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This is the famous female impersonator Jene Chandler pictured in 1962 aged 25. young female impersonator by the name appearing in the Nutrix publication, "Letters From Female Impersonators Vol 11" which is available for all in PDF form from The Digital Transgender Archive (www.digitaltransgenderarchive.net/files/k3569438f).
By 1962 Jene was already quite established in the world of female impersonation and her letter describes her rise to fame from a manager in a ladies clothing section of a department store, all the way to starring in "The Jewel Box Revue" via "Club 82" in New York.
It seems Jene did indeed go on to further success as even with the briefest of searches finds her in various reviews including "Cherze La Femme" in Montreal in the late 60's early 70s (a program can be found here www.digitaltransgenderarchive.net/files/m039k5161) and there is even a clip of her with fellow female mimics Vicky Lane and Guilda in a terrible movie entitled "When Drag Queens Attack" on YouTube (www.youtube.com/watch?v=s_8IWh3Pr08)from 1976.
As always any further information I would be glad to hear from you....here is Jene, in her our words in 1962 as published in the magazine
===========
Dear Editor:
Here are a few pertinent facts about myself for the readers of your well-known female impersonator books.
My name is Jene Chandler (please spell my first name with a capital "J" and not "Gene" as some editors have done in the past by mistake). I was born in Brooklyn, New York, twenty-five years ago.
After graduating from High School in Brooklyn, I studied at Tulane University, where I majored in music and drama. After my first year studying drama in college, the "acting bug" bit me and I left college to take a part-time job in a large department store as a buyer of women s coats, dresses and suits, so that I could earn enough money to carry me over while seeking work in the theatre.
I managed the Women's s Department in the in the afternoons while working at an off-Broadway little theatre at nights in order to obtain acting experience I had to work days in the department store in order to eat well, as the little theatre group with which I became associated paid very small salaries, since their income was very little and they could not afford to pay much.
However, the valuable experience I gained at this little theatre group was worth much more to me than money, for it gave me the opportunity to gain much-needed experience and to learn how to apply make-up properly. My position as a buyer of feminine wearing apparel taught me how to distinguish good values in women's s fashions and did me in good stead later on, when I decided to become a female impersonator.
I became interested in female impersonation during my stay in Greenwich Village, New York, and realized that this profession was more lucrative than appearing in small parts in Broadway musical shows, waiting for my talents to become recognized.
While in Greenwich Village, I became acquainted with several female impersonators who wore stylish clothes of the latest fashions. They also seemed to have plenty of money to spend, while I was barely able to make ends meet, working at two jobs day and night !
This made me envious of them. As I was a fairly good dancer, I therefore decided to try my luck and audition for a traveling revue, which was scheduled to open in Washington, DC. This show had a chorus line of six females and six males in female attire.
I auditioned for this show as a male dancer and I was selected to work in the chorus. 1 worked for several months with the show and when the show opened in a Chicago night club, one of the showgirl exotic dance strippers left and I was asked if I would like to try and take her place.
This was my opportunity and I grabbed the chance. The pay was larger and it gave me a chance to work in a feature spot as a regular female impersonator.
I worked for a while as a stripper and singer in the show before joining another unit working in various cities, returning later to New York City. In New York I worked at the 82 Club as a showgirl and in several of the production numbers, all the time in female attire, which I was beginning to enjoy. I did my best to become as feminine-looking as possible in appearance and in my walking as I humanly could.
My crowning success came, when while working at the 82 Club, I entered a beauty con— test for women and - believe it or not was the runner up because of the judges t favoritism for another girl! I was tempted to tear off my wig and reveal myself as a man, but I thought better of the idea, as it would only mean forfeiting the runner up prize of a white silver fox stole, which I desired.
Later on I worked in Los Angeles, where I appeared on several nation-wide telecasts in a feminine role, with no one the wiser to the fact that I was actually a man! I worked as a female impersonator for five years and enjoyed it.
When "Doc" Benner offered me the job of working as a combination singer, stripper and Master of Ceremonies for the famed JEWEL BOX REVUE, I jumped at the chance and willingly accepted. It had long been my ambition to work in the Jewel Box Revue, which is considered to be the tops in the world of female impersonation.
The Jewel Box Revue to femme mimics is like the importance of Tiffany's to the jewelry world. Only the best and most talented female mimics are chosen to work in this revue, which is known all over the world. Since I am featured in the Jewel Box Revue, any of your readers can see me by watching the advertisements in the amusement pages of the newspapers.
Working in feminine attire is "nice work if you can get it," but it is also extremely hard work as well. I design my own hair styles and I create my own settings on my wigs, which are dyed to match my own natural hair coloring.Here is the way it is done.
I make a wig pattern of my head and snip off several locks of my real hair, which are given to the wig maker, so that he can match my hair with the right shade. I pay anywhere from $ 85 to $ 350 each for my wigs which, outside of my gowns, are the most expensive items in my feminine wardrobe.
