Colin Gifford
Encyclopedia
Colin Telfer Gifford is a British railway photographer, born in 1936. Gifford pioneered the "New Approach" to railway photography in the 1960s during the declining years of steam
. This approach relies heavily on abstraction
and sought to encapsulate the dirty working atmosphere
of the railway.
er, from Islington
, though he later moved to Crawley
in Sussex
where his family held a catering
concession at what was to become Gatwick Airport. As a child he had no particular interest in railways – he was never a locospotter but he lived not far from Kings Cross station. He would often hover around the ticket barriers, fascinated by the ebb and flow of travellers and the bustle of station business as much as by the trains themselves. It was not until his student days in the late 1950s at Harrow School of Art that he became aware of the visual possibilities that railways offered. Soon he began taking photographs around North London and especially along the ex-Great Central main line that passed through Harrow. After college Gifford worked as a graphic designer
in the West End
advertising
industry, often using his weekends and holidays to travel the country – by public transport
wherever possible – to photograph railways. He preferred steam subjects, but unlike most contemporary photographers always took plenty of shots of diesel
and electric
traction.
Although Bill Brandt
is often cited as a major influence, the style that made Gifford's name clearly owed much to the work of a man who is virtually unknown to British enthusiasts – the pioneering Swiss avant-garde railway photographer Jean-Michel Hartmann, whose book Magie du Rail (Editions Amart, 1959) revealed an eye for pattern and form that had a massive impact on Gifford's pictorial approach. Other than Hartmann, Gifford was always cagey about naming which, if any, railway photographers he particularly admired. O Winston Link was dismissed as 'too contrived' and 'pantomime' and he had even less time for the cosy coterie of British cameramen whose work – conventional in the extreme, obsessed with locomotives and of interest only to other enthusiasts – dominated the magazines of the 1950s and early 1960s. Gifford preferred to record things honestly and naturalistically, as he found them, much as the great Picture Post
photojournalists
had done. He firmly believed this was a way of making railway photography accessible to a far wider audience, although it would be many years before his approach was fully vindicated.
s at speed, captured from trains on adjacent lines – during the course of his daily commute; thirty years later, one of these images would be featured on a Royal Mail stamp. At Shepperton
he restyled many familiar publications, such as the Combined Volume (the Winter 1962-3 edition is now a design classic, with its yellow cover featuring a green 4-CEP emu
) and the expanding Ian Allan magazine stable. He was instrumental in reshaping and reinvogorating the austerely academic Railway World and helping transform the enthusiast-focused Trains Illustrated into Modern Railways
, a quality large-format monthly for transport professionals that was driven by a strong visual dynamic. In a branch of publishing that was increasingly weighed down by nostalgia, Gifford's imaginative photographs of the current scene brought excitement and a breath of fresh air to Modern Railways – the 'new' Euston
was a particular favourite – while many Ian Allan pictorial albums from this period benefited from his visual flair and creative design. There were even some elaborately contrived trompe l'oeil
covers for Model Railway Constructor, including a speeding Trix 'Warship' and an 00 gauge BR Standard Class 9F
seemingly emitting an enormous plume of smoke.
Away from the Ian Allan design studio, Gifford continued to build a photographic record of every region of British Railways using a Rolleiflex
medium-format twin-lens reflex camera
. He was also busily photographing the full length of the River Thames
with the idea of one day making a book out of it. His work was predominantly black and white and for 35mm colour work he used cheaper, less sophisticated cameras such as the Russia
n-made Fed
; in later years a Pentax
SLR
joined the faithful Rolleiflex TLR.
All this creativity came together with the publication in 1965 of Decline of Steam. Its effect on British railway photography was nothing short of cataclysmic – certainly to an audience that, for the most part, had never seen the work of Jean-Michel Hartmann. In place of endless front three-quarter views (with the sun always coming over the photographer's shoulder and the locomotive number clearly visible) here were misty industrial landscapes, sweating railway workers, rainswept nocturnal platforms, sulphurous engine sheds. The trains themselves were often almost an afterthought in this vision of the railway as a totality; some images did not feature trains at all. The design and layout of the pictures (by Gifford himself) was at least as important as the subject.
