Model Railroad Blog

Two Points of View

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 The camera lens gives us tremendous power to interpret and frame our scenes in a way we find personally appealing.

There are two primary reasons we build model railroads.  First is the satisfaction of creation and assembly.  The second reason, which often plays out sub-consciously and tends be emotionally driven, is much more powerful.  We want to be transported to a time, place, or experience that is deeply meaningful to us.

There are two points of view, two ways of visually experiencing our layouts.  The first way, obviously the most common, is to simply stand there and look at it.  One thing this method has going for it is simplicity.  You just open your eyes and gaze!  Without realizing it though, just looking at a layout is problematic.  It’s an unrealistic point of view.  There is a disconnect between what we see looking at a layout with the naked eye and what we would expect if we were standing rail side looking at an actual railroad.  The angles are totally different and the eye catches all sorts of nasty things such as the surrounding room, the fascia, etc.  Standing and looking at our layouts give us a helicopter view which, no matter how well executed, generally drives home the reality that they are still plastic toys.

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Basic, un-edited, ‘helicopter view’ model railroad shot

 

There’s another option.  We can alter, interpret, and transform the point view in such a way that our models do look like the compelling subjects that capture our imagination to the point where we spend a lifetime modeling them.  The way we attain this more deserving viewpoint is through the camera lens, through the magic of photography.  The camera allows us to present our work in breathtaking ways that makes us view our hobby in an entirely new light.

As modelers we are in the entertainment business.  A well produced movie that is emotionally compelling makes no apologies for the cinematic tricks that were employed to get us there.  Not only is there no apology for the techniques, they are celebrated.  The same should hold true for model railroad photography.   Whether it be lighting, photo stacking software, background removal software, or photo editing tools, any photographic technique that enhances our hobby experience should be employed without a second thought.

The goal of hobby photography is often misunderstood.  It’s a totally personal, totally selfish pursuit which, at its core,  is about experiencing your layout the way you intended to.  It’s about finding a way to visually experience and be transported into your creation.  The camera allows us to frame and present the model as we actually intended.  As a modeler gains experience, hones his craft, becomes more and more adept at building, the viewing angle issue looms larger.  The better the model, and over time you do get much, much better, the more you miss out by not having your work presented in the best possible light.  Who misses out?  You do.  Skilled modelers that don’t make the minimal effort to acquire the basic photography skills do a tremendous disservice to themselves.  I feel bad for them because they are selling themselves short from the standpoint of not seeing their fine efforts viewed in the most favorable light.

I often ask myself why there is so much resistance among modelers when it comes to improving their photography.  The first reason is basic human nature, the inertia associated with trying something new.  There is the misconception that photography is much more difficult than it actually is.  The digital era has shortened the learning curve to the point where, with a few days of trial and error, the novice can achieve excellent results.

The second misconception is about cost.  There is the misguided belief that the necessary tools are more expensive than they are.  The nature of our times is that photographers upgrade to new equipment long before the original has worn out.  This results in a vast market of high quality, low cost, used equipment that is perfectly acceptable.

In terms of basic equipment and associated costs, this is what you’re looking at (brands just suggestions):

  • Lighting. Use tungsten 3200K photo floods. (for small subjects simply shoot outdoors in natural sunlight) :  Lighting is THE most critical aspect of effective photography, even more so than the camera itself.  Start with two tungsten photo bulbs.  Without this most basic purchase you are wasting your time with the entire photographic process.  After my blog on the futility of relying on fluorescent lighting for photography I got a lot of push back from my blog readers.  I remain un-apologetic, un-repentant!  Buy decent lights or don’t bother.  One brand is Eiko 500 watt tungstens.  Cost: $10 to $20 total.
  • Digital Single Lens Reflex Camera (Digital SLR):  A good starting point would be a Canon Rebel.  Cost on ebay (used): $160 to $220
  • Photo editing software.  Suggested brand: Adobe Elements.  Cost on ebay (used): $15
  • Tripod: Suggested brand Slik. Cost on ebay (used) $65

You’ve spent decades building models and gotten to the point where you are pretty darn good at it.  Don’t you owe it yourself to reap the rewards and experience your models in the best possible light?  I think you do.

4722 S. Everett Avenue

I’ve finally finished up the structure at 4722 South Everett Avenue.  Although I was able to obtain several dozen photos from my trip to the area last fall, the screen captures from Google Streetview ended up being more usable due to better lighting.  With this project I experimented with adding a lot more depth to the core with the window and door insets.  It was more time consuming and complicated but worth it I believe.  As modelers we are adding color to a surface and it becomes a matter of what is the most effective and practical matter to do it, paint or photo laminate.

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The security bars are from Tichy, the vents from Walthers, and the window ac unit from BLMA.  The rust stains under the windows were applied by very, very, lightly drawing down a tiny application of Bragdon weathering powders.

 

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The conduit is .039″ spring wire (unpainted) with joints drawn in with a Sharpie and a coat of Dullcote.  The brackets are a sliver of .020″x.040″ styrene strip.

