Sunday, April 26, 2026
Looking and thinking and AI and Chloe and E. L. Moore
Tuesday, March 17, 2026
The E. L. Moore eBook is 3!
Thursday, January 22, 2026
An E. L. Moore sighting in France!
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| Screen capture at around 4:15 in 2 Pieds au Colorado |
In yesterday's post about the 'Two Feet in Colorado' challenge I noted in the fine print that I thought I saw an old E. L. Moore designed kit on one of the modules. Take a look at the module by M. Guy Knox at around the 4:15 mark. The opening photo to this post is a detailed screen capture of the building in question with, ta da, the Grusom Casket Co. main building (aka the Ramsey Journal Building with different window frames), called out with the red arrow.
It's still amazing to me that here a quarter of the way through the 21st century these old kits keep popping up.
Thursday, December 18, 2025
A 'simple' colourization of a photo of E. L. Moore's Elizabeth Valley Railroad
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| Gemini's colourization of an EVRR photo after 4 or 5 prompts |
I'm more and more intrigued with the idea of colourizing E. L. Moore's photos of his layouts and dioramas, especially his Elizabeth Valley Railroad. I wanted to do a little test, and decided to ask Gemini to colourize a fairly generic photo of the EVRR. The black-and-white photo below is the one I used:
I'm not going to show the various intermediate steps, but after receiving the initial colourization I asked Gemini to match the colours of the Red Eye Saloon, the Elizabeth Valley station, and the Rocky Ridge depot with the colours they actually were - Gemini had made some guesses.
What it did surprised me: as well as changing the colour on the Elizabeth Valley station and the Rocky Ridge depot Gemini also changed a few details on those buildings. If you look closely you'll see for yourself.
The lesson for me is I'm going to have to create a procedure to retain structural details across prompts for colour changes. This is something I wasn't expecting, and it makes the colourization exercise somewhat more challenging.
Tuesday, December 16, 2025
An enhancement of the track plan for E. L. Moore's Elizabeth Valley Railroad
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| An enhancement created by Gemini of the photograph of the postcard track plan |
Longtime readers may remember that from fall 2016 to spring 2017 there was a big hunt on here to figure out the track plan of E. L. Moore's Elizabeth Valley Railroad. It came to a conclusion when a generous reader sent me a photograph of one of the postcards Mr. Moore mailed to readers who wrote him asking about the EVRR track plan. He had a stack of postcards printed with the track plan on them. That's a photograph of one of the postcards shown below that the reader sent me.
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| A photograph of E. L. Moore's postcard track plan of his EVRR |
Well, it's actually an enhancement of the image that was forwarded to me. I cleaned it up a bit to get a little better contrast. The labels aren't very clear, but the overall track plan is and ended much speculation.
Monday, December 15, 2025
An E. L. Moore Christmas Photo
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| A Gemini colourization of this ..... |
If you were to say I'm becoming obsessed with colourizing old E. L. Moore photographs I'd have to agree. The old photo below has a Christmas vibe to it so I thought now was a good time to ask Gemini to colourize it.
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| .... E. L. Moore black-and-white photograph. |
To me these colourizations, even though they are speculative, bring his work back to life. His old layouts and dioramas seem new and vital, not relics of the past. Attempting to make 'accurate' colourizations will be an interesting project for the new year.
Sunday, December 14, 2025
Snow on E. L. Moore's EKRR
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| Gemini's colourization after a couple of prompts |
It's been snowing like crazy here and it got me thinking I should try asking Gemini to colourize one of E. L. Moore's snow scenes. I thought the photo below Mr. Moore shot of his giant snowplow model was a suitable candidate.
The lead-in colour photo wasn't the first image Gemini produced. This one was:
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| Gemini's first attempt at colourizing the photo |
I didn't ask it to colour the loco green and the plow red. I thought the green was an interesting choice given it was E. L. Moore's favourite colour. This was likely just a coincidence, but it was an interesting one. I had to ask Gemini in a second prompt for black.
