Wright writes.....

[MJI]

What scares me is the way old railway formations have disappeared quite recently.

 

I remember quite a few years ago finding the land which Tewkesbury station was on, now gone. An old railway bridge over the M50, now gone.

[Tony Wright]

10 hours ago, Dunsignalling said:

Though, TBF very few "amateur" cameras of the time were capable of producing material fit for publication and anything that readily could (usually German) was still quite hard to come by in the UK prior to the "Japanese Invasion". 

 

A screw-in supplementary close-up lens on a Kodak Retinette was about as good as model photography got for normal mortals. Getting consistently good results with that took a lot of (expensive) practice. We take viewing through the taking lens for granted these days but 'twas not always so.

 

The removal of rigorous UK import quotas on Japanese gear only happened in 1962. In 1957, for instance, the total value allowed into the UK, for the whole year, was £15,000 and the lion's share would have ended up in professional hands. I didn't get my mitts on my first Japanese SLR until the mid-to-late sixties, a Soligor TM. I still have it, it still works, and it still feels wonderful in the hand....    

 

 

John

Good morning John,

 

I think it's forgotten sometimes how 'difficult' it was to obtain consistently good results with photography, not just of models but of the prototype as well. 

 

I know from my own experience, how time-consuming it was when I became a professional photographer/writer/model-maker at the start of the '90s. I'd acquired a lot of high-quality second-hand medium-format photographic equipment (now all but worthless), which was around the same time that magazines were asking for material in colour (by the mid-'90s almost all in colour).

 

Illustrating, say, a build article would require me to take photographs at strategic stages. So, set up the shot (using medium-format transparency film - 10 on 6X7 or eight on 6X9), bracket three times, then off to the lab', and 24 hours later examine the results. I'd dare not work on the model in between in case the shots didn't turn out as expected. B&W presented less of a problem, since I had my own darkroom. Then, build to the next stage, and so on..................

 

Now, it's a doddle in comparison. Set up the shot looking directly through the Micro lens on the D3 (no upside down composition), fire away, 'process' immediately (my photo studio, workshop and photographic computer are all in the same room) and carry on. 

 

Returning to prototype photography, my first 'reasonable' efforts (which have been published) were taken with a Voigtlander 'Bessa' folding camera - eight on a 120 roll of film. Schoolboy/student poverty dictated that I could only afford one film and processing at a time. Had I calculated the exposure correctly (using a Weston meter)? How accurate was the separate range-finder? With a fastest shutter speed of only 1-250th, could I 'freeze' an A4 or, especially, a new Deltic going full-pelt? Had I wound on? At best (at very best) I'd be lucky if 50% of the negatives were any good. Some were blank (wound further on in error) and some were doubly-exposed (not wound on). In fairness, I had the same winding on trouble with my Mamiya Super 23, which had a clip-on roll film back. 

 

Now, if, say, a steam special is passing, it's set the D3 to burst mode, fire away like a machine gun and then pick the best shot from over a dozen. 

 

Regards,

 

Tony. 

[dibateg]

23 hours ago, Tony Wright said:

Good morning Tony,

 

A Happy New Year to you and Les'.

 

Thanks for showing us your method (the dowel dodge is most-useful).

 

May I ask, how do you keep your work in progress so clean? I know we at Wolverhampton introduced you to flux (which, I assume, you still use), but my brass-work (or any metalwork) always looks a complete mess during the build, with flux residue everywhere; mind you, I do flood every joint with it. It's not a problem, of course, other than visually, because both Ian Rathbone and Geoff Haynes are extremely diligent in their cleaning regimes prior to painting. 

 

Do you clean your work between sessions? The regular contributor to the model press, 'Robbo' Ormiston Chant (not many modellers rejoice in such a name these days!) always advocated using a 'bosh' - a sort of cleaning bath - in which the model under construction was regularly dunked. Despite all his writings, I never saw any examples of his work, though I did witness a rather heated 'argument' between him and Cyril Freezer at one Manchester Show many years ago. They were standing either side of a corridor, both talking in high-pitched voices simultaneously. They were both having a conversation, but not with each other, since both were talking at the same time, neither listening to the other at all. Passing between them was 'interesting'. 

 

Regards,

 

Tony.

 

 

Happy new Year too to you and Mo!

 

and to all the other Wright-writes readers and contributers!

 

I use a citrus ( I think ) based flux which I got from Building O gauge online ( www.7mmlocotives.co.uk ) . I'm not sure if it is still available. It's less noxious than phosphoric and leaves less residue, although I do find it is not as good on white metal assemblies. So I will on occasion resort to phosphoric. I tend to clean my builds two or three times a session, just with an old toothbrush in water in the bathroom sink. Otherwise the residue gets everywhere - tools, hands, clothes and to the ire of the domestic authorities - the bathroom towel...  I also clean up any excess solder and residue before continuing.

