Photographs & History

Photographs and History

Winter Exhibitions

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9 New Jersey Photographers | Stockton University - Through March 28th, 2018 | Pictorialism, Pure or Straight Photography, Modernism, Social Documentary Photography, Post Modernism - like any other art forms, photography has had its share of dominant styles promoted by leading practitioners, critics, curators and by publications, and enshrined in galleries and museums. But today every style, every ism, every mode of making and printing photographs vies equally for attention and appreciation. 

This group of New Jersey photographers represents that diversity in striking ways. Some document the actual world unadorned, from images of the landscape to those of the inner city. Some make pictures that are totally abstract. Some take the world as it is. Some construct what they are going to photograph. Some print using present digital technologies, some using traditional 20th-century chemical processes, some using older alternative photographic processes. Some do not even use a camera, relying instead on light itself or even photographic chemicals alone to create an image. 

In an era where almost none of the billions of photographs made every year are ever printed, this exhibition not only presents some of the wide diversity of image making among photographic artists today, but allows us to contemplate the exquisite nature of the photographic print as an object. 

Stephen Perloff, Curator. 


I am honored to be part of this incredible exhibition curated by Stephen Perloff, editor of the Photo Review and the Photograph Collector. The exhibition, featuring the work of 9 NJ based photographers is on view through March 28th, with a closing reception and talk with Curator Stephen Perloff on Tuesday, March 6th at 5 PM.

The Stockton University is located at 101 Vera King Farris Drive, Galloway, NJ.  The campus Art Galleries are located in L-wing adjacent to the Performing Arts Center; visitors can park in Lots 6 or 7.  


In addition to the  9 NJ Photographers show, I also have several pieces hanging in two ongoing group exhibitions on view in the Delaware Valley. 

Photography 37 - Perkins Center for the Arts  - Through March 26th

Perkins 37th annual photography exhibition exemplifies the best and most innovative work by photographers from throughout the Mid-Atlantic region and beyond. This year's exhibition was juried by Hope Proper, renowned collector, former Curator of Exhibitions & Founder of Perkins Center’s Annual Photography Exhibition. 

Gallery Hours
Thursdays & Fridays 10 am - 2 pm
Saturday & Sunday 12 pm - 4 pm
This exhibition is free and open to the public.

Perkins Center for the Arts
395 Kings Highway | Moorestown, NJ 08057 


2018 Professional Artist Members Exhibition - Main Line Art Center - Through February 15, 2018

2018 Professional Artist Members Exhibition at the Mainline Art Center, in Haverford, PA. The exhibition is a celebration of the MLAC members’ support and creative energy, featuring a range of works from photography, sculpture, painting, printmaking, and ceramics. 

Gallery Hours
Monday through Thursday: 10 AM to 8 PM, 
Friday through Sunday: 10 AM to 4 PM. 
This exhibition is free and open to the public. 

The Main Line Art Center
746 Panmure Road, Haverford PA

Holiday Wishes - From The Main Line

  A light set of Norfolk Southern helper locomotives nears the Allegheny Summit in Gallitzin, Pennsylvania, on the original line opened by the PRR in 1854. 

A light set of Norfolk Southern helper locomotives nears the Allegheny Summit in Gallitzin, Pennsylvania, on the original line opened by the PRR in 1854. 

Since the Pennsylvania Railroad started moving trains across the Commonwealth of Pennsylvania, a railroad empire began to take shape, eventually becoming a leader in the industry, an innovator of technology, and the model of the modern corporation. The storied history of the Pennsylvania Railroad is a big part of the American story, connecting people and industry, moving them safely and efficiently across the land. 

When I set out some time ago to document the Pennsylvania Railroad, I had an idea of what to expect, what I might learn, and what I would see along the railroad. What I did not anticipate, is how many wonderful individuals and organizations I would come to work with or the opportunities I would have to share the Main Line project. Reflecting on another incredible year, I would like to thank you all for your continued support. The Main Line project and all its associated endeavors continue to move ahead, and 2018 is shaping up to be an excellent year for new projects, exhibitions, and opportunities. I have put together some of my favorite holiday posts for you to enjoy and as always new content will resume in the new year.
 
From my family to yours, Merry Christmas, Happy Holidays and may you all have a safe and healthy New Year!

Sincerely,
 
Michael Froio


Of Railroads & Holidays | For many, the railroads have long been associated with the holiday season. The notion of the long journey home to see loved ones or the family tradition of setting up the model trains from generations ago under the tree seems universal. TV and Cinema have celebrated the train countless times during the holiday season, like when Ralphie, his brother, and friends marveled over the window display of Lionel trains in the cult classic, A Christmas Story. Or when the Hollywood production based on Chris Van Allsburg's 1985 book, The Polar Express has the Pere Marquette 1225 take a central role in making the journey to the North Pole. (Read More)


The Liberty Limited "AND NOW, in time for the holidays, I bring you the best Christmas story you never heard." A heartwarming story from Ronnie Polaneczky's article published in the Philadelphia Daily News on December 22, 2005

It started last "We have to let them know we care," Vivian told Bennett. So they organized a trip to bring soldiers from Walter Reed Army Medical Center and Bethesda Naval Hospital to the annual Army-Navy football game in Philly, on Dec. 3. Christmas, when Bennett and Vivian Levin were overwhelmed by sadness while listening to radio reports of injured American troops. (Read More)


Holiday Traditions - This time of year, family and friends come together to celebrate the holidays with traditions developed over generations. As a part of our family tradition, I have the pleasure to read to my children on Christmas Eve as my father did before, the fabled poem, The Night Before Christmas by Clement Clark Moore. First published anonymously in December of 1823, it is now the tradition in many American families to read the poem on Christmas Eve.

The story and illustrations presented here were made in 1953 by Pennsylvania Railroad employee, William W. Seigford Jr. who maintained an office at the Harrisburg Passenger Station. (Read More)


Model Trains | A Holiday Tradition -  As a welcome change from my normal writing and research I have often celebrated the tradition of digging out the model trains of various vintage after Thanksgiving for the Christmas season in various articles and images. Last year I highlighted an icon of the 20th Century: The Lionel Company. I grew up with my father's Lionel trains, loving the idea of these rugged three-railed trains, the smell of ozone and smoke pellets, the automated accessories, the die-cast metal, but in reality, the noise of those things scared the hell out of me! (Read More)

Interview | The Trackside Photographer

Recently I had the opportunity to talk with Edd Fuller, editor of The Trackside Photographer; a blog focused on the railroad landscape. I am excited to share this interview about my ongoing work and how it ties into a central theme inspired by history. The following is the interview in its entirety as it was posted last week on The Trackside Photographer. Enjoy! 


Trackside Interview #3 - Michael Froio

Michael Froio is a photographer who focuses on the history of the industrial era and its relation to the modern landscape. His work has been published by the National Railway Historical Society, and he has presented lectures for the Center For Railroad Photography & Art, the Library Company of Philadelphia, and chapters of the National Railway Historical Society and Pennsylvania Railroad Technical & Historical Society. Michael teaches photography at Drexel University and manages the school’s darkroom and photography facilities. Michael’s work may be seen on his website

  The expansive Rockville Bridge stretches across the Susquehanna River, and remains the worlds longest stone arch bridge. Rockville a testament to the Pennsylvania Railroad’s engineering legacy, part of Michael’s ongoing project From the Mainline, a culmination of interests and ideas focused on the railroad and the landscape it travels.

The expansive Rockville Bridge stretches across the Susquehanna River, and remains the worlds longest stone arch bridge. Rockville a testament to the Pennsylvania Railroad’s engineering legacy, part of Michael’s ongoing project From the Mainline, a culmination of interests and ideas focused on the railroad and the landscape it travels.

Edd Fuller, Editor, The Trackside Photographer - Michael, I want to thank you for your generosity in sharing your work with our readers and for taking the time to talk with us. I usually start by asking about your interest in railroads, and we will get to that later, but first let’s talk about photography. You have chosen a career in photography. How did that come about?

Michael Froio - Thanks, Edd, It is a pleasure, and honor, to share my work with the Trackside Photographer, I have a tremendous amount of respect for what you are doing.

How did I get into photography? Hm. Well, I always had an interest in making photographs, at least since my young teenage years. At that time it very simply tied into my interest in trains. I wasn’t particularly good at making train photos, but while exploring the railroad (often with my father) I was always compelled to document what we found. When I started college, I had no idea what I wanted to be when I grew up. Taking prerequisite classes like English lit and math classes bored me out of my mind. A friend and classmate mentioned he was taking a photo class, so I enrolled in Photo 110. My professor, Rachael Fermi (granddaughter of Enrico Fermi - the creator of the atomic bomb) was an incredible character. She did a terrific job teaching the foundations of photography while encouraging creativity, craft and an understanding of composition. After a few classes, I took a job as a lab monitor, mixing chemicals and managing the darkroom, typically during the evening hours. It was during this post that I fell in love with photography and the idea of teaching.

Moving on from Community College, I enrolled in Drexel University’s Photography Program. I found Drexel’s program was a perfect balance of technical and creative instruction; not an art school type program, but a curriculum focusing on how to visually communicate through photographs, and that they could function in both a commercial or fine art context. I think the course that had the most significant impact on me was the Large Format class. It was a challenging course technically (I still hold the record for reshoots of my exposure and development test for the zone system) but by far the most rewarding, producing these large, 4◊5î negatives. After graduating, I began work in the field as Assistant Facilities Manager at the Drexel Photo Program, and was then promoted to Facilities Manager. Working in an environment I’ve been invested in has been incredibly rewarding, including being part of bringing the 10,000sq. ft. facility into the 21st century, several lab re-designs and helping develop an evolving curriculum. I am also very fortunate to have the opportunity to teach in the Program, including foundation coursework for our majors, and an Advanced Black & White Printing course, among others. Drexel not only helps me to sustain my family and provides an opportunity to teach, but also affords me the ability to pursue my personal work, allowing me to find my purpose in photography.

