Model Railroad Blog

A Lesson In Working With Vintage Photos

The vintage LAJ photo above is a real gem although it become more of a “project” than I thought going in. What makes it unique is it’s the only image I’m aware of that shows the northerly side of the engine house. I’ve always liked it so when it appeared on ebay I immediately snagged it. As a spoiler alert I’m not the greatest at reading directions. The package arrives promptly and I rip it open. What…the…heck is this? I’d never seen such a thing. Some digging revealed that it wasn’t the color slide I expected but rather what is called an “120mm color print negative”. I’d never heard of such a thing. Of course all of this was very clearly laid out in the ebay post. What now? What I’m going to do with it? I called Dominion Camera. “No problem, just bring it by”. I have to say they did an amazing job with the scan. Neat and tidy on a CD.

The second issue, and I knew this going in, was the image was backlit, a little washed out, and oddly colored. An afternoon on the net reading up on image restoration with a photo editor and, voila, major improvement. I was surprised how much I was able to clean it up. A lot of this is trial and error but the suggestions to color correct, employ the haze removal tool, fiddle with contrast and shadows all worked.

Here’s the before and after.

Finally, to the ruthless savage that crushed my soul and outbid me at the last millisecond, for the other image I wanted…..well….. respect given. It’s a cruel world out there!

4300 District Blvd.

A sunny day in Vernon, CA. 4300 District Blvd.

For me, one of the most enjoyable aspects of the hobby is re-creating a location in miniature so I feel that I can visit it any time by walking into the layout room. Getting that effect really isn’t possible with the naked eye simply due to the nature of optics and our situation of always having a helicopter view of things. We can, however, get around those limitations though through the magic of the camera lens and the amazing software that exists today.

Some of my most enjoyable memories are flying to the location I’m modeling, getting out of the car, and just walking it. Whether it be Miami, LA, or Brooklyn, the areas I’m representing are pretty small and can be walked in an hour or so. No matter how many photos you study, you just don’t get the real picture until you’ve had a chance to be there in person. Life moves so fast we need to force ourselves to stop, breath, stand in front of a structure, and just take in and appreciate it’s understated architectural beauty, and wonder what it’s seen over the decades. Who were the people that worked there and drove by it? What trains went by in the wee hours of the morning?

4300 District Blvd. is pretty representative of what you see in Vernon, CA. A simple but interesting streamline moderne design. The model was scratch built out of styrene using traditional means. The windows and door are photos of the actual structure captured on Google Streetview and printed out on glossy photo paper. The peeling paint effect was achieved by tapping the paint with duct tape before it was fully dry.

If you find this point of view interesting you might enjoy my book “Model Railroading as Art” available through Amazon.

Moving Beyond Being an “8 out of 10” Modeler

Victoria Embankment, London. G.De Nittis. Last weekend I attended a lecture at the Phillips on the work of Italian impressionist Giuseppe De Nittis (more well known in Europe than the US).  On the panel were two art historians and two museum curators, all excellent speakers.  They’d put up a slide of a piece of work and break it down in terms of composition, vanishing point, color, mood, etc.  Not only was the discussion fascinating, the applications to model railroading were pretty direct.

How deeply a person wants to be immersed in the hobby is a personal decision.  The modeling population as a whole contains the full spectrum. On one end you have the interested observers, the non-participant fans of the hobby.  In the middle you have the largest group, the fairly involved recreationalists.  Finally, at the other end of the bell curve you have, for lack of a better term, the most “serious” modelers.  That’s the group I’m going to talk to today.

The serious modeler, the more passionate one, is driven to produce the absolute best results that they can.  For them it’s not a case of beating the other guy, winning contests (which I think are nonsense but I digress), pats on the back, or earning certificates.  Their measuring stick of excellence is internal.  The more they like what they build for themselves, the more they enjoy looking at it, the deeper their level of satisfaction. A gradual but steadily increasing improvement in skills over time can add a very gratifying dimension to life.  To throw out an overused phrase, it’s not the destination but the journey.  It’s not just about acquiring skills, it’s the fun of learning them.

You can’t achieve mastery, however, if you don’t know what the necessary skills are and that’s where old habits and cultures die hard.  The conventional thinking and orientation in model railroading is that excellence is all about neatness of assembly and, to a lesser degree, prototypical accuracy.  All well and good if you’re a military or freight car modeler where you are dealing with an individual piece that is going in a display case.  For the sake of argument, let’s say that we could assign a number to absolute mastery.   If that military modeler gains the skills to perfectly assemble a piece, and weather it equally well, we could say he’s a “99”.  Hey, nobody gets a 100. 

That won’t work in model railroading.  Those skills alone will only get you to an “80”, an 8 out of 10.  Why?  Because we aren’t dealing with individual models.  We are dealing with an entire composition with very complex elements such as scenery, color management over an entire vista, structures, backdrops, and how they are composed to pull together an overall scene.  Without that awareness, you end up with what amounts to essentially a neatly assembled architectural model.  Neat and tidy, a perfect ““80” of 100. “8 out of 10”. Getting there will likely get you awards too if you pursue that route.

