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Thirty Pound Rails By Kelly Choda Soft Cover 1956
Thirty Pound Rails Colorado By Kelly Choda
Soft Cover stapled
Copyright 1956
46 Pages
Personal library tag inside front cover
CONTENTS
Garfield Peak Frontispiece
Tracklaying on the Great Plains 5
Surveying the Route 7
Las Animas Canyon 9
River of the Lost Souls 10
The Needles 11
La Veta Pass 13
Climbing La Veta Pass 14
Spanish Peaks 15
Sierra Blanca 17
Embudo, New Mexico 18
Old Santa Fe 19
Toltec Gorge Map 21
Rio Grande System, 1885 22-23
Cumbres Summit 24
Toltec Gorge 25
Raton ,Pass 27
Royal Gorge 28
Hanging Bridge 29
Marshall Pass Map 31
East Slope of Marshall Pass 33
West Slope of Marshall Pass 35
Currecanti Needle 36
Castle Gate 37
Fremont Pass 39
Mount of the Holy Cross 40
Clear Creek 41
Great Georgetown Loop 42
Georgetown Loop 43
Blackhawk 44
Colorado Central near Blackhawk 45
The End 46
PHOTOGRAPHY came into its own at almost the same time that the railroads were pushing toward the West, uniting our country, but like relentless wedges prying the Indian away from his land. The photographer, with his heavy camera, his wet plates, and the cumbersome darkroom that he had to carry with him, was a witness to the growth of the West. He was also a trial to his publisher. Each picture that became the publisher's pride on the printed page required many days of skilled work before it could be printed in quantity. Skilled wood engravers carved into the smooth surface of a block of wood all the detail that was to be printed. Heavy lines made the dark areas, while shading toward the light areas was made by carving hundreds of fine, almost parallel lines across the printing surface. While many of the wood engravers followed the photographs faithfully, some were able to impart to their work more art, a better sense of balance, or a stronger interpretation than the photographer was able to supply.
As the Indians were victims of progress, so were the wood engravers. Their art had created a growing demand for more illustrations, and with this demand came the need for a simpler method of reproducing photographs.
In these pages we have used the dying art of the wood engraver to show the birth of the industry that contributed so much to the growth of the Rocky Mountain Empire. A few short years after these pictures were made the publishers proudly began to use halftones or other photomechanical processes, which while more accurate, lacked the charm (and often the quality) of the wood engravings they replaced. Today, we have splendid halftones of fine photographs. The early halftones were often muddy. They always had cloudless, bald skies because of the colorblind wet plate negatives. The wood engravers had been able to add clouds to the skies, detail in the shadows, and emphasis to the highlights. Probably the readers were quite disappointed when the change was made.
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