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When he was little, Dad and his brother Mark always stood at the front of the first car, where they’d stare out the huge front window as the trains barreled down the track. Dad grew up in Brooklyn -- near the Church Avenue station, on the F line -- and stayed there until he finished college. And then 15 years ago, he went to a railway museum in Rio Vista, a river town near Sacramento. The two cars survived because they'd been sold for use in the Kaiser Shipyards in Richmond -- across the bay from San Francisco.
One car led to another, and one subway line led to the next -- the old BMT, the Independent, and so on. My own kids have love for Dad's trains, too, driving them on a mock elevated track he's built. Over the holidays, I watched my Dad sanding wood in his workshop, which used to be my room.  His father was a toolmaker and my Dad uses some of those tools as he works. To see more photos head over to KQED's The California Report where this article originally appeared.

Since the beginning of the year I have been experimenting with slowing down my shutter speed to try and create more evocative images. He grew up in New York City in the 1940s and '50s and fell in love with the city's trains -- especially the ones running underground. He eventually landed in California where he met my mom, who also grew up near the Church Avenue stop.
And there he found some of the original 1880s steam-powered cars that once ran on Manhattan’s elevated tracks. After seeing them, my dad went home and started thinking about how to build replicas by hand, remembering subway modeling he’d done as a teen. And now my parents' living room in what is otherwise a simple 1970s tract home in Walnut Creek looks like a New York City rail yard. They can't really understand the hundreds of hours of work these incredibly detailed, built-from-scratch trains represent.
There's the 1930s “Green Hornet,” originally made of aluminum and shaped like a BART train, but scrapped because of World War II.

Certain images are heightened when the shutter speed is slowed and the background, subject, or both are blurred. And then there's the bright orange refrigerator car, something he remembers from the 1950s.
This style of photography was significantly advanced during the 1960s by a group of Japanese photographers, the most famous of which nowadays is Daido Moriyama. When this style of blur (or “bure” in Japanese”) technique is employed successfully it can create extremely evocative images that leave something to the imagination of the viewer. They skirt the line between representation and symbolism infusing the subject matter with emotion.
I will be posting more of this style in the near future, as well as my thoughts on what the style or technique means, and how it can be employed.

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