Selective Colourisation
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The weather conditions were not conducive to good colour photography. So this shot from the Frankland Beaches at the southern end of Lake St Clair made another obvious opportunity to try a little colourisation.
What I am doing here through layering and the application of digital colour toning, is to synthesise how photographic artists worked in the second half of the 19th century. They literally hand coloured their monochrome prints with ink or watercolours. I imagine this is how the scene might have looked had Piguenit decided to colourise one of his photographs instead of painting award winning landscapes in oils.
The spring has arrived, even if the winter (if we can call it that way this year) is trying to resist from time to time. During the night its still getting quite cold. But the sun is getting warmer and the days are getting longer. The colourisation of nature is at full blast.
Der Frühling ist da, auch wenn der Winter (wenn wir ihn dieses Jahr so nennen dürfen) von Zeit zu Zeit noch einmal Wiederstand leistet. In den Nächten kann es schon noch ganz schön kalt werden. Doch die Sonne wird wärmer, die Tage werden länger. Das Einfärben der Natur ist im vollen Gange.
This one is a bit of an experiment - a half domed (but dirty) window that I've manipiulated and colourised.
© All rights reserved.
Fantasy colourisation of the rolling hills around the Eagle Rock Resort near Hazleton, Pennsylvania, at sunset-time.
Shot from the balcony of the Lodge at 7:36 p.m. local time.
This photo served for a time as the cover photo for the group, Color My World Daily (blue day).
Related images:
"On a Roll"; www.flickr.com/photos/joan-marie/13772474634/
"Blue Suede"; www.flickr.com/photos/joan-marie/13874192593/
"Blue Velvet"; www.flickr.com/photos/joan-marie/13856440895/
A very belated tribute to my long-lost father
I chose his ship as a header because it was his last resting place.
After the worst of the Blitz¹ came the Dreaded Telegram. Although
I can't remember my father, I do vividly remember being terrified
at seeing my mother break down in tears before even opening the message; "... missing presumed killed". It was everybody's worst nightmare. My father's ship, HMS Dunedin, had gone down² with most of her crew on the 24th November 1941.
Exactly 80 years ago today
★ If you are wondering why I waited so long, please read on.
My mother had been devastated but had never given up hope that my father was still alive as a prisoner of war and that one day he would come back to us. My uncle, for his part, had never been satisfied with just a telegram and a simple citation (see below). He had never ceased to pester the Admiralty for more information till long after the war was over. But nothing was ever forthcoming. Both my mother and my uncle died long before the truth was out and I remained in the dark³, until...
In 2019 (only 2 years ago) I read a book called: BLOOD IN THE SEA - HMS DUNEDIN AND THE ENIGMA CODE: A must-read, written by Stuart Gill son of one of the very few survivors of the ill-fated ship.
As I read it, I discovered - to my horror - the tragic events that took place all those years ago. In my mind’s eye, I witnessed the tragedy as it unfolded. I came to know the various characters, their hopes and finally their despairs. I also discovered the extent to which the Enigma code was involved which no doubt explains why the Admiralty had remained silent for so long.
There was even a passage in the book about my father who was described as being brave and even jovial right up till the end despite the excruciating pain he must have been suffering from his wounds. He had been carried to a raft and died a few hours later. The passage ended with the touching words: "Poor Horace".
My father must also have known that he was about to die without ever seeing his loved ones again and knowing that they too were in the thick of it⁴. I suddenly realised that I was one of his loved ones.
I had known my father but I'd been a toddler at the time too young to be able to remember him later; something I deeply regret. All I want to do now is wipe away the tears and keep his memory alive.
The cracking of the Enigma code at Bletchley Park in July 1941 was one of the closest guarded secrets of the Second World War. Indeed, the very fact was not made public till the 1970s and the full story till the 1990s but even then, I was unaware of any connection between the code and my father’s ship - until I read the book!
On the 15th June 1941, Dunedin captured the German tanker Lothringen along with vital Enigma material for Bletchley Park. A month later the Enigma code was cracked.
Four months later, Dunedin was directed to her doom by orders emanating from a decoded Enigma message. She had been sent to intercept another tanker before rendezvousing with four U-boats.