Edd - Much of your photography has focused on the industrial landscape and architectural history. What sparked that interest?

Michael - As an artist, you go with your gut. I responded to these types of places without knowing why, but from the first time I composed an image of a building or landscape, the gears were turning. What is it about this site? Why am I compelled to make a photo here? It’s intuition at first, the eye sees something long before the mind connects the dots. I had to sort of go with it. It took time to understand that my interest in photographing a landscape or type of architecture comes from a fascination with our history, whether civic, industrial, or social. It took time to see the inter-relatedness of civic institutions, industry and architecture; to see that public buildings spoke to the wealth, power, progress and civic pride cities large and small shared, but that purpose-driven industrial architecture and landscapes were the working class spaces behind that civic pride. This notion still compels me to make photographs today, whether along the Main Line or anywhere else; our country’s history is a significant thread that continues to weave throughout my creative work.

 Bordentown Bluffs, Crosswicks Creek, Mercer County, New Jersey.

Bordentown Bluffs, Crosswicks Creek, Mercer County, New Jersey.

Edd - On your website, I particularly enjoy the photography in The Watershed Project which is not about railroads. You write that it  "is about the beauty of the benign and unremarked place, challenging our perception of the natural landscape..." This seems to apply to your railroad photography as well. Tell us a bit about this project, and how it fits with your overall vision of the landscape.

Michael - The watershed project was a logical progression of my senior thesis work, both of which largely took place in Southern New Jersey and the Delaware Valley. For thesis, I was looking at the open spaces of Salem and Cumberland Counties, mainly farmland, recognizing that such space has unfortunately become rare in the so-called Garden State. Through work on that project, I began taking notice of beautiful, unconstructed spaces of a wholly different type in the same region, mainly along the Delaware River and Bay. They were undefined areas, places that didn’t seem to have a purpose on their face, but where locals would hike, hunt, fish, etc. Were these preserved spaces? Did they belong to a more extensive network? What was the purpose of these places? How did these swaths come to exist? As I continued to examine these areas, I expanded my reach into less idyllic places, where these fringe, improvised landscapes abutted industry - airports, refineries, or dredging dumps. These were the places you might see from a highway, seemingly barren spaces. Yet, once you entered them and escaped the noise of the neighboring areas I found many were incredibly beautiful, seeming more pristine and isolated than any number of curated, patrolled, trafficked National or State Park areas. All these places made me think more and more about how we perceive the landscape around us. We understand farmland; it has a purpose, it produces a tangible result, as do industrial spaces. Parks are designed for recreation, cities and town centers are designed to serve the needs of their populations. But these unremarked tracts remain mostly undefined. The French term Terrain Vague highlights the idea that these spaces represent a diversion from our traditional understanding of the landscape and how we as a society identify with and interface with these areas. They are landscapes that may have once had a purpose but have become places void of definition - neither park, nor act of preservation nor productive, planned, commercial or social spaces. Yet they become places where only locals with intimate knowledge of the area have reason or standing to redefine the area with no need of a formal plan. The Watershed project and the previous works that lead to it, were an important part of learning how to understand and interpret the landscape.

Edd - Your work encompasses many different aspects of industrial and architectural history, but the railroad seems to hold pride of place. How did your interest in railroads come about?

Michael - While it is all interrelated, the railroad is at the beginning of it all, it was what compelled me to pick up a camera in the first place. The work featured on my website is organized in three succinct portfolios and speaks to an evolution of sorts in the way I work, the Main Line Project being the current capstone. It started with a desire to better understand the landscape, which came with the Watershed portfolio and all previous projects that led me there. The Relic portfolio helped to develop an understanding of how to weave history into creative works, and how photography can be a documentation tool while still being original. The Main Line Project was the culmination of those ideas, as well as countless other creative discoveries that have come as result of the ongoing work.

Edd - How did the Main Line Project come about?

Michael - The idea of the Main Line project was not a new one; in fact, I started it initially as my thesis work, and failed miserably because I didn’t understand what it was that I wanted to portray within the concept of the railroad itself. When I began the Main Line Project, in 2007, six years after that failure, the first year of photographs barely acknowledged the railroad at all, instead focusing on towns and industry along the line. It was my usual approach from work on the Watershed and Relic projects, but in a different environment. It wasn’t until I read an essay by John Stilgoe and his seminal book The Metropolitan Corridor that a light went off. Stilgoe’s concepts of breaking down and understanding constituent elements within the whole of the railroad landscape were right there in front of me, and I had been photographing these attributes without even realizing it. Remember that whole gut reaction first then the mind connects the dots? Well, here I was. Not long after that discovery, I began looking at ways to expand the reach of the project, ways to better connect the contemporary work within the historical framework of the subject. I found the research aspect of the project was generating as much excitement for me as being out in the field making photographs. As a result of my research, my imagery was more informed, my work process was more productive, and my viewpoint was evolving. As a result, the railroad itself began to play a more prominent role in the project since it takes, as you say, pride of place, the very thing that sparked this whole photography thing for me.

  Northbound Waiting Room, Pennsylvania Station, Wilmington, Delaware. 

Northbound Waiting Room, Pennsylvania Station, Wilmington, Delaware. 

Edd - Your photographs in From the Main Line reflect the history of a railroad, but that history is interpreted in the context of the current landscape, which your black & white photographs capture beautifully. I sense though that your interest in the Pennsylvania Railroad extends beyond the railroad itself. What does the railroad tell us about the culture and history that lies along the tracks?

Michael - The railroad is the thematic tie that binds the project together (if you’ll pardon the pun), but for me, since the Pennsylvania Railroad ceased to exist well before my time, it’s the remaining contemporary landscape rather that reflects back to the railroad and its connections to neighboring towns and the landscape. For example, in the modern context, the railroad is often just passing through, void of any link to the town. In other places, there survives just a fragment from a more significant system or merely a scar in the landscape. I have always considered the railroad as a sort of linear history corridor, and along that tangent, one can learn how settlements were founded, thrived, withered, centralized and so on. This inhabited landscape repeats over and over again, showing the once significant relationship between the railroad and these cities and small towns, all through the back lots of America. It is also important to recognize that the railroad wasn’t always the first connection between these towns; early trade routes, canal systems, and other vital parts of early civilization and commerce all intertwined with the railroad corridor. All of these elements in the landscape create a dialogue, my job as a photographer is to interpret those connections, all the while making meaningful photographs.

Edd - You mention the work of William H. Rau as having influenced your work, How do Rau’s late 19th and early 20th century photographs of the Pennsylvania Railroad inform your 21st century understanding?

Michael - Every year, I give a lecture to one of our resident faculty member’s Photo History Classes, about the dialog between contemporary and historical works of art. The lecture is held at the Library Company of Philadelphia, where the Rau collection is on deposit. The visit gives students an opportunity to see how historical works can influence contemporary imagery, placing side by side Rau’s original prints commissioned by the PRR with my own. The discussion of dialog, in my case with Rau’s work, has been a multifaceted and informative relationship.

In 2003 I first discovered Rau’s work when visiting an exhibition at the Library Company titled "Traveling the Pennsylvania Railroad." I wasn’t particularly captivated by 19th Century work at the time, but the press images looked great, and the subject certainly could not be rivaled. My knee-jerk reaction to this work was, "Wow! How could work made over 120 years ago feel so contemporary?" I loved that his work was about the railroad, but distinct from any work I had ever seen previously. In all books or publications I’d been exposed to, the train itself took a prominent role in the photograph. I found Rau’s work so compelling in its difference from this paradigm in that Rau’s work focused on the destination, the engineering marvel of the railroad itself and how it brought order and civility to the landscape. The train itself was secondary, it was more of a harmonious, machine in the garden if you will. Of course, I bought the book that accompanied the exhibition and studied the images. That show in 2003 planted the seed that led me back to the railroad when I applied for a grant with the Center for Emerging Visual Artists to begin the Main Line project in 2007.

Previously, I mentioned when I started the Main Line project my work focused more on the landscape, hardly acknowledging the railroad, something I had not quite figured out how to incorporate subtly. I turned to the Rau Collection at the Library Company of Philadelphia for insight, contacting Prints and Photographs Curator Sarah Weatherwax, who was very gracious with her time, allowing me to study reference prints and then later Rau’s original mammoth plate albumen prints. Having Rau’s work in front of me, one on one, was pivotal, it was like a recharge of the creative battery in between photo trips. Rau’s work as a photographer was spectacular; they were crisp, sharp gorgeous prints, gleaming with information. More importantly, the content helped me understand a railroad that was becoming worthy of its self-proclaimed title, "The Standard Railroad of the World," with details of the railroad’s extensive system-wide improvements carefully tucked away in corners of these massive photographic prints.

I continue to take inspiration from Rau today, but I’ve also turned to his predecessors, like Purviance and Gutekunst who were also commissioned to photograph the PRR in earlier times. Outside of the PRR commissions, photographers like William Henry Jackson, AJ Russel, and Carleton Watkins who were being commissioned to document the opening of the west by rail also provide great insight on how the railroad changed our relationship with the landscape.

  Abandoned Pratt Deck Truss Bridge, spanning the Little Juniata River, part of the remains of the former Lewisburg & Tyrone Railroad, a PRR subsidiary.  

Abandoned Pratt Deck Truss Bridge, spanning the Little Juniata River, part of the remains of the former Lewisburg & Tyrone Railroad, a PRR subsidiary.  

Edd - I know that a lot of research goes into a project like “From the Main Line.” Tell us about your working methods in the field. What do you look for? What draws you into a scene. Do you know where you are going to shoot in advance, or do you find your photographs while exploring the area?

Michael - I have found a synergy between what I like to call armchair scouting, historical research and my fieldwork. There is obviously a great deal of initial planning, especially since I often have limited time to travel. I do most of my scouting on Google Maps, saving and marking locations, based on previous visits, target locations, or intriguing names or landmarks within the landscape. I’ll note what time of day the light is right for a particular area, say a prayer to the cloud gods, and then start planning a trip. When I get out in the field, I do reference the maps, but the serendipity of discovery in the field is also very important. I can’t tell you how many times I have obsessed over a location only to get there and be disappointed, but on the way to that place find some incredible scene. Research indeed informs and helps to plan a trip, but I still rely on my intuition in the field while making photographs.

