If this is a technique you’ve always been interested in trying out, or you’re just curious to see how exactly one makes a panorama (especially one featuring a train) – from camera to computer – read on.

Making a panorama

Taking the shots

The first part of any panorama is getting the shots that you need to blend later on. As a beginner looking to do a railroad panorama, I would suggest you try to capture a train that is not moving. Whether it is tied up for the night or just stopped at a station, having everything stationary is best – moving objects can cause issues and anomalies in the stitching process.

These days, programs are usually good enough to accommodate photos not taken on a tripod. But you’ll want to remain in the same spot, and most importantly, keep the camera at the same angle within each shot. Rotate your body to get a wide field of view across multiple shots. Make sure to overlap – 40% overlap is usually the rule of thumb – so the stitching program will have room to blend the images together. It doesn’t matter if you shoot horizontally or vertically, but if you want to get the highest resolution image, shoot vertically (it will likely require more shots to capture the full field of view, however).

   
   
Here’s an example of seven shots I took of an M7 making a station stop at Harlem-125th Street. Note how I’ve rotated along the field of view, while allowing some overlap between the photos. Since the train was not moving, I was able to capture it across multiple shots.

Things that move

If you’ve tried the stationary panoramas out, or your feeling a bit bold, you can go for a moving object. If you’d like to capture a moving train, for example, what you need to do is capture the ENTIRE train in one photograph (unless you want the train extending off the side of the image). For this reason, it is better to capture your photos in a horizontal format, so you can better capture the entire train. If you capture the train using multiple shots, because it was moving it will appear in different places each time, and thus impossible to stitch properly.

If you’re shooting a passenger train, after the train has passed, then capture the rest of the shots of your field of view. If you’re capturing a long freight (where in this case you probably would have the train extending off the edge of the image) it is probably best to get your other shots before the train arrives, since it may take so long for the train to fully pass that the sunlight has changed, making it very hard to stitch those images together.

 
  
  

Here’s an example of five shots I took of a P32AC-DM on the Hudson Line, passing West Point. Note how in the first shot I capture the moving train, and then in the subsequent shots capture the field of view after the train has passed.

This is what those photos look like stitched together in a final panorama.

What program to use?

In order to make a panorama from multiple shots, you’ll need some program to stitch the images together. There are various free options out there, like AutoStitch, which I used regularly years ago (and was what I used for all of the original panoramas for the entire Harlem Line in the Metro-North Panorama Project), but these days I use Photoshop’s Photomerge tool. If you’re serious about photography, Photoshop and Lightroom really are the best programs for you to be using to make your images better. They’re the industry standards.

Using Photoshop’s Photomerge tool

Photomerge is relatively basic, from the File menu, go to Automate and choose Photomerge. In the window that pops up, select the images you’d like to stitch together using browse. For almost all instances you don’t need to change any of the default preferences. Auto layout usually does the trick, and you want to keep Blend Images Together on, as it blends any color discrepancies between the images, to make it look like one complete image in the end. Depending on your lens and camera, your photos may have some Vignetting, or a darker ring around the edge of your photo. If that is the case, you can check off Vignette Removal (I prefer to remove any vignetting in Lightroom prior, and if you use both programs that is what I’d suggest).

The menu showing where Photomerge is, and the Photomerge window.

Now you have a stitched image…

Your photos may now be blended together, but it isn’t quite yet perfect or how you imagined it. You’ll need to crop unwanted jagged edges, and make minor adjustments with the warp tool in order to get that perfect panorama.

The stitched image that Photoshop spits out from the seven Harlem-125th photos. Note that each individual photo is a layer, which allows you to fix errors in stitching if there are any. Provided that everything looks good, you should merge all your layers before proceeding.

Working on the image – cropping and minor edits with the warp tool make the final image.

The completed panorama.

