Perhaps most photographs of Meccano models are taken in a fairly casual way at exhibitions, on the basis of the fact that it is hard to take everything in that one sees, and a photographic record will help one study the material at one's leisure. A small 35mm autofocus camera with flash will take wonderful colour photos, but when one gets home, the photographs are often brilliant but most of the detail is lost.
It is all very well saying that the days of computer graphics have arrived, but such drawings are hard to make, and few Meccanomen have the necessary equipment. What is required for the average model are good photographs, an expert description, and suitable drawings of detail where indicated.
Photographs of Meccano models provide a particular challenge. Firstly, models vary greatly in size, some are quite small and table top in size, but others are huge. How do you get it all in? And at exhibitions, it is often difficult to get the public out of the way? The next problem is the reflective quality of the materials from which they are constructed. Direct lighting will produce quite nasty refections. It is very hard to "get inside" a model to show the most important details of construction, especially that tricky mechanism. One has to take into account available light and any additional lighting equipment at one's disposal and the quality of the background.
Perhaps the best chance of success is in one's own home. Here one can gradually accumulate and keep in one place the necessary equipment, and take one's time with the many details of technique required. As one's skill increases one could become more portable, and take along to an exhibition the basics needed for success.
Now for the technicalities. One's best chance of success for the average model is to photograph it against a curved white screen which provides an infinity background. One's best material is a white board or paper, not a bed-sheet which will show irritating folds. The model is stood on the front part of the board which rests on a table, the back of the board curves upwards to rest vertically against an adjacent wall. It is important to illuminate the board even more than the model, and to choose the location of the lamps so as not to cause shadows on the board, or reflections from the model. An even better way of photographing quite small models is to use a tent. A white muslin tent or perspex cone is used, the purpose of which is to eliminate all shadows, only diffuse light illuminating the model. Further lighting is provided underneath, perspex again being used as a diffuser, the model itself resting on glass. The photograph is taken through a gap in the tent. Quite a nifty technique and very professional!
The light source is usually 200 watt photoflood lamps, two for the background or outside the tent, and two or three further small lamps of lesser strength underneath or directly on the model. Good lighting is essential for success.
A single lens reflex camera is most often used. Different lenses can be attached such as close up lenses or even extension rings. It is best to use a tripod and cable release for the shutter. Perhaps the best film is Kodak Technical Pan (35mm) rated at ASA 64. Stopping down the shutter or reducing the amount of light through the lens increases the depth of field so that object near and far are both in focus. One can use a through the lens meter or a separate metering system to judge length of exposure. It is best to keep a record of exposures, so that adjustments can be made next time round.
If one has the equipment, one can develop and print one's own negatives, but most often this is done by an outside agency, although good black and white processors are becoming increasingly hard to find.
The best developer for the film mentioned is Kodak Technidol/Kodal - 76/d-19, but Ilford ID-11 used neat is just as good.
In order to make prints oneself, a printing machine is required, a major piece of equipment. Prints can be made on Ilford Multigrade paper, but Grade 2 paper probably gives the best contrast for the purpose, depending on the quality of the negative of course. To judge the best exposure, it is best to make test strips, although increasing experience may obviate the need for this technique.
Developer and fixer are required, according to the requirements of the paper, and adequate provision made for drying.
When you eventually have a decent photograph, it can be kept as required as a permanent record, or it can be used to make offset litho prints for publication purposes. This is a technique usually carried out in a printing shop. A fine screen is interposed between your print and the material to be printed on, a strong light applied and a contact print made onto special paper, making a half tone print.
© Copyright Michael Adler 1996