Its tough to say what draws me in to a particular scene; Sometimes it’s a subject, whether it be a relic or landmark of the railroad, town or a natural feature. There are however, with in those more spontaneous moments, the combination of light, feeling, and often a sense of scale or a dramatic play between the railroad and surrounding landscape that will make for a great image. There isn’t a specific formula that I can say goes into making an image like this, but there is nothing more exciting on a day shooting than being enroute to a location at dawn, and that morning light is playing in the clouds, or across the trees. That first photograph of the day is always critical, once it happens, its game on until the end of the day.

Outside of shooting or actively planning a trip, I am constantly analyzing my work, looking at prints or even on screen, conducting a mental audit of an area, looking to decide if I have enough work to convey a sense of place to a given area, before I move on to other locations. So far I haven’t been able to just turn my back on an area and say “I’m done here,” but the goal is to convey a story for each region or division within the project, touching on the character of the landscape, towns and the defining attributes of the railroad itself.

Edd - There is a consistency of vision in your black and white work that forms a strong unifying element in “From the Main Line." Most of this work is done in large format film. What prompted you to work in this way? What does large format black & white film bring to the project?

Michael - I don’t want to demystify the notion that large format has a great deal to do with the product, but to be honest, as I look back and begin to incorporate more and more digital capture I realize it was more my approach, composition, and style, that unify the work. Large format for me is a tool; at the time I started the project it was the main tool I used simply because digital wasn’t there yet, not for me. How can you justify trading a 5x7 negative for a 20-megapixel camera? You can’t; they aren’t even in the same ballpark. There are merits of the large format camera and I do love using it, as it provides a wonderful connection to the craft of making photographs. But once I started working with the advancing technology of digital capture in depth, during my commissioned work for Conrail I began to see how powerful this tool could be when used correctly.

When I commit myself to change like moving to digital, it’s after I have weighed all benefits and drawbacks of each tool. I have a few friends I will often confide in, who are not necessarily photographers, but people who will give me their honest opinion, whether I like it or not. One of these people, Anthony, a dear friend, who would often roll his eyes and harass me when the digital camera came out, sat down one evening with some work prints I made. He had never seen any of the digital work printed, just either on camera or on a laptop after a day of shooting. He sat there quietly thumbing through the prints, sighed and looked at me and said, “you’re right, the change to digital has not impacted your vision, your work, not in a negative anyway.” That was the confirmation that my transition into using digital capture was successful. A change in tool didn’t impact my vision. There are a lot of people who will argue the merits of film or digital, but after many years making pictures, the results are what matter to me. The tool you use to make pictures, whether it has a sheet of film loaded in it or a 50mp sensor, makes no difference to me, as long as you do it well.

  Delair viaduct, span replacement project documentation for Conrail Shared Assets Operation, Port Richmond section, Philadelphia, Pennsylvania.  

Delair viaduct, span replacement project documentation for Conrail Shared Assets Operation, Port Richmond section, Philadelphia, Pennsylvania.  

Edd - Several years ago, you were commissioned by Conrail Shared Assets to document the reconstruction of the Delair Bridge in New Jersey. From black & white view cameras to color video production is quite a leap, but you bring it off beautifully. Tell us about how this project came about and how you decided on the best way to tell this story.

Michael - The commissioned work for Conrail Shared Assets came from a working relationship with, and mutual respect for, railroad engineering and history within the company’s engineering department. When I was first approached about the span replacement project at Delair, a video was being considered to document six 3-day, 72-hour outages, which were being planned over a 15-month period. 72 hours of video per outage meant 432 hours of raw footage. Who has the time to watch that, never mind the resources to archive, cull from, and edit such a massive collection? Did they want a feature film as a result? We proposed instead the use of time-lapse, essentially taking sequences of still photos at timed intervals, and then processing the stills into video clips. We could still convey the scope of work while touching upon all the needs of the client, and each outage could be distilled down to a three or six-minute edit.

There was, however, one minor hitch. At the time, I had not taken digital capture very seriously, not to mention that I’d never even worked in video at all. I knew I was approaching the deep end of the pool, but it is often opportunities like this that afford the ability to grow and learn. Another challenge for me as an image-maker was knowing that there was no possible way I could do this on my own. To rectify that, I contacted Samuel Markey, a former student who was now working with time-lapse and video in his own business. Our work ethic, ideas, and personalities synced perfectly. It was the right move. With each outage, we quickly learned what did and did not work and what we needed, in terms of both equipment and visuals. It was also very fortuitous to have a client who was open to ideas, suggestions and supporting whatever ridiculous request we may have thrown at them. Over three years Sam and I continued to push production levels as we worked on three major projects for Conrail - two at Delair, and one at Paulsboro, NJ. We forged relationships with the contractors and Conrail’s Bridge & Building and Engineering departments, delivering a product that was visually interesting while meeting the needs of the client for documentation. In the end, we got to be in places nobody from the outside would have access to, to make a meaningful and creative documentation of large-scale engineering projects in the railroad tradition. Overall, it was a fantastic and educational experience.

Edd - Creatively, what is your greatest challenge?

Michael - I think my biggest creative challenge is how to draw a diverse audience to my work, especially the Main Line Project. The success of this project so far has been the fact that it can function on multiple levels ñ historical, engineering, landscape studies, transportation, contemporary photography, etc. I am always looking for feedback, trying to edge out where the best responses to my work originate, be they blog publications, single images, portfolios, and exhibitions. Trying to keep my work fresh and relevant is my biggest priority. I often get asked, “When will the project be done?” I don’t know… I am still learning, still enjoying the discovery process and the dialog with the landscape and historical works. I feel like the project still has plenty of energy, the challenge is how to harness, and it keep it exciting, for me and for my audience.

  Controlled Burn, along Alloway Creek, New Bridge Road, Salem County New Jersey. 

Controlled Burn, along Alloway Creek, New Bridge Road, Salem County New Jersey. 

Edd - What projects are you currently working on? Any new projects in the pipeline?

Michael - I wouldn’t necessarily say there are any new projects in the pipe, but rather evolutions of existing work. I continue to explore my native area of Southern New Jersey. The idea of making a long-standing body of work about a familiar landscape or place is fascinating to me. It is something that evolves alongside your life, while you take root and raise a family, a process that changes our views with age. These life experiences change how we perceive things, the landscape included. It’s exciting to me to have a back burner project to step in and out of occasionally, that I don’t have to think about too much, but can occasionally revisit. It allows time for the oft-viewed, rarely seen landscape to rest, and my vision to watch the change and evolution of photographs, slowly take place. It’s a familiar place to test out ideas, to keep the tools sharp if you will.

Edd - One of the concerns that is often voiced by organizations devoted to historic preservation is “Where are the young people who will carry on this work?” Since you teach young photographers who are just starting out, I am curious if any of your students display any interest in documenting and interpreting the past, or are they more tuned in to the trendier aspects of contemporary photography.

Michael – It’s interesting; photo students seem to come wired with an interest of all things old, maybe it’s the historical connection with photographic traditions, perhaps it’s nostalgia, or the modern urban exploration phenomenon, but students do indeed incorporate these notions into their work in various ways. Some students focus on documenting industrial and social landscapes, and when they do, of course, we all (faculty) encourage them to find their voice and how they can use it to make a living. Every student is different, and you have to leave your work out of the equation, to ensure they understand why they are drawn to a subject, and not just teaching them to emulate someone else’s work without understanding why. It is a delicate balance, as landscapes and history are not for everyone, but I do think there is a contingent of young adults that will carry the torch in preservation. I also think the next generation of preservationists and hobbyists are bringing a significant change in how we present and share ideas and organize and socialize with groups.

Making photographs can often be mainly a solitary exercise, especially for me, wandering the ruins of a vanished railroad or other forgotten spaces in-between. Beyond image capture, processing is also a solo act, alone in a darkroom, studio or office. But photography doesn’t occur in a vacuum, and sharing results is key to the undertaking. This is the advantage the next generation of preservationists and hobbyists will have, the enhanced ability to find and organize social groups to present and share ideas. It’s this difference I think will keep the goals of documentation and preservation alive and well moving forward.

Edd - The curriculum at Drexel requires photography majors to learn film photography and darkroom processing. What do students in this digital age, many of whom have never been exposed to “analog” photography, make of this? And why do you think that learning what is now seen by many as obsolete, is important to their education?

Michael - We don’t teach a lot of film-based technique, but what we do teach is incredibly important to the education of a photographer. The most important benefit of a student working in large or medium format film is that it teaches the student to slow down - how to look, think, and craft an image on the ground glass, how to meter and expose, develop and print the negative. Regardless of the tool, it’s important to learn that every step in the process is intertwined. It’s not that these skills can’t be learned in digital, but learning film technique forces the issue, because the results are absolute. If you go through all the steps, run the film, and the negative is less than optimal, you have to do it again, attempting to figure out what you did wrong in your process. If you have a RAW file that is poorly exposed, there are still options to recover something. In short, with film, the stakes are higher. You can’t teach “too much” of the “how” and “why”, the critical thinking part of the process. It’s this that’s too easy to lose in a photographic education absent of the analog process. After mastering those problem-solving skills, whatever tool a photographer chooses from the toolbox will be treated the same. Each format has its purpose, and today, there is nothing better or worse between them. Anyone arguing solely for the merit of film-based capture is romanticizing the process, and one asserting the supremacy of digital likely never understood or experienced what film is truly capable of. It’s a tool, just like the hammer. What matters, in the end, is how you use it.

  Former Pennsylvania Railroad 1888 Pratt truss bridge spanning the Susquehanna River.

Former Pennsylvania Railroad 1888 Pratt truss bridge spanning the Susquehanna River.

