of where I lived. I gladly agreed to come out and shoot it without hesitation. I'd never even shot the NS line, hardly knew about it at all. By this point, I didn't know much about who ran where other than CN through home. This was to be a big learning experience.
It was a thrilling chase from Tolono to Decatur, and the best shot of the day was far and above the old Wabash bridge coming into Decatur. Yes, light was on the wrong side, but frankly? I can live with that. This short shooting day was a flash of light in what was so far just an increasingly darker year, and with the way the sun highlighted the faces of the locomotives, the name Flashpoint felt fitting (and is a song reference, of course). At the time, I didn't know what I would be doing in the future, but I did know that something was set to change.
#9. Tempest At Tolono
It was only a few weeks after Flashpoint that there were claims of one Pennsylvania Railroad heritage unit leading a westbound train through Tolono. I went on down, but all three trains I saw were just full of the usual black and white NS motors. While it had been a bit cloudy as I came down, I wasn't expecting to see storms. Tempest At Tolono combines a few things: railroads and storms, two subjects I enjoy quite a bit. I'd never seen stormclouds come in so quickly and so ferociously - they really were spinning! It really was quite something else.
The name is twofold - Tempest was chosen because it means "a violent, windy storm," and like many of the names chosen for photos, is a reference to one of my favourite songs. I do like my alliteration titles, and with the shooting location and name for the key background subject both being t-words... it fit in very nicely.
What makes this photo one of my favourites? The dark clouds make an imposing background, letting the stark silvery signal gantry stand out quite a bit. Even the dark Safetran signals themselves stand out, and the red lights feel like they add a little more to that imposing nature. I've never properly shot storms before - something I want to do in the future - and this is the closest I've gotten, so I'm just about able to cross that off of my list of things I want to shoot. All in all, Tempest In Tolono encapsulates a few of my favourite things and has such an imposing look to it that I can't help but love.
The name is twofold - Tempest was chosen because it means "a violent, windy storm," and like many of the names chosen for photos, is a reference to one of my favourite songs. I do like my alliteration titles, and with the shooting location and name for the key background subject both being t-words... it fit in very nicely.
What makes this photo one of my favourites? The dark clouds make an imposing background, letting the stark silvery signal gantry stand out quite a bit. Even the dark Safetran signals themselves stand out, and the red lights feel like they add a little more to that imposing nature. I've never properly shot storms before - something I want to do in the future - and this is the closest I've gotten, so I'm just about able to cross that off of my list of things I want to shoot. All in all, Tempest In Tolono encapsulates a few of my favourite things and has such an imposing look to it that I can't help but love.
#8. Four On The Floor
If there's one universal truth in my world, it's that I love the Illinois Central's deathstars. Such a simple paintscheme, but so very perfect. The simplicity really sells it for me - and not to mention? There's been more of the 'stars running around my area lately than I've ever seen before. I know their life will be cut short sometime in the coming years, probably sooner than we think, so I've taken it upon myself to shoot them every single chance I get. It doesn't matter if the photo will be good or not, I just want to see as many of the deathstars as I can. Similarly, with the C40-8Ms dying a slow, drawn out, painful death, I aim to shoot those as much as I can as well. Every time I've seen one I wonder if it's the last barn I'll ever see - you never know.
Cue to one Sunday this past December. I was called in to help at work, but it turns out that what we thought was going to be an incredibly busy day was actually very much under control. I was told I could take off early if I wanted, and being tired, I gladly accepted that offer. On the way home, I decided to loop around the railyard - I work close to it - just to draw out some time to hear a couple songs. You cannot imagine my surprise when I rounded the corner and saw three deathstars and a barn all in one line. I texted my friends, ran home to grab my camera and scanner, and then two of us chased the train, A407, north for three hours.
