Computer Coloured Monochrome

[garryluck]

I have just come across this interesting thread and would like to share some of my experience. I use the full version of Photoshop but don't do anything that could not be done in Photoshop Elements. With practice, a typical project such as that illustrated below (not a railway subject), can be accomplished in about an hour; although more complex work can take considerably longer.

http://www.flickr.com/photos/northernbl ... 6293140254

Wherever possible, I endeavour to digitally-sample colours from genuine period colour photographs; or, failing that, from more recent material. In both cases, it is often necessary to desaturate the colours slightly, particularly for background items. It is always instructive to visit the actual location; even with the passage of time, much useful information can be gleaned about detail such as brickwork and roof tiles. I have even used Google Street View on some commissioned work for a Dutch publisher. As I mentioned in the text accompanying the above image, more work will frequently go into the background that the main subject. The secret is to pick out any colour details (such as a red pillar box) that will trick the eye into seeing a colour image.

Whilst in theory, we are only changing the colour value (hues) of an image, it is sometimes necessary to lighten or darken individual colours (ie tonal adjustments) to compensate for the characteristics of the original monochrome film. This needs to be done carefully and in a way that can be discarded if unsuccessful (ie by working on layers). Darkening a colour will increase its saturation, which may then need adjusting.

Here's another example (a railway subject this time):
http://www.flickr.com/photos/northernbl ... 1017427512

I hope that this is of some use.

[Darwin4975]

Back in the land of the living, I wouldn't argue with the above comments though I have not found it necessary to always start with the picture background. The techniques involved become second nature once they are learned, fewer mistakes are made and the process speeds up. It's the learning process that can be difficult. I have found that any uncoloured greyscale pixels show up in the finished result if left untouched. For this reason a good start is to apply a delicate wash (often a very pale brown) to act as a base over which more intense colour can be applied. At the end of the process whether or not it looks right depends upon your own colour perception. Having been an active photographer in the days of steam is a great help to me for getting shades correct. Rails and wooden sleepers are both brown in colour but very different shades. Unfortunately I was not around in the halcyon inter-war years when sights like this one on the east coast main line were commonplace but this is how I imagine the photographer saw Prince Palatine through the viewfinder at Greenwood early in the 1930s.

[Iron Duke]

Very nice

[2002EarlMarischal]

Glad you are back - and what a great comeback too!

Majestic picture brought to life by your splendid efforts.

[Albergman]

Glad to see you back online again and hope everything went well with your procedure.

As a lad I grew up in Dunfermline, Fife in the days of steam (1940's through early 50's) before emigrating to Canada. Was a dedicated train spotter and your images look spot on with me too.

I think this is a wonderful capture and your colouring looks correct as I would have remembered it. One thing catches my eye though, and I've noticed it on others you've done. The wheels were usually fouled to some degree with oil and dust and their colours would be muted regardless of the condition of the rest of the engine. Do you think maybe the drivers in particular are maybe just a little too "bright"?

The other thing about this image and definitely not your doing, maybe it's a trompe l'oeil, but doesn't the leading bogie wheel look like it's canted inboard? I know it can't possibly be but it looks strange to me.

Keep up the good work. I love seeing these old images come back to "life".

[Darwin4975]

An interesting observation about the wheels -I have looked carefully at the original negative ( a large glass plate) and the density of the driving wheels seems identical with that of adjacent areas. Whether they were slightly grimy isn't possible to see from the negative but we must remember that this picture dates from the days when crack express locomotives were lavished with attention at their home sheds. The bottom rung of the ladder for aspiring footplate men was to serve their time as cleaners. My guess is that 2551's wheels had been given cleaning attention very recently so I'm not sure that much grime would have been evident. In appreciation of Albergman's input to this thread I will find a Scottish subject for the next picture, possibly something completely different.

[Darwin4975]

For many years both before and after the War a St Margarets engine was outstationed at Dunbar for banking trains up Cockburnspath bank. This view taken shortly before her withdrawal on a dull summer's day shows one of the original Scotts (D29) at Cockburnspath signal box. No 2404 Jeanie Deans has received its 1946 number which is looking much the worse for wear. Certainly plenty of grime on these wheels. The chimney is not a D29 job as they were taller than those of the D30/4s. This replacement may be from a D30 or a Glen. (Not from a J37 -they were more squat). Of interest is the uncoupling wire which shows very clearly dangling down in front of the smokebox. There is far more detail visible in this picture than there would be from 35mm enlarged to the same size because the original negative is 9cm x 6cm.

