I have seen a lot of grafitti on railcars too, especially when on cross-country trips and seeing those long, long, LONG trains out in the middle of nowhere. You have taken it to a true art form with your variations in this presentation, Harry; bravo!

Fantastic capture and great manipulation... Fantastic tag also !!!

I'm not sure what Yves meant by "fantastic tag"---maybe it's a French term, but I did look to see what he could be referring to. But I agree with him and Denise on this, and how you take graffiti-laden trains to an art form. The first shot shows a good swath of that front-most car, and a good shot of the wild graffiti on it---not to mention the writing on the back of the car. And the light (you didn't say what time of day this was, but I have to assume it was either early or late, by the golden tinge to the light) makes it appear nostalgic and gold-tinged. Lots of track and rail bed in the shot---beautifully balanced from sky to gravel---with beautiful golden tones. The second one intensified everything, with deeper blues, deeper rusts, deeper golds and browns, lots of red coming out, and a deeper sky. This is the kind of sequence I often use in my panel-pieces, btw (intensifying as I go down). 3 goes a whole other direction with a highly analytic view, edges brought to the fore, an atomized view, bringing out the intense line-language of rail yards and their trains. It could be a pen and ink drawing. (And it's always nice to have black and white in a long color montage---it's your middle piece here, your "anchor".) 4 looks like it's inverted, but maybe not totally. In any case the highlighted shadows and intense 'night' sky brings out not just the graffiti, but the eerie inner-lit presence of the tracks. Some sophisticated color-swapping here, and the rail bed looks even more like a gravel abstract. And 5 seems one of your more unused treatments, if I recall correctly: You've broken the forms into colonies of shapes and edges, and switched the colors so that darks become light and vice versa. Those squares on the train-side are now quite bright. And all these cutout shapes make this an abstract painting---and I also love what you did with the sky. A very rich 5-some, with a fine original to begin with. And more of your exploration of the poetry of the rails. (You'd have a heyday in Chicago, with our huuuuuuge rail yards.) Fine and painstaking work, Harry.