#1358. Trainspotting – Clare de Loco

By Ian Varkevisser | Terroir

May 12

Apologies to Claude Debussy.

Today we get up close and intimate with Clare using a wide angle 10-24mm lens.

The class 19D 4-8-2 steam locomotive was the final development of the class 19 family of locomotives. The basic design of the class 19 was done in the late 1920s but the final development which resulted in the class 19D was undertaken by W A J Day who was CME at South African Railways from 1936 until 1939.

Between 1937 and 1949 235 class 19D locomotives entered service with the South African Railways.

The final batch of 50 locomotives (3321 – 3370) was delivered in 1949 from the North British Locomotive Company (NBL) of Glasgow. These engines were delivered with type MX Torpedo tenders.

As they were being withdrawn from service a number of the class 19D locomotives were sold into industrial service.

Following withdrawal from service with South African Railways #3322 was acquired by Ceres Rail Company to be used to haul railtours. Originally renamed Dominique it has been subsequently renamed Clare.

One of the routes plied by Clare runs from Cape Town down along the picturesque shoreline route almost to Cape Point, the end of the line being the historic naval town of Simonstown. Near its endpoint the route runs right past my doorstep. The sea sand, which is constantly blown by the howling south easter covers the tracks regularly along the last stretch of the route. This meant the tour was stopped a few years back. The govt rail service finally got off its backside and recently cleared the tracks of sand allowing for the return of normal train service to Simonstown.

Tourists can now enjoy the experience of the popular Ceres rail tour again from the comfort of vintage 70 year old well manufactured wooden carriages. These were built my master craftsmen of the South African Railways back in the day.

Clare has been converted from a coal burner into an oil burner. Being in a dry fire prone area this was done out of necessity so they could operate all year round without fear of coals sparks from the chimney starting bush fires. The fuel box behind the cabin is now a dual compartment one half oil one half water compartment. The water is replenished during the 3 hour stopover from the torpedo tender, while the tourist visit the local town.

"how much fuel does it use for the trip?"
"it uses around 50,000 litres of oil for the trip".
"thats around 50 baths full".
"you must have a big bath LOL". ( actually it turns out around 115 baths full to be more exact).
"diesel or bunker fuel?".
"anything we can even use Kentucky Fried Chicken oil".

To get a flavour of the experience we venture out today with E-Films Kodak 400 Portra, Stus Pastel Vibes, Parr Punchy, Noir Bloom, Urban Vibe and Fujifilm 100 Industrial stored in camera. The joy of modern digital cameras is that with the push of a button and the turn of a dial you can reload your camera with a new endless film roll.

The one day round trip with around 3 hour stopover costs in the region of EU40.

Kodak 400 Portra

Kodak 400 Portra

Kodak 400 Portra

Parr Punchy

Urban Vibe

Noir Bloom

Fuji 100 Industrial

Stus Pastel Vibes

Parr Punchy

Noir Bloom

Urban Vibes

Kodak 400 Portra

Noir Bloom

Urban Vibe

Kodak 400 Portra


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  • Jon Maxim says:

    Hi Ian,

    This is a fascinating and fun collection, not the least of which is your use of your various e-Film concoctions. Can you identify which profile was used on which image?


    • Ian Varkevisser says:

      I have captioned the images ( below each image ) with the E-FIlm used

      • Kristian Wannebo says:

        Hi Pascal,
        just FYI.

        Up to now I saw no captions.
        ( – using Firefox on iPhone.)

        I tried switching to “desktop site”,
        and, hey presto, they were there.
        Also when I then switched back to “mobile site”.

        A glitch somewhere?
        Or perhaps you just added them?


        • Ian Varkevisser says:

          I added them after Jon’s comment, earlier today

          • Kristian Wannebo says:

            Hi Ian,
            thanks for correcting me!