 

As to the paint adhering to brass or nickle-silver debate - -in my experience -  I've found brass better, but the reality is that they probably isn't much difference. The crucial point is preparation and cleanliness as well as doing something about those lovely shiny finishes to some brass etches ( the J11 is case in point ) . I use a mini rotary steel wire brush and emery sticks to lightly abrade my models before they go off to the painter.

 

Regards

Tony

 

[Dunsignalling]

Good Morning Tony,

 

Indeed, and following on from my earlier post, when the magnificent Nikon F was first imported into the UK (1959) it cost a third the price of the new BMC Mini that came along the same year. For that, you got the body, detachable pentaprism viewfinder and a 50mm f/2 lens. No metering, TTL or otherwise, the Photomic head wouldn't arrive for another two years and, when it did, cost the other arm and half the other leg . 

 

A hundred of those and the entire official UK import quota for the year would have been done with! Hence, most who wanted (and could afford) one, brought them in from abroad "unofficially" in their hand luggage or arranged for someone else to do so.

 

We photographers (whether pro or amateur) truly don't know we are born these days.

 

My progression was 127 film camera, Russian Zorki rangefinder, Soligor TM (M42 screw-fit version of a Miranda SLR), Pentax MX, K1000, K2, eventually settling down to 2x MX, one for colour, one for B&W.

 

First digital was a Panasonic Lumix bridge camera, used as a walkabout camera when I didn't want to lug the outfit around.  Then a Nikon D5000 (the articulated live-view screen being very helpful for model photography). That got replaced (for almost all purposes) by the cracking little Lumix Lx100 compact, with which I will never part. Couldn't do without an "outfit" for long though, and built one up through lockdown based around the Lumix G9 CSC, highly technical but incredibly versatile. The trick is to identify (and set as custom functions) those facilities you actually need/want and ignore the dozens (hundreds?) that will delight others....

 

John

Edited January 6, 2022 by Dunsignalling

[micklner]

16 minutes ago, dibateg said:

Happy new Year too to you and Mo!

 

and to all the other Wright-writes readers and contributers!

 

I use a citrus ( I think ) based flux which I got from Building O gauge online ( www.7mmlocotives.co.uk ) . I'm not sure if it is still available. It's less noxious than phosphoric and leaves less residue, although I do find it is not as good on white metal assemblies. So I will on occasion resort to phosphoric. I tend to clean my builds two or three times a session, just with an old toothbrush in water in the bathroom sink. Otherwise the residue gets everywhere - tools, hands, clothes and to the ire of the domestic authorities - the bathroom towel...  I also clean up any excess solder and residue before continuing.

 

As to the paint adhering to brass or nickle-silver debate - -in my experience -  I've found brass better, but the reality is that they probably isn't much difference. The crucial point is preparation and cleanliness as well as doing something about those lovely shiny finishes to some brass etches ( the J11 is case in point ) . I use a mini rotary steel wire brush and emery sticks to lightly abrade my models before they go off to the painter.

 

Regards

Tony

 

I believe the O gauge owner is ill? . I never got any reply to emails re further orders .

 

I now I use a identical product  from Pearsons Glass, for about the same price . Much safer, no awful fumes and works well.

[gr.king]

If the "safe and pleasant" flux is basically citric acid and you have a sense of adventure maybe you could have a go, with suitable care, and after looking up relevant information, at making your own version very cheaply in large quantities. I had no trouble buying a kilo of citric acid crystals on-line for other purposes, by addition to water. I imagine that something such as isopropyl alcohol added as a wetting agent might need to be considered for use as a flux.

Obviously, it is not wise to try such things if you have no idea what to do or what the consequences may be.

[t-b-g]

One time I turned up to help with some scenic work on a layout and hadn't taken my soldering gear.

 

There was a broken soldered joint on the layout that needed fixing and there was a soldering iron and solder available but no flux.

 

A quick search on the internet revealed that it was possible to make your own from by making a solution of salt in white vinegar. So we did and it worked. That should be a fairly "safe" flux and the smell wasn't unpleasant either.

 

If you search "make your own flux" or suchlike, many suggestions come up including using lemon juice.

 

 

[65179]

21 minutes ago, gr.king said:

If the "safe and pleasant" flux is basically citric acid and you have a sense of adventure maybe you could have a go, with suitable care, and after looking up relevant information, at making your own version very cheaply in large quantities. I had no trouble buying a kilo of citric acid crystals on-line for other purposes, by addition to water. I imagine that something such as isopropyl alcohol added as a wetting agent might need to be considered for use as a flux.

