View allAll Photos Tagged colourisation
The Red Rover AEC Renown at work in Aylesbury in 1968.
An AI colourised black & white negative in my collection. The blue car and the couple in the shop doorway were added by Google Gemini without asking. I have never worked out how some colourisations look more like illustrations than photographs.
Fantasy colourisation of the playful clouds and sky over Regina, Saskatchewan at sunset-time.
Caption inspired by the 1979 Robert Hazard song, "Girls Just Want to Have Fun".
See other sunset images in my "Sunsets" album: www.flickr.com/photos/joan-marie/sets/72157634112806178/w...
Shooting info: RAW; handheld, auto focus, master pixel size 15.9 (now 14 MP)
Processing: tilted slightly; cropped along the top & bottom into 4 x 6 format; colour & light adjusted in Aperture 3
Fantasy colourisation of the sky at sunset time in Regina, Saskatchewan. Shot facing north on Fleet Street in the southeast area of the city.
When I arrived at this spot 15 min. earlier to shoot the setting sun, there were beautiful pink and gold tones in the west sky. That was when I discovered that there was no battery in my camera! Drove home to fetch it and returned to this spot, but alas, by this time, the beautiful colour tones in the west were all but gone. However, there was colour in the north sky, and this image was caught.
See other 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 14.2 MP)
Processing: cropped along the top into 4 x 6 format; colour & light adjusted in Aperture 3
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
A trio of two slides and a black and white medium format negative purchased on eBay and the amazing transformations to each made possible by the A1 function in Luminar Neo editing software, showing the incredible capabilities now possible to material that at one time may have only been fit for the bin. Case in point is this b&w shot which had substantial processing damage and which manually would be almost impossible to remove from a scan. One click and not only has it been removed without trace but a pretty good attempt at colourisation has been made too. I all also didn't expend any time removing manually all the dust and scratches either!
Unknown photographer.
Another Google Gemini AI colourisation, this Bedford SB1/Duple was in use as a caravan at Scarborough in May 1986. New to Northamptonshire operator Shelton-Orsborn of Wollaston in 1960, it was last taxed in 1987. Fortunately there is a picture of this coach in this guise elsewhere on Flickr so that I knew that the colour was blue, although the DVLA has it down as green, perhaps the colour of it's last PSV owner.
Pentax K1000/50mm
Ilford FP4
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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.
City of Oxford AEC Renown 334 at the railway station on 14 June 1975. A Google Gemini AI colourisation from a black and white original.
Fujica ST701/55mm
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
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.
Copyright - All Rights Reserved - Black Diamond Images
The lives of Alexander Croll and John Wright represent one of the most enduring and successful partnerships in the pioneering history of the New South Wales North Coast timber and shipbuilding industries.
To a lesser extent, their early venture also aligned with fellow pioneer John Rodger, laying the foundational roots for the timber communities of the Myall Lakes and Great Lakes regions of NSW, Australia.
The Early Bond: From Glasgow to the Colony
The deep lifelong connection between Alexander Croll and John Wright began across the globe in Scotland.
Born just a few years apart in Banffshire (Wright in May 1835 and Croll in August 1835/1837), the two men moved to Glasgow as youths to train in the demanding trade of shipwrights. During their grueling apprenticeships on the Clyde, Croll and Wright shared living quarters, developing a mutual trust and work ethic that would define their future. Though they initially planned to settle in New Zealand, trade disruptions caused by the New Zealand Wars redirected their ambitions and they moved on to Australia, arriving in New South Wales around 1860–1861 aboard the Lord Worsley.
Like many young men of the era, they first tried their luck panning for gold along the Snowy River. When the goldfields failed to yield a fortune, they relied on their trade skills and journeyed to the dense, untouched coastal forests of the Myall Lakes district.
