Handcolouring?
Photography was officially recognised in 1839, and by 1843 the
images were being handcoloured. Miniaturist portrait painters
secured new jobs for themselves throughout photographic studios
handcolouring photgraphs. However, I myself have been practising
this age old art form since 1988, and it has grown to be a true
passion within my life.
Why handcolour? Why not just take a colour photo?
The answer is, to have total control over my image from beginning
to end. In choosing the colours that I want, I am able to tone
down or play up anything with in the picture to the advantage
of the total image. Selection and careful planning of colurs
means that my colours can be more complimentary to each other
and the image is more balanced. Also I manage to achieve a greater
depth in my pictures than that of a regular colour photograph.
Yes, I take and print my own photos
Knowledge of composition and subject matter are of prime importance
to any artist, however, my knowledge must go beyond that. I call
upon my skills with camera, lenses, filters, flash guns, studio
lighting, camera films and other accessories. Then in the darkroom,
developing film and printing skills are all important. Chemicals,
papers, filters, special effects, printing and toning techniques.
And in most cases my prints are sepia toned (brown toning) before
my painting begins.
My cameras are totally manual and I use professional fine grain
films. Practically all of my photography is pre-planned. Often
organising trips and working holidays, (sometimes with models)
specifically to capture a particular type of image. I must be
very selective of the pictures I take, as I don't have the privilege
of leaving out distracting or unwanted objects within the picture
as some other art forms can.
What are the colouring mediums?
I only use artists' quality paints and pastels to colour my work,
and although a large amount of time has already gone into securing
the photographic image, I still pride myself on fine and detailed
colouring. Using "0" to "000" size brushes
I painstakingly apply the oil paint and blend the colours throughout.
I do this without obliterating the photographic image beneath,
generally leaving the blacks alone unless there is a need to bring
out any lost detail. I choose to use opaque oils as I can then
achieve the realism of the photograph, yet the colours reflect
the mood and the charm that an oil painting has to offer. I call
it, "The best of both worlds".
To my knowledge no one has ever attempted to handcolour photographs
using soft pastels. In fact, in order to get the pastel to adhere
to the print, I had to create a new photographic surface which
would accept the apstel and without having future detriment to
the image.
Image conservation and permanence
Before handcolouring begins each picture is mounted onto museum
quality acid free rag board, (100% cotton) with acid free glue.
I will only use artists' quality paints and pastels to ensure
the highest permanence. To resist cracking, a medium containing
resin is added to the oil paints. When dry, the picture is coated
with a protective spray which also cuts out U.V. rays. Finally
each picture is framed and packed with acid free mount boards.
Originality
From any one negative I will colour only one in oil and perhaps
one in pastel, as they create results quite different from each
other. In many cases only an oil will be created as I will not
attempt exceedingly fine work with pastels due to the nature of
the photographic surface. Because I don't believe in multi-producing
my handcoloured work, I will only paint or pastel any one image
the once. I do this in order to make each piece unique and collectable.