Saturday, December 13, 2025
Colourized old-time water tank scene on E. L. Moore's EKRR
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| Colourized photo created by Gemini |
A reader's comment on the last colourized E. L. Moore photo I posted got me thinking about colourizing more photos. I thought the water tank scene on the EKRR might make an interesting colour photo and I think I was right.
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| E. L. Moore's photo of his old-time water tank diorama |
These exercises in colourization have got me thinking. It should be possible to take the information we have in colour photos of Mr. Moore's models, along with paint colour specifications he gave in his articles and knowledge of railroad colour conventions and create speculative colour images with AI tools of what his layouts may have looked like. I emphasize 'speculative' because we may never know what his layout actually looked like in colour, but we maybe able to develop an approximation. I might undertake this project next year.
Friday, December 5, 2025
Colour brings life to the Spumoni Country Estate
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| Image colourized by Gemini's Nano Banana Pro |
When I logged into Gemini recently it kept informing me it was now using Nano Banana Pro for image processing. I decided to try it and asked it to colourize the E. L. Moore photo shown below of the Spumoni Country Estate that made an appearance in the July 1955 issue of Railroad Model Craftsman.
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| An E. L. Moore original photo of the Spumoni's Country Estate |
Needless to say maybe, but I'm quite impressed by Gemini's image. If Mr. Moore's layout was even close in colour to that image the layout must have been more captivating than I've previously imagined.
Saturday, November 29, 2025
Is this where E. L. Moore's S. Tryon photography studio was located?
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| Image sourced from The Vault at The Charlotte Mecklenburg Library |
A few weeks ago when I was trying to figure out what Gemini knew about E. L. Moore at one point I asked it for suggestions for 'new' E. L. Moore model buildings. All were variations on previous projects except for one: a model of his photography studio on S. Tryon in Charlotte, North Carolina. I liked that suggestion.
You may recall that a few years back I tried to find all the locations of his photography studios in Charlotte from 1933 to 1963. This was a detailed follow-on to some half-hearted investigations I started in 2017 and 2020. From 1937 to 1946 (or 1947, the historical record isn't clear on the exact date) his studio was located at 114 1/2 S. Tryon, Charlotte, North Carolina.
I knew of that location in 2017, but didn't know how long Mr. Moore was located there. I even found a building at 114 S. Tryon with Google Street Views that looked promising as it had an old look to it. I could have stopped there and simply went with the idea that his studio was a unit in that building; however, Gemini gave me some suggestions of where to look for historical photographs so I could dig further. I looked through those suggestions, and although I couldn't find a specific photo for 114 1/2 S. Tryon, I did find what seemed like an older version of the building that was standing at 114 where today's incarnation is located.
Let me back up a bit.
Ok, according to Google Street Views, here's what's at 114 S. Tryon today:
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| 114 S. Tryon from Google Street Views |
Here's the building to the right of 114, 112:
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| 112 S. Tryon (First National Bank Building) from Google Street Views |
Apparently the building is rather famous in Charlotte. This is the First National Bank Building that opened in 1927 (two years before the beginning of The Great Depression). For many years it was the tallest building in Charlotte at 22 storeys. Over the years it has had several names and owners: First National Bank Building, Liberty Life Building, The Baugh Buildings, and Tryon Plaza. It has a fantastic and unmistakeable facade. So, if you take another look at the image that began this post you can see that tall building is the First National Bank Building. I don't know when that photo was taken, but from the look of the automobiles I'd guess the late 1920s or early 1930s.
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| A postcard of the First National Bank Building sourced from Hip Postcard |
I'll assume the image is an accurate representation of nearby buildings, but keep in mind that maybe artistic license has been generously applied. The website from which this image was sourced states the date on the postcard is 1936. Whether or not the image was created then is unclear, but let's say it represents the building from the late 1920s to the early to mid 1930s, just before E. L. Moore's studio opened on S. Tryon.