On Ford Harris Road, there is a crossing just past Leverett Junction, which is the north end of the Champaign yard. Along the fencing near the crossing, someone drooped a chopped up tire across a pole and the barbed wire. I stuck my camera in there and fired off shots as A407 began its northbound trek, creating the strange framework you see in the image. With four very distinctive locomotives on the head end of this train, I knew I needed to call out the four part somehow in a title... Well, what better way to do that than to reference a classic type of beat? I do love my music, and four-on-the-floor is very familiar, so it felt just right to name an image of four locomotives under power Four On The Floor. With an array of special interest engines that I love the look of, a unique "natural" frame, and the experience of the chase on this train all on my mind, it's one of my favourite memories and photos from the year.
Cue to one Sunday this past December. I was called in to help at work, but it turns out that what we thought was going to be an incredibly busy day was actually very much under control. I was told I could take off early if I wanted, and being tired, I gladly accepted that offer. On the way home, I decided to loop around the railyard - I work close to it - just to draw out some time to hear a couple songs. You cannot imagine my surprise when I rounded the corner and saw three deathstars and a barn all in one line. I texted my friends, ran home to grab my camera and scanner, and then two of us chased the train, A407, north for three hours.
On Ford Harris Road, there is a crossing just past Leverett Junction, which is the north end of the Champaign yard. Along the fencing near the crossing, someone drooped a chopped up tire across a pole and the barbed wire. I stuck my camera in there and fired off shots as A407 began its northbound trek, creating the strange framework you see in the image. With four very distinctive locomotives on the head end of this train, I knew I needed to call out the four part somehow in a title... Well, what better way to do that than to reference a classic type of beat? I do love my music, and four-on-the-floor is very familiar, so it felt just right to name an image of four locomotives under power Four On The Floor. With an array of special interest engines that I love the look of, a unique "natural" frame, and the experience of the chase on this train all on my mind, it's one of my favourite memories and photos from the year.
#7. Smile For The Camera
Those deathstars... I cannot get enough of them. October 4th was like any other Sunday in October, and I was just lounging at home having just turned 21 a few days prior. Then, I get a text saying that IC1000 is sitting in the yard ready to lead A408 south. Well, it's suddenly time to pack up the camera and run out.
After meeting with my friends and a few other railfans at the yard, I ventured out to find a spot to shoot A408 once it left. My plan was to chase it to at least Tolono, maybe farther depending on how I felt. At this point, I wasn't super familiar with the area south of Tolono yet, so I was just planning to hit that and stay there with my friends to maybe spot a few other things. Oddly enough, despite having planned two shots, it was the on-the-fly shot that I liked the most. Smile For The Camera was taken in the parking lot of a Culvers right beside the IC mainline at milepost 130. It was only during the editing process that I noticed something - the class leader has a smiley face drawn in the dirt on the nose! It was too good to pass up, so I made sure to emphasis that part nicely.
Smile For The Camera is one of my favourite shots for a multitude of reasons. The obvious ones being it features a deathstar front and center, the smiley face on the deathstar logo, but there's more. I'm not much of a wide-angle guy - never been good at shooting them - but the slightly wider angle on this shot worked out perfectly. I like the way the milepost sign stands out and sort of catches your eye. I especially like the visible texture of the dirt and grime on the IC1000, then there's the sky and it's bright blues and big clouds. A hint of the sky shines onto the side of 1000 and 1009, a nice detail. Trailing on the train is the CN 3233, a CN 100 GEVO, which was later repainted into the CN Veterans unit - neat to have captured it before it changed.
At the end of the day, it really is the smiley face on IC1000 that makes me love Smile For The Camera. A little bit of happiness in a gloomy year, I think.
After meeting with my friends and a few other railfans at the yard, I ventured out to find a spot to shoot A408 once it left. My plan was to chase it to at least Tolono, maybe farther depending on how I felt. At this point, I wasn't super familiar with the area south of Tolono yet, so I was just planning to hit that and stay there with my friends to maybe spot a few other things. Oddly enough, despite having planned two shots, it was the on-the-fly shot that I liked the most. Smile For The Camera was taken in the parking lot of a Culvers right beside the IC mainline at milepost 130. It was only during the editing process that I noticed something - the class leader has a smiley face drawn in the dirt on the nose! It was too good to pass up, so I made sure to emphasis that part nicely.