All over Britain, Gifford was either hailed as the new Messiah or reviled by the old guard (who could never quite articulate why they were so uneasy with his work - describing a photograph as 'an out of focus blur passing some grainy cooling tower
s' was about the limit of their critical evaluation). Soon popular magazines such as Railway World and Railway Magazine were offering an uncomfortable mixture of Gifford-inspired avant-garde (or what passed as avant-garde) and the traditional. By 1967, however, Gifford had left Ian Allan and devoted himself to photographing the final years of British steam virtually full-time, often in the company of his young protegé Ian Krause, another product of Harrow School of Art. This association introduced Gifford to the infamous MNA (Master Neverer's Association), a group of (mostly) Midlands-based photographers centred on the legendary Paul Riley, an ex-roadie and professional hellraiser. The endless overnight car journeys and inevitable ego clashes were not to Gifford's taste – he is a soft-spoken and unassuming man – and he returned to public transport and his own company for the final months of steam. He never did own a telephoto lens
, although it became the hallmark of the Gifford-inspired 'New Approach' to railway photography that featured in Railway World and reached its apotheosis in the Ian Allan album Steam Portfolio (1968). Style sometimes triumphed over substance but in the work of young photographers such as Malcolm Dunnett and Roderick Hoyle, Gifford's influence was unmistakable; in the book's static page layout, however, the absence of his subtle design skills was all too obvious.
, a fair proportion of which was absorbed by the laminated plastic dustjacket. Many of the pictures dated from 1967-8 and the influence of Jean-Michel Hartmann – almost overwhelming in Decline of Steam – was far less marked in a book that showed how, in those final years of steam, Gifford had begun to experiment with new techniques (possibly stimulated by his association with younger photographers) and find his own visual language, less graphically dynamic and more pictorialist than before. Forty years on, those photographs of a long-vanished Britain have the poignancy and social relevance of films such as Billy Liar
, Saturday Night and Sunday Morning
or This Sporting Life
. Their value is enhanced by the fact that very few Gifford photographs have ever been published twice – he was always careful to keep his work fresh and unlike most of his contemporaries, never allowed publishers to hang on to his photographs on the off-chance they might be used one day. He was (and continues to be) reluctant to allow his work to be published unless he has designed the page layouts himself.
Although he had amassed a collection of some 18,000 negatives between 1958 and 1968, with enough unpublished material (including his rarely-glimpsed colour work) for many more books, Gifford's understandable fastidiousness about his work became something of a stumbling block. The Thames book failed to find a publisher, while sales of Steam Railways in Industry (Batsford, 1976) were disappointing, as was the reproduction quality. A projected seven-part region-by-region study with Ian Allan ground to a halt after just one volume, Steam Finale North (also 1976), had been published and Gifford was not best pleased when Ian Allan subsequently brought out Steam Finale Scotland, superficially a continuation of the series but in practice containing nothing by Gifford. Things had looked far more promising when, the previous year, Gifford had signed with New English Library (an American-owned company) to produce the companion-piece to Each a Glimpse, entitled And Gone Forever. With an eye on the export market and foreign co-editions, extensive use of colour was stipulated for the first time. A mock-up of And Gone Forever was presented at the 1976 Frankfurt Book Fair but the book was never, alas, to reach production, at least in the form Gifford and his publisher anticipated; deadlines came and went and though most of the design work was eventually completed, the contract was terminated in 1978 - a very different book of the same title finally appeared from Oxford Publishing Company in 1994, but without the colour photographs that had been promised 18 years earlier.
In that same year, Royal Mail
published a set of five postage stamps featuring a selection of his photographs, chosen in collaboration with the designer Brian Delaney; as with all Royal Mail stamp isues, the designs were personally approved by the Queen. There was an exhibition at the National Postal Museum to mark the event, which included items such as Gifford's notebooks and treasured Rolleiflex camera. Gifford had by then moved to Hertfordshire – and learned to drive – but for the next decade and a half little was seen of his work, other than occasional magazine articles and the odd small exhibition.
Steam locomotive
A steam locomotive is a railway locomotive that produces its power through a steam engine. These locomotives are fueled by burning some combustible material, usually coal, wood or oil, to produce steam in a boiler, which drives the steam engine...
