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Jack OBrien wrote:
So you're taking studio gear to the site.... I've been trying to work with SB-800s and CLS and it has been a dismal failure. In O.Winston Link fashion I've been thinking I would take me a spool of wire and just hardwire me some sync cords, very frustrating stuff to say the least. I might just sell my SB-800s and go the way you have, you certainly have a lot more power. Night shots have truly been frustrating.
I take both WL X3200 (highest powered monolights I can get my hands on) and also a complete separate system of x8 Nikon SB flash with me. I actually have two complete lighting systems, depending on what I want to do. Usually it's a mix & match deal too. I also have a decent selection of light modifiers, as I learn how to use them. My monolights are actually fairly portable since I power each with its own power pack. In winter I simply load them onto a plastic sled and pull them across the snow.
I have a couple of SB-800 flash but only use them for quick portraits. The CLS isn't very reliable outdoors, even at night with snow covered ground. The range of 30 feet is absolutely NOTHING out here where I live. They are a waste of money for RR shots. I don't think using long wire sync cords is an answer either. For starters, modern flash systems have fairly low trigger voltage. To push enough juice very far down a wire you'd need pretty high voltage. It could well be enough to fry some components, such as camera. At one point Link was using a car battery as his power supply, if that gives you an idea. I've noticed that 15 ft. seems to be about the longest sync cord I can use and get reliable fire, anyway.
My current strategy is to use mega power monolights only when I need that kind of power. One of the things I want to light up is the new Kate Shelley Bridge, in Iowa. To light big stuff or stuff that is far away, you need mega power. However, to light simple trains you do NOT need mega power. A D300 or newer camera can easily shoot ISO 1600. Add an f2.8 zoom and about x5 SB flash and that's the foundation for a very efficient system. Another factor to consider here is cost. Let's look at monolights, new prices (I buy used when possible.) The X3200 I use are $700 each, shipped. I have five of those. Also have two B1600 at nearly $400 each. I have five Vagabond batteries at $300 each, seven Manfrotto 13 ft. air cush lightstands--$100 each. About ten triggers, $70 each, two Pocket Wizards at $145 each, and then there's my two boxes full of light modifiers. What I'm saying is the monolight route gets mega expensive in a hurry! In contrast, I also have about 8 (not sure at the moment of exact number) SB-28. Those run about $100 each, used, & shipped. Triggers are still $70 each, but with lightstands I don't need heavy duty air cush and got x8 nifty lightweight 8 footers for ten bucks each, new! I use NiMH batteries ($10 x 10 sets) and use MaHa's best charger. I also have small grids and barndoors for each SB flash. The cost per light works out to only $200 each going that route. For a thousand bucks, which is VERY cheap when it comes to portable lighting, the x5 SB flash/ISO 800/f2.8 zoom is a very efficient way to light simple trains. Trains don't really require all that much light. As a bonus, about five months out of the year the ground is covered with snow anyway, and that doubles the power of lights. Gary Knapp once told me that just one of my monolights puts out more ws than all of his little SB flash COMBINED! I pointed out that sheer power is usually not as important as the number of locations lights can be placed. He agreed. I'm currently writing an article for one of the choo-choo magazines on the subject, and it's aimed at people not wanting to spend a whole lot. (I.e., under $1,000).
I'm now in my third season doing this, and still consider myself a rookie. I photo 2-4 nights per week, in four states, six different railroads. The learning curve has been very steep, and there's no textbook on this sort of thing. I have a lot left to learn. Besides cost of gear, there's also been the cost of hours away from home in the middle of the night (I'm married, two kids.) It's required a real committment from me to learn. I am comfortable in the outdoors and being alone in the dark at night. The hard part is taking an hour to set up, waiting in below zero cold for the train to come, and then blowing it when it does come! A flash didn't fire, a plug came loose, battery died on the transmitter, a deer knocks two expensive lights over and they slam onto the ice--a thousand things can go wrong. When it does, I don't get the shot. It's very much like shooting large format and all the steps that has. It is kind of cool when I actually pull it off though! The challenge is what keeps me going. Feel welcome to come out and join me some weekend when I'm along the UP double main in either NE or IA. Or, up in North Dakota if you have the clothing for that. (It can cool down at night there.  )
I still take ambient light shots, but they aren't my focus any more. When I shoot at night, I start with a black canvas. The light is about 90% of any photo. If I want something in my shot, I put light on it. If I don't want something in my shot, I keep light off of it. Simple concept. This is exactly why O.W.Link switched to night shooting, despite the extensive technical problems he faced. When I control the light, I control the very essence of the image. I push a button, and bolts of lightning streak across the prairie at my command!  At least, for 1/1000 sec.
Finally, the number one thing I've learned is that to succeed with these kinds of shots, you have to really, really, REALLY understand light. My years of methodically shooting large format have been a big help. With large format nothing is automated. It forced me to think through every step. Frustrating at times, but it made me learn. The hard way,  !
Kent in SD
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I've already taken the shot in my mind. I might set up multiple cameras along the tracks (using radio triggers) and stitch the shots together. It would be cool if I could pull it off. 
No one has equalled him in the 50 years since. While he's an inspiration for me, I will never approach his quality. I'm just the Night Foamer; he is The Master.
Kent, thanks for sharing your photo and your knowledge. It's really appreciated. I really like this aspect of FM, where people share knowledge and everyone improves as a result