I have to always have several wigs on hand, for while one is being cleaned, set and waved, I then can have one ready should one wig be delayed in being returned from the beauty parlor, as has happened on more than one occasion.
All I can say about my work as a female impersonator is that it has been a ball and I would die if for some reason I had to leave this wonderful profession.
I would not give up my work for all the money in this world. After many years of dancing on "high heels" and giving out with the impressions of the late Marilyn Monroe, Bette Davis and other famous Hollywood stars, while in drag, I have learned to love my work. I only resent some of the insulting remarks that certain "at Liberty" actors have leveled at those of us in this unusual profession.
I still get a lick out of the way salespeople, especially young girls, look at me when I am purchasing new dresses or lingerie when I inform them that these articles of clothing are for my own personal use! Their eyes pop out and their jaws drop. I have to take some of my photos of myself in "drag costumes" out of my wallet before they will believe me. When I'm leaving, the salesgirl would go over to a fellow worker and whisper excitedly to her. When not working, I'm dressed as a male and my former fellow-workers do not recognize me i
n female attire. It is lots of fun fooling the public into thinking that I'm a girl and I enjoy it.
With best wishes to you and your readers.
Cordially yours,
JENE CHANDLER.
=========================
TECHY STUFF:
The original screen grab was 422x697 pixels. The original required some cleaning to remove the logo in the bottom right hand corner and the hand written "GENE CHANDLER" in the bottom left. The handwritten inscription is something quite common to Nutrix publications and indicates that the photographer was Irvine Klaw. Regular readers of my feed may even start to recognise the flat in which this was taken, which was probably Irvine's. This was upscaled and enhanced by a factor of three resulting in an image 1266x1995. The upscaling was performed by the excellent open source software "Upscayl" (www.upscayl.org/), I then used the open source image editor GIMP (www.gimp.org/) to convert to greyscale and then back to RGB for colourisation. Further white balancing and contrast adjustments were also performed in GIMP before exporting the image you see here as a JPG.
Disclaimer: The digital enhancements to the original are all my own work, plus (in this case) use of AI enhancement. Any such unauthorised use (without prior permission) for that aspect of the work will be considered a violation of my partial copyright. Where the original item is shown, it is done so purely for comparative purposes only.
Back from Europe. Wish I was still there. :p
You won't see any of the travel images for a few days. I'm still working on those. But, with the time I had just relaxing in France, I had time to finish working on the last of the Toronto Island photos I had taken the week before I left on vacation. So you get those first. :)
More playing around with selective colourisation in Photoshop to highlight a red maple leaf I found on the boardwalk of the Toronto Islands. We had a very warm fall in Toronto and Southern Ontario, and the fall colours were mediocre at best. A lot of the leaves were falling off the trees either yellow, or still green.
(Top Explore Position 469 -- November 29th, 2007)
A series of mugshots from New South Wales in the 20's coloured for you by Billyfish Photographic Art.
Taken from a gallery of public domain images from the New South Wales Police Department that were taken in the 1920′s. This special photograph selection were mostly taken at the Central Police Station, Sydney and compared with the subjects of typical prison mug shots, the subjects of the Special Photographs seem to have been allowed to compose themselves for the camera as they wanted.
These public domain images reveal a lot more than a typical mugshot. The suspects poses look as if they could be from a fashion magazine. Most look disheveled and deranged, but some look very guilty. Their hand in pockets, hats tipped to the side, and their eyes scowling at the camera. They look like movie characters from a Dick Tracey film, with the crime they committed still fresh on their mind.
This is Ivor Jons. Possibly a British Female Impersonator from the late 1940's, early 1950's. Research has proved fruitless I am afraid, so if anyone can shed some more light on this, obviously very talented, Impersontator, please get in touch.
Another ebay find that I have digital enhanced by reframing, despeckling and adjusting the contract.
Disclaimer: I am not the copyright owner of the original image and my electronic publication is not intended to infringe any such copyright. I seek to make to make no financial gain from the reproduction or the original work. If you are the original copyright owner and wish the image to be removed, please contact myself.
Disclaimer: The layered colourisation work and digital enhancements to the original are all my own work and any such unauthorised use (without prior permission) for that aspect of the work will be considered a violation of my copyright. Where the original item is shown, it is done so purely for comparative purposes only.
Russian partisans, on of them photographer Faye Schulman, gathering together in the forest, Naliboki Forest, Belarus, December 1944. The Molotava Brigade was a partisan group made up mostly of escaped Soviet Army POWs. The woman pictured is Faye Schulman, a Jewish woman who fled into the Naliboki forest with her camera equipment and joined the Molotova Brigade. For two years in the forest she photographed the partisan's activities, worked as medical aid and participated in the partisans raid's.
