BOOK REVIEW: ‘Steam In Scotland: a Portrait of the 1950s and 1960s’

91. Scottish Steam

Reviewer: Michael Keith

Title:  Steam In Scotland: a Portrait of the 1950s and 1960s

Author:  Kevin McCormack

Total Number of Pages: 168

Rating Scale (1: Very Poor, 10: Excellent) 7

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In the opening paragraph of this volume’s Introduction,  the author states: ‘’This colour album covers steam in Scotland…and uses, to the best of my knowledge, images which have not previously appeared in print’. With that established, he then states that ‘Most of the pictures used have been sourced from the Online transport Archive’ and that ‘…There are even some of my colour slides included…’  He concludes by saying: ‘I hope readers will enjoy this nostalgic glimpse of the Scottish railway scene…before the Beeching axe was wielded…’  As a precis it cannot be faulted.

The volume contains no Contents page, its first section being a three page Introduction. Within this the author details his personal railway-related story, introduces the reader to Scottish railways (the subject of this volume), and provides details about the origins of the photographs that have been used within it. The 159 pages of colour images which comprise the majority of the volume then follow. The author notes that ‘The pictures…have been arranged on a roughly geographical basis, starting on the eastern side of Scotland upwards from the English border, proceeding around the top of the country and ending on the western side near the border’. Unfortunately the absence of any Maps makes the statement rather pointless, especially to those readers who are neither local residents, or who live off-shore. All images are in colour and, as indicated by the title, the volume is predominantly of photos of steam locomotives of varying shapes, sizes and classes in a variety of Scottish settings and conditions. Sometimes the locomotives are attached to trains, but most of the photographs are of single units. Curiously, two stations (Broomhill and Arrochar and Tarber on pages 108 and 138 respectively), make appearances in their own right sans steam. The photographs are from a variety of sources, are largely single-paged in format and have informative captions placed underneath. However, and where appropriate to the narrative, smaller images have been inserted into the larger and two or three smaller images appear on a single page. The sources of the images are acknowledged. A single page Index completes the volume. As previously-noted no Maps are provided.

In this reviewer’s opinion (and given the book’s title), this volume’s Index is woefully inadequate.  Although the volume is (supposedly) concerned with Steam In Scotland, the Index carries absolutely no mention of either locomotives or trains within its entries. It is totally ‘station focused’. As a result, were the Index to be the first section consulted by a potential reader, it would be easy to conclude that steam locomotives and trains were not present when the volume’s photographs were taken. Yet even with that focus, not every ‘caption’ mention of a specific station is recorded. Boat of Garten (for example), while mentioned on page 106, according to its Index entry appears only on pages 102-104. All and any references to such items as Railway Companies, Events and Geographical Entities (despite being mentioned within the captions) are also absent. The lack of Maps has already been noted. A Glossary providing quick interpretation of the various ‘Company’ acronyms within the volume would have been helpful.

For readers seeking ‘Pictures of British steam trains in a Scottish setting’ this volume will be a delight, as they are there in quantity. Due to the Index, those seeking photographs of specific Scottish railway stations are also likely to find their desires met. Enthusiasts and railway modellers seeking images of specific locomotives and / or classes (and assuming that these have even been included) may also find this volume of interest. It should however be noted that, due to the previously-noted inadequacy of the Index a lot of searching may be required with no guarantee of success. Some may not deem it worth the effort.

On a Rating Scale where 1: Very Poor, 10: Excellent, I have given this volume a 7.

Had the Index been more indicative of the volume’s content, the rating would have been higher.