. This approach relies heavily on abstraction
Abstraction
Abstraction is a process by which higher concepts are derived from the usage and classification of literal concepts, first principles, or other methods....
and sought to encapsulate the dirty working atmosphere
Atmosphere
An atmosphere is a layer of gases that may surround a material body of sufficient mass, and that is held in place by the gravity of the body. An atmosphere may be retained for a longer duration, if the gravity is high and the atmosphere's temperature is low...
of the railway.
Early years
Gifford is a LondonLondon
London is the capital city of :England and the :United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its...
er, from Islington
Islington
Islington is a neighbourhood in Greater London, England and forms the central district of the London Borough of Islington. It is a district of Inner London, spanning from Islington High Street to Highbury Fields, encompassing the area around the busy Upper Street...
, though he later moved to Crawley
Crawley
Crawley is a town and local government district with Borough status in West Sussex, England. It is south of Charing Cross, north of Brighton and Hove, and northeast of the county town of Chichester, covers an area of and had a population of 99,744 at the time of the 2001 Census.The area has...
in Sussex
Sussex
Sussex , from the Old English Sūþsēaxe , is an historic county in South East England corresponding roughly in area to the ancient Kingdom of Sussex. It is bounded on the north by Surrey, east by Kent, south by the English Channel, and west by Hampshire, and is divided for local government into West...
where his family held a catering
Catering
Catering is the business of providing foodservice at a remote site or a site such as a hotel, public house , or other location.-Mobile catering:A mobile caterer serves food directly from a vehicle or cart that is designed for the purpose...
concession at what was to become Gatwick Airport. As a child he had no particular interest in railways – he was never a locospotter but he lived not far from Kings Cross station. He would often hover around the ticket barriers, fascinated by the ebb and flow of travellers and the bustle of station business as much as by the trains themselves. It was not until his student days in the late 1950s at Harrow School of Art that he became aware of the visual possibilities that railways offered. Soon he began taking photographs around North London and especially along the ex-Great Central main line that passed through Harrow. After college Gifford worked as a graphic designer
Graphic designer
A graphic designer is a professional within the graphic design and graphic arts industry who assembles together images, typography or motion graphics to create a piece of design. A graphic designer creates the graphics primarily for published, printed or electronic media, such as brochures and...
in the West End
West End of London
The West End of London is an area of central London, containing many of the city's major tourist attractions, shops, businesses, government buildings, and entertainment . Use of the term began in the early 19th century to describe fashionable areas to the west of Charing Cross...
advertising
Advertising
Advertising is a form of communication used to persuade an audience to take some action with respect to products, ideas, or services. Most commonly, the desired result is to drive consumer behavior with respect to a commercial offering, although political and ideological advertising is also common...
industry, often using his weekends and holidays to travel the country – by public transport
Public transport
Public transport is a shared passenger transportation service which is available for use by the general public, as distinct from modes such as taxicab, car pooling or hired buses which are not shared by strangers without private arrangement.Public transport modes include buses, trolleybuses, trams...
wherever possible – to photograph railways. He preferred steam subjects, but unlike most contemporary photographers always took plenty of shots of diesel
Diesel locomotive
A diesel locomotive is a type of railroad locomotive in which the prime mover is a diesel engine, a reciprocating engine operating on the Diesel cycle as invented by Dr. Rudolf Diesel...
and electric
Electric locomotive
An electric locomotive is a locomotive powered by electricity from overhead lines, a third rail or an on-board energy storage device...
traction.
Although Bill Brandt
Bill Brandt
Bill Brandt was an influential British photographer and photojournalist known for his high-contrast images of British society and his distorted nudes and landscapes.-Career and life:...
is often cited as a major influence, the style that made Gifford's name clearly owed much to the work of a man who is virtually unknown to British enthusiasts – the pioneering Swiss avant-garde railway photographer Jean-Michel Hartmann, whose book Magie du Rail (Editions Amart, 1959) revealed an eye for pattern and form that had a massive impact on Gifford's pictorial approach. Other than Hartmann, Gifford was always cagey about naming which, if any, railway photographers he particularly admired. O Winston Link was dismissed as 'too contrived' and 'pantomime' and he had even less time for the cosy coterie of British cameramen whose work – conventional in the extreme, obsessed with locomotives and of interest only to other enthusiasts – dominated the magazines of the 1950s and early 1960s. Gifford preferred to record things honestly and naturalistically, as he found them, much as the great Picture Post
Picture Post
Picture Post was a prominent photojournalistic magazine published in the United Kingdom from 1938 to 1957. It is considered a pioneering example of photojournalism and was an immediate success, selling 1,700,000 copies a week after only two months...
photojournalists
Photojournalism
Photojournalism is a particular form of journalism that creates images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism...
had done. He firmly believed this was a way of making railway photography accessible to a far wider audience, although it would be many years before his approach was fully vindicated.