12/1944
#historiansunion #colored #colorized #colourised #colorization #colourisation #color #colour #history #military #ww1 #wwi #worldwarone #greatwar #thegreatwar #ww2 #wwii #worldwartwo #military #war #warfare #allies #axis #sovietunion #belarus #asia #maquis #arms #weapons #russia #partisan
This picture showing a Panzer III and a Fieseler Fi 156, besides being in horrible resolution, deserved to be colourised. Information is as well impossible to obtain, although by the dimensions it is for sure it comes from the Bundesarchiv. After tracking similar pictures, this was possible taken in Crimea in May 1942, or maybe in Gumrak the 29th September. If you have any information, don’t doubt to share it!
#historiansunion #colorizersunion #colored #colorized #colourised #colorization #colourisation #color #history #worldwar2 #ww2 #wwii #germany #help
This is Lynne Robberts, pictured in the 1961 edition of the Nutrix publication "Letters From Female Impersonators Vol 4" which is available to view via the Digital Transgender Archive (www.digitaltransgenderarchive.net/files/tb09j566n).
My research hasn't revealed a lot about Lynne, however there is a group photo of The Jewel Box Review where she appears (www.digitaltransgenderarchive.net/files/mg74qm26b) and she does appears in another Nutrix publication "The Art of Female Impersonation Vol 4" (www.digitaltransgenderarchive.net/files/5138jd881)
Curiously, Lynne speaks of herself in the third person throughout her letter, describing how she fell into the profession of Female Impersonation owing to a female model falling ill during a photoshoot. It appears Lynne was living full time as a woman at the time of writing.
As always, I welcome ant further information anyone may have about Lynne. The techy information is at the end of this post and I'll leave you with her letter as it appears in the publication.
==================
Dear Sir:
Per your request, here are some items about myself on how I started out in the practice of female impersonation. These are written in the third person and I do hope they may be of interest and help to your clientelle.
"Lynne" became a female impersonator soon after graduating from high school. Not planning on going to college, "she" took a job as a photographer's assistant. As it so happened, during the very important shooting of some fashion models, one of the models had become violently ill and had to leave the studio.
However, the fashion shooting had to be completed and delivered that very same day. In a quandry, the photographer remembered Lynne in a comedy take-off on "Romeo and Juliet" in a last year high school dramatic presentation. Lynne had the acting "bug" and had played the part of Juliet and although the play was a comedy, Lynne had played her part with grace and beauty, letting only her lines deliver the farce effect.
Had anyone not known Lynn was a boy, they certainly would have believed her to be a lovely girl of high school age while watching this presentation. The photographer remembered all this in a quick flash and realized the solution to his problem immediately.
Lynne accepted the photographer's offer as soon as it was made. Twenty minutes later, she stood in a rose-covered archway wearing a long, white satin wedding dress. A lace veil hung far below her long blonde hair wig, scarlet finger nails tipping beautiful slender fingers and handheld the bride's.
Lynne enjoyed the thrill of wearing feminine attire and the rustle of the satin material rubbing against her body made her desire to wear female clothing all the time, instead of heavy and warm male attire. The photographs came out very well and soon Lynne received other offers to pose in feminine finery from other photographers also.
In that one quickly fleeting hour, Lynne knew that female attire was to be an all-importanly factor in her life, for the rest of her life.Her own masculine clothes were soon buried in a box in a closet, only to be used when female roles were scarce.
Many photographers kept in touch with her and her reputation as a fashion model soared to new heights. After all, the photographers could not reveal the model to be a fake and no one else had ever known the truth. Even the other girls on that day did not realize the switch. Lynne likes satin best, of which many of her panties, brassieres, slips, blouses and even a dress are made.
A local theatrical agent offered her a place in a new review at a night club and Lynne accepted, becoming the featured "strip tease" attraction there. She never revealed her true identity as a male, for Lynne never removes her wig or bra in her act or when posing for photos. Things are working out fine for Lynne, money, all the clothes she wants and, most of all, Lynne is living the life she wants to, as a female.
Lynne appreciates the many nice comments on her appearance and acting talent, stemming
from the lovely write-up about Lynne Robberts in Volume Six of "The Art of Female Impersonation and only regrets that she does not have the time to answer each letter received personally. However, Lynne sends her best regards to all of her fans, wherever they are.
Sincerely,
"Lynne Robberts."
==================
The original screen grab was 449x576 pixels. This was upscaled and enhanced by a factor of three resulting in an image 1347x1728. The upscaling was performed by the excellent open source software "Upscayl" (www.upscayl.org/), I then used the open source image editor GIMP (www.gimp.org/) to convert to greyscale and then back to RGB for colourisation. Further white balancing and contrast adjustments were also performed in GIMP before adding the colourised layers and then exporting the image you see here as a JPG.
Disclaimer: The digital enhancements to the original are all my own work, plus (in this case) use of AI enhancement. Any such unauthorised use (without prior permission) for that aspect of the work will be considered a violation of my partial copyright. Where the original item is shown, it is done so purely for comparative purposes only.
