man interaction, whether in person, over the phone, or by mail. It was a la- bor of love, perhaps even a passion or obsession.
www.sceniking.com Vernacular
In his opening essay, “In Praise of Railroad
Photography,” TRIPLE J REPAIR PA A
photographer and author Jeff Brouws describes how his passion for collecting individual railroad photographs first began in earnest at a 2002 railroad swap meet. In these swap meet boxes Brouws found photographs of all shapes, sizes, and types; some meticu- lously labeled and others utterly de- void of information, but each photo- graph had its own story to tell. Not just a story about the captured image, but about the
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print. How many hands had it passed through over the years? What aspects of this photograph compelled someone to add it to their collection? How had it come to be for sale, an individual com- modity without context, worth some- where between 50 cents and five dol- lars at a swap meet? These questions opened up avenues of research irre- sistible to Brouws, and thus this book was born. Within its pages, Brouws and his wife and fellow photographer, Wendy Burton, lay out a sampling of these collected photographs. The in- cluded images span all types of photo- graphic and print processes, including albumin prints, stereographs, photo postcards, and glass-plate negatives. They range from perfectly planned and executed locomotive building shots, to lineside actions shots, to seemingly off- the-cuff
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well-known photographers, but many by those who will remain forever unidentified, the collection is a truly representative sampling of the way
that the railroad has been portrayed on film, not just by railfans, but by so- ciety as a whole. In general, the photographs fall into several broad categories–locomotive portraits, snapshots, and evidentiary photographs–and Brouws’ essay dis- cusses each of these types. With a heavy emphasis on documentary pho- tographs, the book should hold special interest for the modeler. Detail shots of bridges,
rights-of-way, freight houses, telegraph lines,
stations and rail-
road heralds, and, of course, locomo- tives and rolling stock are all part of the collection. Especially interesting is the builder’s photo of a streamlined Baldwin 4-6-2, painted flat gray and photographed broadside against a flat white background. I had not previously seen anything quite like it, and imag- ining the effort required to create this industrial portrait shows just how much such a photographic record was valued.
The action locomotive portrait also receives special attention, both in the introductory essay and among the col- lection, as this was truly the domain of the railfan. From its origins in the ear- ly 1900’s to its popularization by prac- titioners such as Lucius Beebe, the highly regimented rules of the locomo- tive action shot (low sun angle, driving rods down, smoke plume and the trail- ing train in view) meant these shots were no small challenge to obtain, from both a technical and practical stand- point. As interest in obtaining these types of photographs for both commer- cial and personal purposes grew, new organizations sprang up to facilitate the exchange of photographs. The Rail Photo Service, a national network of
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