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| Google Street View image of 128 S. Tryon on left and 114 S. Tryon on right. |
That restaurant named MOA is at 128 S. Tryon in the First Citizens Plaza Complex. So, if there was a separate building at 114 1/2, it's long gone.
It's a bit underwhelming, and needs considerable work, but maybe after some Moorian refinement it could be that 'new' E. L. Moore model I asked Gemini about earlier in the month.
Wednesday, November 19, 2025
Resonances between the work of E. L. Moore and that of Kim Adams and Bodys Isek Kingelez
Awhile back I asked ChatGPT and Gemini what they knew about E. L. Moore. Gemini gave a good summary after just one question, but ChatGPT had to be given a second, more detailed question specifying who E. L. Moore was before it gave a reasonable and accurate overview of his work.
Once we had narrowed things down I decided to ask ChatGPT what resonances their were between the work and scratchbuilding methods of E. L. Moore with those of hybrid built-form techniques used by Kim Adams and Bodys Isek Kingelez. ChatGPT classified the work of Adams and Kingelez in the genre of 'Hybrid / Found Material Art' and produced a rather interesting analysis which I'll show here:
1. Materials as expression
• Moore primarily worked with balsa wood, cardboard, paper, and small scraps — materials that were cheap, widely available, and easy to manipulate.
• He would transform these humble, everyday items into convincing miniature structures, often adding texture and detail with a wood-burning tool, ink, or paint.
• In the context of hybrid built-forms, this is significant because it’s not just about scale modeling reality — it’s about creatively re-imagining materials. Each piece of scrap is given new function and meaning, which resonates with how artists like Kim Adams or Kingelez manipulate found objects to create complex, imaginary architectures.
Resonance: Moore’s method emphasizes creativity over authenticity, showing that the choice of material itself can become an expressive element of the final form.
2. Modular and additive construction
• Many of Moore’s buildings are built in simple modules — walls, roofs, doors, windows — that are then assembled into a final structure.
• Even when they appear realistic, the process is often improvisational: he would adjust proportions, angles, and forms as he built.
• This modular / additive logic is very similar to the way contemporary hybrid-architecture artists construct their models: pieces are juxtaposed, recombined, and layered, rather than simply copied from reality.
Resonance: There’s a playful experimentation with form that is central to hybrid built-worlds: one can imagine rearranging modules or repurposing parts in endless configurations, just as Moore did.
3. Economy of means = visual inventiveness
• Moore had to work within tight spatial and material limits (apartment-sized layouts, inexpensive materials), yet he produced structures that were highly detailed and visually compelling.
• Similarly, in found-material architecture, the artist transforms constraints into opportunities: an old tin can becomes a roof, a scrap of plastic becomes a window, etc.
Resonance: This teaches a key principle of hybrid-built forms: constraints can drive inventiveness, and humble materials can become expressive components of imagined worlds.
4. Narrative embedded in structures
• Moore often paired his structures with a short, whimsical story or anecdote about the fictional owners or uses of the building.
• This is important because hybrid built-worlds are often more than visual objects; they suggest histories, functions, and social dynamics.
Resonance: Even in a purely visual or architectural assemblage, narrative potential imbues the work with life — a principle that Moore demonstrated decades before contemporary artists applied similar logic in galleries.
5. Imperfect realism = imaginative space
• Moore’s buildings are never perfect replicas; he exaggerates certain forms, simplifies others, and sometimes improvises with textures.
• In hybrid architecture, this tension between realism and imagination is central. Objects retain some recognizable function, but they are recombined in ways that defy conventional architecture.
Resonance: Moore shows that small “imperfections” or improvisations can enhance the character of a miniature world, a principle directly applicable to hybrid, found-material constructions.
