Wright writes.....

[Porcy Mane]

33 minutes ago, Tony Wright said:

The 'Queen of Scots' was reduced to eight cars north of Leeds, and the 'Yorkshire Pullman' 'scattered' at Doncaster, Wakefield and Leeds.

 

Original post changed to correct misquote & poor maths.

[t-b-g]

If you model some parts of the route at the right period, you could run a 3 coach portion of the Yorkshire Pullman train hauled by a former LD&ECR 0-6-4T Class M1.

 

It was trialled on such workings in 1927 but was quickly moved elsewhere after coming into contact with the platform at Batley Carr on more than one occasion.

 

  

[Chuffer Davies]

49 minutes ago, t-b-g said:

If you model some parts of the route at the right period, you could run a 3 coach portion of the Yorkshire Pullman train hauled by a former LD&ECR 0-6-4T Class M1.

 

It was trialled on such workings in 1927 but was quickly moved elsewhere after coming into contact with the platform at Batley Carr on more than one occasion.

 

  

How about a 2 car (both 12 wheelers) Pullman?  Two of the Yorkshire Pullman cars originated and terminated at Halifax and traversed the Queensbury lines through Clayton hauled by an N1 or N2 locomotive carrying the express head code.  I hope Headstock wont mind if I report that he is currently assisting the Clayton team in bashing a couple of Hornby Pullman cars into shape for our Clayton layout.  A loco plus two on a 30 foot  layout should well and truely look lost in the scenery.

 

Frank  

[t-b-g]

20 minutes ago, Chuffer Davies said:

How about a 2 car (both 12 wheelers) Pullman?  Two of the Yorkshire Pullman cars originated and terminated at Halifax and traversed the Queensbury lines through Clayton hauled by an N1 or N2 locomotive carrying the express head code.  I hope Headstock wont mind if I report that he is currently assisting the Clayton team in bashing a couple of Hornby Pullman cars into shape for our Clayton layout.  A loco plus two on a 30 foot  layout should well and truely look lost in the scenery.

 

Frank  

 

It is these sorts of workings that I find interesting.

 

I think the M1 was drafted in as the "native" tanks were struggling to keep time. I think the idea of working expresses was a bit alien to the locos and crews.

 

As far as I know, the M1 worked from Wakefield to Bradford, so probably didn't get to Clayton. It is a shame as I built one in EM many years ago and it could have put in an appearance! 

 

The idea of tank locos rattling along at a good lick with express lamps and a couple of Pullmans on is very appealing.    

[St Enodoc]

6 hours ago, Barry O said:

Although I avoid spending too much time worrying about the length of trains on Grantham the Silver Jubilee and Coronation sets have no "missing" coaches. I am certain @jwealleans can explain more about train lengths.

 

Not everyone can have an exact scale length model of a particular place..odd bits of track/sidings become reduced/omitted to fit the available space.

 

Herculaneum Dock has less goods sidings but..the mainline rakes are taken from WTT and photographs were available.. but these trains were shorter than those from Liverpool Lime Street for example.

 

Chapel en le Frith (Central) has full length coaching rakes..again no hugely long coaching rakes on the Peak.

 

My loft layout makes use of a space too small for a Chapel en le Frith, Herculaneum Dock or Grantham. It will make use of sets which fit the platforms and storage sidings.. typically about the same length as a 6 car Trans Pennine Unit.

 

Like Herculaneum Dock  (which has trains from Central passing through it) and Chapel..trains going towards Manchester in the first instance and Derby in the second instance had trains which grew going away from Manchester and Derby (for St Pancras) mean the real railway already undertook some train length reduction...

 

The rule of rwo thirds seems to be a problem to some..but if you haven't got the space and want to model a prototype location how would others do it??

 

Baz

My solution, largely driven by the available space in the storage loops, is to make all passenger/parcels trains 60% as long as their prototypes, rounded up. The longest train in Cornwall in the 1950s was 15 coaches (summer Saturdays, double-headed), which runs as nine on my layout. You can nearly always lose an SK or two without spoiling the overall look. Six coaches, representing ten, is more typical as, for example, on the Friday Cornish Riviera. My freight trains are limited to about six feet or 20 wagons so that they take up a similar length of storage loop.

[Chamby]

Many times, whilst stood on a platform, I have counted the number of wagons in a passing train - it happens automatically without thinking.  With a train of any length, the locomotive has long disappeared out of sight before the last wagon passes me by.  Rarely does a passing train form only a third of my field of view.