It was like throwing a cat into a lion’s den: A light cruiser was no match for a U-boat let alone four.
But Dunedin was the only ship within range and, of course, we were at war. It had been thought that Dunedin could intercept the tanker well before the rendezvous would take place; a high-risk gamble. But with the benefit of hindsight, it would seem that the U-boats were already deployed around the tanker to protect it and its precious cargo. This measure would probably have been standard procedure and therefore never mentioned in any message.
Tankers played a major role in the Battle of the Atlantic keeping the Wolfpack U-boats fully replenished at sea where they were required to remain for very long periods!
Although it all happened a long time ago, for me, reading the book and following up on the web has been like hearing the news of what happened yesterday. I was able to share some of the grief that my poor mother must have been overcome with at the time. She had spared me the pain that she had been suffering alone and in silence.
We had never talked about my father or the war after it was over; everybody had wanted to put it all behind them. It hadn’t been easy; loved ones lost forever, widows in black everywhere, the blind and the crippled walking the streets as best they could, with rubble all over the place, and rationing for years to come. The post war years in Britain had been difficult but at least the killing and destruction had ceased, and we had survived - while so many others hadn't.
__________________
★ Read more about the book and buy it if you so wish (new tab)
★ HMS Dunedin - Wikipedia (new tab)
★ How Alan Turing cracked the Enigma code (new tab)
¹ The Blitz – The air raids on Britain in 1940-41; Portsmouth being
one of the closest and main targets. Along with the fall of France,
they were, for us, the darkest hours of the war. We were all alone
and on our knees preparing for invasion.
² to go down = sombrer / couler
³ to remain in the dark = rester dans l'ignorance
⁴ to be in the thick of it = être en plein dedans
They gave their lives so that we might live in peace and freedom.
Lest we forget!
Fate : That supposed force that predetermines major events that come our way. It can be kind or cruel. It can bring people together or tear them apart. It strikes without warning and there's nothing we can do about it!
Take great care, my friends, and many, many thanks for calling,
Colin …
P.S. The picture has notes. If you can't see them, going to lightbox and back again should do the trick. It's simply a Flickr quirk.
More photos and details below, including colourization
I captured this shot in the London Bridge underground station, in a rare moment of no one in the shot. I really like the leading blue and yellow lines, and I decided to make this a selective colourisation shot in post production to emphasise the two colours. I also like the two curved gates that add an unusual break to the image.
Camera settings: 4mm | f/2 | 1/20sec | ISO-500
Follow me on instagram: @sagesolar
See what's behind you!
Fantasy colourisation of the sky behind the Gateway Arch in St. Louis, Missouri. The 63-storey arch, designed by the Finnish-American architect Eero Saarinen in 1947, is 630 feet high. Construction took place between 1963 and 1965.
This building placed at #14 of 150 on a list called "America's Favorite Architecture", as determined by surveys of members of the AIA (American Institute of Architects) and the public; source: www.flickr.com/groups/23735488@N00
The theme for "Looking Close on Friday" on the 19th of April is "embossed glass". When the theme was announced, I looked through my glass collection and selected one of my more unusual pieces of glass… well for my collection anyway. Most of my collection is made up of British or European glass, yet this piece is American. It is an American Pattern Glass “Daisy and Diamond” spooner from the late Nineteenth or early Twentieth Century. The pattern name comes from the delicate daisies and diamonds embossed into it. Although it doesn’t appear in my photo, it has a slight lavender colourisation to it, which indicates that it is old glass. You’ll also see a couple of bubbles in the ruffled edges, which also identifies this as pre 1920s glass. And what is a spooner? In an ordinary middle-class or lower-class home in America at the turn of the Twentieth Century, knives and forks were kept in a drawer, very much like they are in all households worldwide today. However, the spoons were kept in the spoon holder next to the sugar bowl that was left on the table. There wasn’t a centrepiece, just necessary items on the kitchen table. Some spooners can be mistaken for large sugar bowls since they have handles on each side and are a similar shape. Spooners, however do not have lids. They were designed, as the name suggests, to hold spoons. Most spooners are older than the 1920’s. They are often identified as early American Pattern Glass or pressed glass. Most glass spooners were produced with company patterns that were named. The names can be fanciful and descriptive, such as “Eyewinker”, which refers to orbs that look like winking eyes in the glass. I hope you like my choice of the theme this week, and that it makes you smile!