Questions about the process

Why make a panorama out of multiple pictures using stitching, when many new cameras and phones have a dedicated panorama feature?
The panorama feature you’ll find in newer cameras or phones requires you to pan the camera across the field of view, and it will automatically assemble the panorama for you. While this is, of course, easier, it doesn’t necessarily yield the highest quality result. If you’ve ever wanted to print out your photos, you’ll find that the resolution of an in-camera panorama job is low. In contrast, the West Point panorama above has a final pixel size of 14329×4000 – sufficient resolution to print the final image at a width of nearly six FEET. Now I’m not saying you’ll ever have to do such a thing, but you’ll get a higher quality, more detailed image that is croppable if you desire by stitching.

What are some fun things you can do with panoramas?
Once you get the whole “moving train” thing down, you can try this funky technique, which I’ve always liked. Capture the train entering your field of view on the left side, and then capture it yet again as it leaves your field of view on the right side. It looks something like this:

What other methods can you use to capture wide fields of view?
Besides panoramas and stitching, you can capture wide fields of view with very wide angle lenses, and fish-eye lenses. A wide angle does capture a wider field than a normal lens, but it can never capture as much of the field of view as a stitched image could. Fish-eyes are nice (and I enjoy them very much!) but the distortion they cause is a little too much for most people.

But sometimes there is distortion in panoramic images. How do you minimize that?
From an artistic perspective, I tend to enjoy the distortion you can get in a fish-eye or panoramic shot. It is almost like a visual cue that what you’re seeing is something beyond the capability of your own two eyes. In terms of railroad photography, it also introduces a break in the abundance of long, straight lines from railroad tracks and platforms. However, it isn’t for everyone. In a stitched image, you’ll get more distortion the closer you are to the subject you’re photographing. If you’re capturing a train that is on a platform (like the Harlem-125th panorama above), it is very difficult to achieve no distortion. In the Hudson Line panorama, however, there is no noticeable distortion, as I was far away from my subject.

What is your favorite panorama from the Panorama Project?
Although I definitely consider the photos I initially took of the Harlem Line to be subpar considered to my work today, I’ve always liked this photo of Harlem-125th Street for some reason. I have a printed version hanging on my cubicle wall at work.

That just about wraps up today’s post – have more questions about panoramas? Have a panorama you’d like to share? Want to make a suggestion for a future Trains & Modern Photography post? Drop a line in the comments!

Although it could be argued that this site is just as much about me as it is about trains, I do try and avoid discussing too much about my personal life. And rightly so, lest you try to show up to my house unannounced (yep, it happened), or try and convince me that despite you being double my age we should totally be together because you have a big you-know-what (yeah, that happened too. This may also be why the demographic of female railfans is so tiny). Nonetheless, it was too difficult to not share some of the wonderful photos from a wedding in the Terminal. Grand Central is gorgeous, and certainly one hell of a great place to get married. Brilliant photo ops are everywhere, and I finally got to get the shot I had planned for years of someone looking out from the hidden window in the Tiffany glass clock (though I happened to be on the opposite side of the camera lens).

To view the entire gallery, click “read more” below. All of the photos were taken by Johnathon Henninger, with the exception of the final two by Carey Wagner, who was looking up at the clock tower from Park Avenue.

Two Metro-North diesels meet near the Pleasant Ridge Road crossing in Wingdale, New York.

 
Left: An Alaska Railroad train bound for Fairbanks rounds the bend north of Nenana at sunset. Right: A Genesis pushes southbound on the Danbury Branch, kicking up leaves after departing Cannondale.

The only non-railroad photo to make the top 10, New York’s skyline as seen from the opposite side of the river in New Jersey.

  
Left: An M7 heads toward Manhattan, as seen from the Bronx. Center: A new BNSF locomotive gets some finishing touches at the GE plant in Fort Worth, Texas. Right: An M3 in rush hour service on a foggy fall morning.

A Port Jefferson train pushing west toward Huntington makes a station stop at St. James at sunset.

 
Left: An M7 on the Hudson Line, just south of Scarborough station. Right: A Thanksgiving morning Wassaic shuttle passes Towners, where the old Maybrook Line crossed over the Harlem.

Not all of my favorite photos made the cut, however. Here are some of my favorites from the year:

A PATCO train is a mere streak of light as it crosses the Ben Franklin Bridge into New Jersey.

