Crisscrossing Worlds of Color, Black and White
Not long after the beginnings of photography in the mid-1800s, hand-tinted colors were applied to black and white photos to enhance the image and create the appearance of color. This process continued to grow in popularity until the emergence of color film. A renewed interest in hand-tinting came about in the 1960s and appears, once again, to be gaining popularity.
While some people indulge in photo-tinting for fun these days, adding color to black and white photos has been a passion of Orange County artist/photographer Martin Roberts for more than 25 years.
“I’m the only person I know who shoots black and white film in the tropics,” he said.
Roberts describes his work as hand-painted, rather than hand-tinted. He uses acrylics, watercolors, gouaches and oils--often on the same piece--to create different shades and textures.
“I consider my work hand-painted since I use a variety of paints, layering and adding color until the work becomes an art form itself,” he said. “The colors vary between the different mediums. That’s why I use many types of paint. I look for what is going to give the best color. My goal is to emulate a striking realism in the work. I want the colors to be believable.”
His interest in painting and photography has over the years become a successful career--his prints are sold throughout the world and have enabled him to open Gallerie Photographique in Lido Marina Village in Newport Beach.
“Essentially, hand-tinting is a process that attempts to turn a black and white photo into a color photograph,” said Roberts. “Some people go for the surreal look--neon green grass, purple skies, colors that aren’t found naturally.”
Most beginning hand-tinters use photo oils, specially prepared colors (available in most art supply stores) designed to tint photographs, rather than the paints that Roberts prefers. However, he says, no amount of hand-tinting or painting can “save” a poor quality photo. The strength of the work comes from the strength of the image.
“The image is only as strong as the photograph,” he said. “You want something that will emotionally move people. The photo has to be able to stand on its own without any paint on it. I don’t just pop out of a car and shoot a cow and paint it purple. I’m trying to shoot the perfect image. Something magical. No amount of paint or effort will save an image that’s not substantial.”
Lucky timing has blessed some of his photos, but sometimes a more direct approach has served him. While shooting an archway in the Vatican, Roberts noticed a priest proceeding in the direction he was going to shoot. “I approached the gentleman, explained that I was a professional photographer and asked him if he would mind walking through the portico so I could have him silhouetted against a statue of St. Peter’s Basilica.
“He looked at me and said, “I’m not going that far.”
“But you’ll do it for me won’t you?” I asked.
“He smiled and nodded and then proceeded through the archway. Just before he reached that point, he took off his hood and I saw the red cardinal’s cap. The gentleman was Cardinal Hamer, one of 13 cardinals who live at the Vatican.
“That shot is one of my most popular and in fact, an original hangs in the Vatican today.”
Once the photograph is shot and printed, Roberts decides how the color should be applied. While shooting in black and white, Roberts also carries another camera to shoot a color photo so it can jog his memory of how the colors looked.
“I don’t always paint the colors exactly as they were,” he said. “Sometimes I’ll try to brighten a picture or try a slightly different look. But the color photo is a good way to help me remember exactly how the scene looked at the time I was shooting it.”
Every year, Roberts makes two trips, packing his Leica cameras with him.
“I travel with my father, who is in his 70s,” Roberts said. “He is also a photographer and taught me everything I know.”
Roberts has two series of work: an “Old Country” series as well as a “Tropical” series. The Old Country scenes are set in southern Europe: Italy, France, Spain, Portugal and Greece. The Tropical series focuses on scenes from the Caribbean, Samoa, Fiji and Guam. He is currently working on a new series with deserts, rodeos and other Western motifs.
With the Old Country series, Roberts strives for a classic feeling: gondoliers against textured walls, bright clothes drying on clotheslines stretched across windows, an elderly man reading a newspaper in front of a European coffeehouse.
The Tropical series features rowboats skimming the water, children playing and fishing in the ocean, beached boats scattered like colorful M&Ms; across a dried riverbed, or palm trees against a sandy beach.
“In the last five years, people have become more interested in photography as an art form,” he said. “You see serious collectors looking at photographs for the first time. The public is beginning to appreciate the collection and beauty of these pieces. When art collectors begin to appreciate photography, an interest in hand-painting or tinting generally follows.”
Among Roberts’ clients are actors Kelly Le Brock and Steven Seagal. In fact, a photo image of Seagal’s “Under Siege” movie poster, printed in Italian, serves as a focal point in one of Roberts’ photographs.
Most of Roberts’ original 16-inch-by-20-inch prints, with framing and matting, sell for $300 to $400. Laser print reproductions of these pieces sell for about $25 to $50.
The initial process of painting usually take about two days.
“On the first piece, I’m experimenting a bit,” he said. “As I become more comfortable with the colors and textures, it takes less time. As I work on the image, I become a little braver. I think each subsequent piece is produced faster and probably, a little better than the piece before it. The first time I apply paint to a print requires real study.”
Among his most popular prints is a photograph called “Four Windows.” This features brightly painted green and blue shuttered windows, with lace curtains and window boxes of red geraniums.
Roberts’ favorite piece is titled, “The Nice Lady’s Garden,” a scene shot in Italy of twisting vines and blooming flowers. An elderly woman stands near a fence, scowling at the photographer.
“I call it ‘The Nice Lady’s Garden’ because she really wasn’t a very nice lady,” Roberts said with a laugh.
Roberts’ work is displayed at Gallerie Photographique, Lido Marina Village in Newport Beach (714 472-1541). His work has been exhibited at the Sawdust Festival in Laguna Beach, at ArtExpo in Anaheim and other venues. His work can also be seen at his studio by appointment, (714) 494-2660.
Start With Oils, Then Slide Into Other Types of Paint
For those who are interested in trying their hand at hand-tinting black and white photos, Martin Roberts recommends starting with photo oils.
“There are several books available on how to hand-tint photos,” he said. “However, the best way to learn is to simply do it. I look at pieces I did when I first started and they were much less detailed and precise than what I do now. You need to perfect by doing.”
For those without access to a darkroom, most photo labs can still process black and white film, according to Roberts. However, it generally is more expensive and it’s not uncommon to have to wait several days for the film to be developed.
“If you’re interested in the process, the only advice I can give is to keep practicing and experimenting,” Roberts said. “Start with the photo oils to get a feel for the medium and then move on to other paints.
“I used to rely on the color photos I took simultaneously with the black and white photos. They are still a good reference, but don’t be afraid to experiment. That’s how you learn. And don’t get discouraged.”
