Wie die anderen Projekte der Wikimedia Foundation wird Wikimedia Commons vollständig von Freiwilligen erstellt. Dies gelingt, weil Menschen auf der ganzen Welt die Vorteile der Verwendung von frei lizenziertem Inhalt erkennen, um ihre Arbeit anderen frei zugänglich zu machen.
Unsere Freiwilligen haben unterschiedliche Fähigkeiten und Fertigkeiten. Diese Seite zeigt eine Auswahl hochqualifizierter Restauratoren, die ihre Arbeiten an Wikimedia Commons spenden. Restauration ist eine spezielle Fähigkeit, die dazu beiträgt, die Geschichte zum Leben zu erwecken und Medien öffentlich zugänglich zu machen. Jeder Restaurator auf dieser Seite hat mindestens 5 unserer exzellenten Bilder beigesteuert.
I became interested in engravings while doing research on Gilbert and Sullivan in the original newspapers. Seeing the high quality of engravings in the Illustrated London News, I felt the urge to share it with others, and most of my early work was from there.
I was using some rather crude tricks initially - some of my very early greyscale restorations were actually done in MSPaint, believe it or not - for a certain way of preparing engravings - one that's also very convenient for printing, as it happens - that's quite sufficient as a tool.
I think the first really extensive restoration I did was File:The Princess - W. S. Gilbert.png - a lovely, encyclopedic image, but one where the gaps between the woodblocks used to assemble the engraving were very noticeable and went through important parts of the image. You can pretty much trace that restoration through the dozen or so successive uploads, as I repeatedly went back in to fix some more, learning lots of useful skills on the way.
Things became a bit more difficult when I started moving into colour, and I have to admit I'm rather embarrassed about some of my earliest attempts now. But I think I'm now starting to move beyond that, with much more subtle colour adjustments that really bring out the image.
My goal in restoration is simple: Given the problems of the source, to make the most useful image out of it which I can. This can mean different things in different situations, and what I have to work from can often force me to very different paths for an image. I like to leave some signs of age in an image, but carefully select them so as not to distract from the image itself. For instance, in the sample Carmen poster to the right, I left in (some of) the vignetting to show the age, while carefully adjusting the colours (and cleaning up a lot of other things that don't show up so well in thumbnail) to bring out the central image.
I've spent huge amounts of money on source materials in recent times - particularly Victorian Gustave Doré books (books from after 1920 or so can have really appalling problems when you get in and try to work with them). I don't really regret it at all.
All my recent work is done using the GIMP. Oh, and by the way, the gallery is likely to be a few weeks or months behind at any point. Ah, well!