Fantasy colourisation of a sunset in Regina, Saskatchewan.
Handheld RAW image; saturation and light adjusted in Aperture 3.
I captured this shot in a London underground station, in a rare moment of no one in the shot. I decided that black and white with selective colourisation of the two posters was a great contrast for this scene.
I feel totally uninspired. I took some photos today, I was browsing through my old ones... None felt just right to post today.
Decided to go with an old one...
© All rights reserved. Please do not use my photo without my explicit permission.
Taken on a cold winter afternoon only a few days before the regular timetable on the S & D was replaced with a reduced service to cover the delayed closure date.
This is the 1/10 leaving Bath on 28th December 1965. The train is longer than normal as it was pulling a set of coaches from an earlier train which had been cancelled because of the Christmas closing.
Another AI colourisation of a photo I have posted before. It was taken a long time ago so as with all my AI restorations can't guarantee historical accuracy with colour but I think a pleasing result
Fantasy colourisation of a very small portion of the Quadracci Pavilion, a 2001 addition to the Milwaukee Art Museum in Milwaukee, Wisconsin. Design by the Spanish architect Santiago Calatrava.
This building placed at #59 of 150 on a list called "America's Favorite Architecture", as determined by surveys of members of the AIA (American Institute of Architects) and the public; source: www.flickr.com/groups/23735488@N00
Fantasy colourisation of the Quadracci Pavilion, a 2001 addition to the Milwaukee Art Museum in Milwaukee, Wisconsin. Design by Spanish architect Santiago Calatrava.
This building placed at #59 of 150 on a list called "America's Favorite Architecture", as determined by surveys of members of the AIA (American Institute of Architects) and the public; source: www.flickr.com/groups/23735488@N00
More info on the Museum's website: mam.org/info/details/quadracci.php
See other images of the Quadracci in my "USA interiors" and "USA outdoors" albums
Handheld RAW image, auto focus, 14.6 MP.
Saturation & light adjusted in Aperture 3.
Bo-Bo electric locomotive 15 (English Electric/Baguley 2600/3520 of 1959) is ready to return to St Hilda sidings at South Shields with empty wagons in September 1981. 15 survived to the end of operations on the NCB Harton system in July 1989 and was stored along with the rest of the fleet until sold to Booth-Roe at Rotherham as a job lot later in the year. It was the last to be scrapped in February 1990. The electric locomotives here dated either from 1908-13 or 1952-59. Four of the former and none of the latter reached preservation.
Google Gemini AI colourisation of an earlier black & white upload.
Pentax SP1000/28mm
This is one I came across when out looking for something else, which is often the case. Males are more black and white, hence the word ‘pied’. They overwinter in West Africa, but spend the summer in Europe, where they prefer mature woodland, particularly oak. They are often seen perched on branches waiting for flies to come along. What I liked about this shot was the colourisation of the sun through the canopy.
Many thanks for your comments, favs and visits.
Martial Eagle Polemaetus bellicosus
The Martial Eagle is a large eagle found in open and semi-open habitats of sub-Saharan Africa. It is the only member of the genus Polemaetus. This particular example of this magnificent raptor is still at an immature development stage.
The very busy background has forced me to convert to black and white with a partial re-colourisation to enhance the subject.
This image was captured on the Chobe River, near Kasane, northern Botswana, Southern Africa while on photo safari with CNP Safaris. www.cnpsafaris.com
©2014 Duncan Blackburn
Std Class 4MT 76006 with the 1/10 Bournemouth heading towards Bath Junction only a few days before the emergency timetable was introduced 28/12/65
AI colourisation from scan of the negative
I have been trying out this technique quite a bit lately and I'll take my colour experiments even further tomorrow. But here I have converted a colour shot to black and white, and then using layers and colour tinting have created something a little more like a painting (or certainly like some of these antique hand coloured prints our grandparents had).
Originally this was a dark dreary image. I removed the colour, then colourised it to get a new look. Ignore the weird colour patches of the grass on the opposite side, thats because of the colourisation. Hope you like it anyway.
