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BRITAIN’S LEADING HISTORICAL RAILWAY JOURNAL
Vol. 30
•
No. 8
AUGUST 2016
£4.40
IN THIS ISSUE
THE LICKEY INCLINE IN TRANSITION
SHARP STEWART LOCOMOTIVES OF THE CAMBRIAN RAILWAYS
THE CRIEFF & METHVEN JUNCTION RAILWAY
STEAM ON THE SOUTH WESTERN MAIN LINE IN COLOUR
PENDRAGON
PUBLISHING
THE GREAT NORTHERN LEEDS–BRADFORD ROUTE
STEAM VERSUS DIESEL
RECORDING THE HISTORY OF BRITAIN’S RAILWAYS
ONE MAN AND
HIS CAMERA
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FROM PENDRAGON
THE RAILWAY
PHOTOGRAPHY
OF TREVOR OWEN
COMPILED BY
PAUL CHANCELLOR
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Trevor Owen is undoubtedly one of the greatest
names in railway colour photography. Avid
readers of the railway press will be very familiar
with his name whilst many others would be able
to spot one of his pictures without noticing the
photographer credit. First and foremost the
quality of the image was generally second to
none but other factors would betray the touch of
his genius, such as the creative use of light, often
low winter sunshine. Other ‘trademarks’ were
locomotives in action rather than at rest and trains
in the landscape rather than being tightly framed
front three quarters views. With Trevor being a
prolific and a very early adopter of colour film, the
results of his work are some of the best images
of the UK railway scene that we can enjoy today
and the fact that we can do this is down to the
photographer having had the foresight to place his
work in the Colour-Rail Collection. In association
with Colour-Rail, Pendragon Publishing now
brings you this wonderful selection of some 250
classic Trevor Owen images of the steam railway
in 1950s and 1960s.
144 pages A4 hardback • ISBN 978 1 899816 10 1
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Vol 30 . No.8
No. 304
AUGUST 2016
RECORDING THE HISTORY OF BRITAIN’S RAILWAYS
Memos from the Department of Administrative Affairs
Referenda have become more faashionable in recent years and civic
planning is always being to out to ‘public consultation’, whatever that
means. So it was that in the spirit of community engagement, several
years ago we undertook a survey of readers to try and determine,
amongst other things, what you like about
Backtrack,
what you don’t,
what you’d welcome more of or prefer less of, include... exclude... do
differently.
It turned out to be quite a reassuring exercise in that by and large,
considering one factor against another and taking everything into
account, a good level of reader satisfaction was apparent and most
issues of the magazine pleased most of you most of the time – which
might be as much as can ever reasonably be hoped for. So we continue
to present a monthly magazine containing a variety of engaging articles
on an eclectic range of subjects, well illustrated with colour and b/w
photographs reproduced to a high standard, the whole product brought
to you on good quality glossy art paper.
One particular aspect which met with your approval was that the
magazine’s 64 pages, apart from covers and ‘administrative’ pages
such as this, are all occupied by ‘content’; you don’t find a significant
amount of space devoted to advertising. Some magazines do go in
for commercial breaks within their pages: nothing wrong with that, of
course, entirely their policy, and there are valid reasons for it. Advertising,
even in the railway press, can be quite remunerative for a publisher if you
set out to attract it and it can help towards offsetting the cost of creating
the journal, even standing as a buffer between the existing price and a
higher one – or maybe worse, a cost-cutting mission.
Backtrack’s
tacit policy from the beginning was to keep clear of the
advertising world (though looking back I can’t see that it actually says
that!); in fact, what little we carry now is overdoing it compared with
those early issues. During my time I’ve never had any desire to change
that and, in case any of you are twitching with nascent disapproval, I’m
still not minded to do so now. But it does leave us with this inescapable
fact – nearly all
Backtrack’s
income is derived from the sale of copies of it
by subscription or over the counter.
That’s fine – as long as our costs remain generally steady, going
up no more than modestly as all things invariably do. However, some
production costs are completely beyond our control and a substantial
increase in certain of them has made it necessary and unavoidable
to increase the price of your monthly
Backtrack
to £4.75 from the
September issue.
Price increases are always imposed with reluctance and certainly not
one as significant as this, but all magazines, whether mass circulation
or speciality interest, are facing a similar challenge. I believe I’m right
in deducing that most of you will not want us to concede more pages
to advertising, reduce the number of pages and pictures, downgrade
the quality of the paper or cut the fees to our valued contributors. All
that being so, the proverbial bullet must be bitten; unfortunately, as that
politician once said, there is no alternative.
On the other hand there has never been a better time to become
a
Backtrack
subscriber, for we will be holding our rates at their existing
level until 31st December. That’s clearly an advantageous way of
ensuring the regular arrival of your
Backtrack
and I might as well add
here and now that it’s also the best deal for us as we receive most of the
subscription revenue without the deduction of trade discounts, which
in turn helps us to keep producing the magazine to the highest possible
standards. And don’t forget that as a subscriber you enjoy a discount on
our latest book
One Man and his Camera
as well as on future publications.
•  •  •  •  •
It seems everyone’s a photographer these days – just point a mobile
phone at something and press a button. Arguably, though, it’s hardly
skilled photography of the sort practised by the generations whose
work has graced these pages from the days when you needed a half-
decent camera, a box of glass plates or later a roll of film, a darkroom full
of chemicals and apparatus with which to develop the negatives, and
above all an eye for the creation of a carefully composed picture (before
they became called ‘images’).
