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14 minutes ago, St Enodoc said:

As a test track, make sure you replicate the smallest radius curves that you want your trains to traverse (a reverse curve would be good too although less attractive).

 

I had not considered a reverse curve, but, yes, the plan is to use the same 3' minimum radius that CA employs; important to know that I can get 6-wheelers round it using any given method of mounting the wheels.

 

 

14 minutes ago, St Enodoc said:

Forgive me, Jonathan, but your picture reminded me that somewhere I've seen a purpose-built photo plank where the track was on an embankment, so that when low-level shots were taken they were nicely framed at the front.

 

 

This is precisely why the longer, thinner, section of the L dips down to an embankment.  I think having approx 3" of drop below the track bed will help when composing shots. 

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2 minutes ago, Edwardian said:

 

I had not considered a reverse curve, but, yes, the plan is to use the same 3' minimum radius that CA employs; important to know that I can get 6-wheelers round it using any given method of mounting the wheels.

To give yourself a bit of wriggle room, it might be worth making the test track radius a couple of inches less than that.

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16 hours ago, St Enodoc said:

My own sketches were reproduced the same way round as I drew them.

 

14 hours ago, wagonman said:

Which means the technician didn't balls it up! Mostly they didn't.

 

5 hours ago, corneliuslundie said:

Yes, when I started work we were using zincos for line diagrams and etched copper plates for photos. Both were produced as suggested above via an intermediate high resolution photo of the original produced in the studio of the provider of the plates. This was specialist work by specialist companies. Incidentally, the same process as used for line diagrams was used by Trevor Charlton for his etched zinc carriage kits - several of which I still have "under construction". I still have a few odd photo plates squirrelled away in case i want some copper sheet.

And yes, originals were returned - in fact if they come to me in physical form for the HMRS or WRRC work I do they are still returned these days, though of course I will have scans of the originals.

Photos were not cheap to print. When I was first working on Light and Lighting magazine we had to get sponsorship for any colour photos and even later there was a limit of six colour images per issue - colour of course involved four pieces of copper. Even much more recently, one was still reliant on the printer's darkroom for turning images into negatives for printing.

I don't remember ever getting any provided back to front though.

Happy days!

Jonathan

Gentlemen thank you for your informative replies.  I must admit the balls up theory had crossed my mind and it could certainly be an explanation.  As an aside there is b & w photo in the collection where the photographer must have been balancing in a rowing boat in Craig Harbour looking towards Craig Hill before the castle appeared and which has been printed in mirror image by the dark room technician.  A most interesting photo but can anyone give a possible explanation regarding the following crops of 'Open Night at the Club' published in the Sept 1952 RM.    The first photo is a crop of the top left corner of the cartoon as published whilst the lower photo is a crop of the top right hand corner of the original in the collection.   The scene as published is mirror image to that as drawn however look at the speech balloons, the speech is not back to front.   Am I missing something?  How can you turn the characters and scene around but not the speech.   The only possible explanation I could come up with was that PDH re-drew the sketch as published however if he did then that copy has not survived.  

Malcolm

 

http://48624255406_867a16332e.jpgRM 1952 09 Sep001 - Open Night at the Club crop2 by Malcolm MacLeod, on Flickr

 

http://48624250316_e1b7f8c11b.jpg1.14.4 Open Night at the Club - RM Sept 1952crop1 by Malcolm MacLeod, on Flickr

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It has been redrawn or edited to an extent. See the books on the shelf and the lady's hat and boots, also the drill. The gent just off picture on the right in the top version and the left in the bottom version is also a different shape. And the smoke from the pipe is a different shape.

Wonders can be done in the darkroom. Don't think the advent of Photoshop brought anything new to the studio. It could all have been done in the darkroom by slicing bits of negative and sticking the bits back together. Why is another question.

Jonathan

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btw, Miss Agutter is on the TV tonight, now in fact, in "The Riddle of the Sands".*

 

Its on Freeview 81, Brains kicked in, it's Talking Pictures. My mind has dropped the name of the channel!