 
Left: A photoshop edit of one of the Danbury Railway Museum’s steamers, imagining it as if it were operable. Right: A sunset in Brooklyn, from the platform of the Marcy Avenue subway station.

One of my first good photos taken with my drone camera – an aerial view of a train crossing the Moodna Viaduct.

 
Left: A sunset at Amtrak’s Hell Gate Bridge. Right: One of my favorite people shots of the year, Maria working the Upper Harlem Line at Tenmile River.

If you’d like to see more of my train photos, and you aren’t already subscribed, you can follow my instagram account here: http://www.instagram.com/mtaharlemline/

Thank you all for a wonderful 2014!

In terms of night photography – or at least, what railfans tend to think about night photography – one usually uses artificial lights to illuminate a posed, unmoving train. Though it seems to be the en vogue thing to do these days, I see little reason to do so other than “because we can.” Most seem to do it for the novelty, or because all the “cool kids” are doing it. Many that take part look to evoke the work of O. Winston Link, arguably the best night railroad photographer ever (though Jack Delano, whose photographs I featured last week, was also an accomplished night photographer – it was never really his “claim to fame,” however). Unfortunately, most fall flat in their endeavor to “be like Link.” While I can see the merits of photographing steam trains at night (the lower light allows one to capture sweeping plumes of smoke from the engine), I see little reason to do it with modern trains. After dark I find it far more fun to capture not the train itself, but the train’s movement, and its environment.

Because of the low ambient light, long exposure photography allows one to record the movement of the train, rendered as blurs of light. In order to get a proper exposure, your camera shutter is open for longer – in some cases for 15 seconds or more (thus a stable resting place, preferably a tripod, is required). Done right, any moving object in the frame shows up as a blur, or a streak. Modern electric trains, like Metro-North’s M7s and M8s, with their shiny and smooth exteriors and LED lights lend themselves to this, becoming graceful blurs. Instead of artificial light, one uses the “natural” (or as natural as the light off a cityscape could be), and the intense colors of a sunset to evoke a completely different mood. Since I don’t really have a post lined up for this week, I figured I’d share some of my recent photographs taken at sunset, or at night… and maybe convince some of you that there is fun to be had after dark, far away from the now all too common “night photo sessions.”

The sun fades, and the colors of sunset slowly begin to appear on the Upper Harlem Line in Dover Plains.

An imposing graffiti-covered support for the Hell Gate Bridge at sunset.

 
Colorful skies over Metro-North stations in the Bronx – Tremont and Melrose.

The sun sets over the Hudson River, near New Hamburg.

 
Sunset over the Northeast Corridor, near Sherwood Island State Park in Westport, Connecticut.

A pink sky over Amtrak’s Hell Gate Bridge.

The headlight of an M7 reflects against the waters of the Hudson River at Dobbs Ferry.

The fun part of later hour photography is the motion blur, like this shot at Melrose station…

…or this one at the Saugatuck River Bridge…

…and even this one at Harlem-125th Street.

The low-light of a subway system makes long-exposure photography easy, like these two examples on Chicago’s Blue Line.

While a tripod is best, a nice fence or support in which to rest your camera also works, as seen here on this Chicago L platform.

A Brown Line train and a ferry boat are just mere streaks of light as they pass over the Chicago River. In this instance, the camera’s shutter was open for 20 seconds.

Let the light of the city shine in the ultimate version of long exposure photography. In this case, the Chicago skyline. The tracks of the Ogilvie Transportation Center are just visible at right.

On Saturday I again found myself on a northbound train heading to Southeast. It was dark, and near impossible to see anything but blackness out the window. I was in the very rear of the train, the portion that doesn’t platform at Brewster (yes, I totally think it is acceptable to use platform as a verb, thank you). Because it was so dark, I couldn’t really tell whether we were stopped at the station, or at some point before it… but I was certainly wondering what the heck was going on. Turns out a man in the front of the train decided to, how should I say this, basically he thought it would be a good idea to whip it out and begin pleasuring himself – the rest of the passengers present be damned. Girls were screaming, conductors were running, and it didn’t take too long for the train to be stopped until the police arrived. The public masturbator had apparently hidden himself in the train bathroom, but was thankfully apprehended by the police and removed from the train. I’ll call that the Metro-North Harlem Line Pervert Express – I have no desire to ride that train again.