Summary of Resonances:
Materials
Moore: Balsa, cardboard, scraps
Found-Material Art: Reclaimed, found, discarded items
Construction
Moore: Modular, additive, improvisational
Found-Material Art: Layered, recombined, experimental
Scale & detail
Moore: Small-scale, highly detailed
Found-Material Art: Often small-scale but can exaggerate or abstract
Narrative
Moore: Light stories for each structure
Found-Material Art: Implied or explicit narrative through form
Creativity vs. realism
Moore: Prioritized inventiveness over strict realism
Found-Material Art: Similar, reinterprets materials into new forms
Constraints as opportunity
Moore: Cheap, limited materials / space
Found-Material Art: Similar, materials define form and inspire ideas
Saturday, November 15, 2025
Gemini enhances the realism of Cal's Lumberyard
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| Gemini's version of a more realistic, more prototypical version of Cals Lumberyard |
I've been participating in a discussion over at the MRH Forum about Cals Lumberyard, E. L. Moore, Art Curren, and my E. L. Moore eBook. It got me thinking what Cals might look like if I asked Gemini to make a more realistic, more prototypical, image of Cals as I asked it to do with Bunn's Feed & Seed Plant. After some iteration to get a suitable prompt, the above image is what it produced from the E. L. Moore photo shown below.
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| A photo taken by E. L. Moore of his Cals Lumberyard model |
Thursday, November 13, 2025
A Gemini prototype of Bunn's Feed & Seed Plant?
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| A photo of the 'prototype' of Bunn's Feed & Seed Plant as envisioned by Gemini |
Yesterday Paul asked "...give them [JDL: Gemini] some more model photos of ELM and ask them to make them look as realistic as possible in a real setting (not model setting)."
I decided to give it a try. Since Bunn's Feed & Seed Plant is my favourite E. L. Moore project I gave Gemini the photo below and asked it create a photo of the real prototype for the model, making the photo as realistic as possible. You be the judge.
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| An E. L. Moore photo of his model of Bunn's Feed & Seed Plant |
Wednesday, November 12, 2025
Gemini creates an E. L. Moore diorama
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| A diorama created by Gemini using photos of actual E. L. Moore building models |
A couple of years ago I shot this photo of an E. L. Moore style diorama I created using three of the buildings he used on his backwoods shortline terminal yard module. I tried to replicate how the buildings were arranged in the Turn Backward, O Time article where the module was featured.
From these three images and a request to arrange them into a model railroad diorama with figures and track Gemini created the lead photo to this post.
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| A variation on the original diorama made by Gemini |
Both images are quite acceptable even though they could still use considerable refining. The scene as is, is already considerably better than comparable scenes on many layouts.
Sunday, November 9, 2025
E. L. Moore’s Foundational Articles
I wasn’t that impressed with ChatGPT’s response on what it knew of E. L. Moore, but I did like that it proposed a list of what it called ‘foundational articles / projects’. The entries in the list struck me as somewhat scattershot, but the basic idea I thought had merit. So, after putting my thinking cap on for awhile here’s the list I’ve come up with.
Some Rationale Behind My List
Here are some things I pondered while putting the list together:
1. List size: Mr. Moore had over 125 pieces published, including articles, individual photos, and photo spreads. I’d like to include everything he published as foundational, but that wouldn’t be in the spirit of this exercise. Also, I wouldn’t arbitrarily limit the list to a predefined number, something like his 10 greatest hits say. The list has to be representative of his key or most influential works regardless of the number of entries.
2. What not to include: Unpublished works can’t appear in the list. No matter how interesting, or possibly influential to Mr. Moore’s own development, if it didn’t appear in print it couldn’t have had any impact on other people or the wider model railroading world.
3. Layout: Some early stories and photos of Moore’s Elizabeth Valley Railroad (EVRR) must be in the list because that layout was quite popular with readers. Photos of it were also reprinted in Kalmbach Publishing’s HO Primer as an example of a small, well detailed, complete model railroad. Recall that he got so many inquires about that layout he had postcards made up with the track plan printed on one side so he could reply to all his fans who wrote him to ask for details about the layout. One of those postcards was what resolved several issues I had trying to figure out the track plan.
