Hand-Coloring 4×5 Film: Capturing Micanopy’s Timeless Charm

Micanopy, a charming small town in Florida, is known for its rich history while maintaining its quaint appeal. Here are three notable aspects of its past: (1) Established in 1821, Micanopy holds the distinction of being Florida’s first inland town, originally serving as an Indian trading post; (2) It was the filming location for the 1991 movie Doc Hollywood, where it stood in for the fictional town of Grady, South Carolina; and (3) The town is mentioned in Tom Petty’s song A Mind with a Heart of Its Own from the album Full Moon Fever. There’s even more to discover—read about it here.

Lucky for me, Micanopy is just a two-hour drive south, with plenty of campsites available at nearby Paynes Prairie Preserve State Park, only five minutes away. I don’t visit often, but I make it there at least once each season. From the lookout tower, I’ve spotted the bison and wild horses that the preserve is known for—though always too far in the distance to capture a decent image. When you think of bison and wild horses, Florida probably isn’t the first place that comes to mind, is it?

In June 2023, beneath a scorching sun, I set out to capture the image above with a specific purpose in mind. A dear friend of mine has a deep appreciation for Coca-Cola’s original art—drawings, lithographs, and photographs that embody an artistic quality. His taste leans toward the antiquated, so I knew that photographing the old barn-turned-historical society building with a 4×5 camera, using black-and-white film and hand-coloring it, would be something he’d love. And I was right—it brought him joy.

The Shoot

For this image, I used my favorite 4×5 camera—the only one I’ve ever purchased twice—the Ebony RSW, designed specifically for wide-angle lenses. It’s lightweight, easy to set up, and a joy to use. However, finding suitable viewfinders for it (outside of a dark cloth) has been quite the journey. If you visit my Ebony camera page, you can scroll through to see the different accessories I’ve used, many of which I’ve modified for perfection.

This shot presented two significant challenges:
1. Having the right camera and lens for the job. When framing the shot with that gorgeous oak tree, stepping back wasn’t an option—I needed a wide-angle lens and a camera that handled it well. Fortunately, I had that covered.
2. Tourists! The camera and lens were set, but the foot traffic was another story.

I had my camera prepped in the van and parked at the nearby library, strategically across the street but not directly in front of the scene. Then came the waiting game—watching, waiting, and watching some more. Finally, I had a one-minute window to get the shot. But even then, I wasn’t alone—an older group of ladies decided that the perfect place for a chat was right in front of me across the street, completely ignoring what I was doing and ending my window of opportunity.

Thankfully, I managed to get two shots that mattered.

Technical Notes

The film was processed in a Paterson film tank along with five other 4×5 film sheets, using 510 Pyro and a semi-stand method similar to Steve Sherman’s minimal agitation process.

Once the film had dried, I digitized the 4×5 negative using a Fujifilm X-Pro3 camera with a Zeiss Touit 50/2.8 macro lens mounted on a Beseler CS copy stand. For my current 4×5 digitizing setup, I use the Skier Sunray Copy Box III with its 4×5 film holder.

After importing the negative into my Lightroom (LR) catalog, I carefully inspected it for any necessary touch-ups before starting the colorization process. It quickly became apparent that power lines, a stop sign, and a location sign needed to be removed. To clean up the image, I brought the file into Photoshop (PS) for a quick edit before returning it to LR. Once the negative was fully retouched, I exported a copy back to PS to begin the hand-coloring process.

I don’t use PS’s AI colorization tools, as they lack the precision I need. More importantly, I prefer keeping my artistic hand in my work. Before the digital era, I would have an 11×14″ print made and then colorize it by hand using Dr. Martin’s oils, applying the color with Q-tips and cotton balls. Once complete, the print would be sent to a professional lab for a copy negative.

Today, I use layers in PS for colorization, a process similar to filling in a coloring book, with each layer dedicated to a different hue. While not difficult, it requires patience and a steady hand, using a pen and tablet for precision. I’ve never completed a colorization in a single sitting.

To ensure natural color references for colorization purposes, I capture an image of the subject with my phone or, if the shoot is completed in the studio, with whichever digital camera is handy. That said, I allow myself creative freedom, adjusting colors as I see fit. For me, this is a creative expression, not a literal or historically accurate reproduction.

Closing Comments

Hand-coloring black-and-white film is a process that blends technical skill with artistic vision, bringing an image to life in a way that feels both nostalgic and personal. Photographing Micanopy’s historic charm with a 4×5 large-format camera, developing the film by hand, and meticulously applying color in PS is a journey that requires patience—but it’s a journey I love. Whether it’s waiting for the perfect moment to shoot, digitizing the negative, or carefully layering color, every step is an intentional act of craftsmanship.

Micanopy is a town that time forgot, but through photography and hand-coloring, I get to capture and interpret its history in my own way. If you’ve ever considered trying hand-coloring yourself, I highly recommend it—it’s an incredibly rewarding way to bridge the gap between photography and painting, blending both past and present into a single frame.