            You make me remember from my childhood in the early -50s what a treat it was when there was the occasional steam engine at the railway station! But my interest never got beyond my model railway…
            Arriving by train in Budapest in the mid -60s (to visit relatives) the several steam locomotives at the station made me get my camera out – but was told photographing there was prohibited!
            – – * – –

            I think you’ve really captured the atmosphere of this kind of trip. Not the bustle of travel!
            ( Rather *real* traveling…)
            A fine reportage! I like your photography!

            ( I’m sorry I can’t really appreciate the subtler colour differences between the “films”, my eyes seem to adapt too quickly to the presented spectrum or they’re simply too untrained – I haven’t yet tried to adjust colours.)

            • Ian Varkevisser says:

              Hi Kristian,

              It wasn’t meant to be an exercise in guess the E-Film , it was just one of those days where I felt like trying to capture the different areas of subject matter with an appropriate E-Film that I felt matched it.

              Simple experimentation

              Never mind trying adapting to the differences of colour enjoy the images and the moods.

              Feel free to comment constructively if you think a particular E-Film does not work for any reason. Feedback is always welcome

        • pascaljappy says:

          Hi Kristian, no glitch πŸ˜‰ Maybe the captions weren’t added to the smartphone version of this page. I never do it, but you are supposed to create 3 versions of every post, one for every type of device. Life’s too short πŸ˜‰ Cheers!

          • Kristian Wannebo says:

            Hi Pascal,
            Ian cleared me up.
            See his answer.

            Grrr to three versions!
            I always imagined that the web browsers transformed on their own…

            Yes, life *is* too short!

            ( But I doubt we’d enjoy living 50-100 years longer as some researchers imagine possible!)

      • Jon Maxim says:

        Hi Ian, Thank you very much for adding the captions which I have just seen. I have to say that the Portra 400 looks absolutely authentic to my eye! Jon

        • Ian Varkevisser says:

          Of the E-FIlms used above only the Kodak and Fujifilm are meant to emulate genuine film. The others have been created by Fuji users for personal use.

          The Fujifilm 100 Industrial ( otherwise known as Fujifilm 100, Fujicolor Industrial, Fujicolor 100 ) was designed and marketed in Japan and rarely sold outside.

          “I have to be honest, when I was asked to create a recipe to mimic the look of Fujicolor 100 Industrial film, I had never heard of it and knew absolutely nothing about it. I had to do some research on this film, and I found lots of good and helpful information. As it turns out, Fujicolor 100 Industrial is a negative film only sold in bulk in Japan, although you can purchase it from some camera stores who sell it individually. It’s actually re-branded Fujicolor 100, well, the Japanese version of Fujicolor 100, which is not the same film as Fujicolor 100 in America, although they’re similar to each other. Something interesting about Fujicolor 100 Industrial (and Fujicolor 100 Japan, which is the same film) is that it has a Tungsten emulsion (with a Kelvin temperature of 3200), but it is daylight balanced because the dye colors have been shifted to account for the cooler temperature. Weird, huh? Well, it turns out that you can do the same thing in your Fujifilm camera using white balance shift, and it creates a similar aesthetic.” Ritchie Roesch – Fujiweekly Blog.

          And if that doesn’t confuse you nothing will πŸ™‚

          • Kristian Wannebo says:

            Aah, manipulating reality through its colours…
            πŸ˜‰ , πŸ™‚ .

            … reminds me of an April first joke on Swedish television. It was in the old times of only b/w television and when colour TV was said to be round the corner.

            On April 1st in a family program it was announced that you could transform your TV set to a colour set by a fairly simple procedure.
            You should take a nylon stocking or pantyhose and cut it up and tape it up in front of your TV set as an extra screen in front of it.
            And then you’d be able to see the rest of the show in colour.

            There’s evidence that many fell for it!

            • Ian Varkevisser says:

              There is a quote by an infamous person who shall not be named.

              β€œIf you tell a lie big enough and keep repeating it, people will eventually come to believe it.”

              The more things change the more they remain the same – as we have recently found out.

              But the aim is not to propagate mass psychosis on our humble blog πŸ˜‰

              • Kristian Wannebo says:

                > “The more things change the more they remain the same — as we have recently found out.”

