In a previous blog post, I mentioned the Ellis Island immigrant portraiture of Augustus F. Sherman. I wrote:
Sherman was an amateur photographer working as Chief Registry Clerk at New York’s Ellis Island station from 1892 until 1925, and he photographed some of the twelve million immigrants to pass into the USA before the station closed in 1954. Many are photographed in their native dress, which Sherman appears to have encouraged, but which also seems logical given the nature of the passage these people had just completed. If you couldn’t carry it with you, you had to leave it behind. Though Sherman’s photographs are clearly staged rather than candid, unlike some of Lewis W. Hine’s work, there is a certain sense directness or frankness to the images that lends them an air of historical authenticity. These portraits are only accompanied by a date, and the subject’s country of origin.
Recently, Wolfgang Wild, the creator and curator of the Retronaut website, and Jordan Lloyd, the director of the colour reconstruction team at Dynamichrome, have teamed up to create The Paper Time Machine. This book, which they are currently crowdfunding over at Unbound, takes famous black-and-white photographs (including Sherman’s) and renders them in full colour. The project description promises both historical accuracy and a tantalising level of historical engagement:
Each element in the monochrome images has been researched and colour checked for historical authenticity. As the layers of colour build up, the effect is disorientatingly real and the decades and centuries just fall away. It is as though we are standing at the original photographer’s elbow.
In the gallery below, you can also view some of the black-and-white images I displayed in my original post in all their full-colour glory:
The book describes itself as ‘a collection of historical “remixes” that exist alongside the original photographs but draw out qualities, textures and details that have hitherto remained hidden’. Wild and the team at Dynamichrome have also added their own annotations to the photographs, explaining the rationale for selecting these particular images and offering some insights into material features like clothing or architecture. Where the colorisation process brings the images to life for contemporary audiences visually, these descriptions add a sense of touch, as well as the occasional sound or smell.