Archaeologist Sir Mortimer Wheeler (left) showing visiting dignitaries - including Lady Megan Lloyd George, née Arvon George (front right)- around the Roman site of Segontium in 1922. Segontium was a c. AD 77 Roman fort built in Gwyneed, Wales. It was built by General Agricola as garrison for around a thousand Roman-German auxiliary troops. The site was occupied until the 12th century, when Caernarfon Castle was built. Wheeler conducted excavations in the site from 1921 to 1923, and published the evidence in "Segontium and the Roman occupation of Wales".
Source: Amgueddfa Cymru – National Museum Wales
#historiansunion #colorizersunion #colored #colorized #colourised #colorization #colourisation #color #history #archaeology #wheeler #mortimerwheeler #history #lloydgeorge #segontium #wales
Generalmajor (at the time) Erwin Rommel, Commander of 7th Panzer-Division, photographed together with his beloved wife, Lucia Maria Mollin, while wearing his Weißer Dienstrock (summer white uniform). This photo was most likely taken in the period between the conferring of the Knight’s Cross for Rommel (May 27, 1940), and his appointment as Generalleutnant (January 1, 1941). Thanks
#historiansunion #colored #colorized #colourised #colorization #colourisation #color #colour #restoration #repair #history #military #ww1 #wwi #worldwarone #greatwar #thegreatwar #ww2 #wwii #worldwartwo #military #war #warfare #allies #axis #wehrmacht #rommel #erwinrommel
Party of Royal Irish Rifles in a communication trench on the first day of the Battle of the Somme, 1 July 1916. Let’s take the battle in numbers and facts. In one hand, the German Empire had deployed at the end of the battle a total amount of 1,500,000, a total of 50 divisions. Approximately 500,000 soldiers perished, one third of the army present. On the other hand, the British Empire, with the support of the UK, Australia, Bermuda, Canada, India, Newfoundland, New Zealand, South Africa and Southern Rhodesia, gathered 1,530,000 also in 50 divisions. The French managed to send 1,440,000 soldiers in 48 divisions. The casualties in the British Army ascended to 420,000; while the French Army lost 200,000 of their men at arms.
01/07/1916
#historiansunion #colored #colorized #colourised #colorization #colourisation #color #colour #history #ww1 #wwi #worldwarone #greatwar #thegreatwar #ww2 #wwii #worldwartwo #military #war #allies #axis #trench #trenches #battleofthesomme #somme
Based on a photograph of the silhouettes of dead Buddleia against the eveing sky. Once I'd cropped it I noticed this shape, which I repeated. It reminds me a little of Chinese or Japanese calligraphy, written in black ink on parchment paper, slightly blotchy. The diagonals suggest movement ... Probably other people can see other shapes and suggestions too.
I converted the original photograph to black and white. Inverted it and used a number of blending modes with the textures to suggest an absorbant parchment surface with water marks, or, maybe impressions of mist and water, and ink marks ...
Textures:
A Marine in shock with a thousand-yard stare waiting to be evacuated from the battle zone. Hue, Vietnam, 1968. The thousand-yard stare is a phrase coined to describe the limp, blank, unfocused gaze of a battle-weary soldier. A characteristic of shell shock, the despondent stare reflects dissociation from trauma. The thousand-yard stare is thus often seen in cases of incipient post-traumatic stress disorder. The phrase was popularized after Life magazine published the painting “Marines Call It That 2,000 Yard Stare” by World War II artist and correspondent Tom Lea, although the painting was not referred to with that title in the 1945 magazine article. The painting, is now held by the United States Army Center of Military History.
1968, Don McCullin
#historiansunion #colored #colorized #colourised #colorization #colourisation #color #colour #history #ww1 #wwi #worldwarone #greatwar #thegreatwar #ww2 #wwii #worldwartwo #military #war #allies #axis #vietnamwar #vietnam #hue #thousandyardstare
Although not quite sharp, this former B&W shot, from the recently acquired collection, appealed to me as a canvas for colourisation.
It was a pretty average winter's day circa 1970 when the photographer caught PMT's Marshall bodied Daimler Roadliner KVT 175E at the Greengates Street terminus in Tunstall (Stoke on Trent). The bus was fitted out with the Johnson 'Farebox' which was supposed to speed up fare collection with one man buses. However its principal claim to fame was that it was easily tampered with and not all the collected revenue made its way to the company. The system became something of a carte blanche for theives. Needless to say, the company soon returned to conventional ways of fare collection which was somehow believed to be safer.
Greengates Street, between the Public Baths (left) and the 'Little Park' is no longer served by buses, the last PSVs were probably coaches taking kids to the now closed pool. The situation wasn't aided by the local authority tinkering with the road system thereabouts making bus access / egress incredibly difficult.
Let's just say I did not wanna take my picture today. at all.
so this is all I could be bothered to do. sorry.
*update: I changed the shot to one I liked a little better...