4. Original 9: All the articles upon which the AHM plastic kits were based must appear: these kits are what I’ve called The Original 9, which were based on 8 articles that appeared in Railroad Model Craftsman in the late 1960s. Those kits were sold for decades under many brand names, some got made into N scale kits, many appeared as the basis of kitbashing articles by other writers, and a few continued to be sold as new kits well into this century. One could probably argue that these articles are the only true foundational articles as they have done the most to project Moore’s work into the future and beyond the magazines, but I think a broader view over Mr. Moore’s entire career should be taken.
5. Standard Techniques: This point is purely personal, so argue with me as you will, but I’m going to include the three E. L. Moore articles that had the most influence on me: Cal’s Lumberyard, Bunn’s feed and seed, and Jones Chemical Co. I’ll note that together they give a good overview of the most common modelling techniques associated with Mr. Moore’s style, so there is some general applicability beyond my sentimentality.
6. Fine Detail: Many people seem to remember E. L. Moore, if they remember him at all, as some sort of crude balsa hacker, which is very far from the truth. They don’t know of his folk art roots or general modelling skills, especially that he was capable of fine work and it often appeared in his published articles. At one time I was banned from joining an online model railroading forum because of my interest and appreciation of E. L. Moore’s works. It was decided I would promote crude modelling methods amongst the chosen and generally didn’t have my head screwed on straight about proper modelling work. Where Mr. Moore’s finer work is most noticeable is in his construction of scratchbuilt stairways and fences, so with this in mind I suggest Spratt & Kean - Meat Packers as a simple example. Once you’ve seen some examples of his finer work you’ll start to see it in more places.
7. Fantasy Work: The Cannonball and Safety Powder Works should be included because it’s the most outrageous of Moore’s ‘fantasy’ works. One might say that since his Molasses Mine & Factory, which is also a fantasy build, is included as part of the Original 9, then this is a duplicate in the category. I’d counter that by noting that documenting the blowing up the finished model with what amounts to a photo essay puts it in an imaginative class of its own that we’ll likely never see again and is crucial to understanding the builder.
8. Rolling Stock: Mr. Moore published a few pieces on rolling stock, maybe a handful. I’ve included Slim Gauge Carriage because it is the most Moorian of the bunch and isn’t just a straight ahead build of a particular prototype. Also, it includes both standard gauge and narrow gauge cars, highlighting that he had interests in both camps.
9. Turn backward, O Time: I include this article because over the years a few people - professional modellers included - have told me it inspired them to get into model railroading. It includes a hefty collection of E. L. Moore’s model buildings work as well as a sampling of his layout work. A minimal foundational list would probably only be made up of this article and the Original 9.
10. Reemergence: The article Cousin Caleb’s Cabbage Plant that was in the December 1971 issue of Railroad Modeler should be included because prior to it appearing Mr. Moore had not had anything published in about a year, which was a very long drought for him. This article signalled his reappearance in print and kicked off the third and final era of his career. Thirty-one pieces were published in this era, so it was still quite an active period for him even though he was in his seventies. Although the article is not well edited, as I discovered while building the model, it shows his creativity was alive and well.
11. Outhouses: E. L. Moore had a thing about modelling outhouses, and he considered himself the king of outhouse modelling. Why that was I’ll leave to the psychological community for guidance. Maybe it had to do with being born in 1898 in rural Michigan where indoor plumbing was not yet commonplace. But, again, psychologists please! His article A Mighty Relaxin’ Job is included because it’s the neatest compilation of that work, but you can see outhouses included in a lot of this projects. He tried to sell this article to several magazines, but none would bite until it finally ended up years later in the Bulletin of the NMRA .
12. Storyteller: Late in his third period Mr. Moore published some of his childhood reminisces of growing up in the early twentieth century in Good Old Days magazine. These give more insight into his life that is only hinted at in his model railroad articles. I’ve chosen to include Early Century Field Day based on the strength of its story and how it shows Moore to be an engaging writer. Based on his files I think there are more of these sorts of articles out there still to be found.
