View allAll Photos Tagged colourisation
Taken from a hot air ballon travelling away from the beautiful city of Bath over what looked from 2000 feet to be some form of concrete pipe factory
Rained most of the day and some colour can return to the gardens.
Very rare for me to mess round with any post-processing so took me a while to remember how to do this (hackneyed) selective colourisation.
There are some colourisation programs available I believe, but it is much more interesting to paint vintage photographs by yourself.
So taking the John Bell (1845-1914) image of a father and son, my job was to imagine what it might have looked like in colour during the 1870s. This is clearly a studio portrait and the men would have dressed in their Sunday best. The subjects are leaning on a strange rock of some kind (whether real or not). It has the look of an anvil. I've taken a liberty and shown them wearing blue jeans.
This photograph of the vintage photo was taken by me with the Nikon D850.
Once again I remind people interested in the craft of painting photographs to check out the website and book on "The Art of Handpainting Photographs" by Cheryl Machat Dorskind.
www.cherylmachatdorskind.com/the-art-of-handpainted-photo...
Looking like a rather poor colourisation, this is in fact a recent scan of a partially degraded colour print. As I've said before, I prefer to go back to negatives, but as this presented itself a few days ago, I thought I'd run it through the scanner.
The coach is of course one of the small batch of AEC Reliances (all but one a 'grant coach') which entered the Derby municipal fleet under the management of AEC enthusiast Gerald Truran. Whilst they spent a fair proportion of their time working on former 'Blue Bus' services, the Reliances did get out and about on a fair bit of Private Hire. Derby Corporation had aquired the late lamented operator from Willington, but virtually all the rolling stock perished in a garage fire very early on in the new era, necessitating additional vehicles at short notice.
Here in the early '80s, I encountered Supreme 'Express' bodied NNN 11P at Chester's Little Roodee Coach park. All of these 'NNN' Reliances were '760 powered with 5 speed semi-auto transmission.
I don't normally post family photos, but this is one of my great-grandfathers. I'm happy with the colourisation. He was born in 1887 so I guess this would be early 1920s.
This Old Cadillac (1970s? Cadillac experts please help me here) is used to publicise a bar in Scunthorpe, Lincolnshire.
Two construction cranes and a fantasy colourisation of the sky at the University of Regina campus in Regina, Saskatchewan.
See what's behind me: "The Glass Tipi"; www.flickr.com/photos/joan-marie/9245890574/
Shooting info: RAW; handheld, auto focus, master pixel size 15.9 (now 11.6 MP)
Processing: cropped along the top & bottom; colour & light adjusted in Aperture 3; some spots blackened with the retouch tool
The last in my little series of Native American photos for the minute...
Photo by Edward Curtis en.wikipedia.org/wiki/Edward_S._Curtis
Coloured for you by Billyfish Photographic Art
A restored and colourised version of the sepia photo below, taken circa 1914. Photographer and studio unknown.
The subject is Bertha Dorothy Adshead (1909-2002) aged approx. 4 years.
Known affectionately in the family as 'Auntie Dot', she was my third cousin twice removed - our common ancestor was my Great Great Great Great Grandfather !
This is what I saw and bought without hesitation. A fine early example of German photo art. It is in its original frame, 12 x 9 cms, and beautifully presented. You can't really see it in my photograph, but the photo and glass covering it are curved convexly to give it the feel of 3D. This made it difficult to focus. There are little added highlights, such as the "mother of pearl" strips, that just add a little sparkle to the presentation.
When I discussed it with proprietor Andrew Puccetti, he quite rightly pointed out that color photography (using a single plate) only technically became possible from 1906. But this shot had the feel of the 1890s to my (history) eye.
This appears to be a beautifully handpainted black and white print. As for identifying the location, there are a number of clues. "Breitestrasse" is translated literally, "Wide Street". It's the German equivalent of "High Street" in Britain and Australia, or "Main Street" in America. As for the city, "Thorn W. Pr." refers to Thorn in West Prussia (in modern Poland).
There was indeed a genuine method of producing a color print in the 1890s. It was called the Photochrom technique and pioneered by Photoglob Zurich AG. Thousands of copies were produced and sold, and the Germans were the world leaders in this technology. Photochroms taken as three separate monochrome negatives and then printed to form one colour image. Before and after this technology was developed, handpainted colourisation was going on.
It is unlikely this picture is a Photochrom. As we can see it shows evidence of hand retouching (especially of the faces looking towards the camera), and the buildings down the street appear to have been coloured according to a pattern.