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Here’s the artwork for anybody that wants to have a go of it.  Print it out at 3.3 inches tall.

What Is “Accuracy”

 

Avoiding the Placeholder Trap

 

When we say something has been modeled accurately, what exactly do we mean?  Does it mean that we’ve performed a careful survey of the bristling details on a specific locomotive, documented them on an excel spreadsheet, tracked down said details, and meticulously applied them?  Can we go back, compare our model against the list, confirm that each detail has been neatly applied, and say our model is accurate?   Often not.  This is what I call the placeholder approach.

Let’s say your subject is a weather worn geep with spark arrestors.   Model A sports the stock manufacturers paint scheme.   After a considerably long catalog search you track down the spark arrestor but it is a fairly rough metal casting.  The casting has the correct dimensions so you apply it.  All of the grab irons match up but, as is the case with many injected molded parts, are slightly oversize.

Model B doesn’t have the spark arrestor but has been masterfully weathered with what has to be a half dozen subtle layers.  You replace the factory grabs with thinner ones but, for the sake of argument, let’s say you installed five grabs instead of the prototypically accurate six.  Five accurately sized grabs on model B verses the theoretically correct six (albeit oversize ones) on model A.

Which model is more accurate?   Most would say model A because each part on the prototype is represented with a placeholder on the model.   I’d argue that model B is more accurate.

Accurate color and accurate cross sections create far more visual impact than simply saying each part has been represented by a placeholder. Accuracy means accurate weathering and cross sections.

Take another example.  Let’s say your (somewhat obscure) prototype used RS-2’s.  Manufacturer A makes the RS-2 in your paint scheme but the tooling is an older generation, the side panels and hinges are a bit thick as are the grabs and hand rails.  Manufacturer B uses more modern casting technology and the details are ultra fine.  The problem is they only make an RS-3.  Which one do you purchase?  Theoretically model A is more accurate.   As before I’d go with model B.  Even though it isn’t theoretically prototypical, the cross sections of the parts carry more visual impact than whatever is or isn’t going on with the battery box differences on the two units.

One last example.  Let’s say you’re building a station for a modeling contest.  The prototype station windows are of the six pane variety.  You find commercially available six pane castings but, once again, they are fairly thick in cross section.  An ultra fine part is available with thin mullions but it has eight panes instead of six.  Which do you purchase?  Which will be judged more favorably in a contest?  I’d go with the eight pane part because correct cross sections are more important than including an element just to say it’s represented. (I’d also probably get a judging deduction!).

Veteran modelers eventually hit the point where they’ve mastered the basics of assembly skills as well as the ability to lay down a silk smooth layer of any base color.   They’ve also developed an eye for recognizing the most subtle of details and representing them with placeholders.   As a result they can win more than their fair share of contests.  That’s really only about half the way up the learning curve however.    The second half of the curve is much more challenging because you move from the objective task of “representing stuff” to the more subjective one of mastering color and weathering and developing the skill of modeling accurately thin cross sections.

 

The Accuracy Hierarchy (In order of importance)

1.        Color. Accurately capturing the color of your prototype goes far beyond matching the factory painted base color.  Painting a depot “buff” and calling it done or doing the same by painting a locomotive Brunswick Green won’t cut it.  Our subjects exist in the elements and, as a consequence, assume extremely complex and subtle color patterns.  Further complicating things, the transition between the colors are often finely feathered.  There is no way to short cut the learning curve.  Mastering color takes lots of reading, attending seminars, talking to accomplished modelers, and practice.

2.       Accurate cross sections.  You can’t solve a problem if you don’t know it exists.  The nature of injection molding and white metal casting is such that many of our parts are overly thick.   The more instances where you can replace the thick part with something of the correct size, the better the model will look.  Culprits on locomotives are: overly thick side panels and latches, grab irons, hand rails, cut bars, and air hoses.  On structures problem areas are: hand rails, window mullions, shingles, guy wires, conduits, and architectural moldings.

3.       Representation. (modeling each part that exists on the prototype).   I’m not suggesting that you shouldn’t model specific details if they exist on the prototype.  I’m saying that it’s third on the food chain in terms of visual impact.  It’s also wise to consider the old modelers adage, “no detail, is better than a bad detail”.  This means if the part you need only exists in crudely cast form, you might be better off omitting it from the model.

 

 

 

 

4722 South Everett

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One of the more prominent structures seen in some of the LAJ YouTube videos is the faded gray two story on the southeast corner of S. Everette Avenue and the Horn Lead.  The colors and weathering are complex enough that I plan to use the photo laminate technique.  What makes that method a little more challenging here is that the windows are noticeably inset from the structure face.  To capture that relief I’ve modeled the insets in the core.  Since I need perfect alignment between the holes cut for the windows in the photos and the relief in the core, I had to print the photos, cut the windows in the photos and then use them as a guide to cut the openings in the core.

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Shown above is the completed core.  Notice that I’ve painted the edges of the insets the same light gray as the structure.