Obviously, it is not wise to try such things if you have no idea what to do or what the consequences may be.

 

I haven't looked at the MSDS details for a while, but this 'safety flux' isn't just citric acid. It's zinc chloride based. I did as micklner did and bought some from Pearson's:  https://www.pearsons-glass.co.uk/safety-solder-flux-ssf following the advice on this old RMWeb thread:

 

It should still be used with caution despite the fruity smell.

 

Simon

 

[Barry Ten]

1 hour ago, Dunsignalling said:

.

 

First digital was a Panasonic Lumix bridge camera, used as a walkabout camera when I didn't want to lug the outfit around.  Then a Nikon D5000 (the articulated live-view screen being very helpful for model photography). That got replaced (for almost all purposes) by the cracking little Lumix Lx100 compact, with which I will never part. Couldn't do without an "outfit" for long though, and built one up through lockdown based around the Lumix G9 CSC, highly technical but incredibly versatile. The trick is to identify (and set as custom functions) those facilities you actually need/want and ignore the dozens (hundreds?) that will delight others....

 

John

 

My first digital was also a Lumix bridge camera, the FZ30. When the slightly upgraded FZ50 came out, I gave my dad the FZ30. My FZ50 was later stolen (minutes after taking shots of the space shuttle launching) but I found a second-hand replacement from ebay. When my dad passed away, the FZ30 came back to us and it's still in daily use. I've since acquired two Lumix G-range bodies, plus a selection of lenses, but the FZ30 and 50 continue to be very handy cameras. I bought a screw-on extension which can double the focal length if needed. My first G had a rubberised coating which gradually broke down and became sticky, but I cleaned it back to bare plastic using isopropyl alcohol, and the camera is still reliable. My more recent G body has a much better focussing system, though.

[Norton961]

Regarding Robby Ormistan Chant, he was extremely forthright to the point of being objectionable. In the very early days of the LNWR Society we had a meeting at his house but he managed to annoy every one attending!

 

The comment about “dunking” etched kits in a “bosh” to neutralise flux is not only suggested by Robbo but that exceptional modeller John Hayes. He suggested to me that he had a solution of water and baking soda in which at the end of each soldering session he would drop the model in the tank and after 10 minutes wash under the tap. This kept everything clean.

 

David

[cctransuk]

Just now, Norton961 said:

Regarding Robby Ormistan Chant, he was extremely forthright to the point of being objectionable. In the very early days of the LNWR Society we had a meeting at his house but he managed to annoy every one attending!

 

The comment about “dunking” etched kits in a “bosh” to neutralise flux is not only suggested by Robbo but that exceptional modeller John Hayes. He suggested to me that he had a solution of water and baking soda in which at the end of each soldering session he would drop the model in the tank and after 10 minutes wash under the tap. This kept everything clean.

 

David

 

My preferred 'bosh' is an ultrasonic cleaner tank containing a mildish solution of caustic soda with a dash of cheap washing-up liquid.

 

The tank has a heater, and this ensures that the model emerges in a pristine condition; a very worthwhile investment.

 

John Isherwood.

[Tony Wright]

Regarding 'boshing' models during construction, because I'm so far removed from Godliness then cleanliness is also a long distance away. I never clean the models until they're complete, and then I leave that mainly to the pro' painters. 

 

Regarding flux, Phil Atkinson of Hobby Holidays has given me a little bottle of citric acid-based flux for me to try; which I've yet to do. I'll give it a go and report accordingly, though I doubt if I'll ever give up using phosphoric acid. 

 

I first started using phosphoric acid for kit construction, employing EAMES' 40 flux. I'm sure it was stronger than the recommended 12% solution, because it didn't half cause choking and coughing. I soon learned not to breath in when applying the iron; great flux, though........ 

[Michael Edge]

I think the 40 in that refers to the percentage of the solution, when I first discovered phosphoric acid i was using it neat - probably at least 85%. I don't know what the fumes were doing to me but a small spillage burned a hole in the living room carpet.....

[Tony Wright]

3 hours ago, Dunsignalling said:

Good Morning Tony,

 

Indeed, and following on from my earlier post, when the magnificent Nikon F was first imported into the UK (1959) it cost a third the price of the new BMC Mini that came along the same year. For that, you got the body, detachable pentaprism viewfinder and a 50mm f/2 lens. No metering, TTL or otherwise, the Photomic head wouldn't arrive for another two years and, when it did, cost the other arm and half the other leg . 