During the 1950s colour photography became a more practical
and affordable option, with the result that many enthusiasts took to it
with a considerable degree of success. Amongst many distinguished
practitioners the name of Trevor Owen stands out and in conjunction
with Colour-Rail, custodian of his great collection, it has been a a delight
to publish a tribute to his work in our recent book
One Man and his
Camera.
Trevor’s particular skill lay in taking a railway subject and combining
it with setting, landscape, lighting conditions and human presence to
create a photographic work of art. Few could match Trevor’s ability to
use the sharp light of a frosty morning or the high clouds of a summer
day to set off an action shot, while he could recognise the lasting value
of photographing a railwayman at work or a family on holiday or an
industrial background to contrast with lush countryside.
So add it to your bookshelf – go on, treat yourself, give it as a present
or let it be known that you’d appreciate a copy: it’s never too early to
put down a marker for Christmas! Advance orders have kept my ever
obliging assistant Samantha busy on the packing bench during the early
summer but she’ll be ready to leap into action again whenever called
upon. You will not find a better photographic album this year!
Contents
Lingering in Leicestershire........................................ 452
The Lickey Incline in Transition
..............................
454
Steam versus Diesel
....................................................
461
The Sharp Strewart Locomotives of the
Cambrian Railways: A Chronological Survey
– Part One
......................................................................
468
‘Dukedogs’ on the Cambrian
...................................
475
Focus on the Furness
..................................................
476
Go South West
...............................................................
480
The Severn Tunnel: Nineteenth Century
Aspects – Part Two
......................................................
484
The Crieff & Methven Junction Railway:
A 150th Anniversary Celebration
..........................
490
Western Region Permanent Way
Diesel Shunters............................................................. 494
Bridges of the Newark and Bottesford Branch 496
J. C. Bourne
....................................................................
500
The Great Northern Leeds–Bradford Line
..........
502
Readers’ Forum
............................................................
509
Book Reviews
................................................................
510
GWR ‘Dukedog’ 4-4-0 No.9004
runs through Barmouth station
with an up goods on the
Cambrian Coast line in July 1958.
(P. H. Wells/Colour-Rail.com BRW1647)
Publisher and Editor
MICHAEL BLAKEMORE
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pendragonpublishing@btinternet.com
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Tel
01347 824397
All Subscription Enquiries
01778 392024
(see inside back cover for details)
•
Trade Account Manager
Ann Williams
Design + Repro
Barnabus Design in Print
• Typesetting
Ian D. Luckett Typesetting •
IT Consultant
Derek Gillibrand
Printed by
Amadeus Press, Ezra House, West 26 Business Park, Cleckheaton, West Yorkshire BD19 4TQ
Newstrade Distribution
Warners Group Publications Plc • Tel. 01778 391135
Contributions of material both photographic and written, for publication in BACKTRACK are welcome but are sent on the understanding that, although every care is taken, neither the editor or publisher can accept responsibility
for any loss or damage, however or whichever caused, to such material.
l
Opinions expressed in this journal are those of individual contributors and should not be taken as reflecting editorial policy. All contents of this
publication are protected by copyright and may not be reproduced in any form or by any means without the prior written permission of the publishers
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Copies of photographs appearing in BACKTRACK are not available to readers.
All editorial correspondence to:
PENDRAGON PUBLISHING • PO BOX No.3 • EASINGWOLD • YORK YO61 3YS •
www.pendragonpublishing.co.uk
AUGUST 2016
©
PENDRAGON PUBLISHING 2016
451
PENDRAGON
PUBLISHING
above
:
Leicester Belgrave Road station was surprisingly ornate (for the
GNR), with a twin-arched roof accommodating a generous provision
of six platforms. After the end of a workmen’s service of one train
either way to and from John o’Gaunt in 1957, only the summer
seaside trains used it. This photograph is dated 19th March 1968
when the station still appeared intact, though goods facilities there
remained in use until the following year.
below
:
The GN/LNW Joint station at Melton Mowbray, looking rather
LINGERING IN LEICESTERSHIRE
The Great Northern and London & North Western Joint
Line came to be as a result of the former’s desire to
reach Leicester and the latter’s to reach Nottingham.
Its route lay from Market Harborough (LNWR) to the
Nottingham–Grantham line of the GNR, with the Great
Northern opening a branch from it to Leicester Belgrave
Road. Passenger traffic turned out to be sparse and
ended in December 1953 but goods traffic and seasonal
holiday trains lingered until final closure in September
1962.
TOMMY TOMALIN
went to photograph it.
woebegone on 20th August 1961. Without a regular train service
since 1953, its platform canopy has had its glass removed for safety’s
sake. However, the summer weekend specials to Skegness and
Mablethorpe did still call there which doubtless explains the words
daubed on the brickwork for the benefit of would-be passengers,
while an LMS nameboard continues to make its statement.
There was something rather wistful about an abandoned railway station lapsing into decay in the countryside.
Here we find Great Dalby on 20th August 1961, fences and posts leaning wearily, LMS running-in board
fading. Not entirely forgotten, though, as two workmen are doing something with a ladder…
A train – WD 2-8-0 No.90104 passes Loddington church in its peaceful nook, heading
towards East Norton with coal wagons on 6th October 1962.
No-one departs, no-one arrives – but the down ‘starter’ at
Tilton is ‘off’ on the same date as above. There were sidings
here in connection with ironstone quarrying thereabouts.

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