SHOWING BEFORE AND AFTER .
This was a bit of a challenge. The client wanted this A4 photo restored as a Christmas gift to the man who used to be the proud owner of the hotrod and knew its colours intimately. But the only photos she had didn't show the colours accurately. But I couldn't get them wrong. So we spent a long time back and forth trying to get the right chrome colour for the flame and parts of the vehicle. The grass, part green and part dry also needed special attention. Finally we pinned it. "He couldn't fault it," she texted me.
This was a 60 year old photo a client wanted restored in memory of his father who was captain of the local rugby club. Rather than digitally repair the backing board the fastest solution was to create a new one. The board's true colour was hidden behind the photo, so I matched it and added some paper texture to it for realism. The photo was not only creased in places but was also on textured paper. This meant that scanning laid light onto every bump of the texture, creating a speckled image. Scanning the photo from 4 different directions and using Photoshop's darken filter got rid of that, and it only remained to match the old font, repair the photo and put an era-appropriate tint onto it. I also lightened dark areas a little to bring out hidden detail.
Not a difficult photo to repair because the face was largely unaffected and there was no major discolouration, just blotches, tears and missing sections to be mended. The client asked for a little sepia toning to be added to this photo of her father.
This was a memorial photo of the client's mother and he wanted the grandchild removed so the many other grandchildren would not feel left out. This involved recreating parts of Mum's ear, cheek, jawbone and clothing. The photo was technically challenging in that a small 180dpi digital photo had to be enlarged to A3/ 300dpi. He was delighted with the result.
This was not a difficult photo to do. It was mainly a case of removing yellow colour cast and bringing out detail in the highlights. The client wanted the photo in grayscale. It was a very poignant moment for her when she saw a photo of her father (this one) for the first time. He died before she was born and there appeared to be no other family photos of him.
A large (A3) family photo taken in the 1950s, cracked and badly faded. This had to be stripped back to black and white and colour added in layers. The client was able to give me rough guides to colour.
This photo is typical of wedding photos taken 40 years ago - badly faded and yellowed. They were roughly A4 size. Clients said the restored photos looked better than the originals.
When I first saw this old photo I thought the job would be impossible. It was stuck to the inside of the glass and I could barely make out what was beneath all the dust, discolouration and mould. We prised the frame open and tried to separate photo and glass. To our relief the backing board had bent away from the glass so that face and smocking had been largely preserved and were retrievable after we had painted away dust and mould spores with a soft brush. But much of the photo had water damage, brown stain and mould speckle, and had yellowed over many years. After cleaning up the glass, we were able to put the photo back into the original frame against a new backing board. The client said the restoration was "magical".
The client wanted these 5 small portrait photos of siblings restored for an adult family reunion. Faces are always the hardest to do. Skin colours ranged from "porcelain" to "slightly olive" and I had to guess what these might be. Definition had largely faded from the faces and there was some yellow cast. Client feedback on emailed pdfs helped but monitors don't always show colours and tones accurately. Client was also able to help with eye and hair colour. She seemed very satisfied with the results.
This client wanted an unknown marriage celebrant removed from an A4-sized photo of her wedding in Thailand. Removing him and keeping the photo the same size meant reconstructing the right side of the photo, the verandah area, and pathway. This was the most complex of 7-8 photos the client wanted edited, enhanced, tonally adjusted and printed out.
Another 1950s era photo criss-crossed by fine cracks and badly faded. The photo had to be stripped back to black and white and contrast pumped up to give me some definition to work with. Colour had to be layered on area by area, the tie itself needed at least four layers of different colours. This was an A3 photo.
This client was not satisfied with a photo of his father (left) reproduced by a local business and wanted yellow colour casts removed, greys changed and detail restored to shadows and highlights. The client - himself very handy with a camera - was very pleased with the result.