This is a young female impersonator by the name of Christina DuBois taken in 1962 and appearing in the Nutrix publication, "Letters From Female Impersonators Vol 10" which is available for all in PDF form from The Digital Transgender Archive (www.digitaltransgenderarchive.net/files/pn89d6592).
Christina describes herself as 21 years old, five feet tall and weighing 125 pounds, with a 36-23-34 figure. Christina at the time was working as a Female Mimic in "The Jewel Box Review". Christina also describes herself as a former "amateur transvestite" who got involved following a dare from her friends.
Her letter also indicates that she had ambitions to become as well known and famous as the leading Female Impersonators of the day, but sadly this letter is the only evidence I have of her under this name, so whether she changed name or disappeared I am unable to say. Personally I think she looks amazing and as always if anyone has any further information I would be delighted to hear from you.
I'll leave you with her letter that was published in "Letters From Female Impersonators Vol 10". The "Techy Stuff" is at the bottom before the disclaimer as I imagine you would rather know more about Christina DuBois rather than wade through all the boring details of how I did this.
===========
Dear Editor
Recently, through a mutual friend of ours, Bobbie Dale, I became acquainted with your Nutrix Co. publications on female impersonation— don. I think that the many issues and photos illustrating this subject are wonderful and they portray the female impersonators in a very favorable light.
Up to the beginning of last year, I was an amateur transvestite and I became a professional femme mimic on a dare when I bet a few friends, after seeing the "Jewel Box Review in Los Angeles, that I could obtain a position as a female impersonator with the Revue, if I wanted to.
I had been worHng as a choreographer and costume designer for a small theatre group of actors and I had experience in acting. I also all about female attire. I saw that I could not back out of the bet, so I had to go through a very strenuous audition, competing against several others.
Surprisingly and to my delight, I was see selected by the manager to work in the traveling troupe of female impersonators. Having passed this audition, I decided to go with the Revue, as I enjoyed being able to carry on a deception that I was a female.
Before I go any further, I suppose I should tell you more about myself, so here are my vital statistics. I am twenty-one years old, with a height of five feet, three inches in street wear female shoes. I have brown eyes, weigh 125 pounds and am a high school graduate. I have recently served in the U.S. Armed Forces.
I had always wanted to try passing as a woman and this job in the chorus gave me the chance to don woman's s clothing, even for short periods of time, as I do not dress up when off stage. Having been accepted by the members of the troupe as one of them, I would Like some day to have Society accept professional female impersonators as members of the Community, entitled to the same respect accorded other members of the theatrical profession.
I am now building up a magnificent wardrobe of female attire and hope that in time I will have a complete set of outfits that will be the envy of real women. I feel that it would bolster up the morale of the readers of your interesting publications to know that, with a little determination, they can successfully
adapt themselves to feminine life, such as "Coccinelle" and other famous femme mimics have done.
The main thing is to have confidence in yourself and once you have made the step, not to be swerved from your purpose. Do not be self-conscious, once you have made up your mind to become a female impersonator and try to be as authoritative a female as you possibly can.
I have ambitions to become as well-known and famous as CoccineUe, T, C. Jones, Russell and Julian Eltinge were in the fascinating art of female impersonation. Having learned to enjoy wearing female clothing on stage, I prefer wide flowing skirts and satin blouse effects when cross-dressing. I favor low-heeled shoes, wear a size 8-1/2 triple B width, and size 9-1/2 nylon stockings. With the aid of bust pads, I am 36-23—34 and have brown hair and dark brown eyes,
Thank you for allowing to pose for photos which are to be used in a future Ntürix Co. pub— publication. I hope that your readers will enjoy viewing my photos as much as I in posing for them.
Cordially yours,
Christina DuBois,
=========================
TECHY STUFF:
The original screen grab was 413x683 pixels. This was upscaled and enhanced by a factor of three resulting in an image 1239x2049. The upscaling was performed by the excellent open source software "Upscayl" (www.upscayl.org/), I then used the open source image editor GIMP (www.gimp.org/) to convert to greyscale and then back to RGB for colourisation. Further white balancing and contrast adjustments were also performed in GIMP before exporting the image you see here as a JPG.
Disclaimer: The digital enhancements to the original are all my own work, plus (in this case) use of AI enhancement. Any such unauthorised use (without prior permission) for that aspect of the work will be considered a violation of my partial copyright. Where the original item is shown, it is done so purely for comparative purposes only.
Here's another of Stephen Arrandales' efforts to introduce colour to an old black & white images.