* Taschen (probably the most prestigious art publisher in the world) has released a magnificent book on German Photochroms from around 1900.
hyperallergic.com/265657/photochroms-capture-belle-epoque...
* This article also has some supporting information on Photochroms:
en.wikipedia.org/wiki/Photochrom
* Finally, on the history of colour photography try:
blog.scienceandmediamuseum.org.uk/a-short-history-of-colo...
Above all, if you see something like this in an antique shop. Buy it!!! I think I got a real bargain.
The original plan was a nice circular walk from Chichester Yacht Club to Dell Quay and back. That turned out to be a very muddy experience and resulted in a trip to Chichester to buy new shoes. The beach at West Wittering was more amenable to walking without getting dirty. However, the sky remained heavy and the breeze was picking up. I think that this mono image of the groynes conveys the atmosphere quite well
Fantasy colourisation of the sky over Les Sherman Park in Regina, Saskatchewan. Shot facing west, just before the sun dropped below the horizon. Shows better enlarged; press L.
See the companion image: "Jelly Bean"; www.flickr.com/photos/joan-marie/9457398262/
Shooting info: RAW; handheld, auto focus, master pixel size 15.9 (now 11.9 MP)
Processing: cropped along the bottom into 16 x 9 (HD) format; colour & light adjusted in Aperture 3; some areas retouched
More 'colourisation' joy as Laura tackles this end-of-life view of a pre-war WCT Daimler COG5 in Wulfruna Street, Wolverhampton in 1956. From an original negative.
Gustav Fröhlich and Margarete Lanner in Metropolis (1927)
Part-colourised for Worth1000's "Pleasantville 28" compotition.
... and for Sliders Sunday. HSS!!!
Before I leave the subject of retrospective colourisations, here's another fairly recent offering. This one shows 478 FCG, a Park Royal bodied AEC Reliance from the late lamented Chiltern Queens fleet which had been new fairly locally to Aldershot and District as a coach. By the time of my photo, circa 1979/80 it had obviously had bus seats substituted, but by then I suspect, its tramping days were over.
The original photo was taken at the 'Reading Stations' terminal and one of the Corporation's new fangled Metropolitan double deckers makes a cameo appearance.
Fantasy colourisation of the ceiling in the lobby of the government-owned T.C. Douglas building in Regina, Saskatchewan. Building design by architects Arnott MacPhail Johnstone of Regina.
Shooting info: RAW; handheld, auto focus, 15.9 MP
Processing: colour & light adjusted in Aperture 3, one reflection removed with the retouch tool
Just one of the many small things I admire about the British culture. I don't know if they do this in other cultures but often in parks you will find benches and trees dedicated to a lost loved one.
Joseph Mallord William Turner RA (23 April 1775 – 19 December 1851), known as J. M. W. Turner and contemporarily as William Turner, was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colourisations, imaginative landscapes and turbulent, often violent marine paintings.
Turner was born in Maiden Lane, Covent Garden, London, to a modest lower middle-class family. He lived in London all his life, retaining his Cockney accent and assiduously avoiding the trappings of success and fame.
A child prodigy, Turner studied at the Royal Academy of Arts from 1789, enrolling when he was 14, and exhibited his first work there at 15. During this period, he also served as an architectural draftsman. He earned a steady income from commissions and sales, which due to his troubled, contrary nature, were often begrudgingly accepted. He opened his own gallery in 1804 and became professor of perspective at the academy in 1807, where he lectured until 1828, although he was viewed as profoundly inarticulate. He traveled to Europe from 1802, typically returning with voluminous sketchbooks.
Intensely private, eccentric and reclusive, Turner was a controversial figure throughout his career. He did not marry, but fathered two daughters, Eveline (1801–1874) and Georgiana (1811–1843), by his housekeeper Sarah Danby. He became more pessimistic and morose as he got older, especially after the death of his father, after which his outlook deteriorated, his gallery fell into disrepair and neglect, and his art intensified. He lived in squalor and poor health from 1845, and died in London in 1851 aged 76. Turner is buried in Saint Paul's Cathedral, London.
He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He had been championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting.
A master of history, landscape and marine painting, he challenged the style of the old masters, trailblazing in technique and subject matter.
Described as the ‘father of modern art’ by John Ruskin, Turner often shocked his contemporaries with his loose brushwork and vibrant colour palette while portraying the development of the modern world unlike any other artist at the time.
It is no wonder that Turner became the most celebrated painter in England and that over one hundred and fifty years later, we celebrate contemporary artists of the same innovating spirit through the aptly named Turner Prize.