 

The real world sites bridges and other structures where they are functional, for example a bridge might be built where a road was already in the landscape before the railway was even conceived.  They tend to be in the ‘wrong place’ visually, not carefully placed where they ‘look right’.  They frequently interrupt what would otherwise be a good line of sight along the line, restricting the depth of view.  The real world only rarely offers us a perfect viewpoint.

 

The ‘rule of thirds’ is something that purports to make things look more pleasing to the eye, but lineside locations in the real world where a rule of thirds can be observed are very much in a minority.  There are many model railways where similarly, the rule of thirds is not observed, but they can still be cracking good models, and very pleasing to observe.

 

I sometimes run a 40 wagon train on my layout measuring a mere 16x11 feet, because I can.  Yes it will fill my field of view, but It can still prompt a strong recollection of somewhere I observed the real thing, and still gives me great pleasure.

[Pacific231G]

14 hours ago, Dunsignalling said:

I've always subscribed to a notional "Rule of Two Thirds" by which I mean that as soon as the train length gets anywhere close to occupying that portion of the visible scene, it starts to look downright silly.

 

At that point, knocking out a coach (or preferably two) will actually look more "realistic", even if it's not prototypically correct.  

 

John

I'm looking to go the other way. I want to create a main line terminus ambience with all the interesting moves that implies (or did when trains had sleepers and restaurants being added or subracted and broke into sections) Unfortunately I don't have the space to accomodate the trains I'm interested in at anything like full length. Fortunately, in an urban enviroment, you tend not to see the whole train at once but maybe only three or at most four carriages at a time.

I've been experimenting with view blockers and if, as a train passes before , you never see anything associated wih the rear end before the front end has passed, suspension of disbelief seems to allow you to feel that you've seen a much longer train than you really have.

 

My favourite example of this is in the Albert Finney  version of Murder on the Orient Express. The departure from Istanbul is a single continuous shot.  First you see the locomotive from the front with the hint of the train behind it. It starts off and the locomotive comes towards you. As it passes, the camera starts to pan left as the coaches slide past. As it pans further you eventually see the end of the train with its red tail light disappearing into the distance. Your mind tells you that you've seen a long international express but what you've really seen is a medium sized mixed traffic 4-6-0, a baggage car,  a sleeping car, a restaurant car and a Pullman. four vehicles in all and only three of them coaches*. Later on in the film you do see more of the train at once and it starts to become apparent just how short it really is.

 

We cannot of course control what we or the viewer sees as closely as a film orTV director can but we can exert some control.   It's one place where what we do becomes an art.

 

I've also noticed that, the larger the scale the more compression you can get away with because of how much (or how little) the eye can take in at a single glance from a normal viewing distance. A four coach express in O scale looks a lot more convincing than it would in OO or H0 and in N gauge you'd probably need at least six coaches  so probably do need to get closer to full length trains.

 

*In fact, in winter, the real Orient Express leaving Sirkeci Garro in Istanbul could be as short as three vehicles with just a baggage car and the Paris and the Calais sleepers. The dining car, with another couple of sleepers, didn't come on till Greece.  

 

Edited September 24, 2020 by Pacific231G

[Daniel W]

I'm calling this one done for now. I have the sandboxes to epoxy on at a later date and the buffer heads will be added after painting. All in all, for a first loco kit i'm pretty pleased with it. Adding the coupling rods was fairly easy, but the jackshaft was somewhat trickier. One of the cranks is still a little bit out of angle, but its not noticable. Frankly i'm just pleased that i managed ot build a loco kit that works and looks decent at a glance, even if there is some wonkyness.  Next kit is an Agneria kit for a Hudswell Clarke canal class.

 

Edit: The front headlight is an RT models one, which i think matches the industrial ones better than the etched ones in the kit,

Edited September 25, 2020 by Daniel W

[TrainMan2001]

All this talk about the rule of thirds makes me glad my prototype normally runs shorter trains!

 

[Michael Edge]

4 hours ago, Daniel W said:

I'm calling this one done for now. I have the sandboxes to epoxy on at a later date and the buffer heads will be added after painting. All in all, for a first loco kit i'm pretty pleased with it. Adding the coupling rods was fairly easy, but the jackshaft was somewhat trickier. One of the cranks is still a little bit out of angle, but its not noticable. Frankly i'm just pleased that i managed ot build a loco kit that works and looks decent at a glance, even if there is some wonkyness.  Next kit is an Agneria kit for a Hudswell Clarke canal class.

