Explore the history of Victorian photography and learn how a rare collection of photographs of Tower Bridge was brought to life with colour.

Nicholas Burnett, a paper and photography conservation expert, discusses the many developments in Victorian Photography that resulted in its increasingly widespread popularity.

Watch his full interview with Tower Bridge’s Exhibition Development Manager, Dirk Bennett.

Colourisation is a valuable tool that brings out historical detail in the pictures.

It connects us with the people in these images and removes the emotional and psychological distance that black and white creates. It reminds us that these people were once alive, with ambitions and emotions, just like us.

Come behind-the-scenes to see how we brought colour to these historic photographs of Tower Bridge.

Step 1: Receiving high-resolution scans

The journey begins when we get high-resolution RGB scans of the original sepia-toned photographs.

Given that these images will be magnified significantly, the clarity and detail in the scans are paramount. Upon close inspection, certain elements—often faces or characters—stand out and are earmarked for special attention.

Step 2: Adjusting colours

Each photograph’s sepia tones vary due to different levels of fading and light exposure over the years. The initial task is to standardise these tones.

In RGB mode, the colour and tone are adjusted, followed by applying a black-and-white filter in Photoshop. This allows for fine-tuning the individual RGB channels, balancing the images across the series.

Applying AI for initial colouring

AI technology is then employed to add preliminary colours to the images.

The AI estimates the appropriate colours for various elements, although it often requires manual correction to refine blurred edges and colour overlaps.

We then manually adjust the colours to ensure consistency across common features, such as bridges and road surfaces. Adjustment layers are created to maintain uniformity in colour across the series.

Step 3: Perfecting skin tones

Special attention is given to skin tones, which are cross-referenced across a batch of images to ensure a cohesive look.

This process considers the diversity of faces in large crowds and the different lighting conditions under which the photos were taken.

Step 4: Evidence-based colouring

Wherever possible, contemporary references and research guide the colour choices. This could mean referencing historical uniforms, the red of a steam roller’s wheel, or the brown ironwork of a bridge.

Our research included consulting documents and archives relating to Tower Bridge and its construction, where we identified dates and times when some of the photographs were taken. Through additional research, and in collaboration with our peers in the sector and our own internal expertise, we were also able to put names to many of the characters in the pictures.

There is an element of conjecture when we reconstruct the Victorian world in colour, as we don’t know the exact colour of a shirt, a suit, a hat, or the exact tone of skin colour. However, the process of research helps us gather an informed picture.

To engage the audience, creative colouring is sometimes employed. This might involve highlighting a red ribbon on a woman’s hat to make her stand out in a crowd, or selecting specific clothing and hair colours that the AI might have missed.

Step 5: Highlighting interesting features

Certain features within the images, such as the faint outline of the Tower of London or a man atop a ladder, are enhanced to ensure they are noticeable to viewers. This step ensures that no fascinating detail is overlooked.

Step 6: Ready for use

After one last review with the team, the images are ready for sign-off.

This thorough process ensures that the final images not only respect the historical integrity of the photographs but also enhance their appeal for modern audiences.

The result is a breath-taking revitalisation of the images, connecting the past with the present in a colourful, compelling way.