View allAll Photos Tagged colourisation
Fantasy colourisation of the sky at sunset in Regina, Saskatchewan. Shot from the south end of Prince of Wales Drive in the southeast area of the city.
See more sunset images in my "Sunsets" album: www.flickr.com/photos/joan-marie/sets/72157634112806178/
Shooting info: RAW; handheld, auto focus, master pixel size 15.9 (now 15 MP)
Processing: cropped slightly along the top, colour & light adjusted in Aperture 3
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
Scattered across the city like relics from a bygone era, Edinburgh’s police boxes have long since retired from active duty. Originally installed from 1932 onwards, these cast-iron sentinels were once part of a highly organised communications network for patrolling officers. Most were designed by City Architect Ebenezer MacRae and manufactured by Carron Ironworks of Falkirk — the same foundry famous for producing everything from cannons to cookware.
Each box was a tiny outpost: equipped with a phone line to headquarters, a chair, a kettle, and a modest sink. That sink — often dated to the early 1930s — served a multi-purpose role: for washing up, grabbing a quick drink, or more dubiously, as a makeshift urinal. The boxes didn’t include a proper toilet, so officers on the beat had to make do, armed only with a bottle of bleach and a stiff upper lip.
On winter nights, the boxes offered slight relief from the cold with a one-bar electric fire or oil heater. They also doubled as secure holding spots for the occasional drunken troublemaker until backup arrived.
Most of these boxes have now been sold off and found new lives — as coffee kiosks, tour guide hubs, or simply as curiosities parked on street corners. Their sirens are long gone, but they remain a unique feature of the city’s architectural and policing heritage.
As one local site reports, there’s even a rumour from the 1970s — when female officers began using the boxes — that one unfortunate woman managed to break the sink. Whether that’s fact or just a cheeky bit of gallows humour from the boys in blue remains delightfully unclear.
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Blog Website: Siren at Dawn
Deviant Art: Siren at Dawn
The Body Parts:
Head: LeLutka – Evo X – Raven- 3.1 – BoM
Body: eBody – Reborn – BoM
Halo Horns: ERSCH & Petrichor – Markelus Flower – Full-Point Sep – Fade HUD – [Midight Order – August 2023]
Hair: MINA – Samara – Ombres & Ombres Extra – [FaMESHed – August 2023]
Eyes: S H I M M – CXLV – Set II – Evo X Eye Applier
The Beauty Parlour:
Face: Autograph – Nancy – Evo X – No Brows – Sienna
Skin: Velour – Ipanema Body – Legacy – Curvy – Sienna
Eyeshadow: GOREGLAM – Illusion – Eyeshadow – Evo X
Lipstick – LUCCI – Spring Babe – Lips – Evo X – ADVX
Body Shine: This Is Wrong – Droplets Shine 3D
At the Boutique:
Bikini – ERSCH & Petrichor – Fleuria – Fae HUD – [The Warehouse Sale – August 2023]
Time to Accessorise:
Armlets: MICHAN – Charlene Armlets – Champagne
Belly Chain: Orsini – Sarah Belly Chain
Setting the Scene:
Pose: FOXCITY – Bebe Bento Pose Set
Backdrop: VISERA – Hidden Oasis Dream
Need to Know Stuff:
ERSCH & Petrichor:
Markelus Flower – This come sin a pack with five different options of the halo style horns. This is dependent on the points touching, being separated, or being fully closed. I chose the separated for this because I really do love seeing the points, and having that small separation between the two, for me it gives it more character.
Fleuria – This bikini set comes with a options on the HUD to change the colours of the Bra, panties, and collar separately, along with an option for the gemstones, giving you endless possibilities of colourisation.
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.
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...
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 !
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
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.
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!!!
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
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
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.
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.
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.]
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.
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.
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.
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.
Something a little different for this evening, harking back to the colourisations I developed a liking for prior to having 30-40,000 negatives to scan!
Regrettably I have no idea who took the original of this photo which appears from time to time on local Stoke on Trent Facebook pages. It depicts three of The City of Stoke on Trent's finest fire engines which were probably based at Burslem fire station (just visible above the leading Dennis) and was more than likely a professionally taken a 'publicity' image. The location is Hamil Road and Port Vale Football Club's new ground is on the right here. The town of Burslem is in the middle distance. I opted to just colour the fire engines themselves as most of the Potteries was black and varying shades of grey in the 1960s!