Edd - You have a strong affinity for black & white in your own work, and of course you still work with film. How do you think your work would be different if you were working in digital color?

Michael - I learned color in the darkroom during my education and never really felt connected to it, the process was limiting, and the introduction of color to a photograph brought a whole new layer of subjectivity to an image. Now that I shoot a good bit of work digitally, I do see my work in color, albeit briefly, and so far, it’s done nothing for me, my mind just tunes it out. I certainly admire what others are doing in color, and of course, the big names like Richard Misrach, Edward Burtynsky, and Robert Polidori are awe-inspiring, but I’m just not feeling it for my work. Much of my work is focused on places outside their times, adding color would change this significantly. It would be too connected to reality and the present.

Edd - Railroads are an unusually visual subject. Railfans are photographers almost by definition. I can’t think of any special interest that has as strong a connection to photography as railroading. Why do you suppose this is?

Michael - I think there are a lot of hobby groups that make a natural fit with photography; of avid hikers many landscape photographers are made, and birding another one, but yes, photography is indeed a prevalent predilection in the railfan community. The connection appears to goes back to preservation again, be it of moments, places or things; and nostalgia for the railroad generally, since subjects loaded with nostalgia seem to be prime targets. Sometimes they seek to answer questions: What was that branch line’s purpose? How many passenger trains stopped at this now dilapidated depot? Or express a regional fandom. Countless fallen flag railroads each have their cult following; in many cases, their fans never even saw the original road in operation. Fortunately for all of us interested in this genre, preservation by photograph has been intertwined with the railroad itself since the dawn of photography, creating a visual anthology of railroading by both professional and amateur photographers alike. Still today, the only thing constant in the railroad industry is change, and photography seems to be the most common form of preservation.

Outside of the simple “preservation by photograph” approach, some railfans try to emulate the greats like Shaughnessy, Plowden, Hastings, Steinheimer, and Link. That is a beautiful thing; it reflects an intelligent and passionate response to the visual proficiency of these noted photographers, who left an undeniable mark on the entire industry and hobby. Technology has also played a significant role in the advancement of the genre. The flexibility of higher level ISO sensitivity in digital, the extended dynamic range, instant feedback, and being limited by only the space on their memory card, photographers have advanced their rail photography to levels that would make some of the greats envious. The point is, what drives a lot of these people is passion, whether they are good at making photographs, or it is a simple visual record to model a structure, you really can’t deny the important intersection of railroads and photography in our community.

  Franklin Boro, and Main Line, from East Conemaugh, Pennsylvania.

Franklin Boro, and Main Line, from East Conemaugh, Pennsylvania.

Edd - Do you have a favorite among your own photographs, one that is particularly meaningful to you? Tell us about it.

Michael - I am always hesitant to answer questions like this, but if I had to single one out, I’d say, Franklin Boro, from East Conemaugh, PA is pretty damn close. I remember seeing it on the ground glass, it was an image I made while I was reading Stilgoe’s Metropolitan Corridor, and it reinforces the connection between the railroad and the landscape. Layers of history stacked up on the mountainside, having seen an evolution of transportation and industrial history from those lofty views. Some would see a place like this as sad or depressing; I find these types of locations intriguing and beautiful. It’s a key image in the project.

Edd - And one last question. If you could spend a day photographing alongside any photographer from any era in the history of photography, who would it be, and why?

Michael - That is easy, William H Rau, however, I would need a little more than a day! I’d love to be in the meetings with PRR officials planning Rau’s campaigns in the 1890’s. To see what the expectations were from the client, and understand what Rau brought to the table, how they came to select the locations and the logistics of access. Being in the field would be interesting to see how they handled his photographic train and moving that incredibly bulky camera (his smallest was a 18x22” glass plate camera) all around an active railroad. I can only imagine some dispatcher pounding out messages on the telegraph telling the crew to move him along so he could get back to running trains!

Edd - I look forward to seeing where your exploration of the railroad landscape takes you, and thanks for letting us come along for the ride!

Michael - As always Edd, thank you, it’s a pleasure to be able to present my work like this, you don’t always have the opportunity to reflect back on your projects and ideas. This interview has been a great way to analyze my perspectives and assess how my ideas in photography and preservation have developed over the years. I know my approach to the subject is different from a lot of photographers interested in railroading, I hope this shed a little light on how and why I make the images I do. Thanks again for the opportunity, and keep up the great work on The Trackside Photographer!

Winter News | Interview & Exhibitions

  Former Pennsylvania Railroad Pratt truss bridge spanning the Susquehanna River. Selinsgrove, Pennsylvania.

Former Pennsylvania Railroad Pratt truss bridge spanning the Susquehanna River. Selinsgrove, Pennsylvania.

New Interview | The Trackside Photographer

Recently I had the opportunity to talk with Edd Fuller, editor of The Trackside Photographer, a blog focused on the railroad landscape. I am excited to share this interview about my ongoing work and how it ties into a central theme inspired by history. Follow the link to learn more about my process, creative work and how my interest in both the landscape and railroads has woven its way into my projects for many years. To read the interview visit The Trackside Photographer, or click the image above! 

  Northward view, Susquehanna River, Marysville, Pennsylvania.

Northward view, Susquehanna River, Marysville, Pennsylvania.

Exhibitions | Current

2017 Members Exhibition | Main Line Art Center
Through January 3, 2018

I currently have a piece hanging in the 2017 Members Exhibition at the Mainline Art Center, in Haverford, PA. The exhibition is a celebration of the MLAC members’ support and creative energy, featuring a range of works from photography, sculpture, painting, printmaking, and ceramics. 

Gallery Hours are Monday through Thursday: 10 AM to 8 PM, Friday through Sunday: 10 AM to 4 PM. This exhibition is free and open to the public. The Main Line Art Center is located at 746 Panmure Road in Haverford PA, offers free parking, and is easily accessible from public transportation. 

  South Fork Creek, Soukesburg, Pennsylvania

South Fork Creek, Soukesburg, Pennsylvania

Exhibitions | Upcoming

9 New Jersey Photographers | Stockton University
January 16th through March 28th, 2018

My work will be part of an upcoming exhibition curated by Stephen Perloff, editor of the Photo Review and the Photograph Collector; the show spotlights nine NJ based photographers. An artists reception will be held Tuesday, March 6th at 5 PM followed by a talk with curator Stephen Perloff at 6:30 PM. More information will follow as the event approaches. 

The Stockton University Art Galleries are located on Lakeside Lane, Galloway, NJ in Galloway, NJ. Parking is available at the Lakeside parking area. 

Summer News and Events

Greetings! I hope everyone is having a great summer and taking some much deserved time off to enjoy the season with family and friends. Here is a quick list of some upcoming and ongoing events pertaining to the Main Line Project! 

   
  
 
  
    
  
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   Semi-automatic signals beckon outside the window of the station waiting room in Chester, Pennsylvania on the former Chesapeake Division   mainline   to Washington D.C., 2016.

Semi-automatic signals beckon outside the window of the station waiting room in Chester, Pennsylvania on the former Chesapeake Division mainline to Washington D.C., 2016.

They All Fall Down | Lamenting the loss of a classic PRR Signal - The Position Light
I am very excited to have a new article featured on the blog, The Trackside Photographer this week. The piece focuses on the Pennsylvania Railroad's classic Position Light signals, many of which face an uncertain future as railroads push to implement Positive Train Control. It's a sizable article featuring a lot of imagery, several which have never been published. Please pay the Trackside Photographer a visit if you haven't already, they are doing a fantastic job featuring a diverse range of photographers and writers whose work focuses on the railroad landscape, it's an honor to have work published there! 

  Plate 36. B.Q. Tower and Signals - Bellewood, Pennsylvania, Middle Division (III-895), William H Rau, Altoona Public Library Collection. One of 27 images currently on display in the exhibition William H. Rau: Urban, Rural, Rail at the Southern Alleghenies Museum of Art - Altoona.  

Plate 36. B.Q. Tower and Signals - Bellewood, Pennsylvania, Middle Division (III-895), William H Rau, Altoona Public Library Collection. One of 27 images currently on display in the exhibition William H. Rau: Urban, Rural, Rail at the Southern Alleghenies Museum of Art - Altoona.  

Ongoing Exhibition: William H Rau: Urban, Rural, Rail

On view through September 9th, 2017. Southern Alleghenies Museum of Art - Altoona

The current exhibition on display at the Southern Alleghenies Museum of Art, Altoona has more than a month remaining and is generating a lot of great feedback so far. The exhibition features a selection of Rau's Pennsylvania Railroad images from the Altoona Public Library collection, along with several images from the Main Line Project. If you are in the area, the exhibition at SAMA - Altoona is a must see! 

Rau Symposium - SAMA - Altoona: August 16

In conjunction with the ongoing exhibition, I will be speaking at a symposium along with Penn State - Altoona history lecturer Julie Fether who curated the show. My talk will focus on Rau's imagery and how it continues to inspire my project, while Julie will discuss how the show evolved, tying in influences from Harvard Landscape Studies Professor, John Stilgoe's writings and ideas on the "art and practice of 'seeing' landscape." 

The event is at the SAMA - Altoona location on Wednesday, August 16th from 11AM-1PM, lunch provided, and costs $15 ($14 for SAMA members). Reservations are required by calling the museum at (814) 946-4464 or emailing altoona@sama-art.org. 

Pop- Up Exhibition: The Study at University City - Philadelphia
On display through September 30th. 

An excellent opportunity came up recently to showcase some work from the Main Line Project, at the Study, a beautiful new Hotel in University City, central to Drexel University's campus at 33rd and Chestnut Streets, in Philadelphia. The small show includes ten pieces from the project and is free and open to the public. If you're in the area, please stop in and have a look! 

The Study at University City, 20 S 33rd St, Philadelphia, PA

Photographs & History Celebrates Seven Years!

  View of the westbound home signal, from the Bustleton Branch, Holmesburg section, Philadelphia, Pennsylvania. Holmesburg was an interlocking and commuter station along the main line and the location where the Bustleton Branch diverged. Countless locations alongside the railroad have a backstory, Photographs & History expands beyond the contemporary photograph to tell these stories. 