                How very true!
                ( – as people don’t really change.)

                Thinking of several persons who might be a source of:
                > “If you tell a lie big enough and keep repeating it, people will eventually come to believe it.”

                – I googled and found who you mean – yes infamous enough.

                But I also found this:

                A – seems to me – fairly good attempt to look into that.
                And a pretty good short read on the subject.
                A quote:
                “If you really could make a lie sound true by repetition, there’d be no need for all the other techniques of persuasion.”
                But caveats to that are also discussed.
                – * –

                Many (including me) believe that a really good school system is one good countermeasure to future propaganda.
                And one proof is that politicians always argue for better schools but so very often make them worse…
                ( I can only sigh when I look at Swedish school history through the last 60+ years.)
                – – * – –

                A good (and necessary) rule for April jokes:
                If you fall for it, the truth should very soon shine in your eyes.
                ( As in my example (pun not intended). Which, by the way, became famous.)

  • pascaljappy says:

    Ian, brilliant series. What else is new? πŸ˜‰

    The way everyone seems to let you get up close and personal is amazing. It makes photos so alive. Parr punchy is particularly impressive in that regards, though the Noir bloom beauties are no slouches either.

    Aesthetically, I always feel that Fuji punches the shadows in a way that makes them darker than what I’m used to. Is that something that can be “tuned out” of Fuji gear?

    Thanks a lot.

    • Ian Varkevisser says:

      Hi Pascal,

      sure you can , for instance in the Kodak 400 Portra images the shadows are set to -2 but could be set to -5 max , 0.5 steps . ( on fuji shadows work the opposite to say Lightroom , minus makes the shadows lighter ). One could also always bump the exposure compensation 1/3 to 1 stop as well.

      You will well recall the out of camera image is mailed you some time ago demonstrating a much more pastel looking E-Film.

  • jeanpierreguaron660@gmail.com says:

    Ian I had a friend from the UK who stopped by en route to Australia, back in the 1960s, who had heaps of photos of engines from that era and earlier, so this brings back many happy memories, for me.

    Another friend left here for Johannesburg on completing his engineering degree, so that he could spend his spare time in pursuit of similar machinery.

    So it’s fascinating to revisit it all – especially in “vintage film” mode. I never liked Kodacolor anyway – it was overdone and unnatural, so I stuck with B&W through that era. It’s interesting, seeing these images in the sort of colour we saw recently in Paul Perton’s copies of Saul Leiter’s photos.

  • Gorgeous work, this.

    Which, along with the Hassy colors comments, got me to look a bit deeper at emulating Fuji and Hassy “color grades” in-camera. When I started I was sure I’d need to toss my Sony equipment and buy into a system that let me do what you guys are doing here in-camera.

    We have a Road Trip coming up and I will be posting from a tablet that can’t do what the regular computer can in terms of image processing. A feeling of “let’s get this sorted quickly” settled in. I’d originally thought they were for video only, but fortunately I stuck with it by taking a fair bit of time to understand Sony Picture Profiles.

    Long long story short, I now have a fairly decent Fuji Classic Negative profile, a wonderful Fuji Classic Chrome emulation, and, I still can’t believe this, a dead-on perfect Hasselblad color-grade look. Of course I’ll shoot RAW+jpg for when we get back, right?

    I’ll leave the other film emulations for the future, and it all now seems very “do-able” with the gear I have.

    • Ian Varkevisser says:

      Great, looking forward to the blog on your road trip.

    • Zbigniew Czudek says:

      Hi Christopher, I also have a Sony and I am very, very, very envious of Pascal’s Hasselblad look. But I’m a complete layman at finding profiles. I can’t. If you would be so kind as to advise me , if you have the “copyright” please let me know how we can settle this case. Excuse my English, it’s not mine, it’s from deepl:-)

      • Hello Zbrigniew,

        Sony added “Picture Profile” (PP1 thru PPx depending) starting with certain models. A6300, A7II, A7RII, and A7S as well as somewhere in the RX100 series. If you have a model that precedes these, then, no, there will not be a “Picture Profile.”

