Out of the Shadows

Mr. & Mrs. Henry Wilhelm (former Margaret Mitchell) in California

Henry Theodore Wilhelm was born in 1905, in the middle of arguably the most exciting and constructive decade in American history. The Panama Canal, electrification of mainline railroads such as the New Haven, huge new steel bridges and other infrastructure improvements, all were part of investment in America and her future. The list of what was deemed possible, and then doable, goes on and on.

At age 14, Henry became fascinated with railroads, and especially with the thousands of manned interlocking stations and cabins. This led to his lifelong hobby of documenting these unusual places, which the railroads had built as a necessity for preventing collisions, given the high volume of trains transporting passengers, mail, and freight all across the country. Over time, he photographed more than 2,500 junctions and the towers that controlled them. His notes were precise and detailed, and his negatives individually numbered and described in his log books.

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The Steptoe Valley Flyer

16:00 hours February 9th, 1941.

The crew of the outbound Steptoe Valley Flyer prepares their train for a fifteen mile round trip to wye the train at Keystone, Nevada, before boarding passengers on Train No. 3 heading to Cobre, Nevada where the line meets the Western Pacific mainline to Reno. At the helm, 4-6-0 number 40, built by Baldwin’s Philadelphia plant in 1909, pumps air in anticipation for her run up Robinson Canyon.


16:00 hours February 9th, 2019.

Fireman Con Trumbull, fresh in from Casper, Wyoming, and trainmaster Angie Stevens, a local in the town of East Ely (and engineer for today’s run), chat about slow orders, bulletins, and happenings reported on the 145 mile stretch of Nevada Northern mainline that await their nighttime run to Cobre, as the aroma of coal begins to fill the air inside the cab.

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Sunrise

Northbound Union Pacific – Wolf Lake, Illinois – April 4, 2016

Orthodoxy states that a train picture should be taken during the bright light of mid-morning or mid-afternoon, the photographer shooting with the sun behind and the subject brilliantly lit. The photo should be taken at a shutter speed sufficient to stop a moving train dead in its tracks, literally, and the subject should be in sharp focus. There’s nothing wrong with that, and I’ve taken my share of such images.

However, I believe in throwing the orthodox out the window as well. Sunrise is a great time to throw the traditional train picture on its ear. The rising sun combined with partial cloud cover can make for a beautiful image, particularly in a rural region.

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Editor’s Notebook

Norfolk Southern trestle near Rileyville, Virginia – Photo by Edd Fuller

Last month, we looked at some of the reasons you might want to consider printing your work. (See here.) Living with your prints, and seeing them every day will sharpen your judgement and improve your work. A printed photograph is likely to be a more permanent means to preserve your memories. (For an interesting take on this, see “The Lesson from Costco’s Photo Lab”) And printing can be a valuable way to curate a meaningful body of work.

If you decide to print, you will find that the process is not easy, and it is not cheap. There are two options: buy a printer and print at home, or send your work out to a photo lab.

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Editor’s Notebook

Town of Shenandoah, Virginia – January, 2019

If, like me, you came up in photography before the advent of digital, a photograph was a physical object; a print, or a slide. Photographs were distributed and seen as prints on photographic paper or in the pages of books and magazines. You could hang a photograph on the wall or fold it up and carry it with you in your wallet. It was a real object in the real world.

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Anatomy of a Photograph
 The Oregon Coast Scenic Railroad

The Oregon Coast Scenic Railroad

Saturday, October 20, 2018 was the final day of the week-long Lerro Productions photo charter on the Oregon Coast Scenic Railroad. The anatomy of an image: here are the accounts of Polson #2 steam locomotive fireman Martin E. Hansen, and photographer Matthew Malkiewicz.

Reflecting on a steam run as experienced inside the cab and from behind the lens


Martin E. Hansen

The night before the last day of the charter I was told that one of the firemen for the charter had to leave and go home early. Our trainmaster asked if I could fill in for him on the log train the next morning with Polson Lumber Company #2, a standard gauge 2-8-2 Mikado built by the Baldwin Locomotive Works in 1912. Since I had just completed a week of hard work days in the shop with our restoration crew finishing the jacket, piping and other final installations on the Skookum locomotive, I was ready for a change and gladly accepted the assignment.

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