Unfortunately the story of the M8 was slightly overshadowed by the stories of the crazy people. I took a short ride – from Grand Central to Mount Vernon East – though I took quite a few photos of the train before it went into motion. It may not have been the most memorable event of the day, but it was certainly the most positive highlight of the day. The aesthetic of the train is pretty similar to the M7’s found on the Hudson and Harlem Lines, but obviously in red. There is a lot of red. The outside is red, the floor is red, the seats are red. Clearly the decision was based on the New Haven Line’s signature color, but for those who believe that color can effect mood there might be a little bit too much red. A lot of sites have commented on the features of the M8, so I will try to keep this as short as possible, and let the photos speak for themselves. I will say that the lighting, large overhead storage racks, and numerous power outlets are really great additions. Now if we could get more of them in service, and iron out all the remaining glitches we’d be all set…

 
  
   
 
   
 
   
 
   
   
 
  
 
   
 

People leave things on the train all the time. I was just thinking the other day, if someone was about to forget their phone, or bag, or wallet, I’d ask them if it were theirs, so they don’t get off the train without it. But then I realized what a terrible person I am – if you were about to forget a bag from Junior’s the only thing I’d say is, “that’s mine!” I don’t want your wallet, or your laptop. Just give me your cheesecake.

Sometimes the guy in the ticket booth at White Plains gets rather excited when he announces trains. Once I heard, “Now on trrrrack one is the train going to… nowhere. Never mind. This train only goes to North White Plains,” and, “Nooooooooowww on trrrrrack one is the 5:59 local trrrrrain to Southeast, making all local stops. Yes, this train will be making all the stops you know and love. Trrrrrrrack one.” I haven’t heard him lately, though. I wonder where he is.

When my train passes Mount Kisco in the evening, there is usually this dark-haired woman named Christine on the platform. I know nothing other than her name, and that she likes to laugh. Sometimes when the doors open I poke my head out and say, “Hello Christine.” I gave her my little card that has this website’s address on it once. Maybe she’s reading this right now. Hello, Christine!

Sometimes I see this girl on the platform when I wait for the train in the morning. She looks like she is in her early twenties, and has quite the assortment of Nike shoes and athletic attire. The only time we ever spoke was when she was drinking a bottle of soda and dropped the cap. We both watched, it was like slow motion, the cap hit the platform and rolled precariously close to the edge. I think I said to her, “Wow. I really thought that was going to fall!”

I have an overactive imagination. I also have a bad habit when I observe people, determining who they seem to resemble physically, and calling them that in my mind thence forward. Regular riders of my morning train are an older Sarah Palin, and an Amy Winehouse – minus the drugs.

I like to read books on the train, and I try to read a book per week. After calculating it out, I really only spend about six hours per week on the train – three of which are reading, and three of which are bullshitting with other people. It isn’t a lot of time when I compare it to hours using the computer. I probably am using the computer for ten hours, if not more, each week day. This is probably why I gained twenty pounds after graduating college.

Usually the train I take in the evening uses M3 equipment… though very rarely we have an M7 instead. The M7’s have that nice seat adjacent to the conductor’s cab, it is dark and quiet and away from all the other people. When I got on the train there was an old man sitting there. The next stop the train was going to be making was a short platform, so the conductor told people in the back of the train to move forward. A woman went to do just that, and the old man sitting by the door there just flipped out. “WHAT THE HELL DO YOU THINK THAT SIGN IS THERE FOR?!?!” he shouted, while pointing at the sign to not cross through the cars while the train is in motion. The woman looked so afraid, like she was almost going to wet herself. The old man was relentless. Later on, after the old man had gotten off, I asked the conductor if he knew who he was. He told me the man worked for Metro North’s safety department. Too bad that detail was conveniently left out of his diatribe. I always wondered if she complained about the crazy man on her train…


In reality this cat’s name is Henry, and he is awesome

Walking to the train station the other day, this strange animal ran out in front of me. It took me a few moments to realize it was a cat, and not an ordinary cat, a three-legged cat. If I had a three-legged cat, I’d name him Tripod.

