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Patrice Tollison
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Patrice Tollison   My Press Releases

Is Digital Aptitude Enough Alone to Restore And Reproduce Priceless Photos?

Published on 2/8/2019
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As a restore old photos near me expert with a background with a leg on each side of near 5 decades, I can honestly state I have seen quite a bit of this current century and the last. No, I'm not that old but I have inhaled the dust and scent of a century past many times over. Handling memories from lives long passed to descendants who have been entrust with the duty to now pass them to future generations. Also, to have the photograph repairs finished before the next leg of the trip.

Most of my customers now fall into the Baby Boomer category and as parents pass on they have inherited the memories mentally and physically. Very few have knowledge of early photography or the makeup of the history images that they bring me to restore. To truly restore a century old photograph to the height of authenticity requires more than just a flat bed scanner. Knowledge of the makeup and the work of art of the photograph held in give is as much a part of the equation prior to scanning imitation and photo reinstatement.

Knowledge gained thru knowledge indicates the weight of the photo paper thus representative the time era; most cases Eastman Kodak produced the original and what quality the photo image expected of the paper. convinced coding printed on the back would indicate the degree of density expected of the print, experience readable only by a few. Experience translating into language adaptable to scanner calibration and then print output.

One of the finest quality papers produced by Kodak for decades was their Double Weight portrait paper. I was still using it well into the 60's. The tone quality of the paper had no second for antique photos and the bulk of 1800's photographs I restore were on the same or like material. Once on the scanner flat bed though the machine cannot distinguish the difference from this or ordinary Bond paper. The injection of this simple variable requires familiarity and experience which equates to the difference between a copy board repro and a quality like reproduction.

Photography by Ansell Adams is a spectrum of blacks, whites and grays capture on a single piece of film. A master of the lens his eye was the adhesive that held all the elements together at the right moment to capture the image. In photo repair and restoration it is also the restorer's eye that captures just the right amount of light to deferentially photocopy that eye of the photographer.

I will scan black and white images in batches for a start on any 19th century Black and white photographs in full calibrated color. Once the image is brought to the computer I proceed to view each color channel separately. Once I have the color channel I am most pleased with it is copied and converted to a gray channel and then saved as a TIFF file. From this I have more flexibility in making adjustments and filters until I have fine tuned my output to my original. This is something the machine cannot do on its own and relies on my early darkroom experience. I will at times also invert the image and adjust in the same manner as an Omega enlarger.

In conclusion, when select a photograph restorer there is much more at the back the scenes that are required above that of Photoshop experience. The real difference between the Input and the Output is the knowledge and experience that match the quality and mileage of the original photograph.


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Company Name-Photorestorationnearme

Address-927 Grey Fox Farm Road,Houston,Texas, USA




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