Working for Ian Allan
In the early 1960s Gifford joined the publishing house of Ian Allan as art editor. He took many of his most famous photographs – including some stunning shots of Bulleid pacificBulleid pacific
Bulleid pacific may refer to the following classes of British steam railway locomotives:* SR Merchant Navy Class* SR West Country and Battle of Britain Classes...
s at speed, captured from trains on adjacent lines – during the course of his daily commute; thirty years later, one of these images would be featured on a Royal Mail stamp. At Shepperton
Shepperton
Shepperton is a town in the borough of Spelthorne, Surrey, England. To the south it is bounded by the river Thames at Desborough Island and is bisected by the M3 motorway...
he restyled many familiar publications, such as the Combined Volume (the Winter 1962-3 edition is now a design classic, with its yellow cover featuring a green 4-CEP emu
British Rail Class 411
The British Rail Class 411 electrical multiple units were built at Eastleigh works from 1956-63 for the newly electrified main lines in Kent. These units were based on the earlier Southern Railway 4Cor design, built in 1937. They were replaced by Juniper units.-Description:A total of 133 units...
) and the expanding Ian Allan magazine stable. He was instrumental in reshaping and reinvogorating the austerely academic Railway World and helping transform the enthusiast-focused Trains Illustrated into Modern Railways
Modern Railways
Modern Railways is a British monthly magazine covering the rail transport industry published by Ian Allan. It has been published since 1962....
, a quality large-format monthly for transport professionals that was driven by a strong visual dynamic. In a branch of publishing that was increasingly weighed down by nostalgia, Gifford's imaginative photographs of the current scene brought excitement and a breath of fresh air to Modern Railways – the 'new' Euston
Euston railway station
Euston railway station, also known as London Euston, is a central London railway terminus in the London Borough of Camden. It is the sixth busiest rail terminal in London . It is one of 18 railway stations managed by Network Rail, and is the southern terminus of the West Coast Main Line...
was a particular favourite – while many Ian Allan pictorial albums from this period benefited from his visual flair and creative design. There were even some elaborately contrived trompe l'oeil
Trompe l'oeil
Trompe-l'œil, which can also be spelled without the hyphen in English as trompe l'oeil, is an art technique involving extremely realistic imagery in order to create the optical illusion that the depicted objects appear in three dimensions.-History in painting:Although the phrase has its origin in...
covers for Model Railway Constructor, including a speeding Trix 'Warship' and an 00 gauge BR Standard Class 9F
BR standard class 9F
The British Railways BR Standard Class 9F 2-10-0 is a class of steam locomotive designed for British Railways by Robert Riddles. The Class 9F was the last in a series of standardised locomotive classes designed for British Railways during the 1950s, and was intended for use on fast, heavy freight...
seemingly emitting an enormous plume of smoke.
Away from the Ian Allan design studio, Gifford continued to build a photographic record of every region of British Railways using a Rolleiflex
Rolleiflex
Rolleiflex is the name of a long-running and diverse line of high-end cameras originally made by the German company Franke & Heidecke, and later Rollei-Werk. The "Rolleiflex" name is most commonly used to refer to Rollei's premier line of medium format twin lens reflex cameras...
medium-format twin-lens reflex camera
Twin-lens reflex camera
A twin-lens reflex camera is a type of camera with two objective lenses of the same focal length. One of the lenses is the photographic objective or "taking lens" , while the other is used for the viewfinder system, which is usually viewed from above at waist level...