Sometimes the bus driver really freaks me out. One of these days he’s really going to flip the bus over. A few days ago he accidentally hit the curb so hard I was slammed into the window… and I have a several inch long bruise on my arm to prove it.

I follow @OWNEYtheDOG on twitter. For those who don’t know, Owney was a real dog that used to ride on mail trains back in the day. Owney was apparently murdered – shot dead, and was later brought to the taxidermist. He’s on display at the Post Office Museum in Washington DC. The thing that freaks me out is that whoever does the twitter posts as if they were that stuffed dog. This disturbs me. Even taxidermied dogs are on twitter! Next thing you know, my mother will be on there.

I’m used to people telling me that they like my hat. It does freak me out when they sneak up behind me and attempt to whisper it in my ear. Most especially if they reek of alcohol. However, the thing I really don’t get is why people during the summer ask me where my hat is. I may like hats, but I’m not an idiot.

My grandmother is wonderful. I think it takes only a little sip of alcohol to make her tipsy. She tells lots of good stories then… stories about the original Penn Station, of taking the train all over the country in the ’40s, being afraid her train was going to fall off the Horseshoe Curve… How she’d take the kids on the train and buy the cheaper child ticket, even though some of the kids were too old. Of course my one uncle would admit such to the conductor… the other just had such a bad temper, my grandmother told me she’d buy him rubber dog toys to take for the ride, he’d break all the regular toys.

When I get a text message, my phone makes the sound the M7 trains make. It baffles people at work meetings. It really baffles them when I’m riding my usual train – an M3. But then someone decides they’ll text me five times in quick succession. Then I just look like an idiot.

Everyone always wants to blame Metro-North, but sometimes it is the passengers’ fault that the train is late… like the time there was a man standing in the doorway that refused to move. Despite the conductor yelling at him, he still stalled the train.

I heard some news about banning smoking on the platform. I like this idea. I’d rather not be subjected to your disgusting and headache-inducing habit. Inevitably someone complains about the thought and says, “Remember when they even had smoking cars?” You know what I remember? The tar-black ceiling of Grand Central when I was a kid… all from cigarette smoke. Ah, yes. Nostalgia.

If I had to pick the station with the most obnoxious people, I’d likely pick White Plains. They are like animals there. They’ll push anybody over to board that train, even a little old lady with a cane. Because it is such a populated station, there are always going to be people running for the train and not quite making it. If the conductor kept the doors open for all of them, the train would never leave. When this happens the person usually shouts profanities at the conductor, and probably writes an angry note to Metro-North (I don’t think I could be a conductor, I don’t have thick enough skin). The most amusing part is that White Plains has the most trains of any station on the Harlem Line. In rush hour, there is another train in just five minutes. Is it really worth all that anger?

It is amusing to me how many people still attempt the old trick of hiding in the bathroom to evade paying the fare. Conductors should have mops available on all trains to give to these people. If they aren’t going to pay, and they are going to be in the bathroom, they might as well clean the damn thing while they are there.

The first station at this site was built in 1874, but was later replaced by a new station elevated on a viaduct in 1897. The station was designed by Morgan O’Brien, architect for the New York Central & Hudson River Railroad. Throughout the years the station deteriorated from leaking water and heavy use. In 1993 renovations began, and were finally completed in 1999, six years later.

Although I photographed one of the Arts for Transit pieces, there are actually two at Harlem-125th Street. Visible from the street is a piece by Terry Adkins, titled Harlem Encore. More visible from the platforms is a work by Alison Saar, titled Hear the Lone Whistle Moan. Saar is a California-based artist and has done public art in various cities, including New York, Sacramento and Chicago. The piece consists of three separate figures, each made of bronze. On the southbound platform is a young woman, heading to the city for work, and on the northbound platform is an older man, leaving the city and heading back to his hometown. Near the stairs there is also a smaller bronze figure of a train conductor. The artist describes the title of the piece as follows:

The title, Hear the Lone Whistle Moan, is from a spiritual that uses the train as a metaphor for the passage to heaven. Trains have often been associated by African Americans with escape and the Underground Railroad in particular.