 

Edit: The front headlight is an RT models one, which i think matches the industrial ones better than the etched ones in the kit,

That looks very good for a first kit build, the cast headlamp is easier than the etched option but I mostly had the BR locos in mind when I designed the kit.

[Tony Wright]

5 hours ago, Daniel W said:

I'm calling this one done for now. I have the sandboxes to epoxy on at a later date and the buffer heads will be added after painting. All in all, for a first loco kit i'm pretty pleased with it. Adding the coupling rods was fairly easy, but the jackshaft was somewhat trickier. One of the cranks is still a little bit out of angle, but its not noticable. Frankly i'm just pleased that i managed ot build a loco kit that works and looks decent at a glance, even if there is some wonkyness.  Next kit is an Agneria kit for a Hudswell Clarke canal class.

 

Edit: The front headlight is an RT models one, which i think matches the industrial ones better than the etched ones in the kit,

For a first loco-build, Daniel....................

 

Brilliant!

 

Well done.

 

Regards,

 

Tony. 

[Tony Wright]

A question? Or questions...................

 

Has there ever been a time when more books on railways were published than now? 

 

Has there ever been a time when the writing of captions for the photographs has been so ill-informed, ignorant (in the true sense of the word), incorrect and inaccurate than now? 

 

Granted, everything I've ever written has a dreaded blooper in it somewhere, but I can usually tell my up from my down, my forward from reverse, and I can usually have a good stab at locations, workings, trains and dates by reference to ancient ROs and TIs. I don't need to know when, say, a particular A3 was built and withdrawn (I have the RCTS and Yeadon for that), but I'd like to know something about the train it's pulling - 'an express' is particularly axiomatic! And, when did any train 'speed' through Selby? Groan...................

 

I don't think I'd mind, but when reviewing a recent set of books, I commented on the fact that the (brilliant) images all showed the loco sheds mentioned in the text, but they were all jumbled up, the publisher was extremely irate! I doubt if I'll ever see any of his books again..................

[Coach bogie]

4 minutes ago, Tony Wright said:

A question? Or questions...................

 

Has there ever been a time when more books on railways were published than now? 

 

Has there ever been a time when the writing of captions for the photographs has been so ill-informed, ignorant (in the true sense of the word), incorrect and inaccurate than now? 

 

Granted, everything I've ever written has a dreaded blooper in it somewhere, but I can usually tell my up from my down, my forward from reverse, and I can usually have a good stab at locations, workings, trains and dates by reference to ancient ROs and TIs. I don't need to know when, say, a particular A3 was built and withdrawn (I have the RCTS and Yeadon for that), but I'd like to know something about the train it's pulling - 'an express' is particularly axiomatic! And, when did any train 'speed' through Selby? Groan...................

 

I don't think I'd mind, but when reviewing a recent set of books, I commented on the fact that the (brilliant) images all showed the loco sheds mentioned in the text, but they were all jumbled up, the publisher was extremely irate! I doubt if I'll ever see any of his books again..................

I buy the picture books for references to locomotives and trains. I get a bit fed up when there are such obvious errors. I was always taught to get someone else, preferably someone who knows nothing of the topic to read text/file as they usually spot something you have become too familiar with and 'think' you have seen something. This is not happening with some of the recent publications I have purchased.

 

I have a book, on the work bench now. Two photographs, clearly taken on the same day (same vehicle parked in the background), yet one one it is captioned Penzance and the other Teignmouth, on a different date. My favourite is the same image printed twice, with different crops, yet it is two different locomotives at two different locations on two different dates. 

I look to these images to make up train formations at specific locations, not helped when captions cannot be relied upon.

 

Mike Wiltshire

[2750Papyrus]

I recently bought a new book from a well known author and publisher which has many excellent anecdotes and  photographs but which cannot have been proof-read as it is so error strewn.  The funniest of these is a caption which identifies 2807 Blickling  as  Blinking! 

[Iain.d]

An update on my builds in progress, I’m doing a former LMS D1999 TO and a D1903 CO which are coming close to completion.

 

I’m always surprised at the ‘number of bits’ needed to complete them – I’m in two minds whether modifying 1980s RTR is an easier/better option than just going for a straight kit build. There’s not much in it, in terms of price – the cost of the donor being the main factor. Most of what I have converted is from old stuff I owned as a child (so kind of free) or I buy damaged stock from eBay; I got five Stanier’s earlier last year for the princely sum of 10.02GBP, so I couldn’t argue. Saying that the next two I’ve started are Comet kits: a WR A44 auto trailer and a LMR Restaurant Car. The D1903 will be its accompanying open seating.