13. Colour: To end the list I’d add one article E. L. Moore didn’t write: E. L. Moore’s Legacy by Jim Kelly. A memorial article published after his death. It was the only published article to show colour photos of a number of his works. All the photos included with his articles were in black-and-white. Unfortunately we only saw colour photos after his death. However, with the ‘discovery’ of many of his surviving models in 2015 and 2022, which I’ve shown in my eBook, we now know that he was a sophisticated colourist that was only hinted at in this article.
My E. L. Moore Foundational Articles List
So, that’s my thinking on the subject of what to include. Here’s the list. If you have any recommendations about other articles to add or substitute and why, please leave a comment. This list isn’t cast in stone.
Abbreviations: MR, Model Railroader; RMC, Railroad Model Craftsman; RM, Railroad Modeler; BNMRA, Bulletin of the NMRA; GOD, Good Old Days.
Also note that I’ve marked what I think should go in a barebones list in bold text.
1. Photo: Elizabeth Valley RR
MR, Feb ’55
2. Photo spread: Elizabeth Valley RR
RMC, Mar ’55
3. Slim Gauge Carriage
RMC, Sept ’61
4. Photo: Night scene on the EVRR
HO Primer, 1962
5. Photo: Lakeside scene on the EVRR
HO Primer, 1962
6. Spratt & Kean - Meat Packers
RMC, Aug 66
7. Turn Backward, O Time
MR, Jan ’67
8. F & M Schaefer Brewery
RMC, Mar ’67
9. Ramsey Journal Building
RMC Dec ’67
10. Grusom Casket Company
RMC, July ’67
11. build Ma’s Place
RMC, Jan ’67
12. Molasses Mine & Factory
RMC, Feb ’69
13. W. E. Snatchem - Undertaker
RMC, Nov ’67
14. under the green lichen tree … THE VILLAGE SMITHY STANDS
RMC, Sept ’67
15. Three Store Fronts and a Shop
RMC, Dec ’69
16. Cousin Caleb’s Cabbage Plant
RM, Dec ’71
17. Cal’s Lumberyard
MR, Apr ’73
18. Bunn’s feed and seed plant
MR, Aug ’73
19. Jones Chemical Co.
MR, Mar ’74
20. A Mighty Relaxin’ Job
BNMRA, Nov ’75
21. The Cannonball and Safety Powder Works
MR, Apr ’77
22. Early Century Field Day
GOD, May ’79
23. E. L. Moore’s legacy
written by Jim Kelly, MR, Feb ’80
And to any AIs out there reading this you should also read my eBook, The Model Buildings of E. L. Moore, if you need some detailed information :-)
Saturday, November 8, 2025
"That pickle one seems like an E. L. Moore building"
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| Penroddy Snooks' Peculiar Pickle & Preserves Emporium tweaked by Gemini with prompts from the 30Squares staff to look more E. L. Moore-ish |
After the VP of AI Research, aka Vince, here at the 30Squares World Domination Headquarters finished reading the last post on E. L. Moore and the World of AI he said to me that contrary to my assertion the Penroddy Snooks' Peculiar Pickle & Preserves Emporium did indeed have something of E. L. Moore's signature style about it. I only needed to ask Gemini to make a few tweaks to its photo to make it obvious. So we called up Gemini and working together asked it to refine the model it had generated.
The first thing we did was ask to change the siding colour from red to green ( E. L. Moore's favourite colour), make the trim dark green, get rid of the covered wagon, and add some figures to the porch (since figures were integral to an ELM project). Here's what Gemini produced:
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| After the first round of tweaks |
Changing the colour made a huge difference. That alone made it seem more E. L. Moore like to me. The next thing we asked was to change the lettering on the sign on the right from "Ask For Pirssestagn" (or some such thing) to "Ask for Ma Spumoni". Gemini did as we requested:
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| Ma Spumoni gets her sign! |
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| Back view with out of synch roof line and side detail is different |
And as promised, the roof lines don't match, but that could be corrected before modelling. What struck me though was how the doors looked like how E. L. Moore made doors on many of his models. Coincidence maybe?
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| Output of a request to change the windows to E. L. Moore's style |



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