 

A hundred of those and the entire official UK import quota for the year would have been done with! Hence, most who wanted (and could afford) one, brought them in from abroad "unofficially" in their hand luggage or arranged for someone else to do so.

 

We photographers (whether pro or amateur) truly don't know we are born these days.

 

My progression was 127 film camera, Russian Zorki rangefinder, Soligor TM (M42 screw-fit version of a Miranda SLR), Pentax MX, K1000, K2, eventually settling down to 2x MX, one for colour, one for B&W.

 

First digital was a Panasonic Lumix bridge camera, used as a walkabout camera when I didn't want to lug the outfit around.  Then a Nikon D5000 (the articulated live-view screen being very helpful for model photography). That got replaced (for almost all purposes) by the cracking little Lumix Lx100 compact, with which I will never part. Couldn't do without an "outfit" for long though, and built one up through lockdown based around the Lumix G9 CSC, highly technical but incredibly versatile. The trick is to identify (and set as custom functions) those facilities you actually need/want and ignore the dozens (hundreds?) that will delight others....

 

John

Good afternoon John,

 

Ah yes, the renowned Nikon F; the camera which went to Vietnam and saved a photographer's life by deflecting a bullet! Did it still work afterwards?

 

 

Here's mine on the right, bought second-hand decades ago. It has a 60mm Micro lens on the front (just for effect, since I never use the camera now). 

 

The Df to the left is my camera for 'layout photgraphy', and I love it. To all intents and purposes it's exactly the same as the F, except it's digital rather than film, with all the controls grouped as buttons or switches on the outside. No fiddling about in digital sub-menus, which, once accessed (in my case) mean I can't seem to return to the default position I want. As well as a pair of Micro lenses, the 18-35 zoom on its nose (always set at 35) is brilliant for 'eye-level' shots, giving incredible depth of field.

 

 

 

As illustrated here. 

 

I use none of the automatic functions on the camera.

 

I bought it second-hand seven years ago now and it's been in constant use ever since. It's very nicely weathered (like the F).

 

Like all professional cameras should be, it's black; and, equally-professionally, bits of the black are being rubbed off, revealing what's underneath (again, just like the F). It's full-frame and the file sizes are large.

 

With its lenses, it suits me entirely. I can't stack (Andy York once tried to explain the process to me, but was bright enough to give up trying after a short while!), and I achieve depth of field optically, not digitally. 

 

Regards,

 

Tony.  

 

 

[Tony Wright]

14 minutes ago, Michael Edge said:

I think the 40 in that refers to the percentage of the solution, when I first discovered phosphoric acid i was using it neat - probably at least 85%. I don't know what the fumes were doing to me but a small spillage burned a hole in the living room carpet.....

A learning curve, Mike,

 

I've got holes in my clothes because of the same thing!

 

Regards,

 

Tony. 

[Dunsignalling]

2 hours ago, Barry Ten said:

 

My first digital was also a Lumix bridge camera, the FZ30. When the slightly upgraded FZ50 came out, I gave my dad the FZ30. My FZ50 was later stolen (minutes after taking shots of the space shuttle launching) but I found a second-hand replacement from ebay. When my dad passed away, the FZ30 came back to us and it's still in daily use. I've since acquired two Lumix G-range bodies, plus a selection of lenses, but the FZ30 and 50 continue to be very handy cameras. I bought a screw-on extension which can double the focal length if needed. My first G had a rubberised coating which gradually broke down and became sticky, but I cleaned it back to bare plastic using isopropyl alcohol, and the camera is still reliable. My more recent G body has a much better focussing system, though.

Mine's the FZ30, too; still in the cupboard and I continue to maintain the batteries, just in case I ever need it! I have the wide-angle convertor as I thought 420mm (equivalent) was long enough.

 

I've been making A4 prints off some of my "back catalogue" and the ones off the FZ30 come up fine so long as I took them at ISO 200, the ones where I cranked it up to 400 (the maximum!) tend to be a tad "knobbly".

 

The Nikon D5000 was a faithful servant, but I found its shape and balance with the heavy Sigma zoom lens I had, somewhat awkward. I replaced that with a 35mm f/1.8 and still use it occasionally. It's now my foul-weather camera for main-line photography!

 

The little Lumix LX100 that largely supplanted it is just the most delightful camera I've ever used, with excellent results, too. It handles like a very good 35mm rangefinder camera with fully analogue controls but can be as automatic as you could ever want at the click of a switch.  