 

Here they are in bits, I didn't have enough brass tables and seat ends so I cut bits of white plastic card up, missing though are the curtains for the D1903 and few of the toilet / luggage window rails:

 

 

 

And with the sides attached and roof detail added:

 

 

For the first class tables in the D1903 I bent up a bit of .45m wire to represent the lamp base and cut some translucent speaker cable sheathing for the shades.

 

 

The weather is beautiful at the moment, pushing 30, so all being well, I’ll manage to get some paint on them over the weekend.

 

Kind regards,

 

Iain

[Northmoor]

39 minutes ago, Tony Wright said:

A question? Or questions...................

 

Has there ever been a time when more books on railways were published than now? 

 

Has there ever been a time when the writing of captions for the photographs has been so ill-informed, ignorant (in the true sense of the word), incorrect and inaccurate than now? 

 

Granted, everything I've ever written has a dreaded blooper in it somewhere, but I can usually tell my up from my down, my forward from reverse, and I can usually have a good stab at locations, workings, trains and dates by reference to ancient ROs and TIs. I don't need to know when, say, a particular A3 was built and withdrawn (I have the RCTS and Yeadon for that), but I'd like to know something about the train it's pulling - 'an express' is particularly axiomatic! And, when did any train 'speed' through Selby? Groan...................

 

I don't think I'd mind, but when reviewing a recent set of books, I commented on the fact that the (brilliant) images all showed the loco sheds mentioned in the text, but they were all jumbled up, the publisher was extremely irate! I doubt if I'll ever see any of his books again..................

Quite apart from being tight-fisted and now having a severe shortage of shelf space, this is one of the reasons I only rarely buy new railway books.

 

As with so many things, the increase in volume of publications hasn't led to an increase in quality.  It is cheaper than ever to publish books of photographs but the quality is (to my eyes) often indifferent, sometimes technically but more often in terms of composition,  There are entire series of books of 3/4 views of locomotives entering or leaving stations or  just standing at platform ends.  These usually have the sorts of captions you describe, which say nothing of the train formation, when the service was withdrawn etc., but more importantly, show and say nothing about the railway environment.  These books are created from the photo albums of spotters (which I have nothing against, I was/am one) and it shows they took little interest in anything other than the locomotives.  I prefer books where there is actually something to read and the pictures are there to support the text.

 

While his images are often sparsely captioned (because he recorded few notes himself), Henry Priestley was one of the great recorders of the railway scene, often taking photos from platform ends without a train in the image, but you could see where every piece of infrastructure went.  The alternative, which informs just as much about the environment beyond the railway fence, is the photography of Colin Gifford.  His photos are often un-captioned, or only give a location, because the images are to be judged as photographs and not as records of events.  Ironically these can tell you a lot more about how the world looked than a generic "Steam in the 60s" book, where the photographer only ever strayed from the platform ends to walk along the sea wall at Dawlish.

 

Some caption bloopers can be quite amusing; I remember one referring to a Northbound train (at a location I knew), with the high sun clearly shining onto the smokebox door......

 

Rob

[Iain.d]

I agree there are lots of great books being published, on my trips back to the UK I usually stock up with a trip to the Titfield Bookshop; in February I got a few good books, Peter Tatlow’s Breakdown Cranes, Don Roland’s Twilight of the Goods and a couple of the District Controllers Views – to help improve my understanding of how the railways worked – to name but a few. Good job my hand baggage wasn’t weighed…

 

I get the odd book from the Book Depository (when the postage to Australia is free) but their stock is hit and miss.

 

What I do find disappointing is that so many of the books I would love to get are either no longer in print or attract prices well beyond my ability to justify on the second-hand market (for example Gordon Weddell’s LSWR carriage books and Keith Parkin’s Mk1 carriage book). Much of my current purchasing interest is to help with modelling.

 

I haven’t had too many books where the captions are poor, but I have bought a couple recently where the photos have been over manipulated in some photo editing software, such that the images are really poor – I’d rather see it how it was taken in the 50s or 60s and allow for the camera/film of the day. On two, published and purchased in 2019, the binding is so poor, after the first read the pages are beginning to come loose in one and have fallen out in the other.

 

Kind regards,

 

Iain

[t-b-g]

3 minutes ago, Northmoor said:

Quite apart from being tight-fisted and now having a severe shortage of shelf space, this is one of the reasons I only rarely buy new railway books.