Why only an “8”? What’s missing?  The artistic element.  Even if a modeler does a great job with an individual component, such as a structure or freight car, they still need to pull everything together.  That’s the hard part.  It’s the composition that’s historically the problem.  Masterful color management runs a close second. While clean assembly is vitally important, the upper echelons of excellence require the artistic aspect ….and those skills are far more difficult to master.  That’s the missing piece that gets you from “80” to “99”, the subjective “something extra” that brings a model railroad over the top.

Where do you start? The information is out there but you’re not going to find it in the traditional model railroad venues.  So, where does the motivated, “serious”, modeler gain the knowledge and skills to pull all aspects of modeling into a masterful, cohesive, balanced piece of work? 

You get it from the art world.  Check the model railroading culture at the door and take advantage of the vast resources of knowledge accumulated and refined over the centuries.

If you are truly driven to produce the absolute best results, you need to begin the process of studying and understanding the fundamentals of art.  Not only will the journey bring a new and positive dimension to your life, the improved modeling results will bring you a sense of personal satisfaction you’ve never felt before.  You won’t need a certificate on the wall.  You’ll look at your work and just know it.               

What would be a “training roadmap” for all of this?  To start it’s important to understand that a big part of this is improving your creative intuition (as opposed to taking art classes which I’m not talking about).  This intuition improves gradually over time through exposure to and immersion in artistic excellence.  Numerous studies have shown that doing so essentially rewires the brain…..and……in contrast….my two cents worth….

“Social media and forums are where brain cells go to die”

-Develop a habit of spending time in great museums, gardens, and around architectural masterpieces.  I try to go once or twice a month.

-Attend a lecture on “Visual Literacy”.  “In person” lectures are a lot more beneficial than online courses.

-Attend a course or lecture on “Composition”.

-Go to lectures, tours, and panel discussions at the museums.  They will spend a lot of time breaking down a painting in terms of composition, color, vanishing point, everything.  In my experience the speakers that do these are far better than you would encounter in everyday life. 

It’s a combination of immersion and exposure to excellence, that essentially does this “rewiring” of your brain and improves that creative intuition.

Nothing is immediate, but if you add artistic study and exposure to your lifestyle, things will start to sink in and you will see improvements in your modeling that you never envisioned. For more on the subject, check out my recent book, Model Railroading As Art.

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Need Help Designing Your Layout? Check out my model railroad design services HERE.

Sight Lines

My new, and long awaited, view block to control sight lines when walking into the layout room.

The layout room environment matters and it matters a lot. A big part of that relates to sight lines. By that I mean what you see as you stand in the room and take the layout in. Of particular importance is what you see when you enter the room. The prototype Downtown Spur is an arrow straight, three and half mile long, linear run. My layout room is square. In order for me to make things fit, I had to spiral that linear run around the room. When you stand in front of a specific scene everything looks fine.

View of the layout when entering the room prior to mounting the view block valence.

However, when you walk in the room and view the layout as a whole, the view is “not fine”. Everything sprawls out in front of you in one expanse and the linear nature of line is not apparent in the least. The look really bugged me. For quite some time I’ve thought about using at least one valence as a view block to control the sight lines and even wrote about it in an earlier blog. Although the idea was simple, how to execute it was not. What material would I use and how would I attach it to the ceiling? The answer came in the form of Gatorboard. I had a slab of that on hand and just cut a strip out to serve as the valence panel.

Gatorboard solved the material question but how to mount it to the wall. I finally settled on a combination of 2 inch angle bars (Home Depot) screwed to specialty suspended ceiling clips made by Progressive Lighting. Once I had everything figured out, installation was pretty easy. The “figuring things out” aspect was the hard part. The valence appears to be the solution to the sight line problem. I’m going to let it sit in place awhile before making any final decisions. To clarify, the valence is not a light box, it is simply a suspended, half inch thick panel.

Directing the Eye

No matter how much of a prototype modeler we’d like to say we are, the reality of our limited space is such that everything we do is ultimately somewhere on the “proto-freelance” spectrum. Since we can’t copy actual scenes exactly, decisions need to be made with respect to composition.

One of the key principles of art is that of directing the eye. If you look at the photo above, there are two basic scenes, Miami Jai-Alai (MJA) on the right, Miami Taxi Meter (MTM) on the left. I want the viewer’s eye to be drawn to Miami Jai-Alai which means I need to be be careful what I put across the street. A key issue factoring into the equation is the unsaturated, dusty sand color of MJA. MJA is larger which gives it some weight in directing the eye. However, if I had not been careful with what I put in the other scene, there would have been the risk of running into visual chaos with the eye dancing between the two. The main trap to avoid was that of color. Many of the businesses nearby are painted in brilliant, highly saturated tones. If I’d gone that route, selected one of the brightly painted ones, even though the structure would be smaller, the color would dominate and pull the eye towards it. By selecting MTM as the subject, it’s equally dull, low saturated tan, didn’t compete with the centerpiece (MJA).