Artists Jordan Lloyd, Dana Keller, and Sanna Dullaway try their hands at colorizing photographs from the nineteenth and early twentieth centuries. They've got a new book out titled, appropriately enough, Colorized Photographs.
Above is Walt Whitman, who posed for the camera in 1887. Below are Japanese archers photographed circa 1860, and below that is a sunset viewed from the Tennessee state capitol building in Nashville in 1864.
These three images suggest some of the difficulties and limitations of colorization, even in the hands of talented artists. Walt Whitman in color looks a bit like a painted portrait we may have seen in a museum. The Japanese archers in color look like they're from a movie we're pretty sure we saw but can't quite remember. And while color probably adds visual interest to the Nashville scene, it doesn't really add to our comprehension of the historical situation documented in that photo–and the blaze of color in the sky arguably distracts the viewer from the drama and rhythm of the composition, which was originally rendered with an eye toward black and white simplicity.
Still and all, there's something about photographic revisionism that gets us interested all over again in how the world used to look.
The top of One Liberty Place, way above the setting sun, as viewed from about 500 feet up in Two Liberty Place, a block away.
The spire of One Liberty Place is said to top out 945 feet above the ground.
Sunbeams break through gaps in dark clouds after an intense snow squall in Port Maitland, Nova Scotia. This is the sort of astronomical phenomenon that used to be used in ads for gospel albums by singers who are no longer with us, but it can occur any time that thick clouds blocking the sun get a little raggedy, most notably when the sun is low in the sky. This photo was taken 45 minutes before sunset last January 30.
Terlingua encompasses thousands of acres of sparsely settled desert country along the Rio Grande in far west Texas, between Big Bend National Park and Big Bend State Park. There's cinnabar ore in those mountains, enough to support profitable mercury mines a hundred years ago, but nowadays the only mercury miners left are the ones in the Terlingua cemetery.
Many of today's Terlinguans live more or less off the grid; land is inexpensive, but bringing in electricity costs something like $10,000 per pole. The landowners are only lightly supervised by local government, but like big-city condo owners they are regulated by an owners' association, which employs a full-time staff to maintain community wells and roads and to operate an income-generating campground and lodge.
Vanessa Boyd, director of the landowners' organization, which is known as Terlingua Ranch, is a musician as well as a land manager. She just released a new album last week, which incorporates songs she composed in preparation for a 2010 concert tour to Nepal.
Two winters ago around this time, when this picture was snapped, there was no snow along the southwest coast of Maine, though somehow the color of the water suggested some seriously shivery cold. This year, I understand that there's a bit of snow on the ground in Maine; here in Philadelphia, however, we've had only a flurry or two. It's raining as I type.
This stretch of cliff near Kettle Cove in Cape Elizabeth, Maine, faces south more than east, allowing a glimpse of winter sunset over the water.