View of the westbound home signal, from the Bustleton Branch, Holmesburg section, Philadelphia, Pennsylvania. Holmesburg was an interlocking and commuter station along the main line and the location where the Bustleton Branch diverged. Countless locations alongside the railroad have a backstory, Photographs & History expands beyond the contemporary photograph to tell these stories. 

One June 17th, 2010, I mustered enough courage to publish my first post, on the blog, Photographs & History. What seemed to be a monumental event was, in reality, two sentences and a photograph, but what would come of Photographs & History is another story. I started the blog to explore the importance of pictures in understanding the passage of time, concerning both personal memory and as documents of change. The blog format allowed me to bring historical context to my images, something I had never considered previously. Since starting the blog, history has become a connecting thread throughout many of my projects. Whether personal or commissioned, it seemed natural for the text and historical imagery to be an integral part of my work to further the viewer's experience. Seven years later, here we are! From the early times of using the Wordpress platform to the current format,  integrated with my website; I have published over 250 posts, from simple one image location views to more complex pieces like the Main Line Series, the blog has become an essential component of my work. 

I look forward to future of Photographs & History, in the cue, you can expect more articles chronicling the railroad, insight on my creative process as an artist, and much more. Thank you to everyone who has followed along, I am grateful for your kind words and support over the years! 

Exhibition & Press: William H. Rau: Urban, Rural, Rail

It goes without saying that the work of William H. Rau has had a tremendous influence on my ongoing project, From the Main Line, so it gives me great pleasure to announce that I will have several pieces included in an exhibition at the Southern Alleghenies Museum of Art titled William H. Rau: Urban, Rural, Rail in the heart of Pennsylvania Railroad territory, Altoona, Pennsylvania. The exhibition runs through September 9th and will include a symposium on August 16th in which I will discuss the role of Rau's imagery and how it has both informed and influenced my own. The exhibition has already received some terrific feedback, including this recent feature in the Altoona Mirror. I look forward to sharing more about this incredible show while continuing to explore the dialog with Rau's imagery for both inspiration and historical reference in documenting the former Standard Railroad of the World

  Quadruple Track – Tanks, Monmouth Junction, New Jersey c. 1891. William H. Rau. The Altoona Public Library Collection

Quadruple Track – Tanks, Monmouth Junction, New Jersey c. 1891. William H. Rau. The Altoona Public Library Collection

Rau’s work captured the Allegheny landscape of the 1890s

SAMA-Altoona exhibits more vintage photographs
By Altoona Mirror Staff Writer  - Cherie Hicks

Another batch of cutting-edge photographs that captured the Allegheny landscape in the 1890s is now on display at the Southern Alleghenies Museum of Art.

“William H. Rau: Urban, Rural, Rail” features 27 albumem and sepia-toned photographs taken by the commercial photographer who was commissioned by the Pennsylvania Railroad. The show, curated by Penn State Altoona history lecturer Julie Fether, runs through Sept. 9.

The exhibition takes viewers on a “photographic trip with Rau,” in which “hidden worlds become exposed ‘openings,'” a late 19th-century term used to describe landscape and landscape photography, Fether said.

“It shows not just the landscape that the railroad carved through, but the mark that the railroad made on the landscape and in the communities it created,” she said.

  Main Line, looking west, Altoona, Pennsylvania. One of four images from the Main Line project accompanying the collection of Rau images in the exhibition at SAMA- Altoona

Main Line, looking west, Altoona, Pennsylvania. One of four images from the Main Line project accompanying the collection of Rau images in the exhibition at SAMA- Altoona

The exhibition follows the different PRR divisions that Rau tracked, from the Brooklyn Bridge in New York City to Pittsburgh. Rau (rhymes with how) was a successful commercial photographer in Philadelphia when the PRR commissioned him to travel its main line and take pictures of the beautiful scenery in an effort to lure tourists onboard trains.

“Today, these photographs are a testament to the emergence of photography used to promote travel and tourism,” Fether said. “Attracting the young and old, rich and poor, to the glamor of railroad travel, the rails provided an opportunity to participate in the power of acute observation from the window of a passenger car and experience new communities along the way.”

Rau, who died in 1920, produced a total of 463 photographs in his project, 273 of which are considered the Altoona collection and are owned by the Altoona Area Public Library and housed by SAMA. The other photos from the railroad project are owned by The Library Company of Philadelphia.

The current show is a follow-up to another exhibition of Rau photographs that Fether curated at SAMA-Altoona in 2015. With the museum only able to display about three dozen at a time, Fether said she had a theme in mind as she sifted through binders of 8-by-10-inch prints in the Altoona collection of Rau’s work.

  Philadelphia, 50th Street Yard (West), c. 1891. William H. Rau. The Altoona Public Library Collection

Philadelphia, 50th Street Yard (West), c. 1891. William H. Rau. The Altoona Public Library Collection

As she was culling, she searched online for other Rau-related work and stumbled on Michael Froio, a Drexel University professor of photography whose contemporary work has been influenced by Rau.

“Even as the railroad has declined, there’s a timelessness to these pictures,” Fether said. “What do they look like today? That is why I reached out to Michael.”

The exhibition includes four black-and-white, contemporary pieces from Froio’s own project called From the Main Line that complement and pay homage to Rau’s photographs, Fether said. One such work is called “Main Line Looking West, Altoona, Pennsylvania,” and Froio said he clearly remembers the first time he saw Rau’s work.

“While I was instantly captivated by the subject matter in Rau’s photographs, it was more the approach of his work that left a lasting mark, illustrating not only the railroad but the engineering, landscape and architecture along the line,” he said. “The imagery by Rau left us with a rich visual legacy to derive tremendous amounts of information about the railway, the landscape and the energy of the industrial age.”

  In Images like "Woodvale Yard, Franklin Boro, Pennsylvania", Rau's work both informs and inspires through understanding the history of place while responding to aesthetically choices like the use of light, composition and technical process. 

In Images like "Woodvale Yard, Franklin Boro, Pennsylvania", Rau's work both informs and inspires through understanding the history of place while responding to aesthetically choices like the use of light, composition and technical process. 

It shows “the prominent role the Pennsylvania Railroad played in developing the United States and the continual improvements they made to better themselves in the process,” Froio said.

Fether explained that part of Rau’s allure was how technically advanced he was for his time, experimenting with new photographic methods and constantly perfecting the process. Most of his pictures were printed on albumen photographic paper, or a paper coated with egg white and chemicals. PRR provided him with his own rail car, in which he could sleep and produce negatives and prints, and Rau did not disappoint.

“It is an absolute honor to be a part of this show, having a chance to hang work next to Rau’s,” Froio said.

Froio and Fether will be lead speakers at a symposium on Rau’s work and legacy at SAMA-Altoona on Aug. 16 at 11 a.m. Froio will discuss Rau’s influence on his own work. Fether said she will explain how the exhibition evolved. She also will explain some writings that are part of the show from John Stilgoe, a professor of the history of landscape development at Harvard University, and others on the “art and practice of ‘seeing’ landscape.”

The public is invited to the program, which costs $15 ($14 for SAMA members) and includes lunch. Reservations are required by calling the museum at (814) 946-4464 or emailing altoona@sama-art.org.

A Visual Legacy  - Using Historical Imagery to inspire Contemporary Works

At the dawn of the industrial revolution, the American railroad became the vehicle at which life’s pace was set. Growing in the east and expanding across the western frontier the railroad was responsible for America’s success. Engineering such a system at such a rapid speed was no small task, the men who ran these companies understood the value of their accomplishments and wanted to share it with the world. To tout these new transportation systems and lure travelers to ride this modern marvel the railroads turned to another new product of the industrial age: photography. 

Jacks Narrows, from Mapleton. Images like this view of the Juniata taken by Frederick Gutekunst during a photographic commission during the 1870's is one of many that inspire my work, in both a historical and aesthetic context. Frederick Gutekunst photograph, Collection of the Library Company of Philadelphia

Railways committed major resources to illustrate their networks, employing some the most preeminent photographers of the time. With the Pennsylvania Railroad's corporate headquarters located in Philadelphia, the epicenter of photography in the US during the 19th Century, it was no coincidence that the PRR was one of the largest supporters of this endeavor.  The company employed photographers for a multitude of tasks including the glamorous commissions illustrating the railroad and its destinations for the Centennial and Columbian Expositions to the more mundane day-to-day documentation of massive engineering projects taking place all over the system. 

 Grogan Hollow, former PRR Philadelphia & Erie Branch, Clinton County, PA. Contemporary images inspired by historical views: Much like Gutekunst's views of the 1870's my photographs attempt to explain the railroad's context in the modern American landscape, not always focused on the trains themselves but more importantly the landscape they traveled. 

Grogan Hollow, former PRR Philadelphia & Erie Branch, Clinton County, PA. Contemporary images inspired by historical views: Much like Gutekunst's views of the 1870's my photographs attempt to explain the railroad's context in the modern American landscape, not always focused on the trains themselves but more importantly the landscape they traveled. 

While photography and the railroads redefined the 19th Century’s perception of space and time, surviving imagery leaves us a rich visual legacy to derive tremendous amounts of information about the railway, the landscape and the energy of the industrial age. It is this imagery that feeds my creativity and imagination, which allows me to visualize the prominent role the Pennsylvania Railroad played in developing the United States and the continual improvements they made to better themselves in the process.  These volumes of visual assets are the foundation of what inspires my work; the photographer’s technical and aesthetic ability, the conceptual ideas and the resulting images rich with information foster a continued dialogue with my image making, inspiring new works from views of the past.

This is a brief excerpt from the upcoming lecture “Continuing a Legacy, Photographing the Pennsylvania Railroad” which I will present next Tuesday, May 9th for the Harrisburg Chapter of the National Railway Historical Society. The lecture is part of the Harrisburg Chapter’s monthly meeting and is free and open to the public.