I rather like the effect on night shots, where the light from the station lights could play havoc with colour balance - and one of the reasons B&W was originally a good choice
47538 rather unusually heads the 01.40 Waterloo - Yeoil
US soldier and tank driver Julian Patrick of Kentucky, a member of the 3rd US Armored Division, killed in action inside his tank on March 6, 1945 during the very well-known tank duel at the Cathedral of Cologne. The inside of a M4 Sherman tank was famously dangerous. Quoting Henry J. Earl: “The hit was low on the side. The interior of the tank was lit by a ball of fire caused by the terrific friction of the penetration. A white hot eighteen-pound projectile entered the empty ammunition rack under the floor. The earlier modes of the M-4 “Sherman” medium tank did not store ammunition under the turret floor. The steel walls of the compartment prevented the molten metal from striking the interior of the hulland ricocheting throughout the tank. This saved the crew.” Sadly, in this occasion, none steel wall protected nor saved this soldier. Pfc. Julian H. Patrick was born in Magoffin County, KY, on April 29, 1921. He was the youngest of 4 brothers serving in WWII. The three other brothers survived the war. Julian was first buried in Belgium, his body returned in 1947 to the USA and interred in the family cemetery in Salyersville, KY.
06/03/1945
#historiansunion #colored #colorized #colourised #colorization #colourisation #color #colour #history #ww1 #wwi #worldwarone #greatwar #thegreatwar #ww2 #wwii #worldwartwo #military #war #allies #axis #tanks #tank #kia #sherman #shermantank
Swedish volunteers in the Finish Amry using a ROKS-2 flamethrower in action in the woods near the village of Niinisalo, during Continuation War, on July 1, 1942. The ROKS-2 was a Soviet flamethrower, designed not to draw attention so the fuel and gas tanks were concealed under a sheet-metal outer casting that resembled knapsack; the flame projector was designed to resemble a standard Mosin–Nagant rifle. The purpose of this was to prevent the operator from being specifically targeted by the enemy. The Finnish designation for captured ROKS-2 units was liekinheitin M/41-r. Captured Soviet flamethrowers saw some use by Finnish forces during the Continuation War. They were operated by two-man teams of combat engineers. They were well regarded by the Finns, although flamethrowers of all kinds saw little use by Finnish forces.
01/07/1942
#historiansunion #colored #colorized #colourised #colorization #colourisation #color #colour #history #military #ww1 #wwi #worldwarone #greatwar #thegreatwar #ww2 #wwii #worldwartwo #military #war #warfare #allies #axis #finland #soviet #ussr #niinisalo #flamethrower #continuationwar
Royal Flying Corps pilot cadet practicing deflection shooting from a moving platform installed on rails and launched at high speed, RAF Gunnery School between Rang-du-Fliers and Verton, 17 July 1918. The Royal Flying Corps (RFC) was the air branch of the British Army before and during World War One, until 1918, when the Royal Naval Air Service and the RFC united to form the RAF. During the first months of war, the RFC supported the British Army by artillery co-operation and photographic reconnaissance. As the enemy was doing the same, it gradually led RFC pilots into aerial battles with German pilots and later in the war included the strafing of enemy infantry and emplacements, several bombings of German cities, airfields and factories. In 1914, the RFC had approximately 2,000 personnel, five years later, the RAF had 114,000 personnel in service distributed in 150 squadrons.
#historiansunion #colored #colorized #colourised #colorization #colourisation #color #colour #history #military #ww1 #wwi #worldwarone #greatwar #thegreatwar #ww2 #wwii #worldwartwo #military #war #warfare #allies #axis #palestine #egypt #sand #planes #rfc #raf #pilot #royalflyingcorps
I was staying with a friend, who lives in the south of France, for eleven days. She has a little; eight-, maybe nine-month old kitten -- a stray that was rescued from a French SPCA shelter. I don't do a lot (any, really) portrait work, but I decided to try and get some work in for my 50mm f/1.4 lens by taking photos of the cat. Before I came for a visit, my friend had declared her kitten to be the cutest cat in the world. I thought that was a typical, overblown, hyperbolic statement to be expected from any new parent. But after spending eleven days with this thing, I found myself agreeing with her.
This is the kitty.
She doesn't really have *one* name. Moixa (Catalan for "female cat"). Muscade (French for "nutmeg"). Kitty. "Hey You". Le Monstre.
She is the Devourer of Flowers. Seeker of String. The Huntress of Coins, Hair Elastics, Tissue Paper, Really... Anything Left on Table Tops. She is the Kneader of Necks and Licker of Faces. The Bane of (Your) Sleep. She is Your Five AM Wake Up Call.
She really is one of the friendliest cats I've ever met, and quite possibly the cutest kitten in the world.
The first thing I noticed about this cat was the colour of her eyes -- that deep, nutmeg / gold colour. This is what I've tried to highlight via selective colourisation using layer masks in Photoshop.
My entire Cote Vermeille Travel Set is here.
A submission to our #JWSTArt social media campaign. Painted by Anri Demchenko, Ukraine.
Ernest says, "I used fresh-paint on my surface (simulating oil). I took as a model one of the pictures i found with the mirrors and painted it with my thumb/finger... I essentially paint over a picture, however its quite heavily modified and i try to keep the colourisation the same. I thought the angle of the mirrors gave it a very authoritative aspect!"