. He was also busily photographing the full length of the River Thames
River Thames
The River Thames flows through southern England. It is the longest river entirely in England and the second longest in the United Kingdom. While it is best known because its lower reaches flow through central London, the river flows alongside several other towns and cities, including Oxford,...
with the idea of one day making a book out of it. His work was predominantly black and white and for 35mm colour work he used cheaper, less sophisticated cameras such as the Russia
Russia
Russia or , officially known as both Russia and the Russian Federation , is a country in northern Eurasia. It is a federal semi-presidential republic, comprising 83 federal subjects...
n-made Fed
FED (camera)
The FED is a Soviet rangefinder camera, mass produced from 1934 until around 1990, and also the name of the factory that made it.FED is indirectly named after Felix Edmundovich Dzerzhinsky, founder of the Cheka...
; in later years a Pentax
Pentax
Pentax is a brand name used by Hoya Corporation for its medical-related products & services and Pentax Ricoh Imaging Company for cameras, sport optics , etc. Hoya purchased and merged with the Japanese optics company on March 31, 2008. Hoya's Pentax imaging business was sold to Ricoh Company, Ltd...
SLR
Single-lens reflex camera
A single-lens reflex camera is a camera that typically uses a semi-automatic moving mirror system that permits the photographer to see exactly what will be captured by the film or digital imaging system, as opposed to pre-SLR cameras where the view through the viewfinder could be significantly...
joined the faithful Rolleiflex TLR.
All this creativity came together with the publication in 1965 of Decline of Steam. Its effect on British railway photography was nothing short of cataclysmic – certainly to an audience that, for the most part, had never seen the work of Jean-Michel Hartmann. In place of endless front three-quarter views (with the sun always coming over the photographer's shoulder and the locomotive number clearly visible) here were misty industrial landscapes, sweating railway workers, rainswept nocturnal platforms, sulphurous engine sheds. The trains themselves were often almost an afterthought in this vision of the railway as a totality; some images did not feature trains at all. The design and layout of the pictures (by Gifford himself) was at least as important as the subject.
All over Britain, Gifford was either hailed as the new Messiah or reviled by the old guard (who could never quite articulate why they were so uneasy with his work - describing a photograph as 'an out of focus blur passing some grainy cooling tower
Cooling tower
Cooling towers are heat removal devices used to transfer process waste heat to the atmosphere. Cooling towers may either use the evaporation of water to remove process heat and cool the working fluid to near the wet-bulb air temperature or in the case of closed circuit dry cooling towers rely...
s' was about the limit of their critical evaluation). Soon popular magazines such as Railway World and Railway Magazine were offering an uncomfortable mixture of Gifford-inspired avant-garde (or what passed as avant-garde) and the traditional. By 1967, however, Gifford had left Ian Allan and devoted himself to photographing the final years of British steam virtually full-time, often in the company of his young protegé Ian Krause, another product of Harrow School of Art. This association introduced Gifford to the infamous MNA (Master Neverer's Association), a group of (mostly) Midlands-based photographers centred on the legendary Paul Riley, an ex-roadie and professional hellraiser. The endless overnight car journeys and inevitable ego clashes were not to Gifford's taste – he is a soft-spoken and unassuming man – and he returned to public transport and his own company for the final months of steam. He never did own a telephoto lens
Telephoto lens
In photography and cinematography, a telephoto lens is a specific type of a long-focus lens in which the physical length of the lens is shorter than the focal length. This is achieved by incorporating a special lens group known as a telephoto group that extends the light path to create a long-focus...
, although it became the hallmark of the Gifford-inspired 'New Approach' to railway photography that featured in Railway World and reached its apotheosis in the Ian Allan album Steam Portfolio (1968). Style sometimes triumphed over substance but in the work of young photographers such as Malcolm Dunnett and Roderick Hoyle, Gifford's influence was unmistakable; in the book's static page layout, however, the absence of his subtle design skills was all too obvious.
Each a Glimpse . . . And Gone Forever
The best of Gifford's prodigious output from these years found a place in Each a Glimpse, his second masterpiece, published by Ian Allan in 1970 and once again designed by Gifford himself; it sold for an unbelievable four guineasGuinea (British coin)
The guinea is a coin that was minted in the Kingdom of England and later in the Kingdom of Great Britain and the United Kingdom between 1663 and 1813...