Smile For The Camera is one of my favourite shots for a multitude of reasons. The obvious ones being it features a deathstar front and center, the smiley face on the deathstar logo, but there's more. I'm not much of a wide-angle guy - never been good at shooting them - but the slightly wider angle on this shot worked out perfectly. I like the way the milepost sign stands out and sort of catches your eye. I especially like the visible texture of the dirt and grime on the IC1000, then there's the sky and it's bright blues and big clouds. A hint of the sky shines onto the side of 1000 and 1009, a nice detail. Trailing on the train is the CN 3233, a CN 100 GEVO, which was later repainted into the CN Veterans unit - neat to have captured it before it changed.
At the end of the day, it really is the smiley face on IC1000 that makes me love Smile For The Camera. A little bit of happiness in a gloomy year, I think.
#6. Under The Neon
Did you know that Under The Neon was my first time shooting silhouettes? There are old photos I'd captured silhouettes on, but only accidentally. This time, it was on purpose. The incredible orange the sun created made for an amazing backdrop, and the fact the sun managed to set itself directly between the two crossing gates is just the perfect touch. Not to mention, that perfect orb of the sun with those bright red edges - it's something else.
Railroad crossings are definitely an icon. The crossbucks are recognizable practically worldwide, and even the flashing lights and gate-arms are a familiar thing for many. You don't need to see the red lights or red-and-white of the barrier to know what it is. You just know what it is. To capture the shape, but none of the contents, makes something more interesting, and to be able to capture that with an incredible sunset? Well, that's just perfect in my eyes.
Under The Neon is another reference to a song, but really only in name. The gradient of the sky, with those yellows and oranges, feels like neon to me, and with how the sun and the base of the crossings sit below that neon, it's a perfect match. It's a simple photo, but sometimes simplicity is best. Something about it evokes visuals and lines about standing tall or guarding the crossing, but really, I just find myself enjoying a good silhouette and sunset - combine those with a familiar subject like railroad crossings? It creates one of my favourite shots of the year.
Railroad crossings are definitely an icon. The crossbucks are recognizable practically worldwide, and even the flashing lights and gate-arms are a familiar thing for many. You don't need to see the red lights or red-and-white of the barrier to know what it is. You just know what it is. To capture the shape, but none of the contents, makes something more interesting, and to be able to capture that with an incredible sunset? Well, that's just perfect in my eyes.
Under The Neon is another reference to a song, but really only in name. The gradient of the sky, with those yellows and oranges, feels like neon to me, and with how the sun and the base of the crossings sit below that neon, it's a perfect match. It's a simple photo, but sometimes simplicity is best. Something about it evokes visuals and lines about standing tall or guarding the crossing, but really, I just find myself enjoying a good silhouette and sunset - combine those with a familiar subject like railroad crossings? It creates one of my favourite shots of the year.
#5. Rabble Rouser
Heritage units bring out crowds - they always do. It doesn't matter if its rain or shine, pandemic or not, because someone is going to shoot the thing, damnit! 2020 saw CN unveil five heritage units (among other special paints), including one for the Grand Trunk. Though some of the other units get some flak, the GT unit, 8952, is generally pretty well liked. It's faithful to the GT paintscheme itself and fits very nicely on the SD70M-2. It's a very sharp looking unit, and on this quiet Saturday... Well, one mans report on the heritage units website got me - among others - up and out to come spot it.
8952 and its partner were working the grain elevator at Loda and assembled a train in Paxton. I drove up there and met a few other railfans and got a few photos and had a nice chat. It became apparent that 8952 would be taking this train down to Champaign, changing crews, and heading further south. What this really meant was that it was time to go on the chase! I flew south on 45 to make it happen, and only just barely arrived in the small town of Ludlow, IL in time to see the train come on by.
At Ludlow, there were a plethora of other photographers. Somewhere over a dozen, most clustered together in a few different spots. I joined the smallest group - only two guys - and shot the train as it raced by at track speed. Ludlow, Rantoul, Leverett & Leverett Junction - these places and more were packed with more railfans than I'd ever seen on the old IC mainline. All it took was one report on a website and the crowd was out and about. How about that for Rabble Rouser?