If you create art inspired by the James Webb Space Telescope, share it with us! For terms and more information, please visit: www.nasa.gov/jwstart
Image credit: Ernest Hope Stephenson
Shop selling 'Traditional Music in Bank Street, Edinburgh.
Note above Signage in Flat above Shop "The Destitute Sick"
The Society for the Relief of the Destitute Sick was established in July 1785 and its objects were stated to be "to afford relief to individuals who are sick or disabled and thereby prevented from following the occupations by whih they provide for themselves and their families, and who are not entitled to the benefit of any other fund."
The Society is still active - Scottish Charity No SCSC005466S
A late evening mono shot on Cadbury Hill, Yatton with a bit of colourisation added in PicMonkey for effect.
I was never that happy with my previous colourisation on this lovely old portrait, so I decided to run it through AI to see what it made of colourisation. I was very impressed with the results - much better than my last go.
My wording from the original post on the vintage portrait:
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I found this old photo again recently while going through a bag of my old letters in the loft. I originally smuggled the photograph out of a box of old photos at my Nan's house when I was very young, I remember thinking she had the most wonderful eyes!
To me, her eyes seem very alive, they seem to effortlessly bridge across all the years since the photo was originally taken. I think the photographer really knew how to capture a beautiful woman. Sadly i have no idea who she was, but I fell in love with those eyes that very first time i saw this photograph and truth be told, I'm still in love with them now.
I did quite a bit of fixing on the photo as the original was quite tatty and had lots of drawing-pin holes in it. (I imagine it was probably pinned to some lads wall!). I am very pleased with the way it came out.
German soldier mocking a Lenin statue somewhere in the USSR.
c. 1942
#historiansunion #colored #colorized #colourised #colorization #colourisation #color #colour #history #military #ww1 #wwi #worldwarone #greatwar #thegreatwar #ww2 #wwii #worldwartwo #military #war #warfare #nazi #statue #sculpture #mocking #lenin
Spotted at the recent 'Cadilacs and 'Copters event I attended in Weston-Super-Mare.
I don't like the Rat Look myself, but people have passions and this is for those.
Had to use Selective Colourisation as that Corvette was just so yellow.
Selektiv Light for Windows 10.
The following text is a very short resume intended in providing some context to what is happening in the photo. I will focus mainly on the duel. If you wish to know more about German student fraternities and their members, please visit the link I provide at the end.
German student fraternities have a long history that traces back to the middle ages. Like most student fraternities, much time was spent socialising, singing and, of course, drinking. Most people didn’t go to the University, and of those who did only about 25% could afford to belong to a fraternity. These were the upper crust of society, aristocrats and upper bourgeois, destined to fill the ranks of professionals throughout the German Empire.
The fraternities, which at one point are believed to have reached around 4,000 in number, were known as ‘Burschenschaft’ and they could be duelling or non-duelling.
Another activity the fraternity members dedicated themselves to was the ‘Mensur’. This was a duel of very particular characteristics.
The duel was always between members of two different fraternities and, unlike a common duel, the ‘Mensur’ objective was not to settle a grievance, but simply to fulfil the requirements the fraternities placed on duelling. What was most important was not to win, but how one behaved in combat. The contenders, known as ‘Der Herr Paukant’ couldn’t move, except for the duelling arm. Any movement of the body or head to avoid a hit was forbidden and considered cowardly, and could result in premature cessation of the ‘Mensur’.
Each Paukant wore protective clothing that included reinforced leather aprons, arm coverings, neck protection, and steel ‘goggles’ to protect the eyes, with only the head and face left unprotected. The sword was called a ‘Schlager’. The ‘Paukant’ stood close to each other, separated by only one sword length (about 85 cm).
In this photo, (possibly shot between 1920 and 30), which is a cropped version of the original, one can see the aftermath of a ‘Mensur’ with both ‘Paukant’ with a smile on their faces. Oddly, only their seconds are using protective clothing.
For a student and all of German Society, the badge of courage was the Schmiss (the duelling scar, or sometimes called the Renommierschmiss, or bragging scar), mostly on the left side of the face, where blows would fall from a right-handed duellist. This was borne by a generation of doctors, jurists, professors and officials, certifying the owner’s claim to manly stature. The duelling scar was certain to attract attention because it signified courage and breeding.
We can see one such scar on one of the men in the background, directly behind the bleeding ‘Paukant’. A famous bearer of several Schmiss was unrepented nazi Otto Skorzeny.
Student fraternities were forbidden during the nazi dictatorship reappearing in the early ’50s. Duelling fraternities are still around today although far less popular.
Text partially adapted from ‘Student Societies’ by Joe Robinson (2006), pickelhauben.net
Original property of S. Wouters collection
NOTE: Given that the fraternities involved in this particular event are unknown, as are the location and date, I had to take some liberties concerning the fraternities’ colours whose choice I based in available drawings and paintings, cross-referenced with the caps and bands’ grey tones. For this reason, the colours depicted are for demonstration purposes only.