 

The G9 is a complete revelation; I can't imagine finding something I want to do that it won't deal with. Not cheap, but one heck of a lot of camera for the money. It was somewhat daunting to start with until I acquired a paperback entitled "The Panasonic G9 Menu System Simplified". I played with the camera as I worked through it and after flattening the battery four or five times I have it set up to quickly access all the facilities I use and leave everything else in the background but still easy to find. If my needs change, I can just switch some custom functions around.

 

The 12-60mm Leica zoom lens that came with it is something else, as is the faster 15mm Leica that I use for most of my model railway stuff. The G9 can do focus stacking inside the camera which works very well with a little practice. Easier with a prime or macro lens than a zoom, though, in my experience. I really can't imagine it not being my "forever" camera, though I have no doubt that Panasonic are working on something even more impressive!  

 

John

Edited January 6, 2022 by Dunsignalling

[Denbridge]

3 hours ago, t-b-g said:

One time I turned up to help with some scenic work on a layout and hadn't taken my soldering gear.

 

There was a broken soldered joint on the layout that needed fixing and there was a soldering iron and solder available but no flux.

 

A quick search on the internet revealed that it was possible to make your own from by making a solution of salt in white vinegar. So we did and it worked. That should be a fairly "safe" flux and the smell wasn't unpleasant either.

 

If you search "make your own flux" or suchlike, many suggestions come up including using lemon juice.

 

 

I think it was possibly you who recommended Telux paste flux sometime back. I bought a tin off the back of the suggestion and for etched kits it really is great.

[polybear]

4 hours ago, micklner said:

I believe the O gauge owner is ill? . I never got any reply to emails re further orders .

 

I now I use a identical product  from Pearsons Glass, for about the same price . Much safer, no awful fumes and works well.

 

Found it - but out of stock at the moment:

https://www.pearsons-glass.co.uk/safety-solder-flux-ssf

 

[t-b-g]

39 minutes ago, Denbridge said:

I think it was possibly you who recommended Telux paste flux sometime back. I bought a tin off the back of the suggestion and for etched kits it really is great.

 

It was indeed me. It is still my "go to" flux for most jobs.

[Bucoops]

I'm about halfway through my bottle of the O gauge flux. It's wonderful stuff - although the biggest improvement I've had was throwing the lead free solder I stupidly bought in the bin and switched over to the real stuff.

 

It's good to know there is an alternative available, although my preference would be to buy from the O gauge chap again, hopefully they are well again soon.

[PMP]

4 hours ago, Norton961 said:

but that exceptional modeller John Hayes. He suggested to me that he had a solution of water and baking soda in which at the end of each soldering session he would drop the model in the tank and after 10 minutes wash under the tap. This kept everything clean.

 

David

Correct, John did indeed do that. His work quality was unbelievable, it still inspires me today to try and get a clean finish, his was the best I’ve ever seen, and over the years I’ve seen many excellent ‘tidy’ modellers. 
 

I’d forgotten that tip of his, I’ll get onto it next time I’m building something.

[MJI]

1 hour ago, Bucoops said:

I'm about halfway through my bottle of the O gauge flux. It's wonderful stuff - although the biggest improvement I've had was throwing the lead free solder I stupidly bought in the bin and switched over to the real stuff.

 

It's good to know there is an alternative available, although my preference would be to buy from the O gauge chap again, hopefully they are well again soon.

 

I still have 1.5 rolls of tin lead left for general work, I even do some etched kit construction with electrical so I can use lower melting points without dismantling.

[LNERandBR]

On cameras, I moved over to a Mirrorless Canon M50 a few years ago now. 

 

I've had one serious attempt at taking layout photography with it. One of the results of which is below, the Boston MRS's club layout, Tytton Hall Yard:

 

 

Very much open to constructive advice on how I could improve. Looking at it now I think I should have removed the couplings from the locomotives at least.

[Tony Wright]

1 hour ago, PMP said:

Correct, John did indeed do that. His work quality was unbelievable, it still inspires me today to try and get a clean finish, his was the best I’ve ever seen, and over the years I’ve seen many excellent ‘tidy’ modellers. 
 

I’d forgotten that tip of his, I’ll get onto it next time I’m building something.

Good evening Paul,

 

When I used to attend Scaleforum in Leatherhead in the last decade of the last century as guest photographer, I had the privilege of photographing John's work. He must have won the 'Best Locomotive' cup so many times.

 

The pictures were taken on film, so I can't reproduce them here, but one day.......... When I finally get round to scanning all my negatives! 

 

Regards,

 

Tony. 

[PMP]

 

This is a bit of John’s 4mm work I have. This was work in progress, requiring ‘finishing’ and is all solder construction.

A great loss when John passed away.