53809 and 45442 at Bath Green Park bottom shed in the summer of 1963. 45442 would be a replacement for the 10/15 parcels Peak
AI colourisation of a negative scan
The well-known Leyland LFDD Lowloader when owned by Buckmaster Coaches of Leighton Buzzard, this view taken in their North Street premises around 1967. Judging by the blind, it was last used on a London Brick Company contract.
Another Google Gemini AI colourisation from a black and white negative in my collection.
11 December 1965, 76009 drags 92243 out of the S&D shed at Bath Green Park. 76009 was later used on the 1/10 to Bournemouth,
76009 was later used on the 1/10 to Bournemouth. 92243 had arrived to cover a special on 1 Jan 1966, but was next to useless, and failed between Highbridge and Bath. 92243 would be used on the 1/00 goods the following Monday, so I nipped out of school to take pictures of it
I hadn.t paid much attention to this image, just a portrait of a Std 4MT, but it does show the main line down to Bath Junction on the left, and behind the loco the gasometers and the Stothert and Pitt factory, all now gone
Another AI colourisation which I find quite authentic.
Another AI colourisation, this is of a photo I posted 17 years ago.
The result looks like someone else's photo to me
The original caption:
Roger Loader is the fireman shunting a coal train into the Midland Yard at Bath Green Park, 31st December 1964. The yard shunter is 3758, seen across the main line, having taken some wagons over for the 11.00 mixed frieght about to depart over the S&D behind 48444. There is another Big 8 beyond the train. The S&D yard shunter/banker that day was 44558, but isn't seen here
Fantasy colourisation of a prairie sunset. Shot from the southern end of Prince of Wales Drive in Regina, Saskatchewan.
See more sunsets in my album of the same name.
Handheld RAW image, auto focus, master pixel size 15.9, colour & light adjusted in Aperture 3 and cropped along the top and bottom into 16 x 9 (HD) format.
The new 'Restoration' feature recently added to the Luminar Neo photo editing software was the principal reason for purchasing it a few months ago, albeit mainly for lightning quick removal of scratches and dust on a scan (a minute rather than a whole day manually), but as can be seen here it also has a colourisation option for black and white photographs. This example is not perfect, but it is not a totally bad rendition.
Class 33s and latterly class 37s and 50s were associated with the Meldon Quarry traffic as it remained a principally Southern Region resource, but as can be seen here class 47s were not unknown.
Unknown photographer.
Fantasy colourisation of white cosmos.
I don't have a macro lens; .5 metre/20" is as close as my 14-150 mm lens will focus.
See the companion images:
"Blue Chiffon"; www.flickr.com/photos/60785624@N07/10529709065/
"White Chiffon"; www.flickr.com/photos/joan-marie/9239093842/
Shooting info: RAW; handheld, auto focus, 15.9 MP
Processing: colour & light adjusted in Aperture 3, one speck lightened with the retouch tool
Another for re-colourisation following a lifetime of existence in B&W....
37090 after arrival at Perth with 1S81 2050 Carlisle to Perth on 27th February 1984.
The train was often a chuck-out of whatever was available I seem to recall, and would see classes 26, 37, 40 and 47 amongst others to haul this "parcels with passenger accommodation" service.
On this occasion we'd had 37027 from Ardlui to Glasgow Queen Street and then took a 303 unit from Queen Street Low Level to Blairhill, walking across to Coatbridge to pick up the Perth train. Still a nice surprise to see a 37 roll in although the down side was that we were then destined to head north on the overnight ‘gravity’ train from Edinburgh to Inverness with 47409. After the Lord Mayor's parade....
The loco later was renumbered to 37508 and then 37606 and in February 2018 was transferred to the DRS "Stored" fleet.
1928 GEC-built 4w electric locomotive shunting coal for the boilers at Chemical & Insulating, Darlington in June 1978.
Colourisation by Google Gemini AI of a previously uploaded black & white image.
Pentax SP1000/105mm
Outline and fantasy colourisation of one of the New Zealand Sounds, photographed from the Celebrity Solstice. This one is probably Dusky Sound.
Handheld RAW image w/ ultra wide-angle lens at 18 mm.