As I’ve said before, I don’t really know what to expect when heading out to a lot of these stations. My enjoyment is to explore and photograph, and Harlem-125th Street was really great in that respect. With all the trains going by there are great pictures to be had, and I really enjoyed Saar’s artwork. Now having seen all the Arts for Transit works on the Harlem Line, Wassaic, Pleasantville and Harlem-125th are my top favorites. I’ll admit I was a little bit afraid going to the station though, as every time I’ve ever gone by on the train I’ve seen many police on the platform. Usually train photography and lots of cops doesn’t turn out too well, but thankfully I wasn’t approached by any of the police. Someday I’ll have to go back to get some photos of the other Arts for Transit piece, but those will be photos for another day…

Traveling south, Wakefield is the first Metro-North station in the Bronx, and is the northernmost neighborhood of the city. It borders Westchester county, specifically the city of Mount Vernon. The two are both linked to the first president of the United States: George Washington. Wakefield was the name of the place where he was born, and Mount Vernon the name of the place he died. The two stations of Wakefield and Mount Vernon West are in fact very close – so close that you can see the station from the platform of the other.

At Wakefield you can make a connection to the subway, Wakefield – 241st Street is located six blocks from the station. The platform is rather small, and can only accommodate four cars. Just south of the station the New Haven Line diverges, and from the station you can see the M2s going by on the other side of the tree line. Historically Wakefield had been a place where passengers changed trains. Electric trains served south into the city, and riders going north transferred to steam trains.

Installed in 2002, Pleasantville’s Arts for Transit piece, titled Almost Home, is the newest located on the Harlem Line. The work was a collaboration between Brooklyn-based artist Jane Greengold, and Vietnamese-born and current New York resident Kane Chanh Do. Both artists work in sculpture and installation art. Almost Home consists of twenty-two bronze chairs, sixteen of which are in the upper waiting area, and six on the lower platform level. A book also rests on a ledge in the upper part of the station, a bronze replica of a copy of the Reader’s Digest… though admittedly I would never have had any clue of what it was supposed to be, had I not researched the piece for this post. Apparently Reader’s Digest was originally printed in Pleasantville, and so the book is representative of that historical link.

Although I can’t say I’ve seen all the Arts for Transit pieces on the Harlem Line, Almost Home really is my favorite so far. Not only is it visually attractive, it is functional part of the station. Conceptually, the almost home theme is intriguing to me. As a commuter, besides my own home and work, I spend a good deal of time on the train or at the train station. At times the train station feels like a second home to me. There are times when I think some artist’s statements are complete BS, but in this case I think Do and Greengold describe their piece quite well:

In this suburb of New York City, we have re-created, in bronze, chairs likely to be found in the homes of the commuters who use the station, bringing some of the comforts of home out to meet the riders, making the station almost like home, and reminding riders that they, too, are almost home. Because the chairs look so life-like, so much like wood and upholstery fabric, they create a humorous, trompe l’oeil effect.

From the looks of the drawing, this future Metro-North conductor will probably be on that last late-night train out of Grand Central. You know which one I mean, the one that runs local all the way down the Harlem Line, and has plenty of drunks. It looks like Liam here plans on drinking lots of caffeine to keep awake, so much that his eyes are practically popping out of his head. I’m not exactly sure if this is supposed to be a big window on an m7 or something, or the picture is supposed to be the actual train (are those wheels at the bottom?). But apparently Liam imagines serving all the California Raisins and Blueberry people that ride Metro-North.

Drunk or high “artist’s” alternate rendition of Liam’s drawing, starring Salad Fingers.

Anyways, I thank Liam for his wonderful drawing. I would be most happy to purchase Liam’s next child’s fare on Metro North. Perhaps I can introduce him to some cool tan cgotrs.