, a fair proportion of which was absorbed by the laminated plastic dustjacket. Many of the pictures dated from 1967-8 and the influence of Jean-Michel Hartmann – almost overwhelming in Decline of Steam – was far less marked in a book that showed how, in those final years of steam, Gifford had begun to experiment with new techniques (possibly stimulated by his association with younger photographers) and find his own visual language, less graphically dynamic and more pictorialist than before. Forty years on, those photographs of a long-vanished Britain have the poignancy and social relevance of films such as Billy Liar
Billy Liar (film)
Billy Liar is a 1963 film based on the novel by Keith Waterhouse. It was directed by John Schlesinger and stars Tom Courtenay as Billy and Julie Christie as Liz, one of his three girlfriends. Mona Washbourne plays Mrs. Fisher, and Wilfred Pickles played Mr. Fisher...
, Saturday Night and Sunday Morning
Saturday Night and Sunday Morning (film)
Saturday Night and Sunday Morning is a 1960 British film. It is an adaptation of the 1958 novel of the same name by Alan Sillitoe. Sillitoe wrote the screenplay adaptation and the film was directed by Karel Reisz.-Synopsis:...
or This Sporting Life
This Sporting Life
This Sporting Life is a 1963 British film based on a novel of the same name by David Storey which won the 1960 Macmillan Fiction Award. It tells the story of a rugby league footballer, Frank Machin, in Wakefield, a mining area of Yorkshire, whose romantic life is not as successful as his sporting...
. Their value is enhanced by the fact that very few Gifford photographs have ever been published twice – he was always careful to keep his work fresh and unlike most of his contemporaries, never allowed publishers to hang on to his photographs on the off-chance they might be used one day. He was (and continues to be) reluctant to allow his work to be published unless he has designed the page layouts himself.
Although he had amassed a collection of some 18,000 negatives between 1958 and 1968, with enough unpublished material (including his rarely-glimpsed colour work) for many more books, Gifford's understandable fastidiousness about his work became something of a stumbling block. The Thames book failed to find a publisher, while sales of Steam Railways in Industry (Batsford, 1976) were disappointing, as was the reproduction quality. A projected seven-part region-by-region study with Ian Allan ground to a halt after just one volume, Steam Finale North (also 1976), had been published and Gifford was not best pleased when Ian Allan subsequently brought out Steam Finale Scotland, superficially a continuation of the series but in practice containing nothing by Gifford. Things had looked far more promising when, the previous year, Gifford had signed with New English Library (an American-owned company) to produce the companion-piece to Each a Glimpse, entitled And Gone Forever. With an eye on the export market and foreign co-editions, extensive use of colour was stipulated for the first time. A mock-up of And Gone Forever was presented at the 1976 Frankfurt Book Fair but the book was never, alas, to reach production, at least in the form Gifford and his publisher anticipated; deadlines came and went and though most of the design work was eventually completed, the contract was terminated in 1978 - a very different book of the same title finally appeared from Oxford Publishing Company in 1994, but without the colour photographs that had been promised 18 years earlier.
In that same year, Royal Mail
Royal Mail
Royal Mail is the government-owned postal service in the United Kingdom. Royal Mail Holdings plc owns Royal Mail Group Limited, which in turn operates the brands Royal Mail and Parcelforce Worldwide...
published a set of five postage stamps featuring a selection of his photographs, chosen in collaboration with the designer Brian Delaney; as with all Royal Mail stamp isues, the designs were personally approved by the Queen. There was an exhibition at the National Postal Museum to mark the event, which included items such as Gifford's notebooks and treasured Rolleiflex camera. Gifford had by then moved to Hertfordshire – and learned to drive – but for the next decade and a half little was seen of his work, other than occasional magazine articles and the odd small exhibition.
Beyond 2000
By the end of the 'noughties', however, rumours began to emerge of a new, revised edition of Each a Glimpse with enhanced, digitally scanned images taken from the original negatives. The old rifts having evidently healed, Ian Allan would once again be the publisher but at the time of writing (March 2011) nothing concrete had emerged and there were suggestions that no formal contract had yet been signed. Another distinct possibility was an album of Gifford's colour work, based around a stunning set of around 100 images that had been exhibited at Kidderminster Railway Museum in 2009 under the title 'In the Wink of an Eye'. There was even mention of the River Thames book once again but, as ever with this gifted and charismatic photographer, only Gifford himself can know what the ultimate course of events will be.Published works
- Each a Glimpse (1970)
- Decline of Steam (1965)
- Steam Finale North (1976)
- Steam Railways in Industry (1976)
- And Gone Forever (1994)