Model Railroad Blog

Defining the phrase “Detailing”

In this photo of a scene taken on the project currently in my shop, the emphasis was on put on the numerous scenery layers and matching the complex color patterns of the structure. At this point I haven’t added one traditional “detail” part such as a switch stand. When those parts are added, they will contribute far less visually than the efforts put into the scenery layer and structure coloring.

For those with short attention spans (like me): You will achieve the most visual impact if you associate the term “detail” with the number of color and texture layers of your scenery and structures and not with the number parts you dump into your scenes or the prototypical accuracy and number of bristling details you apply to your subject.

For many of us, our goal is to build better models.  The better we do, the more satisfying the process is and the more we enjoy looking at the results of our efforts.  We can’t move the bar however, if we don’t understand where to put our emphasis.  To get the best results we need to understand which elements in the hierarchy carry the most weight in terms of visual impact.  The catch all phrase “detailing” is one such example. If we don’t understand what we’re dealing with, we can spend a lot of time on things that are not at all noticeable or worse, do some damage visually.

In our model railroading universe the term “detailed” is linked one to one with “better”.  In other words, the more detailed a model is, the higher the quality.  As with anything, achieving success begins with how you define it.  Detailing what?  

Typically the subject of detailing is thought of in two ways.  The first is sprinkling tons of “stuff” on the layout.  The conventional wisdom being that the more trash cans, crates, barrels, tools,  pallets, drums, etc. we pour into a scene the more “detailed” it is and, by direct association, the “better” it is.  With this approach it is pretty easy to start sliding down the slope into caricature.

The other is defining it as having a placeholder for what exists on the prototype.  The more delicate parts of the prototype we match, the better.  This is fine “if” and it’s a big if, the model parts are finely detailed and not  cast metal, flash laden, soap carvings.  It’s a noble end and I admire the folks that are masters at it.  While enjoyable and satisfying in its own right, such details often don’t carry much visual impact as far as the layout as a whole goes.

At some point it warrants examining our end game.  Is it representing everything tit for tat?  Or, is it visual impression?  If it’s representation, representing what?

If it’s overall visual impact you’re after, then two other elements need to be brought into the discussion and put in front of the line ahead of “parts sprinkling” and “parts matching”.  First is the number of “detailed” layers we add to scenery.  The other is the number and accuracy of the color/weathering layers on our structures. 

Mother Nature hasn’t made it easy on us.  Representing nature effectively is probably the most difficult of all of the modeling tasks.  Typically we stop with way too few color and texture layers. We make one pass of static grass and call things “done”.  The end result is more like a carefully manicured golf course than the complex chaos of what you see by the typical rail right of way.  Thinks in terms of five, six, or seven, scenery layers and colors starting from soil, then grass, then underbrush, and finally the trees.

Effective and detailed color detailing will catch the eye much more than the accuracy or existence of a given part.   If you’re drawn to a masterfully done model locomotive you’re being pulled in by the modelers skill with subtitling adding color layers (weathering) not whether there is a whip antennae or not or whether the antennae is the right size or prototypically correct.  The same goes for structures.  An exceptional structure model is pulling you in more by its color layering and weathering than whether a window has eight versus ten panes.

These aspects of “detailing” are far more difficult to learn and carry off effectively.  If a) you understand their importance and b) put the work in, the end results will pay enormous dividends.

Walking The Tracks

This scene was shot on the layout from 14th Avenue facing eastward down the tracks with my iPhone 6sPlus. Man that thing has a damn good camera on it when it comes to model photography. I also tried getting this shot using the iPhone13. As I moved the focal points, it kept jumping among the three lenses. I’m not sure if there’s a way to lock on just one lens or not? The figure was painted gray and placed fairly far back in the image. One challenge with a theme such as The Downtown Spur as there is very little variety in motive power. If you put a locomotive in the image, by and large, it’s going to be the same (or essentially the same) one in….every…..shot. That gets old pretty quickly. The solution is to simply take photos without locomotives in every one.

Jesus Saves South Appliances!

Sadly, not even Jesus, or Allah, or any other deity for that matter could save South Appliances, once located at 1395 22nd Street, NW in Miami. It went belly up sometime in ’07. Located adjacent to the Downtown Spur at the corner of 14th Avenue and 22nd Street two things made it unique. First was its height. Rising over thirty above the street it was the tallest structure in the area. Of more interest was its east facade.