Once again, the name for this photo comes from a song. I think Rabble Rouser is a fitting name for this shot, as this train certainly roused up a bunch of chasers - and what are railfans other than rabble? Defined as "a disorderly crowd," I don't think there's a more fitting word to describe it! This shot comes in as one of my favourites as it was my best shot from that chase day, which was a great day. I met some interesting folks, saw some very neat things, and overall just had a good time. The shot itself just plain works for me. The bright colours of the 8952 contrast nicely with the white and grey of the cloudy skies and the half-dead grass beside the tracks. The grain elevator on the left and the simple sign for Ludlow certainly change the balance of the photo, where it feels heavier on the left with the train and elevator. The sign is a nice bit of an attention grabber for an otherwise "light" side of a the photo.
Overall, Rabble Rouser is just a clean shot of a nice unit from a good day. I can't ask for much more than that.
8952 and its partner were working the grain elevator at Loda and assembled a train in Paxton. I drove up there and met a few other railfans and got a few photos and had a nice chat. It became apparent that 8952 would be taking this train down to Champaign, changing crews, and heading further south. What this really meant was that it was time to go on the chase! I flew south on 45 to make it happen, and only just barely arrived in the small town of Ludlow, IL in time to see the train come on by.
At Ludlow, there were a plethora of other photographers. Somewhere over a dozen, most clustered together in a few different spots. I joined the smallest group - only two guys - and shot the train as it raced by at track speed. Ludlow, Rantoul, Leverett & Leverett Junction - these places and more were packed with more railfans than I'd ever seen on the old IC mainline. All it took was one report on a website and the crowd was out and about. How about that for Rabble Rouser?
Once again, the name for this photo comes from a song. I think Rabble Rouser is a fitting name for this shot, as this train certainly roused up a bunch of chasers - and what are railfans other than rabble? Defined as "a disorderly crowd," I don't think there's a more fitting word to describe it! This shot comes in as one of my favourites as it was my best shot from that chase day, which was a great day. I met some interesting folks, saw some very neat things, and overall just had a good time. The shot itself just plain works for me. The bright colours of the 8952 contrast nicely with the white and grey of the cloudy skies and the half-dead grass beside the tracks. The grain elevator on the left and the simple sign for Ludlow certainly change the balance of the photo, where it feels heavier on the left with the train and elevator. The sign is a nice bit of an attention grabber for an otherwise "light" side of a the photo.
Overall, Rabble Rouser is just a clean shot of a nice unit from a good day. I can't ask for much more than that.
#4. Thunder
Ahh, Thunder. Where do I even begin?
I participated in the Trains Magazine 80th Anniversary photo charter with Soo Line 1003 back in November. It was a truly fantastic day, cold as it was. It was the only steam I got to see in 2020, and while it's unfortunate I couldn't visit 261 or 401 or other steamers, the 1003 put on a magnificent show that rivaled any other steamer I've gotten a chance to see. How's that? Well, I think the photo can speak for why.
The little Mikado can put out smoke like no other steamer I've shot before. Only the UP 4014 in Granger and Laramie can rival it, but the colours of the 1003's smokeshow beat out the Big Boy easily. The dark cloud feels like a thundercloud, and the sound of the pistons echoing around us as we watched the old locomotive rumble across the causeway at the Beaver Dam duck pond only further accentuated that idea of thunder. The crew opted to do four runbys here, so I had plenty of chances to get the shot I wanted.
I've since learned how to better compensate for cloudiness and general darkness since partaking in the charter. My shots are far from perfect, and Thunder is no exception. I know how I would shoot it today if I had the chance to do it again. But, that doesn't change the fact that Thunder is one of my favourite photos. The almost angry cloud of smoke shooting into the sky, the brightness of the Milwaukee Road boxcar helping break up the darkness, the motion blur around the engine and its smoke - really, I just can't ask for more with steam. For me, Thunder captures the motion, the power, and the spectacle of steam locomotives. It's proof that, to me at least, you don't need to be shooting a massive 4-8-4 or the Big Boy or any other big steam power: a little 2-8-2 is sometimes all you need.
