Question for discussion:

Have any groups/sites represented here had any experience with people going to unusual (or even illegal) efforts to photograph, or otherwise artistically interpret, your most derelict equipment?

It's an exceedingly rare museum or operation that doesn't have at least some pieces that range from needing a fresh coat of paint to being a pile of parts in the "back 40." Most such places I've seen are not fortunate enough to be able to fence off their entire property, and somewhere on the place, shoved in a siding or elsewhere, are a couple rusty boxcars, parts supplies masquerading as locomotives, "long-term projects," etc.

As many here may know, the photography of derelict, neglected, or abandoned things has become some "artsy-f*rtsy" craze right up there with graffiti. Do searches, and you'll find websites dedicated to such photography, and even a Flickr category (or several such) for "Abandoned Trains". No doubt some of you are encountering these folks, whether they're asking permission to go back and photograph your pending project or you're seeing them climb off of it when you arrive to open the place in the morning (gotta capture that "magical" early morning sunlight tones, after all).

Thoughts? Comments? Policies?

I have photographed plenty of equipment in disassembled, rusted, and "relegated to rip track for years" status. In my purpose, it's usually to capture a moment in the life story of the locomotive, sometimes to document the construction, rather than to pose the locomotive as a sad story of neglect or abuse. Of course, often enough, a locomotive that was preserved for reclamation winds up as a basket case, even in museums. In the case of Maine Central's #470, embarrassment is the only thing that might intervene between where she is today and where I expect she'll be in short time.

Trespassing is a topic of its own, and I won't go there now.

Most of those photographers are harmless, and simply want photograph the rust old junk abandoned train cars... err, I mean your valued restoration projects waiting for time and/or funding, beause they look "cool".

Budding photographers seem to go through phases. Macor shots. Dead trees. Night photos. Junk cars/trains/ships. HDR photography. Black and White... All done in the name of "art".

Generally speaking, they won't steal parts off of them, they won't spray paint them, and they may not even climb on them, though some do pose models on them.

Maybe museums should consider doing a "photographer's tour" where they take these folks out to the areas not generally seen by the public, it could generate some revenue. Who knows, you might even be able to sell those "artsy-fartsy" photos of theirs in the gift shop and you both get some extra money.

We get them at OERM from time to time; in recent years most of the really "funky" relics have been placed "out back" in the area that's normally off-limits to visitors.

Many years ago we had a photo club visit us; one of the members was a beautiful young woman who looked like she might have been a model getting some experience on the other side of the camera (think a young Sophia Loren). While the other shutterbugs were getting shots of old cabooses, boxcars, and trolleys, she had noticed a cat in the front window of a motorhome that a member couple stayed in during the weekend. Never mind the railway relics, she was getting photos of the kitty. She commented to me, "What a fine cat! Look at those eyes!" And I think the feline in question was the one that the couple had rescued from a culvert during a previous stay at the museum. Something for everyone!

We've had a couple of those show up. One of them joined and has become a regular volunteer, as well as a big contibutor to our Facebook page. The other is an occasional "poster" here, and documents progress we are making and our restored equipment as well as the "iron oxide". I'm glad to have them both, they're good people. We've gotten one worker and one friend out of it, there's nothing wrong with that.

Are you kidding? The most photographed unit at the Western Railway Museum is this guy
http://www.girr.org/girr/relics/wrm/wrm_porter.jpg

If I ever develop a ferocious and incurable loathing for my fellowman, I'll paint it.

So it appears, overall, that "art" enhances the museum. The greatest factor is the eye of the artist.
I like the suggestion of "Artist's Nights". Publicizing it well ahead of schedule amongst university and local artists organizations, clearing areas for easels, tripods, chairs, providing drinks and appropriate light food as part of the evening. Scheduling an "Artists Open House Night of Display" - for the public, television stations, newspapers, historic organizations, let's say 6 months afterward, charging a small admission fee.
Equipment could be moved and located in "railroady" poses, too, with smoke or steam generators placed around certain pieces of equipment.
I think this is a positive direction for almost any museum or group to raise exposure.

And what happens when the somewhat unflattering photos or paintings of your derelict pieces end up in the "photo salon" of your city's magazine or newspaper, or end up being sold for hundreds in an art gallery? Or, even worse, it's painfully obvious it's your museum/railroad in question, thanks to the title or caption?

As you might guess, these are not hypothetical questions.

"What happens...?"
You just got some free publicity for your next artists' night and fundraiser. Make sure they spell your name correctly.

That is why we have, what sometimes called, "planning", Alex. You control what you can control, you make it safe as possible, you provide the best arrangements you can, and allow your guests to do what they do best.
Jim is absolutely right. Most people will look at whatever is produced as art. The exposure to the community is worth the service and free expression.

You may have some Urbexers. Urbex or Urban exploring is the art of exploring modern ruins.

I am an amateur photographer and a rail fan that volunteers at the IRM. It’s probably the museum’s duty to stash the unsightly away from the general public. But I see no problem with people finding a new way to see it. Especially if they buy a ticket.
I give you the IRM texture collection…

http://www.flickr.com/photos/thomas-mer ... 903109893/

I recognize most of these items, don’t care for there state of preservation, but can still see their beauty.

Good heavens, man, is there anyone or anything you won't mock?

Urban exploration and photography is tantamount to graffiti?

Quite a few of us RYPN irregulars are active in such photographic pursuits... so please, outside of lectures on trespassing which may or may not be applicable for a given photographer, explain to us the problem.

I'd love to know what the other "graffiti artists" and I are doing wrong. For some strange reason, I thought that all the time I have spent recording the rusty and dusty side of life was creating an artistic record of passing industrial America - including museum pieces that are no longer with us. Foolish me.

Hugs and kisses as always. :-)

Rob

I'm not equating "urban photographers" (or whatever) with graffiti artists. Rather, what I was equating was the somewhat-newish "fad" of "photgraphing the derelict artistically" (it's been there for ages, but now it seems like a graduation requirement for many an arts college) with the folks that seem to think that uninvited graffiti on private property is "artistic expression" worthy of academic study and even praise.

And I have firsthand experience with the photographers lurking/entering and the graffiti artists following a week later. And, oddly enough, vice versa. They seem to attract one another, in these cases.

I also have firsthand knowledge of a historic rail piece that's destined to be cut up VERY soon specifically because it's become a "trouble" magnet, and there's no place left to "hide" it and it's making the place where it's sitting look bad.

Let's reiterate: If you can see it from public property, the road, etc., it's fair game FROM THAT PERSPECTIVE. Go wander the back lot of the railroad museum uninvited before or after hours, or climb into the "abandoned" factory/station/Pullman car/barn/etc., however, and it's a different matter.

Oh, yeah, don't get me started on the "fashion" and "human study" photographers, and their models, who show up and climb on the stuff, or lie in the gauge...........

When the urban explorers enter (by cutting) a fenced and locked yard, when they enter (forcibly) a secured loco or car, when they practice "extreme trespass", they they have overstepped their boundaries and have become criminals, plain and simple. At that point it is not "art" or "exploration" or "documentation".

And, unfortunately, the graffitti VANDALS are seemingly the handmaidens of the "urbex-ers", and then come the "non-ferrous metal miners".

If the place is fenced and the fence is locked, stay the heck OUT. It's not your property. You have no right to enter for any reason.

Howard P.
Razor Wire, NY