Not long after the beginnings of photography in the mid-1800s, hand-tinted colors were applied to black and white photos to enhance the image and create the appearance of color. This process continued to grow in popularity until the emergence of color film. A renewed interest in hand-tinting came about in the 1960s and appears, once again, to be gaining popularity.

While some people indulge in photo tinting for fun these days, adding color to black and white Photos has been a passion of Orange County artist/photographer Martin Roberts for more than 25 Years.

“I’m the only person I know who shoots black and white film in the tropics,” he said.

Roberts describes his work as hand painted, rather than hand-tinted. He uses acrylics, watercolors, gouaches and oils–often on the same piece to create different shades and textures.

“I consider my work hand painted since I use a variety of paints, layering and adding color until the work becomes an art itself,” he said. “The colors vary between the different mediums. That’s why I use many types of paint.” I look for what is going to give the best color. My goal is to emulate a striking realism in the work. I want the colors to be believable.”

His interest in painting and photography has over the years become a successful career–his prints are sold throughout the world and have enabled him to be represented in some of the most prestigious galleries in the world.

“Essentially, hand-tinting is a process that attempt to turn black and white photo into a color photograph,” said Roberts.

“Some people go for the surreal look; neon green grass, purples, sky colors that aren’t found naturally.”

Most beginning hand-tinters use photo oils, specially prepared colors (available in most art supply stores) designed to tint photographs, rather than the paints Roberts prefers. However, he says, no amount of hand-tinting or painting can “save” a poor quality photo. The strength of the work comes from the strength of the image.

Martin Roberts first shoots his pictures in black & white, then layers on a variety of different paint.
“The image is only as strong as the photograph,” he said. “You want something that will emotionally move people. The photo has to be able to stand on its own without any paint on it. I don’t just pop out of a car and shoot a cow and paint it purple. I’m trying to shoot the perfect image. Something magical. No amount of paint or effort will save an image that’s not substantial.”

Lucky timing has blessed some of his photos, but sometimes a more direct approach has served him. While shooting an archway in the Vatican, Roberts noticed a priest proceeding in the direction he was going to shoot.

“I approached the gentleman, explained that I was a professional photographer and asked him if he would mind walking through the portico so I could have him silhouetted against a statue at St. Peter’s Basilica.

“He looked at me and said, “I’m not going that far.” “But you’ll do it for me won’t you?” I asked. “He smiled and nodded and then proceeded through the archway. Just before he reached that point, he took off his hood and I saw the red cardinal’s cap. The gentleman was Cardinal Hammer, one of 13 cardinals who live at the Vatican.

“That shot is one of my most popular and in fact, an original hangs in the Vatican today.”

Once the photograph is shot and printed, Roberts decides how the color should be applied. While shooting in black and white, Roberts also carries another camera to shoot a color photo so it can jog his memory of how the colors looked.

“I don’t always paint the colors exactly as they were,” he said.

“Sometimes I’ll try to brighten a picture or try a slightly different look. But the color photo is a good way to help me remember exactly how the scene looked at the time I was shooting it.”

Every year, Roberts makes two trips, packing his Leica cameras with him.

“I travel with my father, who is in his 70s,” Roberts said. “He is also a photographer and taught me everything I know.”

Among Roberts many series of works, two standouts are “The Old Country” series and a “Tropical” series.

The Old Country scenes are set in southern Europe: Italy, France, Spain, Portugal and Greece. The Tropical series focuses on scenes from the Caribbean, Samoa, Fiji and Guam. He is currently working on a new series with deserts, rodeos and other Western motifs. With the Old Country series, Roberts strives for a classic feeling: gondoliers against textured walls, bright clothes drying on clotheslines stretched across windows, an elderly man reading a newspaper in front of a European coffeehouse.

The Tropical series features rowboats skimming the water, children playing and fishing in the ocean, beached boats scattered like colorful M&Ms across a dried riverbed, or palm trees against a sandy beach.

“In the last five years, people have become more interested in photography as an art form,” he said.

“You see serious collectors looking at photographs for the first time. The public is beginning to appreciate the collection and the beauty of these pieces. When art collectors begin to appreciate photography, an interest in hand-painting or tinting generally follows.”

The initial process of painting usually takes about two days. “On the first piece, I’m experimenting a bit” he said.

“As I become more comfortable with the colors and textures, it takes less time. As I work on the image, I become a little braver. I think each subsequent piece is produced faster and probably, a little better than the piece before it.

The first time I apply paint to a print requires real study.”

Among his most popular prints is a photograph called, “Four Windows.” This features brightly painted green and blue shuttered windows, with lace curtains and window boxes of red geraniums.

A Roberts’ favorite piece is titled, “The Nice Lady’s Garden,” a scene shot in Italy of twisting vines and blooming flowers. An elderly woman stands near a fence, scowling at the photographer.

“I call it ‘The Nice Lady’s Garden’ because she really wasn’t a very nice lady,” said Roberts with a laugh.

“Nice Lady’s Garden”