        Assuming you have one of the later, more recent models, look in Menu->Camera and scroll through the submenus to find “Picture Profile.” Select one and it will take you to a list of available “Picture Profile”s. Each are edittable and each come preset from the factory to illustrate possibilities.

        While they appear to be designed with video in mind, they are very useful for stills work as well.

        If you can confirm your Sony has this feature, I will be happy to share the recipe that I use. Knowledge should be free, to my way of thinking. It’s only corporations and certain “creatives” who feel they should be able to charge users money for understanding.

        I’m slowly adding more film simulations using this Sony feature and it’s rather exciting. Fuji and Hasselblad have zip-zero on everyone else, from what I can tell. I’ve learned there is so much flexibility in other tools as well.

        • Zbigniew Czudek says:

          Hey, Christopher. Thank you very much. I’m very pleased with your answer.
          And (for myself:-)) I have hopeful news. I own an A7RIII. And my son has an A7II, so we hit it off:-)
          But I want to ask you and other members first. Should we keep the procedures and other contact here on this site or go private?
          I wouldn’t want to bring any confusion here on the one hand because of perhaps a bit of specialized correspondence and/or on the other hand keep it here so that any other interested parties can benefit from Christopher’s experience. How do you see it?
          But first of all I am looking forward to the tutorials. For now, hello.

          Translated with DeepL.com (free version)

          • You bring up a very good point. I certainly do not wish to distract any further from the original wonderful post of trains.

            If the magic works, click on my name below and go to a blog post I just made that includes several Sony Picture Profile recipes, including my current understanding of what it takes to match Hasselblad “Natural Colors.”

  • peter says:

    Maybe a nod to M. Arthur Honegger too?

  • Kristian Wannebo says:

    And let’s not forget Heitor Villa-Lobos.

    But I can’t figure out Debussy’s involvement?
    Enlightenment wished.

    • Ian Varkevisser says:

      Ahhh Villa Lobos the great classical guitar composer who flummoxed the great Segovia on occasion with his compositions – thats the one you are referring to I take it ?

      Debussy’s involvement – the clue lies in Clare

      • Kristian Wannebo says:

        Bachianas Brasileiras No.2, 4th movement.

        I thought so, but I i haven’t found Claire…

        • John Wilson says:

          I would guess “Claire de Lune”; with a passing reference to Monet’s “Sta. Lazare” station in Paris.

          • Kristian Wannebo says:

            Thanks John,
            for that combination!
            I considered C.de l. too and thought it a bit far fetched — but together with Monet it makes more sense!

  • John Wilson says:

    Fun collection Ian. Reminds me that we have a few old masterpieces of the era tucked away around here too, including the Royal Hudson used to pull KG VI and the Queen around on their royal tour in 1939 – https://en.wikipedia.org/wiki/Royal_Hudson. In August 1997 my wife and I took the ride from Vancouver to Squamish for our first anniversary – first class if you please with white glove service. Nothing like a great old choo-choo to get the kid in you all a twitter.

    • Ian Varkevisser says:

      Thanks John, first class, awaiting your terroir contribution with great anticipation πŸ™‚

    • Now there’s a fine story.

      My wife and I saw the Royal Hudson in 1999, in fact. It was on its last legs, as it were, though no one knew it. We’d ridden my 1975 Ducati 750GT/Sport up to visit a friend in Burnaby when we saw the steam locomotive pulling into the station at the northern end of its run.

      Some time later I was down in the railyard in Portland and saw a boiler arrive. For several years it was reworked, refurbished and then when the whole plot was ready it was sent north to you and the Royal Hudson. Hopefully the boiler is still serving well enough. πŸ™‚

      Here’s the old pre-rebuild boiler in Portland – https://flic.kr/p/5Vmhxj
      (sorry about the overly heavy handed HDR – it was Early Daze in the process and, well, I didn’t know any better)

      • John Wilson says:

        WOW!! That is quite a transformation. The engine is now a display only in the Squamish Train museum.

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