The Pennsylvania Railroad | A Legacy in Images

May 9th, 2017 | Meeting begins at 7 PM
National Railway Historical Society | Harrisburg Chapter

Hoss’s Steak and Seahouse
743 Wertzville Road
Enola, Pennsylvania

A Collaborative Effort

Many photographers, myself included are loners when it comes to working, in fact for me, there are only a few people I typically will travel with while making photographs, and most of them are not photographers. For many years my photography was an individual effort; However, when Conrail Shared Assets inquired about an opportunity to document a major engineering project on the Delair Bridge in 2013, I jumped at the chance, knowing right away this was no job that could be executed successfully by myself. 

Enter Samuel Markey, a former student, and fellow Drexel alumni; Sam was doing some fantastic work on his own, including video and time lapse projects. From the first site visit, our work ethic, visual aesthetics, and synergy gelled well together; We played off of each other's ideas as the project progressed over the six outages in as many months. Through the initial Delair project and subsequent commissions with Conrail, we continue to work together to further the production levels of projects, turning a basic construction documentation into a creative piece that satisfied the client's needs while creating a visual record that could easily be understood by the general public. It's been over three years since I began working with Sam, and along the way, I have had the privilege to include other incredibly talented people, like Michael Legrand who provided aerial footage at Delair and Justin Geller who scored original soundtracks for the project's final edited pieces. 

The creative commissions that came as a direct result of my personal work documenting the former Pennsylvania Railroad have been a terrific experience, opening new opportunities to work outside my comfort range with like minded people. At the end of the day, pushing your work and building a network of collaborators is an exciting opportunity to take both your creative and commercial work in new directions, I look forward to sharing the what the future holds for these creative collaborations.

This excerpt is a brief preview exploring the role of creative collaboration, an element that was essential in producing this project for Conrail Shared Assets Operations. Join me this Saturday for a lecture about the commissioned work for Conrail that came as a direct result of the Mainline Project. The talk starts at 1:30 PM and is free and open to the public.  

Creative Commissions | April 29th, 1:30 PM.

Pennsylvania Railroad Technical & Historical Society
Philadelphia Chapter

Drexel Hill Methodist Church | 600 Burmont Road, Drexel Hill, PA   
This lecture is free and open to the public. 

Spring News and Events

   Historical Image Credits (bottom row) L,R. W.T. Purviance, Collection of the New York Public Library, C. Frederick Gutekunst, Collection of the Library Company of Philadelphia

 Historical Image Credits (bottom row) L,R. W.T. Purviance, Collection of the New York Public Library, C. Frederick Gutekunst, Collection of the Library Company of Philadelphia

The Pennsylvania Railroad | A Legacy in Images
Please join me Tuesday, May 9th for the rescheduled lecture for the Harrisburg NRHS chapter, exploring the important role historical imagery plays in my ongoing project, From the Main Line, A Contemporary Survey of the Pennsylvania Railroad. The lecture is part of the Harrisburg Chapter’s monthly meeting and is free and open to the public.

May 9th, 2017 | Meeting begins at 7 PM
National Railway Historical Society
Harrisburg Chapter

Hoss’s Steak and Seahouse
743 Wertzville Road
Enola, Pennsylvania


The 2017 Mainline Art Center Spring Gala and Fundraiser Exhibition

Buy a Print, Support a Great Cause! This piece will be part of the Main Line Art Center's 2017 Spring Gala and Fund Raiser exhibition. The Gala is Saturday, April 29th, and the exhibition runs April 30th through June 3rd, 2017. Please visit the Main Line Art Center's Website for more information. 

Creative Commissions | Upcoming Lecture

FROIO_TSP_009.jpg

Please, join me for a lecture I will be giving Saturday, April 29th, exploring how my creative projects lead to large scale project documentations for Conrail Shared Assets. The lecture will discuss the technical challenges, equipment, and logistics of documenting three major railroad infrastructure projects in the Delaware Valley. Through previously unreleased images, videos and plenty of behind the scenes views, the presentation illustrates what was required to accomplish a cohesive and creative documentation of classic large-scale railroad engineering projects.

April 29th, 1:30 PM. The lecture is free and open to the public.

Pennsylvania Railroad Technical & Historical Society
Philadelphia Chapter

Drexel Hill Methodist Church | 600 Burmont Road, Drexel Hill, PA   

NRHS Harrisburg | Lecture Postponed

  One train in an endless parade of eastbound traffic works its way slowly up the West Slope on the former Pennsylvania Railroad main line in Portage, Pennsylvania

One train in an endless parade of eastbound traffic works its way slowly up the West Slope on the former Pennsylvania Railroad main line in Portage, Pennsylvania

Due to the impending Nor'easter, the Harrisburg Chapter has decided to cancel the lecture for Tuesday, March 14th; the event will be rescheduled for May 9th. I will send out more information as the new date gets closer.

Winter News & Events

  Northbound waiting room, Pennsylvania Station, Wilmington, Delaware. This remarkable space is part of the 1907 Frank Furness station in the city of Wilmington and is one of two new images included in the Professional Artist members Exhibition. 

Northbound waiting room, Pennsylvania Station, Wilmington, Delaware. This remarkable space is part of the 1907 Frank Furness station in the city of Wilmington and is one of two new images included in the Professional Artist members Exhibition. 

PROFESSIONAL ARTIST MEMBERS EXHIBITION 2017

Opening Reception Tonight: Friday, January 13th, 2016. 5:30 - 7:30 PM

I have two new prints from the Main Line project included in the 2017 Professional Artists Network Exhibition at the Main Line Art Center. The group exhibition features the work of roughly 50 artists and runs from January 13 – February 11, 2017. Gallery Hours are Monday – Thursday: 10 am to 8 pm and Friday – Sunday: 10 am-4 pm. The exhibition is free and open to the public. Mainline Art Center | 746 Panmure Road in Haverford PA


Mainline Art Center | 2017 Meyer Family Award for Contemporary Art Finalist
For the second year in a row The Mainline Art Center of Haverford, Pennsylvania selected the Main Line project as one of seven finalists for the 2017 Meyer Family Award for Contemporary Art. The competition featured over 200 applicants, awarding three solo shows to artists representing a diverse base of mediums while honoring an additional seven finalists with Professional Artist programming throughout 2017. For more information on programs and exhibitions at the Mainline Art Center visit their website


  Some new work for the Mainline Project was recently included in Alexander Benjamin Craghead's article for Railroad Heritage, the quarterly journal of the Center for Railroad Photography & Art. Image credits, clockwise from the top left; John Sanderson, Stuart Klipper, John Sanderson and Travis Dewitz.  Reproduction courtesy of the Center for Railroad Photography & Art.

Some new work for the Mainline Project was recently included in Alexander Benjamin Craghead's article for Railroad Heritage, the quarterly journal of the Center for Railroad Photography & Art. Image credits, clockwise from the top left; John Sanderson, Stuart Klipper, John Sanderson and Travis Dewitz. Reproduction courtesy of the Center for Railroad Photography & Art.

The [Rail]Road Belongs in the Landscape | J.B. Jackson and the Photographic Depiction of American Railroads

I am honored to be part of a fantastic article written by Alexander Benjamin Craghead for the Center for Railroad Photography and Art's quarterly journal Railroad Heritage. The article delves into the writings and lectures of landscape studies scholar John Brinckerhoff Jackson, exploring how his work has influenced several generations of noted photographers who's imagery focuses on the railroad landscape. It is a privilege to be featured among several accomplished photographers and peers including Edward Burtynsky, Jeff Brouws, Travis Dewitz and John Sanderson in a thoughtful piece that celebrates work about the railroad but not implicitly the trains themselves. The Center has taken significant initiatives to expand the horizons of both rail enthusiasts, historians and photographers alike while broadening the reach of this genre beyond the average audience. Craghead teaches American Cultural Landscapes at the University of California, Berkeley, a class started by J. B. Jackson many years ago. He'll be presenting more on the subject of Jackson and railroad photography at the Center for Railroad Photography & Art's annual Conference in Lake Forest, IL at the end of April. 


Upcoming Lecture | Philadelphia Chapter, National Railway Historical Society

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I’ll be presenting a lecture on my ongoing photographic project, From the Main Line: A Contemporary Survey of the Pennsylvania Railroad for the Philadelphia Chapter of the National Railway Historical Society. Inspired by the work of photographer William H. Rau, who was commissioned in the 1890’s to document the PRR and its destinations, the project explores the transitioning landscape along the former PRR main line from New York to Pittsburgh, highlighting the unique vernacular of facilities and infrastructure built by the PRR. This project combines historical research and original imagery to present a creative documentation of one of the most important railroads in American history.

The NRHS was founded in 1935 by a group of rail historians. It has since grown from 40 founding members to include over 13,000 men and women of all ages and professions in every state and many foreign countries, making it the nation’s largest rail preservation and historical society. The Philadelphia Chapter, established in 1936 is one of the founding chapters and has been instrumental in preserving the local railway scene. The lecture, on Friday, February 17th, 2017, is part of the Philadelphia Chapter’s monthly meeting. The program is free and open to the public and will begin at 7:30 PM in 121 Randell Hall, Drexel University, 3141 Chestnut Street, Philadelphia. More information to follow as the date approaches. 

Lunch & Learn Lecture | Perkins Center for the Arts

  View of the Pennsauken area landscape from the historic Delair Bridge, a vital rail link between Southern New Jersey and the national rail network. Understanding the history of the landscape plays a significant role in much of my work, the Lunch and Learn lecture will provide insight into my creative process and how I integrate these themes into my work

View of the Pennsauken area landscape from the historic Delair Bridge, a vital rail link between Southern New Jersey and the national rail network. Understanding the history of the landscape plays a significant role in much of my work, the Lunch and Learn lecture will provide insight into my creative process and how I integrate these themes into my work

Much of my work has drawn inspiration from the history of the local landscape and the influence the industrial age had in the Northeastern region. Please join me next week at the Perkins Center for the Arts in Moorestown, NJ for an informal talk about my projects and how social and industrial history inspires and informs my work, including the Relic and Watershed series as well as my ongoing project From the Main Line, a contemporary survey of the Pennsylvania Railroad.