One of the contenders has a band of a different colour pattern. According to Flickr member, xiphophilos, this is because he is still a ‘Fux’ (novice) and thus wears a Fuxband. I kept to the fraternity’s colours I chose before so I coloured it green as it is too light to be red.
A shot from the Tennent’s Premiership clash between Selkirk RFC and Glasgow Hawks, played at Philiphaugh Stadium, Selkirk, on Saturday 11th October 2025.
A high-scoring, fast-paced encounter in golden autumn light saw Selkirk edge out the Hawks with a final score of 46–35.
Japanese battlecruiser Kirishima Colourised.
Original: ww2db.com/image.php?image_id=11253
Maritime History and Science Museum, Kure, Japan
My favourite colourisation I’ve ever done, it depicts a French Resistance member during the Liberation of Paris, 23th August 1944. We have been searching the actual location trough Facebook, through our beloved WW2 Colourised Photos page, where it was featured. Lots of people helped us to try to solve that mystery, but we still couldn’t find it. Can somebody give a clue? Thank you in advance!
#historiansunion #colored #colorized #colourised #colorization #colourisation #color #colour #history #ww1 #wwi #worldwarone #greatwar #thegreatwar #ww2 #wwii #worldwartwo #military #war #allies #axis #resistance #partisan #france #liberation #liberationparis
Austrian-Hungarian shock trooper experimenting with grenade-throwing techniques in the training base of Levico, March 1917.
Source: Austrian National Library (WK1/ALB080/23723)
#historiansunion #colorizersunion #colored #colorized #colourised #colorization #colourisation #worldwar1 #ww1 #kuk #austriahungary #stormtrooper
Captain D. Michelson with Tim the tortoise, the pet of the Australian 2/2nd Battalion, 16th Brigade, 6th Division, Julis, Palestine, 28 March 1930. So I was curious about Captain Michelson, but couldn’t find anything about his service in WWII. The Australian War Memorial didn’t through any clues, until I searched just the surname and, hidden in a group picture, I found his complete name: David Enoch Michelson, SN - NX320, was born in Sydney (the 2/2nd recruitment area was NSW) on April 19, 1910. Enlisting in Denistone on December 27, 1939 was discharged six years later, on October 9, 1945. You can find several recordings and interviews of him in the Australian War Memorial website.
Sources: - Australian War Memorial - www.awm.gov.au/collection/C23524
- Johnston, Mark; Chagas, Carlos (2007). The Australian Army in World War II. Oxford: Osprey Publishing
#historiansunion #colorizersunion #colored #colorized #colourised #colorization #colourisation #worldwar2 #ww2 #australia #australianarmy #tortoise
The Downfall at Kinder Scout frozen and snow capped with a couple of hikers cutting across the top. Icicles over 15ft with colourisation from the peat that sits on the top of the plateau.
Just happened to spot this over brekky the other day, and also happened to have my camera in my lap, as always :-)
Willi Ermann (1897-1943) was one of around 100,000 Jews who served in the Imperial German Army during WWI.
In 1938 he and his family fled to France and settled in Chatenay Malabry near Paris.
In March 1943 Willi was arrested and deported to Drancy from where he was deported to Auschwitz and soon murdered. His wife Else and his daughter Liselote soon followed being recorded as arriving at Birkenau on the 25th of June 1943, never to be heard of again. It is not known exactly how or when they perished.
Note: The yellow colour on the faustriemen is an educated guess based on the grey tones of the original. Since I believe he was from a field-artillery unit, the yellow would identify the 3. Batterie of the 3. Abtheilung (archaic spelling of Abteilung still in use during WWI).
Original photo: Ermann’s family via Wikin
A propaganda picture of a photographer named Valtingojer showing then Colonel-General Erwin Rommel helping to move his Škoda Superb Kfz 21 car, which had gotten stuck in the desert sand, as General Siegfried Westphal looks behind, 1941. This picture was dated as 9 February, impossible since Rommel was in Germany at the time. The date might be 2 September. On 6 February 1941, Rommel had been appointed commander of the Deutsche Afrika Korps and Operation Sonnenblume had been started. The operation consisted on the recapture of Cyrenaica, in Lybia, in order to support Italian forces severely decimated after the prior British operations. Rommel didn’t step in Libya until 12 February, as Italian General Italo Gariboldi -de iure, giving orders to Rommel- replaced Rodolfo Graziani after its failure in affronting Allied forces. The German operation quickly switched from a defensive to an attacking role and eventually saw Cyrenaica falling in Axis hands again.
Original picture: Bundesarchiv / Valtingojer
#historiansunion #colorizersunion #colored #colorized #colourised #colorization #colourisation #color #history #worldwar2 #ww2 #wwii #wehrmacht