This job was a challenge. The client emailed me a very poor, low-resolution file in black and white, in a file format NOT intended for photographic images. The highlights were blown out in some of the dresses and faces. Half way through the job the client wanted the photo coloured. I had no idea of original pattern or colour of dresses, earrings or skin so had to create them, and also areas with no details. The client also seemed to be viewing my progressive edits on a monitor that was making them darker than they actually were. I had to bring the file up from 72 dpi to 300 dpi for printing out and also slightly enlarge it - a recipe for problems. I'm not sure what she thought of the end result, but she did pay promptly.
Client wanted to restore and frame old house plans for hanging in her front foyer. The orginal was an old A3+ photocopy bearing fold marks and the discolouration typical of photocopies of that era. She also wanted some drawings taken out, others rearranged and terra cotta colour added to the roof.
A challenging wedding photo taken 40 years ago. It had faded back to yellow and details of the gown and sky had blown out to nothing, meaning there was no data at all to work with. I also had no miniature originals to work from. This was an A3 photo.
This was a bit of a challenge. One very sharp definition and high contrast photo to be joined to a photo in which the face had very soft focus. The client wanted them joined together in a new photo in an above-waist shot, the final photo to be A3 size! Grandma's face had to be more than tripled in size to work in the new photo making her even softer in definition. I got round the problem partly by putting a soft focus over grandad to make them look as if they belonged in the same photo. I also had to replace the busy background behind her with a recreation of the curtains behind him and sit her in "front" of him by masking out part of grandad's right arm. Rather than going to the expense of re-colouring both of them - and because of time constraints - the client opted for grayscale/Black and White. At A3 size Grandma didn't look too good from close up but client was very pleased with the result.
One of a set of three siblling photos - each (A3) taken at different times by different photographers. They were about to be hung together. The client wanted them all to look similar, with removal of fading and colour cast. This photo was in landscape mode and needed to be changed to portrait to look the same as the other two - so I needed to recreate the lower sleeve and chair.
Old, discoloured and dirty, this photo - over a metre long - of Wellington in 1886 was scruffy, bent and joined in three places. Detail from the lower left section of the repaired photo is shown here. A join running through the right side of the detailed section is now invisible.
This client wanted a bad restoration job redone. The photo on the extreme left was the original. It was marked, yellow and very blurred. The middle photo was a restoration job done by an online restorer that the client said made the photo look worse than the original. The largest photo is my restoration from the original. Not a lot could be done about the blur - even limited sharpening made the face disintegrate. Scarring of the photo surface was repaired and yellow removed from the wallpaper. The client was more than happy with the result.
This was one of the first colour restorations I ever did. Looking at it now it's obvious to me that her hair is too dark and the colour is a little too strong on the lower left side of her face. But not bad for a first go!
Another 40-50 year old A4 wedding photo that had faded and yellowed. This had to be stripped down to grayscale and colour layered on at various opacities. If colour of varying transparency goes on top of existing colour - even if faded - it is impossible to control the colour outcome, so all existing colour needs to be removed. Fortunately the client had good colour thumbnails for me to work from
A badly torn, mouldy, and dirty photo restored for a happy family. This man wanted to surprise his wife - centre, back row - with a restoration job after he discovered the forgotten photo one day. Spotty mould was so deep in the photo it was impossible to remove all traces without a lot more time and expense.
This was a large A3 photo with writing at the bottom that needed to be removed, severe cracking of the photo finish, scratches, blotches, stains, and irregular fading of colour. In additon there was a dull finish to the photo that the client wanted brightened. Blotches, cracking and scratches through eyes gave some rather sinister looks to two of the faces and needed careful removal. More work could have been done on this photo but time and money were factors.
A very under-exposed photograph given to me for use in a client's genealogy book. In the book the photo appeared in its corrected form. There were over 160 photos in this genelaogy all of which needed photo editing.
A very small precious very faded family photo with crease marks and stains. After editing it was 5x the size and looked a whole lot better. Photoshop is amazing!