From Concept to Publication #1

Left & Previous Page: While an article on kitbashing this one-of-a-kind fire car would appeal to Central of New Jersey and Conrail fans, the rest of the model- ing community would likely have little use for it. They might, however, have an interest in how the scratchbuilt side sills were constructed, enabling those techniques to be used on projects such as build- ing a flatcar. Both Above: These two identical photos illustrate the relation between aperture and depth of field. The top photo was taken at f5 while the photo and the lower image was captured at f32, showing the deeper depth of field. The trade off is longer exposure needed to properly expose the image. It is almost impossible to hand hold an image captured at f32. subject may be ideally suited to a historical society, a broad audience may find its scope too narrow, leading us to the next question: 2. Can or should the audience be ex- panded by demonstrating different techniques within the context of the project, enabling the reader to apply these in their own pursuits? For example, while one may not have any interest in that particular boxcar, learning how two cars were spliced together to create it may provide something that can be used in other endeavors. These two basic questions should dictate the direction to proceed while as- From Concept to Publication sembling the various elements that will Poor DePth of fielD comprise a potential article, the first being CauseD by low f-stoP photography. Photography — likely the (f5) setting. Part 1: Ideas and Camera Basics most important part of any instructional article and photos by M.R. Snell piece — can either make or break the project, yet model photography often remains a So I’ve got this great idea for a how-to While many modelers have considered misunderstood subject by many hobbyists. article….where do I begin? writing about a special project or even just While some folks see the need for expen- documenting progress on our layouts, we sive equipment and others feel the need to n the digital age, sharing with our fel- often have difficulty making the journey run to Adobe Photoshop, the truth is that low modelers is easier than ever, with from idea to finished product. Having au- neither is truly necessary. Manipulating I new avenues open to display our work thored several instructional pieces, I’d like photos is generally frowned upon by most both conventionally and via the internet. to share some guidelines, tips, and tricks publications, so let’s look at how to create good photographs. The first step in creating a quality photo is understanding how to use your camera. Some cameras may seem complex with lots of bells and whistles, while others are bare- I’ve learned, all of which have improved my bones basic. All are simply a tool, no differ- own hobby “journalism” and may help you ent than a knife or hammer. Getting good gooD DePth of fielD eliminate potential roadblocks. results from your hobby tools requires both CauseD by high f-stoP While every instructional piece begins practice and proper use. In a recent discus- (f32) setting. with enthusiasm and an idea, let’s pause to sion, I asked a modeler what settings or op- address two important questions that can be tions his camera had, and he was unaware used to provide direction during the writ- of anything other than the name on the are familiar with such as family, sports, or Since photography is really nothing more ing process. front. So let’s briefly review camera basics even railfan photos. Unlike everyday pho- than the capture of light and shadows, the 1. Who is the target audience for our using simple terms as they relate to model tographs, model photography creates an two components that comprise the “me- work? As an example, a boxcar kitbash of a photography. image of something that is substantially chanical” aspect of every photo are: small class that is suitable for only one road Model photography is quite differ- smaller than everyday objects and occurs 1. Aperture: Commonly known as f- will likely have a limited appeal. While this ent from other types of photography we often in less than ideal lighting conditions. stop, this is the amount of light allowed 22 NMRA Magazine January 2013 23 2. Exposure: Also referred to as shutter shake and blurry photos. To create a good shaking or bending. One consideration for a speed, this is the time the camera’s shut- photo, we must use a tripod or rest the cam- light-duty tripod also used while railfanning ter is open, capturing available light. The era on a solid, stable surface that will not is the ability to weigh it down to prevent it exposure time of a photo determines two allow movement. Then, use a cable release from blowing over. Just envision stepping things, the first being whether action is or the camera’s timer to activate the shutter. away from the tripod and watching it fall frozen. Simply put, a fast shutter speed is One absolute necessity of model pho- over due to the wind generated by a train required to “stop motion.” A great exam- tography is a tripod. Tripods are available passing at high speed. (Ask me how I know ple familiar to many of us is a photo of a in varying styles and grades from consumer this….) crossing gate taken at night. You will recall to high-end professional equipment. The The tripod solves half the blurry pic- the gate appears to be in motion from its ture problem; the ability to operate the vertical to horizontal position, and this is Top Left: One component of a tripod is a quick-re- camera’s shutter without touching it solves because of the slow shutter speed required lease plate that attaches to the bottom of the camera. the second half. Almost every camera has To make a tripod multi-functional, additional QR by the nighttime photo. Take the exact same plates can be purchased then left on each camera, a built-in self-timer. D-SLR models gener- photo in bright daylight, and the gate will making switching equipment faster and easier. ally also have a port for a cable release, an be “frozen” without motion because of a Left: In addition to a tripod, beanbags can be a useful optional shutter button on a cord. Both will much higher shutter speed. tool when setting up shots on the layout, enabling provide a way to keep from touching the us to place a camera where a conventional tripod The second function of shutter speed will not fit. camera. Let’s practice taking photos again, is determining whether a photo is under- this time using a tripod and the timer or a Below: All modern cameras are equipped with a exposed (too dark), correctly exposed, or built-in timer or even a remote. Using the timer will cable release. overexposed (too light). Finding the correct trigger the shutter after you have removed your Much better, right? Now that we un- shaky hand from the camera body creating a still exposure time can usually be done using capture of the subject. derstand the basic foundation for taking the camera’s built-in light meter, generally a good photographs, let’s look a little more line subdivided with small hash marks. The in-depth into how several digital camera center or zero mark is the camera’s determi- settings relate to model photography. nation of the correct exposure and moving • ISO: In the conventional film world, to the + or – settings will make the photo this is known as “film speed.” Ranging from lighter or darker. One concept to remember, 100 to several thousands, a general rule is especially in the context of model photogra- the lower the ISO, the clearer the picture, phy, is that exposure has a direct relation to other factors being equal. As the ISO in- aperture, because the higher the f-stop num- creases, the picture becomes increasingly ber, the longer the exposure time required. grainier (often called “noise”). This is es- All Above: These three identical photos taken at 1/8 into the camera. In simple terms, for model pecially noticeable in pictures with dark sec, 1/5 sec, and 3 seconds illustrate the difference exposure time has on a photograph. More shutter open photography, the larger the number, the bet- backgrounds. time (longer exposure) equates to a lighter image; less ter — this defines the “depth of field” or • White Balance: If you’ve ever viewed time (shorter exposure) equates to a darker image. how far the camera will see in focus. Good a photo that had an unnatural bluish or Below: Most modern cameras, both “point and shoot” and DSLR alike, have a thumbwheel allowing model photography generally requires the reddish tint, this was likely the result of an you to set the camera to different operating modes, largest f-stop number possible, often f32. It incorrect white balance. The type of light a including Manual, to control the camera’s functions. seems counterintuitive, but the larger the f- So let’s review. When you press the but- Below: Most DSLR styles will accept an electronic subject is photographed in is known as tem- I shoot primarily in Manual to allow me to control cable release. The cable release allows the camera the depth of field and the exposure. Digital cameras stop number, the smaller the aperature and ton on the camera, the shutter opens for the shutter to be triggered without touching and jostling perature, which is measured in Kelvin units with their viewing windows allow us to perfect the the camera body.

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