 

As with so many things, the increase in volume of publications hasn't led to an increase in quality.  It is cheaper than ever to publish books of photographs but the quality is (to my eyes) often indifferent, sometimes technically but more often in terms of composition,  There are entire series of books of 3/4 views of locomotives entering or leaving stations or  just standing at platform ends.  These usually have the sorts of captions you describe, which say nothing of the train formation, when the service was withdrawn etc., but more importantly, show and say nothing about the railway environment.  These books are created from the photo albums of spotters (which I have nothing against, I was/am one) and it shows they took little interest in anything other than the locomotives.  I prefer books where there is actually something to read and the pictures are there to support the text.

 

While his images are often sparsely captioned (because he recorded few notes himself), Henry Priestley was one of the great recorders of the railway scene, often taking photos from platform ends without a train in the image, but you could see where every piece of infrastructure went.  The alternative, which informs just as much about the environment beyond the railway fence, is the photography of Colin Gifford.  His photos are often un-captioned, or only give a location, because the images are to be judged as photographs and not as records of events.  Ironically these can tell you a lot more about how the world looked than a generic "Steam in the 60s" book, where the photographer only ever strayed from the platform ends to walk along the sea wall at Dawlish.

 

Some caption bloopers can be quite amusing; I remember one referring to a Northbound train (at a location I knew), with the high sun clearly shining onto the smokebox door......

 

Rob

 

That is pretty much how I feel.

 

As the years go by, the number of people who can put accurate captions on a photo diminishes and the vast majority of photos published are from the collections of photographers who are no longer around to ask.

 

To have been taking good photos in the 1950s, you would have had to be able to afford decent gear, so probably of working age. 30 years ago, the people who took the photos wrote the captions for books produced at the time. My Dad could look at one of his photos and tell me where it was taken and what the train was with no problem.

 

Either spending many hours doing research, or paying somebody else to do the research, is possibly not going to help the book turn in a profit.

 

So writing something that looks like a well informed caption is a quick and easy answer!

 

I really don't feel the need to add another collection of 1950s and 1960s front 3/4 views to my shelves either.

 

If a collection of previously unseen GCR material was to appear, I would be at the front of the queue!

 

  

 

 

 

 

[Clearwater]

That’s a good point about the quality of equipment required to take a good picture in the 1950s.  However,there can be a naïf charm in a teenager’s photo capturing how they saw it and what they wanted to see as opposed to a semi-professional shot.  Sometimes looking at professional pictures where the lighting is good the exhaust is dramatic etc can almost be too perfect and something of the more everyday capture can help evoke the period from a different perspective.  Clearly, naif can be done to death but there’s a place for both.

 

David

[t-b-g]

Just now, Clearwater said:

That’s a good point about the quality of equipment required to take a good picture in the 1950s.  However,there can be a naïf charm in a teenager’s photo capturing how they saw it and what they wanted to see as opposed to a semi-professional shot.  Sometimes looking at professional pictures where the lighting is good the exhaust is dramatic etc can almost be too perfect and something of the more everyday capture can help evoke the period from a different perspective.  Clearly, naif can be done to death but there’s a place for both.

 

David

 

I would agree entirely. I have lots of photos my dad and my uncle took that would fit into that category.

 

It is lovely to see where they got to and what they saw.

 

Yet the photos are never quite sharp enough, composed well enough or are too grainy or poorly lit for anybody to want to publish them.

 

So they are my own personal treasure trove!

 

I did post scans of a few of the better ones on here a while ago. 

[APOLLO]

My dad was a press photographer who always stated it was the lens that took the picture. He swore by Carl Zeiss lenses, and it took a while before he bought a Japanese Mamiya twin lens 8 on 120 camera (I still have his camera collection).

 

Last Saturday I took one of the girls up to her new student flat in Lancaster and we had a walk round town. There is a small open air market opposite the Town Hall, and one was a s/hand book stall, with an interesting selection of railway books. One I bought was LNER Reflections, a collection of photographs from The Hulton Picture company (Silver Link Publishing). What a wonderful book this is, the photos are superb, mostly from the 20's & 30's. The photographer to me got everything right, with many un posed rail workers going about their business.

 

Another bargain for a fiver as was Tony's Deltic bookazine .

 

Oh, also there was also a wonderful home made local pie & pasty stall -  being a Wiganer I spent a tenner there !!

