:laughing: 100 %
By RedSparrows
#1937
Youngian wrote: Fri May 07, 2021 1:19 pm The Mail is claiming ownership of the world's most famous press photos to cover its mediocrity
Image
Look, here is a glimpse into the world's chaos and complexity via other people's pictures! Aren't we important?

Now that's over with, let's talk about wardrobe malfunctions and why racism doesn't really exist.
#1956
I am angry about this. The originals just wouldn't have worked as well if they had been shot in colour. The Vietnam picture was shot on Kodak Tri-X (like most Vietnam shots) even though colour film was available because it was stark, punchy and direct. Most photographers used Nikon lenses because they enhanced that effect. It was their choice. Their artistic choice.

In earlier photographs the photographer adapted his lighting, lenses etc to suit the medium.

Would the Mail support re-colouring the Mona Lisa? Or giving David a coat of Dulux?

Can you imagine that Vietnam scene in Kodachrome?
Oblomov, Youngian liked this
By Bones McCoy
#1992
Watchman wrote: Fri May 07, 2021 2:03 pm I though for a second that the sailor in the centre-left photo was Prince Creepy
No way: He's a full-vice Admiral (Except when he's playing rear admiral).


I know where's a lot of inter-service banter about what the lonely men get up to on their ships, but some of those Rank titles don't do themselves any favours.
By Youngian
#2471
There’s a well regarded Soviet attempt at a Busby Berkeley musical that was recently colourised to great applause. This was an example of a director who dreamt this film in colour and shot it as if it was. But there was no colour film available. That makes sense and the directors family were delighted as it was seen as a completion of his vision not a tacky bastardisation of it.
By Bones McCoy
#2481
I'd like to put in a word for Peter Jackson's "They shall not grow old".

I know there was a whole lot of technology applied to old footage, so not just colourisation.
A soundtrack was added, and a lot of judder smoothed out.
Like most of Jackson's work it would have been better at 2/3rds the running time.

What the colour did for me was humanised the faces.
You rarely make out the features beyond a walrus moustache in old B/W cine of the time.
For me, this has imposed a bit of a barrier to empathy with the subjects.
(I can empathise fine when reading a book, but those olf WW1 soldiers never looked as human as the colour shots form 'Nam).

I really noticed this with the slow panning shots across a line up of soldiers.
I was seeing faces and thinking "That's how Gus at work would look if he grew a 'tache".
"I wonder how old that lad really is, he's the spitting image of the shelf-stacker at Farmfoods".

And there ends my plea for "enhancement", when done well, in a few cases.
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