LIFE ONBOARD - All Aboard: The Complete North American Train Travel Guide - page 93

• Get the camera's lens as close to the window as you can
without touching it. A lens pressed against the window or a
camera body braced against any other part of the train can
transmit the train's vibration to the camera. The result: blurry
photos.
• If you can control the adjustment, switch your camera from
automatic to “selective focus.” Some cameras with the auto-
matic-focus feature will focus on the transparent window
pane instead of that gorgeous passing scene outside of it.
Controlling the focus yourself will avoid that problem. Usu-
ally you won't have time for a lot of adjustment, so if your
camera has this feature, the best advice is to set your focus on
“infinity” and forget about it.
• If you have time, check for any reflections in the window—
that white pillow on the seat behind you—and move them or
block them with your body before shooting.
• Don't use the automatic flash for photos taken through the
train window. It will likely cause a photo-wrecking reflection.
Besides, it's of no use for objects more than 15 or 20 feet away.
Do use the flash for interior shots, even during daytime hours.
If you take the ultra-simple approach and use one of the so-
called idiot-proof cameras exclusively, you probably won't be
able to make most of those adjustments. Don't worry about it!
Your photos won't be up to National Geographic standards any-
way, and they'll still make dandy souvenirs.
Please do not try for clearer photos by opening the windows
in the top half of the train's exit doors, either in the vestibules or
on the lower level of the Superliners. You really do run the risk
of injury from flying debris kicked up by the train, from pass-
ing trains, or from stationary objects at trackside. If any of the