(They'll probably show it again sometime during the next few weeks)

 

 

I'm just back from a BH weekend break, and catching up on the ongoing discussions...

 

* Earlier on this evening I also watched that splendid 1979 film "The 39 Steps", starring Robert Powell.  Although firmly set in a pre-grouping milieu, his train from St Pancras to Scotland was hauled by an Ivatt Class 2 Mogul, hauling a rake of BR maroon Mk1s, with boards reading "Midland" on the side over the BR carriage crest and clearly marked with W prefix BR numbers.

 

He escaped from the police on the Victoria Bridge over the River Severn...

 

I half expected Jasper Carrot to pop up!  :jester:

 

Edited by Hroth
Forgot to mention who perpetrated the part of Richard Hannay!
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21 hours ago, corneliuslundie said:

It has been redrawn or edited to an extent. See the books on the shelf and the lady's hat and boots, also the drill. The gent just off picture on the right in the top version and the left in the bottom version is also a different shape. And the smoke from the pipe is a different shape.

Wonders can be done in the darkroom. Don't think the advent of Photoshop brought anything new to the studio. It could all have been done in the darkroom by slicing bits of negative and sticking the bits back together. Why is another question.

Jonathan

The detail differences between the two sketches are what led me to conclude it had been redrawn though why that was necessary is, as you say, another question.   I was not aware of just how much jiggery pokery was possible back in the 1950's and am grateful for your insight into the darkroom arts of the day.

20 hours ago, brack said:

The captions have been rewritten to fit the reversed bubbles (I think). I thought they might've just cut each line out and flipped it, but there are differences (see the D in bushed).

That had been regarded as a possibility but the various detail differences between the original and the published copies suggest, to me, the whole cartoon was redrawn.

18 hours ago, webbcompound said:

and the spelling error in one but not the other

Had not noticed that one!

 

One and all thank you I now have a better understanding of what might have happened back in the 1950's.

Malcolm

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I dont believe that the sketch has been re-drawn. I think there would be more variation in the figures. I suspect that it has been manipulated to  get a mirror image (why?) and a bit of tidying up has been done.

When I was editing the Gauge 0 Gazette digital photography was new and domestic ones poor quality. Professionals like Tony Wright were generally still using film. However I could take a scan of photos and import them into Pagemaker to show Artytype how I wanted them and any cropping. Artytype would then re-scan them using a professional quality scanner to do the final make up. I had a great working relationship with Ade at Artytype. He enjoyed working with photos and would come up with some great ideas but would respect it when I explained that a poor photo was needed because it showed some facit of modelling and he would do his best to bring it out even if it offended his artistic sense. It also enabled us to run photos across two pages as he would take the time to get it right.

Don 

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9 hours ago, Nearholmer said:

Exactly my first reaction.

 

I got the reference to today's (only something like 38 months late) news, but had to google to find where the symbol came from.

 

That's the problem with the Forces of Darkness; they're always far, far better organised!

 

Emperor-Arrival-Death-star-600x338.jpg.f65077ef3bbe1d44d7975a8c2c86585a.jpg

Edited by Edwardian
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28 minutes ago, Edwardian said:

 

That's the problem with the Forces of Darkness; they're always far, far better organised!

 

 

Somehow Mark Huish springs to mind, even though LNWR engines were green in his day. The Euston Square Confederacy has to be the most sinister-sounding episode in British railway history. Give me Dog Cart Diplomacy any day.

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2 hours ago, Edwardian said:

 

That's the problem with the Forces of Darkness; they're always far, far better organised!

 

Emperor-Arrival-Death-star-600x338.jpg.f65077ef3bbe1d44d7975a8c2c86585a.jpg

 

And they always get the better/more impressive tunes (as noted by Martin Luther...)

 

However, the deep breathing and a tendancy to cackle is a bit disconcerting!

 

2 hours ago, Regularity said:

You could get a really big layout in that space!

 

I think I'd go for  a minimum of 5 1/2" gauge there.

 

 

 

 

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