Pioneering the Myall Lakes (1860s–1872)
Arriving in the Bulahdelah region, Croll and Wright started out in the grueling business of pit-sawing. They soon gained employment at Boolambayte Creek working for Duncan MacRae, who had established the area's first timber mill. The two Scotsmen put their shipwright training to immediate use, constructing vessels—such as the Caledonia—to transport MacRae’s timber. During this period of foundational hard work,
Croll settled down, marrying Eliza Jane MacKay in 1867. By 1872, after years of working alongside MacRae, Croll and Wright were ready to strike out on their own. Partnering with a third skilled associate, John Rodger, they established the first official sawmill at Bungwahl on the top of the Myall Lakes. This industrial site was strategically chosen to allow their flat-bottomed punts and newly built timber vessels easy access to navigable water, ensuring they could ship heavy logs and sawn timber out to the booming Sydney market.
Diverging Paths and Legacies
While the Bungwahl partnership was highly successful, the three pioneers had different long-term geographic ambitions, leading them to amicably divide the business over the next few years.
John Wright sold his share of the Bungwahl sawmill and shipwright business to Croll in 1877 for £2000, having earlier, in 1875, moved to the North Shore of Forster, by 1879 known as Tuncurry. On arrival in Tuncurry Wright leased waterfront land to build a massive new sawmill, slipway, and established John Wright & Son Shipyards, which operated for nearly a century. By 1878 John Wright had also taken up several thousand acres of land just east of Krambach where he built another large sawmill known as Avalon.
The third Bungwahl Mill partner, John Rodger, eventually migrated north as well, moving his sawmilling focus toward the Camden Haven River and Laurieton to tap into new forest reserves.
Alexander Croll remained firmly anchored at Bungwahl. He bought out Rodger and Wright's shares and expanded the Bungwahl mill, running it it as a highly prosperous family empire.
Croll spent the rest of his life at his Bungwahl estate, "Huntley." As he aged, he passed the management of the mill to his capable sons, Alexander Jr. and James (who later expanded the family timber legacy into Dungog as J. Croll & Sons). Alexander Croll passed away at home on August 16, 1917, at the age of 82.
Reflecting the immense respect he commanded, his funeral was the largest ever seen in the district at the time. His coffin was carried 19 miles by river launch to Bulahdelah, where 32 of his sawmill employees formed a solemn guard of honour as he was carried to his final resting place—marking the end of a grand colonial journey that began in a shared Glasgow boarding house room.
Image Source - Great Lakes Museum
Information, Restoration and colourisation of image by Chat GPT Ai.
5063 Earl Baldwin with the1V53 at Yate 25/7/64
The holiday train for the South West takes the junction from the MR line onto the GW South Wales main line enroute to the Bristol Temple Meads avoiding lines
Repost after AI colourisation of scan
NSE held a Network Day on 22 November 1986 and I took the opportunity to visit some towns in Kent. Here in Maidstone is Eastbourne's ex-Southampton Leyland Atlantean 68 on loan to Boro'line.
A Google Gemini AI colourisation of a black and white negative.
Pentax K1000/50mm
Ilford FP4
AI / Colourisation can almost work. This from a piece of b/w film , an LT Car , in the film it can be identified as #587. Here on Parkers Row with Dockhead in the distance. Abbey Street crossing left and right. The Pub was the "Prince Teck". (CollectionFB)
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 !
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...
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
Another restore and colourisation from a print from the collection mentioned in the previous posting. This is a Valliant-Cronshaw Leyland L2 Leopard at Blackpool on 19 August 1967. The fleet name on the original print was so faint that Google Gemini could make no sense of it, so I have left it off altogether for now. Oddly, on it's first attempt, it also added 'Harrington' into the blind box.
The photographer is not known, but may have been the late Charles Dean. Happy to credit/remove if requested.
Gustav Fröhlich and Margarete Lanner in Metropolis (1927)
Part-colourised for Worth1000's "Pleasantville 28" compotition.
... and for Sliders Sunday. HSS!!!
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 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.
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
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.
A young competitor prepares for the caber toss at the 2026 Balquhidder, Lochearnhead and Strathyre Highland Games and Gathering. Every successful throw begins long before the caber leaves the hands: balance, grip and concentration are all essential before attempting to turn the massive timber cleanly end over end.
With the athlete and caber standing out against a muted background, this image captures the quiet focus that precedes one of Scotland’s most iconic sporting challenges.
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.
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.