The event is January 5th from 12:30-1:30 in the historic home of the Perkins family on Evergreen Lawn in Moorestown, New Jersey. Lunch & Learn features culturally focused lectures, demonstrations, performances, and more. The series is designed to connect with and introduce opportunities to working and retired adults with interest in learning more about the cultural connections, creators and opportunities existing in South Jersey. Admission is free and attendees are encouraged to bring their lunch to the event.

Lunch & Learn: Photographs & History
January 5th, 2017 12:30-1:30PM

Perkins Center for the Arts – Moorestown
395 Kings Highway
Moorestown, NJ 08057 United States
856-235-6488

Of Railroads and Holidays

  The 1932 painting "On Time!" by Griff Teller was part of a series of paintings commissioned for the PRR's annual calendar. Reproduced countless times author Dan Cupper wrote in the book "Crossroads of Commerce" that Teller's celebrated painting, "stirs a longing for - and makes a powerful statement about - railroading that melts boundaries of time and geography." This painting was an image used time and time again to illustrate the ability of the Pennsylvania, particularly in the Holiday season. Grif Teller reproduction collection of the Author

The 1932 painting "On Time!" by Griff Teller was part of a series of paintings commissioned for the PRR's annual calendar. Reproduced countless times author Dan Cupper wrote in the book "Crossroads of Commerce" that Teller's celebrated painting, "stirs a longing for - and makes a powerful statement about - railroading that melts boundaries of time and geography." This painting was an image used time and time again to illustrate the ability of the Pennsylvania, particularly in the Holiday season. Grif Teller reproduction collection of the Author

  1948 holiday advertisement for the Pennsylvania Railroad.

1948 holiday advertisement for the Pennsylvania Railroad.

For many the railroads have long been associated with the holiday season. The notion of the long journey home to see loved ones or the family tradition of setting up the model trains from generations ago under the tree seems universal. TV and Cinema have celebrated the train countless times during the holiday season, like when Ralphie, his brother, and friends marveled over the window display of Lionel trains in the cult classic, A Christmas Story. Or when the Hollywood production based on Chris Van Allsburg's 1985 book, The Polar Express has the Pere Marquette 1225 take a central role in making the journey to the North Pole.

For over fifty years trains were just as essential to the holiday as the Christmas tree itself. Railroads prided themselves on the herculean effort of moving passengers, mail, and packages to ensure everyone and everything arrived on time for Christmas. Seasonal ads illustrated a concerted effort between Santa Claus and the transportation networks while traveling children slept snug in the berths on the latest streamlined train. Toy trains have been part of the American experience since the turn of the century. Lionel became the gold standard, leading the pack in producing electric powered trains for well over 60 years but some also took preference to the American Flyer and smaller competitors when constructing a holiday layout.

Today trains still play an integral part of the holiday season; at home, families continue the model railroad tradition started generations ago.  On the rails, our mail and packages don't specifically travel in railcars, but the trucks they get loaded into and containers they are shipped by are neatly stacked on the decks of flatcars making up one land ship after another of merchandise, parcels, and gifts heading for a coveted spot under the tree. Like the golden years of the railroads, armies of men and women work around the clock to keep the trains rolling; on the ground, in the cab and remote dispatching centers, often missing time with their loved ones to ensure the trains get through.
 

  An eastbound container train descends the Allegheny mountains approaching the famed Horse Shoe Curve near Altoona, Pennsylvania. The contemporary railroad still plays a vital role in transporting the goods to stores and packages to homes around the country. Container ship lines as well as UPS, Fed Ex and trucking companies J.B. Hunt among others rely heavily on the use of the railroad to ensure merchandise makes it to the stores and packages get delivered in time for a spot under the Christmas Tree.

An eastbound container train descends the Allegheny mountains approaching the famed Horse Shoe Curve near Altoona, Pennsylvania. The contemporary railroad still plays a vital role in transporting the goods to stores and packages to homes around the country. Container ship lines as well as UPS, Fed Ex and trucking companies J.B. Hunt among others rely heavily on the use of the railroad to ensure merchandise makes it to the stores and packages get delivered in time for a spot under the Christmas Tree.

Whatever place the railroad has in your holiday season, share it with future generations. Consider expanding upon the trains handed down from family or start a new tradition of visiting a local model railroad, or perhaps take the kids or grandkids for a ride on a holiday themed excursion. While the train has been central to the holidays for many years, today it serves a different role, a diversion from the fast paced electronic lifestyles we indulge in day after day. An excuse to slow down and celebrate family time and traditions over generations. May you all have some time to rest and relax during the holiday season celebrating friends and loved ones!

From my family to yours, Merry Christmas, Happy Holidays and may you all have a safe and healthy New Year!

Sincerely,

Michael Froio

 

Fall News and Events

Well its fall, the weather is cooling off, the light is getting nice and its time to get back to work! I have a lot of good stuff in store for next couple of months including a big update of work on my website, a lecture for the Delaware Valley Chapter of the National Railway Historical Society and an article feature on the blog The Trackside Photographer, a platform that explores the larger idea of understanding the historic nature of the railroad landscape. Additionally I have a lot of great material in the cue for the blog Photographs & History, rounding out the exploration of the former Pennsylvania Railroad Atglen & Susquehanna Branch and continuing east exploring the mainline into Chester County, Pennsylvania. 


  View of Peter’s Mountain from Sherman’s Creek, Duncannon, Pennsylvania

View of Peter’s Mountain from Sherman’s Creek, Duncannon, Pennsylvania

Feature Article | The Trackside Photographer
A new article on the Main Line project goes live Thursday, October 13th on the blog The Trackside Photographer, a wonderful online publication that features photographers who's focus is documenting the ever changing railroad landscape.  The article provides insight on my creative process while working on the Main Line project and is complemented by a cohesive gallery of imagery from the project. 

Continuing a Legacy | Photographing the Pennsylvania Railroad

I am honored to once again present for the Delaware Valley Chapter of the NRHS. My lecture will explore the legacy of photographic imagery undertaken by the Pennsylvania Railroad and how it has influenced my own work. The presentation looks at several noted photographers commissioned to photograph the railroad while tying them to a visual dialogue with my own contemporary works exploring the former Pennsylvania Railroad. 

Delaware Valley Chapter, National Railway Historical Society | Friday, October 21st, 2016 | Lecture begins at approximately 8:30PM
Morrisville Public Library, 300 North Pennsylvania Avenue, Morrisville, Pennsylvania

New Work from the Main Line Project

The image above is one of many that is being readied for a big update of new work on the Main Line project. The update will include a new gallery of imagery which includes additional views from PRR divisions already represented as well locations on the New York and Maryland Divisions which were not previously represented in the project. Once live a series of singe image posts will begin in addition to the regular format to highlight the new work and the significance of these places in the history of the Pennsylvania Railroad. 

A Little Love From the Home Office

As many of you know I am a working professional photographer and educator, having run the facilities at Drexel University's Photography Program, part of the Westphal College of Media Arts and Design for 15 years. The last 12 of those years I have also taught various subjects in the medium sharing my experiences in photography with the next generation of great image makers. This week the College spotlighted my work documenting the Pennsylvania Railroad and it comes with great pride that I can share the piece here. Having the opportunity to work in a creative environment has largely shaped who I am and having my alma mater and employer recognize this work is a great honor.  Enjoy! 

MIKE FROIO'S RAILROADS

August 4, 2016

Michael Froio, Professor and Photography Facilities Manager, is often found in the Paul Peck Center’s Photography studios. However, if you’re lucky, you might find him at the break of dawn just about anywhere there’s train tracks, rail yards, or train stations. It’s not that Michael is a solitary individual, it’s rather that the focus of his work is largely based on lush landscapes, historical architecture and all aspects of the former Pennsylvania Railroad, which he uses to produce stunningly rich black and white photography. “From the Main Line,” Froio’s impressive ongoing project, operates as an homage to the industrial achievements of the past 150 years in which he documents the infrastructure and landscape that’s developed alongside the Pennsylvania’s ecology. “Much of what they engineered and built over 100 years ago remains a vital part of the Mid-Atlantic’s railroad infrastructure today, a testament of their foresight and engineering abilities” says Froio. His gorgeous photography is generally accompanied by meticulously researched text that recounts and pays tribute to the importance of railroads in our region and the nation. We strongly suggest you visit Michael’s terrific website and consider signing up for his pictorially vibrant, textually rich, and fascinating newsletter. 

Froio is inspired by the work of William H. Rau, who documented the railroad in the 1890’s, and by the social and industrial history and landscape studies writers John Stilgoe and Robert Adams. His earlier works were made possible by using a large format view camera, a process that forces the photographer to spend a dedicated time with the subject. In recent years he’s begun utilizing digital formats, yet he still treats his work with the same emphasis as with the view camera: spending time with the subject.

Froio most recently served on a panel as part of The Muse Behind the Artist at The Print Center, an event sponsored by Penn’s Village. In March, From the Main Line was exhibited at the Camerawork gallery in Scranton, Pennsylvania. 

Spring News & Events

Allegany National Photography Competition and Exhibition: I am very pleased to have a piece from the Main Line Series included in the 2nd annual Allegany National Photography Competition. This exhibition runs from April 8th to the 30th in the Allegany Arts Council’s beautiful Saville Gallery in historic downtown Cumberland, Maryland. Situated in the beautiful Allegany mountains the exhibition melds the region's rich concentration of photographic artists with an influx of national photographers through the juried competition. Juror Stephen Perloff is founder and editor of The Photo Review, a critical journal of fine art photography. Publishing since 1976, The Photo Review covers photography issues and events throughout the country and serves as a central resource for the Mid-Atlantic region. Perloff is to host a lecture Friday April 8th in the Schwab Gallery and the opening reception for the exhibition will be held on Saturday, April 9th from 6-8 PM. Gallery hours for the exhibition are Tuesday - Saturday, 11AM-5PM. The Allegany Arts Council is located at 9 N. Centre Street, Cumberland, MD 21502. For more information on the lecture, exhibition and the Allegany Arts Council please visit their website or call (301) 777-ARTS (2787).