I participated in the Trains Magazine 80th Anniversary photo charter with Soo Line 1003 back in November. It was a truly fantastic day, cold as it was. It was the only steam I got to see in 2020, and while it's unfortunate I couldn't visit 261 or 401 or other steamers, the 1003 put on a magnificent show that rivaled any other steamer I've gotten a chance to see. How's that? Well, I think the photo can speak for why.
The little Mikado can put out smoke like no other steamer I've shot before. Only the UP 4014 in Granger and Laramie can rival it, but the colours of the 1003's smokeshow beat out the Big Boy easily. The dark cloud feels like a thundercloud, and the sound of the pistons echoing around us as we watched the old locomotive rumble across the causeway at the Beaver Dam duck pond only further accentuated that idea of thunder. The crew opted to do four runbys here, so I had plenty of chances to get the shot I wanted.
I've since learned how to better compensate for cloudiness and general darkness since partaking in the charter. My shots are far from perfect, and Thunder is no exception. I know how I would shoot it today if I had the chance to do it again. But, that doesn't change the fact that Thunder is one of my favourite photos. The almost angry cloud of smoke shooting into the sky, the brightness of the Milwaukee Road boxcar helping break up the darkness, the motion blur around the engine and its smoke - really, I just can't ask for more with steam. For me, Thunder captures the motion, the power, and the spectacle of steam locomotives. It's proof that, to me at least, you don't need to be shooting a massive 4-8-4 or the Big Boy or any other big steam power: a little 2-8-2 is sometimes all you need.
#3. Deathstars At Dusk
Did you think we were done with the deathstars? These were one of my favourite things to shoot all year, so it's only natural that they'll show up one last time. (Is that a spoiler?)
Early in October, sunlight and time make for an interesting game. It is absolutely a race against the clock to catch things in the sunlight - especially when you have work! By the time I clock out of work at 5pm, there isn't tons of time to get the shots I want, so it's always hard to tell if the time will work out. This afternoon, it worked in my favour perfectly.
On my way out of work, I spotted 1033 and 1007 on the head of a train and immediately hurried to get my camera from home. With that and my scanner in hand, I learned I was looking at A408 and that it would be leaving soon. With the time it took to fetch my gear, there wasn't terribly long for the sun to continue casting good light. It was going to be close no matter what.
I decided to shoot at the VIP track past downtown Champaign and along 45 / Neil. It made for an easy parking spot, easy to access, and there was also maintenance of way equipment sitting there that might be neat to have in a shot. The difficulty with this spot and southbounds like A408 is the nearby buildings, which aren't even that tall, can easily block a lot more light than I'd like. The golden hour sun requires it to be lower to the horizon, which means the window for a shot is very, very narrow.
But, thanks to the scanner, I was able to hear when they left - and there was time enough. A408 slowly came around the curve and into my shot. Something I'd been thinking about recently when shooting was the idea of looking down a bit - but only just a bit. I aimed down just a hair and fired off shots as A408 lumbered by... and just barely nailed the short window of time where the nose and cab would be in the remaining visible sunlight. The next shot in the bunch has it encased in shadow already!
Deathstars At Dusk is named for obvious reasons. I do like some alliteration in my titles of course, then we have deathstars as the main subject taken at the beginning of dusk. It's certainly has a place at #3 of my favourite photos of the year. This year has been full of deathstars, one of my favourite things to shoot as I mentioned earlier, and I simply cannot help but love a good golden hour photo. That light is simply too good to pass up; it's so photogenic. Deathstars At Dusk is not a complex photo, but it doesn't need to be - it has one of my favourite subjects in my favourite type of light, all in good focus. The crop I chose puts some sort of weight on the engines, which works nicely considering the light and shadow positions. I also really like the freight itself - those colourful intermodal cars, which are a bit unusual for A408, add a nice splotch of colour in the photo that isn't overbearing at all, and similar can be said for the KCS and WAMX locomotives behind 1033 & 1007. Everything adds up to make this shot just work for me, and for that simple reason, it's one of my best photos from this year.
