S Shukerman looks like a rather frightening young boy. Picture: Dana Keller Source: Supplied
His old-fashioned dress stands out less without colour. Picture: Historic Houses Trust Source: Supplied
THESE vibrant mugshots show early 20th-century Australian criminals as you've never seem them before.
Talented artist Dana Keller, from Boston, United States, has painstakingly added authentic-looking colour to every image.
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The pictures were taken by New South Wales Police Department photographers between 1910 and 1930, mostly at Sydney's Central Police Station.
P.H. Ross stares eerily out from the past. Picture: Dana Keller Source: Supplied
In black and white, his gaze is not quite as menacing. Picture: Historic Houses Trust Source: Supplied
Sidney Kelly's pockmarked skin and reddish hair add to his mystery. Picture: Dana Keller Source: Supplied
In sepia, he is somewhat less of a threat. Picture: Historic Houses Trust Source: Supplied
Ms Keller said she wanted to show the characterful images in technicolour because in today's world, we can often feel a detachment from black and white pictures.
"It's as if they are only shadows from a time too long ago for any of us to remember," she said. "With our modern eyes, we are somehow disconnected from the real and vibrant world those photos are actually portraying."
She believes that adding colour to these images of history brings a viewer a little closer to the reality in which they were taken.
Walter Smith looks as though he has been in a few fights. Picture: Dana Keller Source: Supplied
In monochrome, his features seem less shocking. Picture: Historic Houses Trust Source: Supplied
"Colour helps to give a little bit of a glimpse into the world as it was from long ago, an opportunity to see perhaps something like what the photographer himself saw through his lens.
"Colour can force us to instantly see an old photograph with a new perspective, and make it seem as if the past it portrays wasn't that long ago after all."
The original photos were compiled by Macquarie University's Peter Doyle for an exhibition at the Justice and Police Museum examining inner Sydney in the first half of the twentieth century via police crime and accident scene photographs.
It later became the book City of Shadows: Sydney Police Photographs 1912-1948.
William Stanley Moore looks quite the character. Picture: Dana Keller Source: Supplied
To a modern-day eye, photos without colour may be less engaging. Picture: Historic Houses Trust Source: Supplied
Dr Doyle said: "The subjects of the Special Photographs seem to have been allowed — perhaps invited — to position and compose themselves for the camera as they liked.
"Their photographic identity thus seems constructed out of a potent alchemy of inborn disposition, personal history, learned habits and idiosyncrasies, chosen personal style (haircut, clothing, accessories) and physical characteristics."
The process of film colourisation is often used on old Hollywood movies, adding brilliance to black and white, sepia or monochrome moving-picture images.
Hand-colouring, or overprinting, was popular in the mid 19th-century, before the advent of colour photography.
Munro, washed-out. Picture: Historic Houses Trust Source: Supplied
William Munro sports a dapper hairstyle. Picture: Dana Keller Source: Supplied
Artists would use paints, dyes or crayons applied using fingers, brushes, airbrushes and cottonwool.
Ms Keller has also used her skills to give striking historical moments a a new dimension, from glamorous photos of Audrey Hepburn and Marilyn Monroe to emotive scenes from Auschwitz, to a Native American standing proudly in Dakota.
Find out more about her project and prints on her website.
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