Cropped, saturation & light adjusted and some spots blackened with the retouch tool in Aviary.
August Bank Holiday Special 1964, at Maple Grove, Bath. 73051 pulling the second special which started from Bath and picked up locally. The earlier special was from Bristol and double headed to Evercreech.
73051 had been in the works and repainted in lined green during 1963, and along with 73049 and 73054 kept clean by a few of us on Sunday afternoons. Hanging out of the train are Vic Mitchell and Alan Mitchard
This year was the last one when August Bank Holiday was on the first Monday, in this case the 3/8/64
AI colourisation from a scan of my negative
A 1975 Guy artic carrying pipes through Dunstable for haulier CW Bridge of Huntingdon in April 1984. Quite short-lived, it was off the road by the August.
This is another Google Gemini AI colourisation of a black and white negative. The colours are a guess, all I know is that the DVLA has it down as grey. If anyone knows otherwise.....
Pentax K1000/50mm
Ilford XP-1
I spent 26 August 1967 travelling between Blackpool and Preston on steam hauled passenger trains, and after my final trip to Blackpool North a guy took me off in a taxi to this point so we could capture this arrival.
This is an AI colourisation of a scan from the negative. I can't remember the colours from the day but this doesn't look to bas to me
Fantasy colourisation of Asiatic lilies in my yard in Regina, Saskatchewan.
Colours were created in the phone itself, and the background blackened using the Flickr Photo Editor brush tool.
This photo served briefly as the cover photo for the group, Color My World Daily (blue day).
Fantasy colourisation of the grounds at the Trentham Estate in Stoke-on-Trent, England. The property was owned by the successive Dukes of Sutherland until it was abandoned in about 1905. (The Duke could not even give it away.) It is now operated as an attraction for tourists and locals as well.
Shooting info: handheld RAW image; auto focus, master pixel size 14.6
Processing: tilted; colour & light adjusted in Aperture 3
Fantasy colourisation of a park located next to the Grappenhall Heys walled garden in Warrington, Cheshire, England. Colours were done in Aperture 3.
See another one: "Woods You Believe It"; www.flickr.com/photos/joan-marie/10261130495/
With their striking black and white livery, there was no mistaking the buses of F Lockey & Sons, when visiting Bishop Auckland.
This is a Google Gemini AI colourisation of their ex-Glasgow Leyland Atlantean on their stage service out to Evenwood, a route shared with OK Motors, in February 1982. OK had the route to themselves on the takeover of the company in October 1983.
Pentax SP1000/50mm
Ilford FP4
dreaming of a bokeh sky..
on a rainbow filled day..
with someone to share my umbrella...
texture by: `Playing with brushes`.
*** Explored ! :) ***
Fantasy colourisation of an Asiatic lily called "Vivaldi".
Cropped and coloured in the phone itself; background blackened in Flickr's Photo Editor.
So this was one of my first shots that I took when I arrived at Portland, as soon as I parked my car I saw the tower and the fast moving clouds and knew what I wanted. Well mostly because I hadn't thought of giving my hand at selective colorisation.
I know selective colourisation is pretty common and cliche but I always wanted to give it a go and the red in this lighthouse seemed perfect. Also red always seems to be the best colour for selective colouring.
I was also personally really impressed with the sharpness I managed to get in this shot, despite this photo having only a little sharpening in post processing. I have started manual focusing on most of my shots now, unless for certain conditions its particularly hard. I'm still learning about hyperfocal focusing and stuff but at the moment I kinda just focus a third of the way up into the picture and work with that. But I still have a lot to learn with focusing, but its coming :)
Anyway I hope you enjoy this :)
Technical Details:
Shutter Speed: 51 seconds
Aperture: F18
ISO: 100
Focal Length: 18mm
Filters: Hitech Pro 10 Stop
Fantasy colourisation of a blue morpho butterfly (morpho peleides), in the butterfly garden at the Assiniboine Park Zoo in Winnipeg, Manitoba. Shows better larger; press L.
RAW image, handheld with remote shutter release, auto focus, master pixel size 14.6.
Cropped slightly along the bottom & right side (now 14 MP); colour and light adjusted in Aperture 3.