At some point a rather motivated tagger emblazoned the entire east face of the upper story of the building with massive “Jesus Saves” graffiti. The lettering must have been twelve feet tall at least. Whenever you were rail fanning near the runaround, and looked westward, there it was, the huge sign on the horizon imploring all to reconsider their life path.

The model itself was a fairly straightforward project using the photo wallpaper technique. The only challenging aspect was the fact that I didn’t have that many decent pictures, and none existed on Streetview, so it took many hours of photoshop to create the veneers.

With no full image to work from, recreating the graffiti was a very time consuming exercise using the few letters I did have.

Standoff details include parts from Tichy, Rix, and scratch built piping. Almost a decade since placing the mockups of this structure on the layout, it was gratifying to consign them to the trash can and have the final model in place.

Alvarez Pallets

The eastern end of The Downtown Spur runs through a district of small produce related businesses. Especially in the mid-morning hours, you’ll see a hornet’s nest of forklifts buzzing in and out of them. Where you see produce companies you’ll find small business dealing in new and used pallets supplying them. Miguel Alvarez and Co. on 22nd Street was one of them.

My interest in railroading lies more in the rhythm and cadence of everyday existence than the overly dramatic. Part of that is the color and texture of weatherworn business that you walk by every day. When I composed this shot I wanted to see what I could do with lighting, especially as it hit the chain link fence in front. The photo was taken with my newly acquired, refurbished iPhone 6sPlus. I set a piece of quarter inch MDF on the layout surface to get the height that I wanted, took four shots, and combined them with Helicon Focus. Lighting was a single photo flood about four feet to my right and pointed downward at a forty-five degree angle. Finally, the sky was cropped in with Corel Knockout.

Capturing What We See

To create model photos that resemble what the human eye sees in the real world, we need a camera with a focal length and lens position that matches that of our eyes. The above photo was taken on my Downtown Spur layout using a recently purchased used iPhone 6sPlus.

We’ve all had the experience of being out and about, having something in our field of view catch our eye, and then photographing it. More times than not there is a bit of disappointment when the photograph somehow doesn’t capture what we saw. The optics of our camera aren’t the same as those of our eye.

It’s tricky enough with day to day photography but becomes a much larger challenge with model imagery. We build models to capture something in the real world we love looking at. How can we “look” at our work when we are such much bigger than our subject? The answer is in the camera lens but making it cave to our wishes can be challenging.

To rise to that challenge we need to address two issues. First is trying to get a focal length as close as possible to that of the human eye. A quick Google search turns up the following definition: “Lens focal length tells us the angle of view—how much of the scene will be captured—and the magnification—how large individual elements will be”. Keeping the Google screen open, we also learn that the focal length of the human eye is roughly 25mm. Good to know. Compare that to the typical SLR camera lens which is 50mm, pretty far from the 25mm of the eye. The effective focal length of an iPhone 6sPlus though is 29mm. Much closer. Problem one solved.

The second challenge is lens height. A typical adult railfan will be between five and six feet tall. When we stand rail side we’re always looking up at our subject…same when we watch YouTube rail fan videos. Unfortunately, SLR cameras are fairly large and, even when placed flat on a layout surface, the lens height is well over twelve scale feet above the rails. That’s way too high to be realistic. Even low angle shots taken with an SLR will look off, they’ll look much different than what we are used to seeing. Sometimes we’ll get lucky and have a case where we can drop an SLR below the fascia level but that can’t be counted on. Smart phones to the rescue again, at least the older ones. With the lens conveniently positioned at the lip of the device, we can get the camera low enough to get the angles we want, a scale four or five feet.

There is a caveat with the smartphones however, and that’s the move to the triple lens configuration with the newer models…great for general use, not so great for layout photography. I recently picked up an iPhone 13 with the newer three lens configuration. First, because there are now three lenses, we are back to being having a camera height that is too high again. Second, the algorithm gets confused when taking low angle shots and often jumps between lenses. The solution? It’s easy. Simply buy an older, refurbished iPhone with the single lens configuration. I picked one up for about a hundred bucks on ebay from an outfit called Upper Class Smartphones. It arrived in a week in perfect condition. (As a side note, having a second device is handy on a lot of levels which is something I never thought about.)

The Bottom Line:

We want model images that match what the human eye takes in while railfanning or watching videos. To do that we need:

1) A camera that has a focal length fairly close to that of the human eye and

2) A camera that allows the lens to be positioned very low and close to the layout surface, basically a scale five feet or so.

A refurbished, older iPhone, with a single lens configuration accomplishes both.