When I thought about what Flickr is for me, I concluded it’s all about passion that sets my heart on fire. I’m always searching for new ideas and new sights that are like a guiding light right in that very heart. I had a photo already that literally is the depiction of that heart on fire albeit with its natural colors not directly in the colors of Flickr. So, I decided to do something I normally don’t do and alter the colors and redo a photo to show my appreciation to Flickr and the whole community.
"Saints In Colour"
Showing how the Wallingford Screen might have looked in the medieval period - with a 21st century twist. The Cathedral has worked in close partnership with Hogarth, a WPP agency, to explore ground-breaking techniques for bringing history to life, using the latest technology from Panasonic and Epic Games.
Cutting edge scanning and projection techniques using Reality Capture software will bring to life the 15th century screen and 19th century statues with a millimetre accurate 3D scan and re-colourisation, based on historic research by Dr James Alexander Cameron. The colours have been produced by artist Amara Por Dios, and the technology was used to train apprentices in WPP’s Creative Technology Apprenticeship programme, which aims to diversify the emerging technology workforce. St Albans Cathedral is committed to social justice, so we are excited to bring the statues to life in a racially diverse way, reflecting where each of the saints depicted came from.
Here I've converted a standard colour RAW file to gray scale (I never shoot black and white in camera because it limits my processing options). From there I work with colour toning and the tone curve to produce a form of colourisation. I am not looking for realistic colours as such, but like a painter trying to create an impression of the scene. This picture contains various shades of yellow, green and blue.
[This is certainly an image that needs to be enlarged for full effect.]
This might look like a colourisation of a B&W image, but it is in fact the recovery of a terribly under exposed Kodak colour transparency. It is also unusual to see a picture of a Midland Red bus in West Bromwich's Paradise Street as it is no more. Paradise Street ran from High Street at its junction with Bull Street through to St Michael's Street, but today is long lost under the development of the Kings Square Shopping centre and current bus station.
Working the 268 - Princess End - West Bromwich - Wolverhampton service is 4928; a 1961 built BMMO D9. This was one of the many Midland Red buses that were transferred to West Midlands PTE in December 1973. 4928 was at the time of this picture allocated to Midland Red's Wolverhampton garage, but in 1971 it was allocated to Dudley Garage, hence its transfer to WMPTE in 1973. 4928 was withdrawn by WMPTE in January 1976, and was sold in March 1976 to Birds Commercial Motors at Stratford-on-Avon for scrap.
I tried my hand at selective colourisation... I'm not sure how good it is, but it's the best I could do, using features I rarely use in GIMP! There are obvious flaws but I do like the overall effect and I hope to get better at it.
"Saints In Colour"
Showing how the Wallingford Screen might have looked in the medieval period - with a 21st century twist. The Cathedral has worked in close partnership with Hogarth, a WPP agency, to explore ground-breaking techniques for bringing history to life, using the latest technology from Panasonic and Epic Games.
Cutting edge scanning and projection techniques using Reality Capture software will bring to life the 15th century screen and 19th century statues with a millimetre accurate 3D scan and re-colourisation, based on historic research by Dr James Alexander Cameron. The colours have been produced by artist Amara Por Dios, and the technology was used to train apprentices in WPP’s Creative Technology Apprenticeship programme, which aims to diversify the emerging technology workforce. St Albans Cathedral is committed to social justice, so we are excited to bring the statues to life in a racially diverse way, reflecting where each of the saints depicted came from.
Following an enforced week away from posting by a fault on our land-line, which also took out my ability to connect my computer gubbins to the interweb, I'm back again! That break gave me more opportunity than was good for me to undertake some digital colouring. Several of the items treated aren't my own copyright, so best if I don't share them here. However, I've had a go at a few of my older ones like the accompanying shot back from the days when I could barely afford photography, let alone colour.
This one shows Stonier of Goldenhill's ex Hutchison of Overtown AEC Reliance '470 / Willowbrook, KVD 15E. Whilst the original isn't perfectly sharp, it is one of my better ones from circa 1977 and I think it has responded quite well to colourisation.
'KVD' was the penultimate Stoniers bus which had seen service with the famed Scottish independent, and it served Stonier's reasonably well. Its small engine was a bit of a false economy as it had to be worked hard in the hilly terrain of North Staffordshire. That said, I recall it climbing the notorious Lime Kilm Bank east of Hanley one Saturday with 96 passengers aboard!
The photo was taken alongside the garage on High Street, Goldenhill were coincidentally, I started work 44 years ago today.