Black and White with Colour

Barr1e · #1 17-01-09

I have not been out clicking of late. So I have been doodling - I hope you like what you see.

These were taken last year at the Buckinghamshire Railway Centre - Quainton. http://www.brc-stockbook.co.uk/

BR Diesel 2298

From the BRC stock list
This locomotive belongs to a class introduced in 1952, one of the first diesel types mass-produced by British Railways. D2298 itself was not built until October 1960, however, becoming one of a class that was to total 141 (D2200 - D2340; later known as class 04). The locomotives were ordered by BR from Drewry Car Co., who in turn had them built by other contractors. This particular machine was built by Robert Stephenson and Hawthorns of Newcastle , their works No. 8157 and Drewry No. 2679.
D2298 was sent new to Lincoln and spent most of its time on BR working from there or Boston or Colwick depots. On 7 July 1968 the locomotive was sent to Gateshead but was withdrawn from service in December of that year after only eight years work. This was due to a change of BR freight policy, 'wagon load' traffic was gradually phased out in favour of block trains which do not require sorting in marshalling yards. Thus hundreds of engines like D2298 were withdrawn after very short working lives.
D2298 was purchased from British Rail in April 1969 by the Derwent Valley Light Railway. The DVLR was opened on 27 July 1913 between York (Layerthorpe) and Cliff Common, near Selby, and was one of the few railway companies not affected by either grouping or nationalisation. In 1926 the DVLR became freight only, but for a brief period in the late 1970s, tourist-type passenger trains were run using a steam locomotive. At the DVLR, D2298 became No. 1 and received the name Lord Wenlock after the first chairman of the company. In 1982 it worked the very last passenger train on the DVLR, an enthusiasts special, afterwards being put up for sale. The line was then cut short and worked by BR locomotives.
In October 1982, No. 1 arrived at Quainton, having been purchased by a QRS member. It was put straight into service as No. 1 Lord Wenlock, but has since been repainted in the original BR green livery as D2298.
It spent several years out of service, due to engine trouble. The locomotive, now owned by the QRS, has recently come to the end of a lengthy overhaul. On going maintenance required a major repair to the drive shaft during 2009.

Brakevan B. 557 (with Anne)

From the BRC stock list
Built for London Transport, this brake van is fitted with both hand and air brakes. B. 557 had the distinction of being part of the last steam-hauled train on London Transport. It also took part in an enthusiast’s brakevan excursion.
It arrived at Quainton on 10th October 1981, hauled by London Transport battery locomotives L.18 and L.38 from Neasden. This was probably the first London Transport train to run north of Aylesbury for 30 years, and almost certainly the furthest the battery electrics had gone away from the live rail under their own power. The delivery via a temporary connection to the Upyard also included underground coach 54233.

Regards. Barr1e

[I have also posted this on a sister site.]

Graham_of_Rainham · #2 17-01-09

The more I look at the 2nd image the more I like it. It is so well done in its composition, using the favoured "Three Elements" and "Triangle" rules that lend themselves to producing pleasing pictures. Couple this with the vibrancy of the red and the subtle golden shades, all placed on a B&W background, makes for a very well produced image.

Some may argue that Anne presents a distraction in the picture but I see her in such complimentary colours, that while noticable she adds a reality of the moment to what might otherwise be just a nice perspective of a "Record Shot"

Barr1e · #3 17-01-09

Quote:

Originally Posted by Graham_of_Rainham

The more I look at the 2nd image the more I like it. It is so well done in its composition, using the favoured "Three Elements" and "Triangle" rules that lend themselves to producing pleasing pictures. Couple this with the vibrancy of the red and the subtle golden shades, all placed on a B&W background, makes for a very well produced image.

Some may argue that Anne presents a distraction in the picture but I see her in such complimentary colours, that while noticable she adds a reality of the moment to what might otherwise be just a nice perspective of a "Record Shot"

Speechless.

Thanks so much Graham.

Regards. Barr1e

Mowgli · #4 17-01-09

Hi Barr1e

Nice bit of selective colouring there, and interesting write up too
would you object to a little nit pick ? if I had been doing the doodling (as you put it) I would have left the trees black and white in the right rear window of the train in the first picture, making just the train in colour but thats just an opinion

Mowgli

Patrick · #5 17-01-09

Quote:

Originally Posted by Barr1e

Speechless.

Thanks so much Graham.

Regards. Barr1e

Hi

I must be honest and say of these pictures with mono backgrounds and coloured subject, don't do anything for me. I can't see the point it doesn't do anything to improve the picture, in fact I think you have spoiled the images, the second in particular, which I think has something going for it.
To use any manipulation technique I believe should add to the picture, in this case I don't think it has.

I have to add I don't usually like this treatment, there can be exceptions that work, a single colour most commonly shown.

Its not a new technique it was employed now & then by B/W darkroom workers who would introduce a hand tinted single colour into the print, or hand tint part of the picture using multiple colours or the whole print for that matter.

Patrick

Stephen · #6 17-01-09

Quote:

Originally Posted by Patrick

Hi

I must be honest and say of these pictures with mono backgrounds and coloured subject, don't do anything for me. I can't see the point it doesn't do anything to improve the picture, in fact I think you have spoiled the images, the second in particular, which I think has something going for it.
To use any manipulation technique I believe should add to the picture, in this case I don't think it has.

I have to add I don't usually like this treatment, there can be exceptions that work, a single colour most commonly shown.

Its not a new technique it was employed now & then by B/W darkroom workers who would introduce a hand tinted single colour into the print, or hand tint part of the picture using multiple colours or the whole print for that matter.

Patrick

I have to say you have echoed my own thoughts exactly Patrick, I just didn't want to express them for fear of causing offence or appearing too dogmatic about such things. For me the pictures should have been left totally in colour or B/W.

Selective toning is quite cliched IMO and often overused, as a rule of thumb it is best avoided unless it really adds to the image, which in this instance I don't believe it does. We have probably all seen the wedding shot where the bouquet of red roses has been left in colour and the rest is mono, ughh, it really makes me cringe

Barr1e · #7 18-01-09

Hi Mowgli -

Thanks for commenting. When I read them I re-worked the picture having taken on board what you suggested.

Having now read what Patrick and Stephen have said I think it not best to.

Patrick and Stephen, thanks - we all see things differently and it is pleasing to see that you do. I put the pix up for comments and I'm pleased they were not placed in the 'Critique' section - phew.

Regards. Barr1e