Here is an attempted wide angle focus stacked image to get good depth of focus close up. Unfortunately the wide angle does not focus so well at this range around the edges. My eyes are not what they were either so my judge of focus may be impaired, however I think it is all in better focus than any of the images that went in to it.
It is similar to the last photo I posted but is actually completely new.
Following up on Long Grass, here are some shots of the messy business of laying the grass. Looking back at my inspiration again:
I see a greener layer under the straw coloured grass.
With anything that is not stuck down removed, I marked out the boundaries of the grass lightly with a pencil, making clear the areas that should remain as path. I then started by laying a short green layer first painting the area to be grassed with PVA and then using the Flockit t
In my last post I said I was aiming for long grass in the foreground. These were my inspiration shots from a walk in late summer:
Armed with a mid-green for the base at 1mm and a straw colour at 6mm, here is how I got on. First a close up attempting to show the detail:
A wider shot:
One thing I learned is that it is not easy to get a photo that reflects the actual colour of the grass. It looks a bit more vivid in the photos
A new picture for no better reason that it is a Friday. Not a train in sight!
Below is a photo I took of some long grass during a cross country walk in the summer . It is my inspiration for what might go in the foreground in the above image.
My inspiration for model railway trees dates back to the 1970s. We always believed that, no matter how good the track, stock, buildings and scenery were, model railways were always let down by the trees. There did not appear to be a good way to build a realistic tree. Then I saw Pendlebury by Bert Topping in a couple of magazines of the day. There is a picture of one of his trees here on rmweb. Page down through the post. As I remember it, his methods involved blitzing (using a blender) dyed, fr
The line exits stage right through the back-scene. I have decided to use a low relief bridge to disguise this exit. The exit is just a hole in the back-scene board and also cut in to the back-scene sheet:
The idea of the low relief bridge is that it will just slot in to the hole to make it look more bridge like. Since I want it to recede in the gap on the underside, it also has to be removable to allow separation of the layout from the fiddle yard.
Here are a
The size of the layout means that scenery is at a minimum. I do however want some different levels in the ground, raised behind the station building with a slope down to the yard, raised behind the yard and raised more to the right where the trains disappears back stage.
I have used two approaches. The raised areas behind the yard are so small that they do not warrant traditional methods like mod-roc. Instead I have built them up using DAS modelling clay, glued down with PVA.
To support the back-scene, control the viewing angles and support the lighting a presentation box was required. This is constructed out of the same plywood used for the baseboards plus a few odd bits of wood found lying around the garage. It is held together by half round moudling and glued with water proof wood working adhesive. It fits snugly round the outside of the based board and is bolted to it using large bolts with glued captive nuts. This works because the design of the Billy Bookcase m