 

Brit15

 

 

[Pacific231G]

A few years after I left home my parents moved to a smaller house and my Mum, bless her, decided that the several hundred photos I'd taken while closely observing trains in the last years of steam were of no further interest and chucked them all out (I've never known why my Dad, who was a keen photographer, didn't suggest keeping the negs.) To be fair, my interest had rather waned after the end of steam so I hadn't paid my photos much attention but, more recently, I've been bitterly regretting their loss. I'm wondering now if that might have been a blessing as most of them probably were front 3/4 views of locos at the front of trains or side on shots taken in various sheds- too often on scrap lines. Since they no longer exist, there's no danger of anyone publishing them. What I didn't photograph were platform fittings, what the scrap around a loco shed looked like, how shunters behaved or how people waiting for trains disported themselves;  all things that would be invaluable now. 

 

I absolulely agree with Northmoor about the lack of images of the rest of the railway scene and it's often photos and even film not taken by enthusiasts that provide a lot of information. There was an excellent short film about the Hayling Island branch made. I think in the early 1950s,  by a local cinema owner that focussed as much on the general activity at the terminus as on the Hayling Billy itself. You saw the relaxed way the loco crew interacted with the platform staff and how they sat on one of the platform seats to drink their tea, what sort of passengers there were and what they were taking on and off the train. I've been trying to find it again without success but found several others. Even the best Hayling Billy films now on YouTube, including Railway Roundabout's, have barely a shot that doesn't include a loco.

 

I've noticed with books about French railways (my main interest)  that some of those from La Vie du Rail (not all unfortunately) have far better non-locomotive shots than most. This is possibly because they have access to an archive of photos taken  for a weekly newspaper for cheminots (railway workers) so focussing on all their activities. It though be because of the work of a couple of particular photographers like Félix Fénino.  There are plenty of photos of trains and locos of course but also photos of wagons of perishables being loaded from horse drawn carts by local farmers in the 1950s, a loco crew eating their lunch, crowds of passengers buying tickets or just walking from a station past the cars parked there (N.B. only a few were 2CVs!) 

A few railway photographers have always looked for shots like that but I wondered if there were any equivalents to la Vie du Rail's archives in Britain. 

 

 

Edited September 25, 2020 by Pacific231G

[thegreenhowards]

3 hours ago, Tony Wright said:

A question? Or questions...................

 

Has there ever been a time when more books on railways were published than now? 

 

Has there ever been a time when the writing of captions for the photographs has been so ill-informed, ignorant (in the true sense of the word), incorrect and inaccurate than now? 

 

Granted, everything I've ever written has a dreaded blooper in it somewhere, but I can usually tell my up from my down, my forward from reverse, and I can usually have a good stab at locations, workings, trains and dates by reference to ancient ROs and TIs. I don't need to know when, say, a particular A3 was built and withdrawn (I have the RCTS and Yeadon for that), but I'd like to know something about the train it's pulling - 'an express' is particularly axiomatic! And, when did any train 'speed' through Selby? Groan...................

 

I don't think I'd mind, but when reviewing a recent set of books, I commented on the fact that the (brilliant) images all showed the loco sheds mentioned in the text, but they were all jumbled up, the publisher was extremely irate! I doubt if I'll ever see any of his books again..................

I agree wholeheartedly. I’ve just bought and read Tuffrey’s A3 book. Brilliant photos, for which I bought it, but the captions had me screaming by the end - I don’t want to know the complete history of the loco, just something about what the picture shows me. The final straw was a picture of Woolwinder which stated that she never received trough deflectors without even mentioning the (admittedly useless) wing deflectors shown in the picture.

[chrisf]

1 hour ago, thegreenhowards said:

 I don’t want to know the complete history of the loco, just something about what the picture shows me. 

 

Hear hear!  As some know, I have captioned photos for Railway Bylines.  In many cases I knew absolutely nothing about the subject so I described what I saw and then dived for my books to amplify what I had written.  What the new editor will think of that approach I have no idea!

 

Chris 

[Headstock]

16 hours ago, Chuffer Davies said:

How about a 2 car (both 12 wheelers) Pullman?  Two of the Yorkshire Pullman cars originated and terminated at Halifax and traversed the Queensbury lines through Clayton hauled by an N1 or N2 locomotive carrying the express head code.  I hope Headstock wont mind if I report that he is currently assisting the Clayton team in bashing a couple of Hornby Pullman cars into shape for our Clayton layout.  A loco plus two on a 30 foot  layout should well and truely look lost in the scenery.

 

Frank  

 

No worries Frank,

 

I've worked out how to stretch them to EM, so that each takes up a third of the layout. They will have a concertinaed centre section, for cornering and dealing with the spiral of doom.

Edited September 25, 2020 by Headstock