Early in October, sunlight and time make for an interesting game. It is absolutely a race against the clock to catch things in the sunlight - especially when you have work! By the time I clock out of work at 5pm, there isn't tons of time to get the shots I want, so it's always hard to tell if the time will work out. This afternoon, it worked in my favour perfectly.
On my way out of work, I spotted 1033 and 1007 on the head of a train and immediately hurried to get my camera from home. With that and my scanner in hand, I learned I was looking at A408 and that it would be leaving soon. With the time it took to fetch my gear, there wasn't terribly long for the sun to continue casting good light. It was going to be close no matter what.
I decided to shoot at the VIP track past downtown Champaign and along 45 / Neil. It made for an easy parking spot, easy to access, and there was also maintenance of way equipment sitting there that might be neat to have in a shot. The difficulty with this spot and southbounds like A408 is the nearby buildings, which aren't even that tall, can easily block a lot more light than I'd like. The golden hour sun requires it to be lower to the horizon, which means the window for a shot is very, very narrow.
But, thanks to the scanner, I was able to hear when they left - and there was time enough. A408 slowly came around the curve and into my shot. Something I'd been thinking about recently when shooting was the idea of looking down a bit - but only just a bit. I aimed down just a hair and fired off shots as A408 lumbered by... and just barely nailed the short window of time where the nose and cab would be in the remaining visible sunlight. The next shot in the bunch has it encased in shadow already!
Deathstars At Dusk is named for obvious reasons. I do like some alliteration in my titles of course, then we have deathstars as the main subject taken at the beginning of dusk. It's certainly has a place at #3 of my favourite photos of the year. This year has been full of deathstars, one of my favourite things to shoot as I mentioned earlier, and I simply cannot help but love a good golden hour photo. That light is simply too good to pass up; it's so photogenic. Deathstars At Dusk is not a complex photo, but it doesn't need to be - it has one of my favourite subjects in my favourite type of light, all in good focus. The crop I chose puts some sort of weight on the engines, which works nicely considering the light and shadow positions. I also really like the freight itself - those colourful intermodal cars, which are a bit unusual for A408, add a nice splotch of colour in the photo that isn't overbearing at all, and similar can be said for the KCS and WAMX locomotives behind 1033 & 1007. Everything adds up to make this shot just work for me, and for that simple reason, it's one of my best photos from this year.
#2. The Way Life Used To Be
We're nearly at the end now! You'd think picking my #2 photo of the year would be harder, but it was no question that The Way Life Used To Be deserves that spot. We return to silhouettes, like in Under The Neon, but the subject changes to signals, which we haven't seen since Tempest At Tolono. 2020 saw my general knowledge about signals go up dramatically in almost all aspects. I'm still no good at the actual aspects themselves, but learning about models and types new and old has been fantastic. The downside is knowing just how few interesting signals are left in the country as railroads tear out old models like R2s, Searchlights, Position Lights, and so many more.
As it turns out, there are still some US&S P5 signals remaining on the old Illinois Central Gilman sub in a few places. I've been wanting to shoot these for a while now, and when on the day after Christmas myself and a friend - the same one I chased Four On The Floor, 2156, and others with - were out and railfanning a bit, he suggested we head out to the Gilman sub and see if we could spot anything. Well, we shot at Parnell briefly and headed northwards for a while, discovering more of these signals than either of us knew were left, including these two.
We found the train we shot at Parnell and shot it at these signals, and we only learned after the fact how the operation on this line works. A turn job out of Clinton to Gilman. We waited in Roberts for a while, hoping that the turn job would come back and we could hurry back to the signals and get a final shot for the day. It didn't happen unfortunately, but I suggested we take some more shots at the signals as the sun dropped ever closer to the horizon.
We arrived just in time to get plenty of shots of the signals in the golden light and sunset minutes later. We chose all angles and I experimented with some settings (sort of on accident really). It was just after we agreed to call it a day and he had taken off that I looked back at the signals and the sky and had one last idea. Centering a shot between the signals in total darkness, with only the red and gold light to serve as my background. Simple, cropped, and a more impressive silhouette than Under The Neon, if I say so myself.
