#hand colouring

[b-martinat]

Porto, December 2022

Photography : Brice Martinat -  Insta

Model : Minhwilde

[stede-bonnets]

Almost eight hours and fifty five layers later... It’s done!  Elton John showing off his shoe collection in 1975, photo by Terry O’Neill completely hand coloured by me.

[b-martinat]

35mm.

Photography : Brice Martinat

https://www.instagram.com/brice_martinat

[b-martinat]

Medium format 120mm.

Photography : Brice Martinat

Model : Mottron https://instagram.com/mottronmusic

https://www.instagram.com/brice_martinat

[timpearse-blog]

Experiments in inkjet overprinting

For the next stage in my overprinting experiments I decided to venture out into the city to make a portrait. For this exercise, I decided to combine two of my trains of thought, and introduce a figure into one of the liminal spaces that I had been investigating. I used a large format camera to make the image, shooting both Ilford HP5 black and white film and Kodak Portra 400 colour negative film.

As with my previous experiments, I printed the black and white image in the darkroom, but this time making sure the prints were lighter, as I thought that lighter prints may equal more vivid colour rendition after overprinting. 

I then scanned the colour version of the image, and made a Photoshop document scaled correctly for registration. This was then adjusted for saturation, contrast, and opacity, and finally inkjet printed over the black and white version. 

The first attempt using this image didn’t turn out too well, as there were issues with registration and brightness. I tried to align the two images using the subject’s eyes as a reference point, but after thinking about it, I decided that this was not best practice as even though the camera does not move between exposures, the subject still does, therefore if I use the eyes as the main reference point, the entire image will be thrown out of registration. For the next attempt, I will use a stationary point in the composition for alignment, as this should mitigate any differences in the subject’s position.

For my final test of this image, I aligned the two versions on the gate in the background. As we can see, registration is still off, but much more acceptable. There are two problems which are arising when it comes to making a perfectly aligned print. Firstly is my method of aligning the two images before printing. As one is physical and the other is digital, I am having to measure the physical print with a ruler and transpose those values into Photoshop to generate the digital version before printing. This can be very inaccurate, and has proved to be quite difficult. This problem could be solved by scanning the black and white print and using that file as a tool to align the digital colour version. Secondly, the printer itself is somewhat inaccurate, with the paper feed working differently every time. This, I believe, will make creating a perfectly aligned print practically impossible, perhaps only happening by chance. This means that it would also be impossible to reproduce or recreate these works to any degree of similarity. It seems strange to me that a machine which is designed to make numerous copies of any piece of work would be so inaccurate. Perhaps an interesting comment on the true nature of the similarity between mechanical reproduction and the hand made object.

 As a final comparison, I decided to hand colour a version of this image, to compare the results of each process. As a result, and in conclusion, I find working with dyes and a black and white print far more engaging and “real”, with much more satisfying results. The idea that I have complete control over the aesthetic attributes of each image also really appeals to me, and I like the idea of having all the creative possibilities of painting available to me as a photographer. I therefore feel that I am going to end my experiments with digital inkjet overprinting, and focus instead on developing my skills as a hand colourist. 

[timpearse-blog]

Experiments in inkjet overprinting

To figure out the basic workings of the inkjet overprinting method, I first had to make some images to work with. I needed to shoot both a colour and black and white version of the same photograph, both versions being as close to identical as possible in order to allow for good registration when it came to lining up the two images for printing. 

This meant that I needed to minimize any movement, so I used a Hasselblad camera, as it has interchangeable film backs. This meant that I could alternate between colour and black and white film without moving the camera at all. I chose to photograph a simple still life composition as well, as it would not move between shots or whilst I changed between film backs.

After I had had the colour film processed, and had developed the black and white version, I scanned the colour negative to get a high resolution digital impression. The black and white version I printed by hand in the darkroom on single weight photographic paper, leaving a margin around the image to allow for registration later.

I took the digital impression into Photoshop to create the above test image, to be printed over the top of the black and white photograph. I carefully measured the margins around the image on the black and white print, applying them to the digital file, also including colour test swatches at different opacities to gauge the amount of tonal change the image would undergo at any given print density. I made an adjustment to the digital image, lowering its opacity to 50% and raising its saturation level to +45. This I assumed, would allow the details and tonal range of the black and white print to show through the overprinted digital colour image.

The first result was quite satisfactory, and seemed to work well. I can see from the print that the amount of reduction to the digital image’s opacity is important, and is directly linked to the print density of the black and white version. The darker the print, the more the opacity needs to be reduced. This seems to be the case with the saturation too. I think that for the next experiment, I will use a much lighter black and white print, as I expect the colour to be much more vibrant if the base print is lighter.    

[timpearse-blog]

Experiments in hand colouring

Continuing my experiments and further developing my skill set, I chose to make a new albumen print specifically for hand colouring. This print actually turned out a little better than the last three, I feel that my skills in making them are improving.

I stuck with the same paper that I had used previously, though I am still not happy with how absorbent it is; the image seems to “sink” into the paper with the chemistry, giving an undesirable softness that is unappealing to me, and also having the effect of showing the texture of the paper through the image, resulting in a very rough finish. More paper tests are needed.

Where colouring is concerned, however, I found it much easier to work with the surface of this paper, as its texture and absorbency is similar to that of watercolour paper. This offers up a dilemma. Continue to work with this type of surface, or move to a less absorbent type? I can only make this decision after experimenting with albumen on other papers, so experimentation is key.

I do like the effect that hand colouring this paper has, it seems to be evocative of reminiscence or disconnected memory, themes which play into my research of the self, and which could successfully connect up disparate themes or semiotics in the future, as the project develops.    

[timpearse-blog]

Experiments in hand colouring

Through my initial attempts at hand colouring, I found a few issues which needed attention. Practicing with the application of the dyes, use of different tools for different colouring requirements, continuity. In order to try and develop my skills in these areas, I felt that it was important to simply practice, practice, practice.

I chose to work on this image - a simple portrait - as it contains many of the aspects of colouring that I felt needed the most development. There is a lot of very fine detail in the jacket, for instance, which requires the use of very accurate brushwork.

From working on this particular image I have learned that as objects recede in the composition, their colouring should get lighter, to adequately reflect their depth in the image in relation to other objects. As an example, you can see that the orange cushion is far too bright, looking out of place in the composition.

For this experiment I also tried two different paper finishes, one glossy and one matt pearl, to try and see if there would be any difference in the application of the dyes. I found that the glossy paper is much harder to colour, as when the dyes come into contact with the surface, the glossy coating becomes sticky, which can result in an uneven colouring. I also observed a slight bleaching effect on each image, but this could be due to the age of the paper I’m using, being over 40 years old.