Monochrome Monday #4

Happy Monday, and welcome to the month of May! It’s finals week, and I’m already halfway done with my exams. But despite how hectic my life is going to be this week with the last of my academia and several hours to clock in at work, nothing is going to stop me from writing and posting this week’s Monochrome Monday.

This week, we’ll be looking at a piece I call Last Train Home, named after one of my favorite songs by the Welsh band Lostprophets.

Taken at the end of my summer vacation in early August 2010, this photo is actually not what it seems. Yes, you can see the wheels of a locomotive on a track, but this isn’t a real, functioning train. This should actually serve as a relief because I do tend to put my life at risk for my photos, especially considering how often I take pictures on train tracks. Typically, I place myself and my models on active tracks where legitimate trains are prone to go by. Luckily, we have never been hit (though we have come close on several occasions).

This time was a little different because this is only part of a train, and a replica at that. Located in Nashville’s Centennial Park, this life-size train piece sits in the park for happy park goers (and tourists). There’s some historical background to it or something that I am not aware like I probably should be. But nevertheless, this giant piece of metal makes for an interesting subject.

You’re not really supposed to climb on it, but people do it anyway. But at this point in time, I didn’t want my friends, who were present, to be in this photograph. As has been the case with the past three Monochrome Mondays, I like this picture because of its simplicity. Without ever knowing that this train isn’t real, one is left to imagine if this train is really going somewhere or not. If it is moving, where is it traveling to? Why? If it’s stationary, why did it stop? And for whom? Those questions are why Last Train Home is today’s Monochrome Monday.

P.S. – I’m looking forward to next week’s MM when we shift gears from the simplicity of still lifes and move on to some of my more intense and favorite photographs: portraits.


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