I'm not completely sure why I chose the name The Way Life Used To Be for this shot. I think something about these old signals does bring forth the idea of just, well, "old," and in other words, "used to be." Part of it stems from how these signals and other similar models used to be everywhere - they very much used to be the sort of life-blood for railroads in the past. It is, of course, a reference to one of my favourite songs, as so many of my titles are. The green clear indication makes for a nice little contrast on the silhouette. As my last photo posted for 2020, it almost feels sort of hopeful. A green signal for the next year, so to speak.
The spontaneousness of The Way Life Used To Be is one of the things that makes me like it so much. The incredible sunset overtop the darkness of the ground and signals themselves, the shape of the P5 signal heads... It just feels right. The perfect mix of dark and light. I don't think I could've timed it any better either, as every day afterwards till the end of the year was completely overcast. The last sunset of 2020 and some of the last signals of their kind.
As it turns out, there are still some US&S P5 signals remaining on the old Illinois Central Gilman sub in a few places. I've been wanting to shoot these for a while now, and when on the day after Christmas myself and a friend - the same one I chased Four On The Floor, 2156, and others with - were out and railfanning a bit, he suggested we head out to the Gilman sub and see if we could spot anything. Well, we shot at Parnell briefly and headed northwards for a while, discovering more of these signals than either of us knew were left, including these two.
We found the train we shot at Parnell and shot it at these signals, and we only learned after the fact how the operation on this line works. A turn job out of Clinton to Gilman. We waited in Roberts for a while, hoping that the turn job would come back and we could hurry back to the signals and get a final shot for the day. It didn't happen unfortunately, but I suggested we take some more shots at the signals as the sun dropped ever closer to the horizon.
We arrived just in time to get plenty of shots of the signals in the golden light and sunset minutes later. We chose all angles and I experimented with some settings (sort of on accident really). It was just after we agreed to call it a day and he had taken off that I looked back at the signals and the sky and had one last idea. Centering a shot between the signals in total darkness, with only the red and gold light to serve as my background. Simple, cropped, and a more impressive silhouette than Under The Neon, if I say so myself.
I'm not completely sure why I chose the name The Way Life Used To Be for this shot. I think something about these old signals does bring forth the idea of just, well, "old," and in other words, "used to be." Part of it stems from how these signals and other similar models used to be everywhere - they very much used to be the sort of life-blood for railroads in the past. It is, of course, a reference to one of my favourite songs, as so many of my titles are. The green clear indication makes for a nice little contrast on the silhouette. As my last photo posted for 2020, it almost feels sort of hopeful. A green signal for the next year, so to speak.
The spontaneousness of The Way Life Used To Be is one of the things that makes me like it so much. The incredible sunset overtop the darkness of the ground and signals themselves, the shape of the P5 signal heads... It just feels right. The perfect mix of dark and light. I don't think I could've timed it any better either, as every day afterwards till the end of the year was completely overcast. The last sunset of 2020 and some of the last signals of their kind.
#1. Paducah Power
At the very end of the list is my favourite photo I took this year: Paducah Power. This was taken down on the Illinois Terminal Belt, a Motive Rail company, where a friend of mine used to work before moving to another Illinois shortline. He and I finally got a chance to meet in person and I got to shoot some classic Illinois Central GP10s - it would be hard for this day to go wrong, frankly.
It was one morning in July when I ventured out to Heyworth and followed the train south via Wapella and near Clinton. It was my first time shooting any shortline operation, and that was quite a good first time! It was extraordinarily hot that day, but that didn't dissuade me from standing out and getting my shots. At this point, I was still getting back into the groove of manual shooting and setting up for more interesting shots. I'd recently seen a train photo taken from a very low angle and decided, hey, why not give it a try myself?