From the Main Line | Exhibition: Continuing in its second month, my solo exhibition featuring work from the Main Line project is on display at the Camera Work space, located in the Marquis Gallery, in the historic Laundry building in downtown Scranton, Pennsylvania. Plan a trip to see the exhibition and visit some area attractions; the city is very easy to navigate and there are several wonderful places to stay in town and of course, plenty of choices for lunch and dinner. The exhibition runs through April 30th and is open M-F 10 AM - 6 PM, Sat. 10 AM - 5 PM. The Camera Work space, located in the Marquis Gallery, in the historic Laundry building, 515 Center Street, Scranton, PA 18503. 

 

Preserving the legacy of the Pennsylvania Railroad

At the close of 2014 the Greer Family donated a remarkable piece of Pennsylvania Railroad history in the form of an oversized album of large format photographs made by Frederick Gutekunst (1831-1917) a native of the Germantown section of Philadelphia. Operating out of a studio at 7th and Arch Streets for more than 50 years Gutekunst was considered one of the preeminent photographers in the post-Civil War era. Some of his subjects included noteworthy people like Thomas Eakins and Walt Whitman but also extended beyond portraiture to include architecture and the built environment of the PRR. Before this album surfaced most examples of his work were in the form of stereo views, making this collection of 16x12” large format prints incredibly rare.

  Plate 61, Allegheny Tunnel, Galitzen, Pennsylvania. One of 91 beautiful images from the Album of Frederick Gutekunst's photographs recently donated to the Library Company of Philadelphia by the Greer family. Image collection of Library Company of Philadelphia

Plate 61, Allegheny Tunnel, Galitzen, Pennsylvania. One of 91 beautiful images from the Album of Frederick Gutekunst's photographs recently donated to the Library Company of Philadelphia by the Greer family. Image collection of Library Company of Philadelphia

The portfolio, dating from ca. 1875, titled simple “Scenery of the Pennsylvania Railroad” represents one in a series of campaigns the PRR embarked on to celebrate the railroad as a destination, touting the freshly manicured railroad dissecting the wilds of Pennsylvania, following serpentine rivers, paralleling the canals the road made obsolete; a symbol of modern engineering and progress in America. Fittingly the railroad chose photography over traditional illustrations and paintings, providing a tangible image which potential travelers could connect to, a portal into the world of the PRR and the landscape it traveled. Like his contemporary William H. Rau, Gutekunst utilized the large plate view camera to portray the growing railroad as the country recovered from the American Civil War. This remarkable portfolio illustrates the Pennsylvania Railroad before the grand system improvements started under Chief Engineer William H. Brown and his successors, which would last from the late 1870’s well into the first decade of the 20th Century.

  On the Conemaugh at Lockport, Pennsylvania, by Frederick Gutekunst. Up until the PRR portfolio surfaced, much of Gutekunst's work for the PRR was only known to exist in stereo views like this. Image collection of Library Company of Philadelphia.

On the Conemaugh at Lockport, Pennsylvania, by Frederick Gutekunst. Up until the PRR portfolio surfaced, much of Gutekunst's work for the PRR was only known to exist in stereo views like this. Image collection of Library Company of Philadelphia.

What makes this donation even more special, especially to PRR preservationists is that we owe a great debt of gratitude to a former Pennsylvania Railroad employee for having the foresight and pride in his employer to save the portfolio.

David St. John Greer, was born in Philadelphia in 1914, his father a laborer and his mother a seamstress. Settling in New Jersey, David completed high school in Pemberton, NJ and enrolled in a 4-year business administration program at Drexel University. Graduating from Drexel in 1937, Greer would begin a 32-year career with the Pennsylvania Railroad. Though the details of his early years with the company are limited, in 1943 despite being exempt as a railroad employee to serve during WWII, he felt compelled to serve his country and enlisted in the Navy. Greer was never deployed in active war but was appointed as the Assistant Supervisor of Exports for the PRR Port of Philadelphia and later served as the District Property Transportation Officer in the Port of Philadelphia Customs House while also acting on the Ports Conditions Committee. Greer was released from active duty in January of 1946 as a Lieutenant returning to his civilian job with the PRR. Over the next 11 years Greer worked all over the system as a Supervising Agent for important terminals like Williamsport, Harrisburg, the company piers of New York, and Philadelphia. In 1953 he was promoted to Superintendent of Stations in the Pittsburgh Region and later the Chicago area from 1955-57. By the end of 1957 Greer was promoted to Manager / Director of Freight Stations and Motor Service on the entire system, responsible for all stations and trucking companies owned by the PRR. In 1968, the fateful year long time rivals PRR and NYC merged Greer was appointed Director of Stations system wide where he served just one short year, deciding that he could no longer work for the merged railroads.

  David St. John Greer, pictured here in the center of the middle row (dark suit) was a devoted Pennsylvania Railroad employee who purchased the Gutekunst album after the ill fated merger of the PRR and rival New York Central in 1968. After being in their possession for over 45 years the Greer family decided to donate the album to the Library Company of Philadelphia where it will  join a sizable collection of Gutekunst's work along side the William H. Rau commissions for the PRR. Image courtesy of the Greer Family. 

David St. John Greer, pictured here in the center of the middle row (dark suit) was a devoted Pennsylvania Railroad employee who purchased the Gutekunst album after the ill fated merger of the PRR and rival New York Central in 1968. After being in their possession for over 45 years the Greer family decided to donate the album to the Library Company of Philadelphia where it will  join a sizable collection of Gutekunst's work along side the William H. Rau commissions for the PRR. Image courtesy of the Greer Family. 

During that last year, the PC worked to wipe the slate of documents and ephemera from the PRR archives offering items for sale to employees and later holding public auctions. It was here that Greer purchased the Gutekunst Album along with a number of other pieces of PRR memorabilia. Greer’s son, David, recalls, “My father loved the PRR and hated the merger. He particularly loved freight operations. He worked in places that included many of the locations in Pennsylvania pictured in the [Gutekunst] photographs and felt a close kinship to the railroad and the state of Pennsylvania. He took good care of the album but would occasionally sit and look at the photos much as I have done for the past twenty years.” David’s father gifted many of the other items he purchased at auction after his retirement, but held on to the album of photographs. “I think it is telling he kept the photographs, clearly the most valuable piece of railroad memorabilia he had. He also kept things that I think reminded him of the good times on the railroad. As an example he kept and displayed the menu from his dinner on the last run of the all Pullman Broadway Limited. The train crew signed the menu and he kept it along with some of the serving pieces that were used for this dinner. I think he felt that the end of the Broadway Limited was the end of an era. He flew to Chicago on business so that he could ride home on the Limited’s last eastbound trip as an all Pullman train, disembarking at Paoli near his home.”

Survived by his daughter Ann Hiros and son David Greer, David St. John Greer passed in December of 1993, leaving the album among other items with the family. In late 2013 I had heard about the album surfacing through PRRT&HS archivist Charlie Horan and in March of 2014 had the pleasure of meeting David on a train trip to Pittsburgh riding the Juniata Terminal Company PRR 120 and the Warrior Ridge (A Ride on the Pennsylvania). Dave expressed his interest in donating the album to a place that not only could care for it properly but also make it accessible to the public. Given my experience with the Rau collection housed at the Library Company of Philadelphia I suggested that David consider the institution, not only because of Gutkunst’s Philadelphia connection but also because of the existing collection of his work already at the LCP. It would also bring together two very important collections of photography that focused on the Pennsylvania Railroad from the 19th Century. At the close of 2014 the Greer family ultimately decided the album belonged in LCP’s permanent collection, adding to an incredible archive of 19th Century prints and photographs. We are lucky to have this resource preserved where it will ultimately be digitized for many future generations to enjoy in the honor of David St John Greer and photographer Frederick Gutekunst.

Watershed Project - Upcoming Exhibition

  Bluffs on Crosswicks Creek, near Bordentown, New Jersey. This is one of 14  images from the Watershed series that will be part of an exhibition at the Perkins Center for Arts - Collingswood. The show opens Saturday, March 14th with a reception from 6-9pm.

Bluffs on Crosswicks Creek, near Bordentown, New Jersey. This is one of 14  images from the Watershed series that will be part of an exhibition at the Perkins Center for Arts - Collingswood. The show opens Saturday, March 14th with a reception from 6-9pm.

Watershed: The southern half of the Delaware River Basin is steeped in history, once the backbone of shipping and manufacturing and home to countless communities along its banks. The Delaware itself and the many unremarked tributaries that feed into it play host to a diverse Eco system that thrives along side industrial sites, refineries and countless miles of swamp and unremarked landscapes covered in bay grass, scrub pines and oaks. There is a feeling of emptiness in these landscapes, an absence of human life. Scars left behind from dredging dumps and brownfield sites only highlight nature’s resilience to recover these swaths, its ability to thrive even under the duress of neighboring highway noise, pollution and encroaching housing developments. The Watershed Project is about the beauty of the benign and unremarked place challenging our perception of the natural landscape while celebrating an important resource of the greater Delaware Valley.

I am excited to announce that I will be included in a three person exhibition that will open next Saturday, March 14th at the Perkins Center for the Arts in their Collingswood location.  Along with artists Keith Yahrling and Amy Becker I will be showing work from the Watershed Project. The exhibition runs from March 14 - May 2, 2015 with an opening reception on Saturday, March 14 from 6-9 pm. The Perkins Collingswood facility is located at 30 Irvin Ave., Collingswood, NJ 08108. Normal exhibition hours are Tuesdays & Thursdays 10 am – 2 pm, Saturday 10am – 2 pm. The exhibition and opening is free and open to the public. Collingswood offers some terrific options for dining so its a perfect opportunity to get out for a night of art and entertainment. Hope to see you there!