[Albergman]

WOW ... if that's for me then I'm thrilled. Really, this has to be one of your finest efforts to date. The colouring just looks perfectly correct to my eyes.

Now, I left Scotland at a very early age and I was still in the thrall of the A1's to A4's that ran past our house. Not much else gave me a thrill. Interestingly a local engine is in the news on this forum lately ... Impala. I saw this one and sister engine Springbok quite often in Dunfermline.

Thanks again.

[2002EarlMarischal]

Just superb work with great detail. Hard to believe they weren't colour photos originally!

Very interesting subject too.

Your thread is one I always look forward to seeing updates on!

[52D]

Superb Darwin I have seen a few pics of the bankers and that one has really brought them to life.

[Darwin4975]

With the new-build P2 being in the news currently, I found an old picture I took of one of the rebuilds in August 1960. I had just travelled on this train from Doncaster and photographed it departing York behind 60506 which would have presumably originated at Peterborough. The engine was in typical New England condition -absolutely filthy. This is a 35 mm shot and will not be given the colour treatment being well below the required quality. As there were only 6 of these A2/2s and they perished early, pictures of them are somewhat scarce. Wolf of Badenoch kept its beaded chimney to the end -which came in April 1961. (Only 60502 lasted longer, by a few months.)

In my negative collection I have a nice large format example of 503 at Haymarket taken after its LNER green repaint from wartime black. The shaped back of the nameplate fitting the contour of the smokebox shows up clearly. A couple of of Directors in evidence here, both in black. I believe the rebuilds retained the original 50 sq ft P2 firegrate and were voracious coal eaters as a result but were well known to have a fair turn of speed when not beset by steam leaks. This engine was the least used of them all running the lowest mileage both as a mikado and as a pacific (according to Book of A2s, Irwell).

[Darwin4975]

Being reminded by another posting about the triangle at Norton on Tees this picture was taken from the signal box at Norton South in August 1960. The beautifully stacked corn sheaves in the field behind the train is a sight we'll never see again. (That's what they call progress.) The Q7 was bringing coal south from Wearside towards Stockton along the coastal route. The material littering the ballast between the tracks is a type of metal foil which was often seen in local freights at this time. How it came to be there is anyone's guess but I remember it lying for weeks afterwards. At this time the Q7s had been displaced on the Consett iron ore trains by 9Fs and were used on other duties which brought them frequently to Teesside much to the delight of local enthusiasts as it was a small class and they were impressive engines. Some had moved from Tyne Dock to Sunderland (including 63474). It was a sad end when they were all withdrawn at the end of 1962. At least one of them had only weeks previously undergone a major overhaul. Progress again - or accountancy madness.

[Postman Prat]

Hi Darwin

Only going to say that the Q7 looks good !!

[52D]

I heartily concur with Iron Duke(above)

[Darwin4975]

The biggest problem in adding colour to black and white images is getting the colours right. So long as your own colour perception is accurate, known colours can be produced without too much difficulty, but what does one do about those colours which are unknown and can never be known?

For example the garter blue livery of the A4 seen here is my best estimate of what garter blue looked like at the time. I think I am very close, but that's according to my eyes and you may see it differently. This picture shows the naming ceremony for the new post-war non-stop service from Kings Cross to Edinburgh, the Capitals Limited on 23rd May 1949 and the lady centre stage is Anne Crawford cutting the tape.

Now what colour would that tape have been? A question which had to be answered to complete the colour picture. We can rule out black or any dark colour as the tape is clearly light. My best guess is that it may have been purple but it's only a guess. The lady's clothes too can only be guesswork. She may have been warned that she would be standing next to a strikingly blue engine. Would she have colour-coordinated and worn blue? (My other half thinks not). Her suit is a light colour. Green looks about right to me but as usual there are no guarantees. Rusty red would also fit the negative density quite well. (Fortunately, no problems with the Union Jack.)

Anne Crawford in 1949 was an up and coming actress with many films already to her credit at the age of just 28. Tragically, she became afflicted with leukaemia in the early 1950s and died just 7 years later.

On a happier note, this view of the front of an A4 in garter blue shows the red and white lining very well indeed.