The train was moving quite slow through Wapella, so I got plenty of time to pick out my spot. I decided to drop my camera on the railhead on the track beside the main and see just what I could do. It was awkward to adjust its settings from down there - I wasn't gonna lie down on the roadbed, plus that railhead was hot! I ended up crouched beside it very, very awkwardly, picking off shots as the train rumbled down towards me. At the time, I wasn't sure if the shots had come out right as it was hard to look through the viewfinder to make sure things were right - was it in focus? Was my shutter speed too fast or slow? I could only faintly tell, and just had to put faith into my camera that it would catch it.
Paducah Power is my favourite shot for a few reasons. The unique Illinois Central locomotives certainly make for a spectacle, and being Paducah builts, they're the source of the title for the shot of course. The low angle gives a more unique look than most all of the shots I took this year. I love the colours, everything from the sky to the ballast to the engines themselves. They contrast well and are so vibrant, but not overwhelmingly so. Light was certainly on my side and the exposure came out perfectly clean. The sharpness of everything from the foreground to the background - it couldn't have come out better.
I think Paducah Power is my favourite because it was my first really successful shot that I took a risk on. Sure, I could've taken a wedge shot or zoomed in on the train as it came by the elevator on this side, but I took the chance to plonk my camera on the railhead and try something else. Though I do indeed do a fair bit of very "classic" shots still today, I still look for opportunities for a unique viewpoint like this. Every bit of this shot came out just plain right, and I've never been happier with a photo. Even Concord Dawn from 2019, while still probably my favourite shot period, didn't come out as smoothly as Paducah Power. From taking the shot to editing it and posting it, Power was the best experience from end-to-end.
It was one morning in July when I ventured out to Heyworth and followed the train south via Wapella and near Clinton. It was my first time shooting any shortline operation, and that was quite a good first time! It was extraordinarily hot that day, but that didn't dissuade me from standing out and getting my shots. At this point, I was still getting back into the groove of manual shooting and setting up for more interesting shots. I'd recently seen a train photo taken from a very low angle and decided, hey, why not give it a try myself?
The train was moving quite slow through Wapella, so I got plenty of time to pick out my spot. I decided to drop my camera on the railhead on the track beside the main and see just what I could do. It was awkward to adjust its settings from down there - I wasn't gonna lie down on the roadbed, plus that railhead was hot! I ended up crouched beside it very, very awkwardly, picking off shots as the train rumbled down towards me. At the time, I wasn't sure if the shots had come out right as it was hard to look through the viewfinder to make sure things were right - was it in focus? Was my shutter speed too fast or slow? I could only faintly tell, and just had to put faith into my camera that it would catch it.
Paducah Power is my favourite shot for a few reasons. The unique Illinois Central locomotives certainly make for a spectacle, and being Paducah builts, they're the source of the title for the shot of course. The low angle gives a more unique look than most all of the shots I took this year. I love the colours, everything from the sky to the ballast to the engines themselves. They contrast well and are so vibrant, but not overwhelmingly so. Light was certainly on my side and the exposure came out perfectly clean. The sharpness of everything from the foreground to the background - it couldn't have come out better.
I think Paducah Power is my favourite because it was my first really successful shot that I took a risk on. Sure, I could've taken a wedge shot or zoomed in on the train as it came by the elevator on this side, but I took the chance to plonk my camera on the railhead and try something else. Though I do indeed do a fair bit of very "classic" shots still today, I still look for opportunities for a unique viewpoint like this. Every bit of this shot came out just plain right, and I've never been happier with a photo. Even Concord Dawn from 2019, while still probably my favourite shot period, didn't come out as smoothly as Paducah Power. From taking the shot to editing it and posting it, Power was the best experience from end-to-end.
And with that, those are my personal 10 favourite photos I took in 2020. They may not be everyone's favourites, they may not be technically or objectively the best shots, but to me, these are the ten that define the year for me in one way or another. With such a strange and varied year, I have to say that I'm rather pleased with the outcome of these photos and many more from the year.
For more photos from 2020, visit the 2020 section of the Gallery on the Photos page. For more posts like these, visit the blog.
Thanks for reading & browsing!
For more photos from 2020, visit the 2020 section of the Gallery on the Photos page. For more posts like these, visit the blog.
Thanks for reading & browsing!