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Dare I say they are my favourite shots for a while? They allow us to appreciate just how stunning the layout is whereas with photos of trains working through, I (and I am sure others) tend to concentrate on the locos and stock.

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On Saturdays there were also 4 or more trains to Skegness, plus three instead of the usual two to Grimsby and Cleethorpes, and the usual seven to Peterborough or Grantham. That makes about 57 trains in 12 hours. Add in the suburban services at the South end and a few Class C and D goods, and even the four track sections must have been at capacity, while the effects of bottlenecks such as Welwyn viaduct and Arlesey, and other two track areas, apart from Peterborough itself can only be imagined. Little chance then of running most of the usual weekday goods trains I would think - it was difficult enough to get them through any where near on time during the week, so on Saturdays they would have got nowhere.

 

Presumably though this will have applied every summer until the penny dropped and British holidaymakers realised that Spain is a slightly more desirable destination than Skeggy, and more of them had cars to get about in anyway. Having experienced family holidays on the Lincolnshire coast as a child I can say that it was indeed bracing  that is when it was not both wet and bracing. This prompts me to wonder though why these suspended services, most of which were coal or returning empties, were in the WTT at all, as the same difficulties would occur year after year. It also makes me wonder if I am completely losing touch with sanity to even contemplate doing this sequence. We shall see.

 

Don't forget the annual Splading Flower (Tulip) Parade which started in May 1958.  An excuse to run an excursion or two with something out of the ordinary.

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Bring the sky up a little so the sky horizon matches the model horizon, lighten it a little and white-out the join on the sky layer a little and the join then has a bit less dissonance.

 

Lovely snaps though which sum up the layout's feel so well.

 

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Thanks Andy - looks like I shall be asking for another tutorial when you are next here.

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Sometimes you don't even need a train.

 

These building shots remind me of the film "The Ladykillers". The gentle colouring is reminiscent of the film; probably reflecting the GN parentage of both P'boro and Kings Cross.

IThere is so much about the old GN main line that I like, and yes indeed, the effect of gently weathered yellow brick buildings is one of them. The GN hotel never did look right in red brick, when it was on the old layout.

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Looking good like the cameo outside the station couple looking at timetable,I am sure the lady looks like Nora Batty judging by the stockings!!!

Well spotted that man! The lady is in fact a refugee from the West Riding - Tetley's Mills in fact. That nice Mr Shakespeare gave me a box full of figures which he doesn't need for the new layout, and they are gradually appearing at Peterborough. Looks like "Nora" is a bit disenchanted with life down South though, as she seems to be seeking advice as to the time of the next train to Wakefield.

 

I must ask Dave how he managed to achieve the sagging stockings effect.

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Gilbert,

 

It has taken an adult (post adolescent anyway) life of studying ladies wearing stockings with the sole intention of one day re-creating such detail for we aging modellers, so all that lusting was not wasted.

 

Gabardine Mac. wearer of Ancaster

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Question One :- White Lines on edge of Platform 6.

 

Question Two:- I believe the canopy support brackets have had there wall fixings lengthened.  Or on second thoughts the Platform Sign may be an addition. 

Third thoughts,just admit your struggling  :scratchhead:

 

As for the rest,well 52 years ago my last school report said  " B****  does well in subjects he is interested in  :angel:   

but fails to pay attention to detail in subjects which don't interest him.  :nono:

 

Fair.   Well maybe, but would apply to most Pupils aged 15  in my opinion.

 

Peterborough North :-  fails to pay attention to detail in subjects which don't interest him.    No!   that is not True,but still can't answer the other 4 questions.

 

Now I hate bad losers,but :-,,,,,,,,,,,, in fact   why don't you go and lose some Golf Balls --Gilbert   :jester:

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Yes, 'fraid it was my club night last night so I didn't have chance to look hard. I guess that that big blue hanging sign on the excursion platforms is new and the porter in the last shot has had a new tie. Or somebody's helped the old lady pull her stockings up.

 

I did spot that little bit of coping (corbel?) to the right in the last photo with some work and there are new platform signs?

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OK, I admit to being in rather mischievous mood when I concocted the questions. I was going to post some before and after shots, until I realised that I've deleted all the before ones. Anyway, here are the answers.

 

1. Gold star to Cutler- white lines is the right answer. They are now all in place, and do make a real difference.

 

2. This one was put there specifically for Jonathan, but his memory is obviously as dodgy as mine. Yes, it concerns the hanging sign, but it isn't new. Mr Wealleans helpfully pointed out to me that when originally installed the arrow encouraged passengers to leap off the platform and onto the track. We have now got round to putting that right. Much better to go through the door and over the footbridge.

 

4. This is the one I thought you would get. The end screen has been detailed and weathered, so we now have missing glass panels as on the real thing. The other end had already been done, see photo 6, but this end till now was pristine.

 

5. The clue was "small". There is an additional spotter at the end of the platform. He is another refugee from Tetley's Mills. Perhaps that is why he appears to be wearing wellies? It does rain most of the time up North, doesn't it? :jester:

 

6. This is one I thought no-one would get, so full marks to Jonathan. The valance was incomplete on the right hand side, so Peter put that right, and it does make a difference. There is also new brickwork in the bay platform, but painted white, as the real thing was for some mysterious reason.

 

All in all, I reckon 50% would be a good score. I'll go back to non contentious posts now.

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Well, I missed the opportunity to guess, but even having them pointed out to me still requires some searching :)

 

I blame old age, poor eyesight and the onset of senility...

 

However, I don't care, as just being able to look at more excellent photos of your layout is reward enough!

 

 

 

Ooh, is that a bit over the top?? :O

 

Nah!

 

 

Al.

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Having shown you nothing happening, and then asked silly questions, I shall redress the balance, hopefully, by featuring a couple more trains. Nothing exciting, or even green though.

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Arguably both locos are attributable to Ivatt, though not the same one. The J6 is credited to Sir Nigel, but the experts seem agreed that it was effectively an H A Ivatt design. while the Flying Pig is definitely the work of Ivatt the younger.  43084 is arriving from Yarmouth, while a signalman who obviously likes risk has allowed the J6 to scurry through on the Down main with a humble trip working, even though the Flying Scotsman is due imminently. All should be well though, as the boards are off for New England yard, even though owing to the strange arrangement of PN signals, none of those in view is actually the relevant one. Nothing done to this one except cropping, so the duck egg blue walls have done their job, or not, as the case may be.

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I do like pre grouping locos, so two more views of the J6, this time with photoshopped sky. Still blue, but now not authentic. Does it really matter though? I really can't see why so much fuss is made about this. Anyway, doesn't she look sort of down at heel and well past her best days? Still a lovely sight though.

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Good pics Gilbert 

 

The key to manipulation is a bit like playing the drums - sometimes less noise creates a stronger result.

Ooohh that's very profound 'smithy'; I assume you are a guitarist and not a sticksman then......... :you:

G . Baker.

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