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Not Quite Magic, But Amazing Nonetheless

 
Like many photography buffs, I subscribe to Adobe Creative Cloud that provides me a set of applications for editing my images. For all of the years that I’ve been using the computer for photography, I’ve never been a regular user of Photoshop. While I’ve used it on occasion I’ve instead relied on the company’s younger offspring Lightroom for most of my image editing.

As a subscriber I receive regular electronically delivered newsletters about Creative Cloud. A few weeks ago one of the articles drew my interest – colorizing black and white images.

Those of us who grew up taking pictures in the 1950s and 1960s have a large stash of black and white photos – and I have my share. I clicked on the article to find out more about this magical process.

The process involved using one of Photoshop’s built-in filters. Being a Photoshop novice I was unfamiliar with these filters so I had to dig deeper.

Well it turns out that I didn’t have to dig very much. The newsletter explained that the only thing I needed to do was to choose “Neural Filter” from Photoshop’s top menu and then click the “Colorize” button. Instantly – yes instantly – the black and white photo was converted to a color version.

The images are colorized using a best guess model that Adobe employs. The processing is not perfect but most of the images that I tried turned out acceptable. The few inconsistencies that I noticed did not detract from the overall results. And a few of the colorized images exceeded my expectations.

Below are a few of the B&W’s – including some of my favorites – that I was anxious to try.
 


 

Click on any image to see more detail.

 

A photo of my Grandmother and two uncles taken in the 1950s.

The colorized version fails to maintain consistent color of the suits.


A high school photo of a student from the 1960s.

The colorized version is good except the student didn’t use lipstick.


Writer William F Buckley lecturing at the Univ of Michigan in 1969.

Above you will notice that the background does not maintain the same color.


Hockey star Tim Horton sitting in the penalty box at Madison Square Garden about 1964.

The color processing chose blue for Tim’s jersey which happens to be the color of the Toronto Maple Leaf uniform. Good guess.


Singer Ron Townsend of the Fifth Dimension performing in Ann Arbor in 1970

An amazing transformation. I don’t know if the colors are accurate to his 1970’s outfit but they appear authentic.


A snapshot of my wife while we were enjoying nature and the outdoors in 1969.

Photoshop’s choice of colors is less important to me than the warm feeling that I receive from the colorized photo.


 
 
I’m still excited when I find another older black & white photo that I can colorize.

 
 
Written by: Arnie Lee
 
 


 
 

NOTE: This is a reprint and was originally written in 2005.
I remember very clearly when Dad would pull out his large twin lens reflex camera, usually around a holiday, birthday or family event. He would lower his head and look into the lens hood while his hand would reach down to grasp the knurled knob on the camera’s side. I would see the bellows move back and forth as he zeroed in on his focus. Then he’d snap and the shot would be done. We’d wait weeks, sometimes months, to see the results. After all, a full roll of film had room for 12 negatives!
When the film was finally developed, we were thrilled to see the results. Here are two photos, one from the 40’s and another from the 50s, but they both share the same “feel” – the subjects are dressed up for a special occasion, some of them are posed comfortably and others more stiffly, but always in full black and white.

Aunt Emma, Aunt Millie and Mom circa 1940

I took this family picture as a youth circa 1957
In the 50’s, color photos were reserved only for special occasions – owing to the higher expense. While Dad sometimes shot color, the cost of the film and print processing was too extravagant for normal use. But for those special times when he did use color, he would send the exposed film to one of the discount processing services to save money. The downside: developing by mail took an additional week to complete.
I cut my teeth on Dad’s older twin lens reflex (TLR) and a Polaroid Swinger. Using the twin lens reflex was an exercise in patience. With only twelve exposures to a roll of 120 film, you made sure that you had a good shot before you released the shutter. With the Swinger, it was a blast to see instant photography. With today’s digital we’ve come full circle; we have another form of instant photography again.
As a youngster with sparse earnings, I made do with Dad’s second TLR and the Swinger that served as my equipment. I came into luck when Uncle Tom, who was in the Air Force at the time, agreed to buy a camera for me at a huge discount on the Air Force Base PX. This became a lesson in patience: I’d wait a whole year until he returned from service overseas to get my hands on a state of the art Canonflex RM SLR camera.
In the mean time, I learned to develop film and make my own prints. A small corner in the basement became my darkroom. I covered the windows to keep out the light, fashioned a processing area from discarded planks of wood and used Mom’s washroom sink to provide water for the chemicals. I spent many nights mixing developer, stop bath and fixer; processing film and making black and white prints. I started with a basic Testrite enlarger and later graduated to a fancy Durst 606 enlarger with a built-in color filter drawer. I was so immersed into this hobby that soon I learned to make my own color prints. It would take take three hours of preparation to make the first color “test” print and perhaps six hours to get an acceptable “final” color print. I can hardly believe that I had so much patience back then.
To further my interest, something wonderful happened. Mom arranged for me to get a part time job with John Margotta, her past schoolmate who was now a professional photographer. For three years, after school I would head to John’s studio to learn the photography business. In the studio I was his assistant. I would hold lights and set up equipment for weddings, bar mitzvahs, anniversaries, birthdays, modeling shoots, funerals (yes, funerals) and more. I learned about lighting techniques, portrait techniques, posing techniques, action techniques, view camera technqiues and wedding cake cutting techniques too. And of course John taught me many darkroom techniques. I used most of my earnings to purchase more equipment.
My photographic education continued. During high school I proudly served on the yearbook staff as one of the three student photographers with access to sporting and entertainment events. In the following examples, you’ll see that we continued taking black and white photos since the cost of color was prohibitive at the time.

The friendly cheerleading squad of
New Rochelle High School circa 1967

Motown’s Four Tops performing
at New Rochelle High School circa 1966
During my college years, I completed my formal photo training by working at two different high end processing labs servicing the Madison Ave advertising agencies. In the 60’s, a process called “dye transfer” was used to make photographic reproductions for the high quality magazines like Vogue and Harper. Here is where I learned processing from the ground up: making color separations from original transparencies for printing using cyan, magenta and yellow dyes. Despite commuting between my home in New Rochelle and the photo labs in New York City and the long working hours, I thoroughly enjoyed the job as I continued to learn different aspects of photography.
At college I taught at the photography club and introduced my girlfriend to darkroom techniques. By the way, Kris is now my wife and hates the darkroom. I was a staff photographer for several university organizations and earned extra cash by photographing fraternity and sorority events.
Following college, Kris and I were married and shortly thereafter, photography took a backseat to raising a family, putting bread on the table and becoming involved in the software industry. Although I took and accumulated thousands of photos during this period, the bulk of these were of family faces and of the scenic vacation variety.
Skip forward 30 years to the mid-1990s. My company Abacus, was involved with flight simulation software and I’m taking more and more aviation related photos. I now find myself dabbling in the new world of digital photography. The stars are finally aligned and I’m ready to marry two of my long time interests: photography and aviation. With digital, the equipment and processing techniques are radically different from conventional film photography.
Several years ago, I received a surprise email from John Margotta, my photography mentor from the 1960s. I was happy to hear that at an age of 80+, he’s still immersed in photography. He’s produced some artistic renditions of still life using his “Photoshop-equipped darkroom”. His approach to photography is a lesson that hi-tech isn’t reserved only for the young.
Lucikly, I’m finding that most of the basics that I started learning 50+ years ago are still relevant. After all of these years, I remain very excited and passionate about my love of photography.