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BOOK REVIEW: ‘Steam In Scotland: a Portrait of the 1950s and 1960s’

BOOK REVIEW: ‘Seventy Years of Railway Photography: Seven Decades Behind the Lens’

87. boocock railway pics

Reviewer: Michael Keith

Title:  Seventy Years of Railway Photography: Seven Decades Behind the Lens

Author:  Colin Boocock

Total Number of Pages: 255

Rating Scale (1: Very Poor, 10: Excellent) 7

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In this volume’s Preface, the author makes the following statement: ‘This book serves a modern need…by showing how anyone interested in railways can photograph them, and can keep up-to-date throughout a long photographic career as technology improves’. He then notes that ‘The book is also a celebration. The year 2017 marks the seventieth anniversary of the year in which I took my first railway photograph, 1947’. These statements are an excellent precis for what is to follow.

This volume is of the ‘Enthusiasts Picture Book’ genre of railway publications. However, unlike many of that genre, it has the bonus of both a well-written and very readable narrative and several sections about the actual process of railway photography; the latter being something rarely encountered within such books.

Within the volume itself, an Acknowledgements page placed immediately after the Contents page thanks those who contributed to the volume, while clarifying the matter of Copyright in respect of the small number of images that are not the author’s own. The author also notes that within the volume his ‘…Views are based on his own experience and cannot be attributed to the publisher or its agents’. A Preface follows. Within it the author simultaneously explains the volume’s rationale and clarifies various technical matters relating to the photographic equipment he has used over the years. The Preface is followed in turn by an Introduction within which the reader is introduced to both the origins of the author’s photographic passion and to descriptions of the various types of railway photography and the unique technical difficulties and solutions associated with these. The eight Chapters which comprise the bulk of the volume follow the Preface. Each Chapter covers a specific decade (for example The 1940s; The 2000s etc.). The Chapters are arranged in a standard format consisting of several pages of explanatory text outlining the author’s photographic adventures during that time, followed by a selection of photographs relevant to the narrative.  While initially the photographs are monochrome, over time (and as colour film became less expensive), these become increasingly of coloured format. Helpfully, and at the beginning of each collection of photographs, the author provides details of the camera/s used to take the images that are to follow. The Chapters are in turn followed by four Appendices.  According to the author ‘These appendices draw on my experience over the years’, and are devoted to the ’technical’ aspects of photography.  A two-line Postscript conveys St. Augustine’s thoughts on travel. It is the volume’s final section.  The book contains neither Index or Maps, nor a list of the photographs within it.

Unfortunately while this volume is both well-written and copiously illustrated, for this reviewer it is badly let down by the lack of an Index, with the additional lack of any Maps serving to compound the problem. In this reviewer’s opinion, without the assistance of an Index, it is unreasonable to expect a casual reader to (for example) know where an image of Ryde Pier Head (page 47) might be found, where a Eurostar (page 153) is located within the volume, or where to look to learn about Mobile phones as a useful photographic device (pages 242-243). The absence of such assistance reduces this volume to essentially a ‘Collection of Pretty Pictures’ with some useful words thrown in – if the latter can be found! A similar situation pertains to the lack of Maps; where (for instance) is Grindleford (page 81) or AoBaoGou (page 177)? The average reader (especially if they are a layman) cannot be expected to have to repeatedly confer with refer to an atlas when perusing this volume. Again, this lack reduces the volume’s value, particularly to the ‘off-shore’ reader not familiar with the geography of the British Isles (the book’s primary area of focus).

Because it provides a unique photographic record of the period 1947-2017, there is no doubt that this volume will appeal to readers with an interest in the railways of Great Britain over that time. In many instances, the images capture now-departed aspects of British culture, and as a result, Social Historians might also find the volume useful as a research tool. Photographers and railway modellers are likely to find the images and articles relating to their interests useful, with the qualified assumption (due to the lack of an Index) that they can actually locate such material. Non -‘railway enthusiast’ readers looking for pictures of ‘pretty trains’ might also find it worthy of their attention. In summary: An excellent, well written and very informative volume; a shame about the Index and Maps

On a Rating Scale where 1: Very Poor, 10: Excellent, I have given this volume a 7.

It should have been much higher.

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BOOK REVIEW: ‘Seventy Years of Railway Photography: Seven Decades Behind the Lens’