I felt it was a face most people would objectively prefer. I made minor tweaks to my appearance (eye size, colour, face shape, ‘Classy’ filter, make-up, chin length, etc) for five minutes until an alien–yet somewhat familar–face stared back at me. And its capabilities are among some of the most extreme I’ve come across.Īstounded by its life-like AR “tweakments,” I decided to set up an experiment. With over 500,000,000 downloads and 100 million monthly active users, B612 has essentially become the world’s virtual plastic surgeon. Personally, the discovery of reigning ‘Beauty and Filter Camera’ B612 was the most disturbing. 1 to 1.5 million doctored images are exported from Facetune on a daily basis. They offer basic tools to blur, sharpen, reduce, expand and whiten any personally-appraised “flaw”–and they’re downloaded by the millions. Normal yet, with the mass adoption of photo-editing apps like Facetune and B612, increasingly pervasive. More people are embracing fillers and botox to recreate the effect of filters and other photo editing apps. You miss all this if this photo was left in color.Paul Nassif, the plastic surgeon best known for stints of E! reality shows Botched and The Real Housewives of Beverly Hills, said: “Public thinking has changed. Lastly your eyes may glide over to the young boy who looks totally bored as he fumbles the fedora hat in his hands. After that the women behind them (one seems to be looking on them adoringly and the other looking at the event). But looking at the photo I first see the interesting lines of his hands on her knees, then my eye moves to her hands messing with his hair. The fist thing to catch my eye at the event was the girl grooming her dates hair. Note how the rule of thirds leads the eye to the interesting areas. But looking at it in B&W allows us to focus on the composition and emotion. Here's an example of an event photo, where the image in color was just boring. That means when the composition's shapes or emotions are the most critical to telling your image's story, you choose B&W. In other words, when color is a distraction. When shooting film (rarely) I'll chose B&W for architecture, street doc, occupational portraits and landscape.īasically, you use B&W when color does not add anything, or actually detracts from the images impact. With digital I shoot color raw and decide later which images to convert to B&W. Just shoot in colour RAW and you can convert to monochrome later, while adding whatever filter effect works to best advantage. Thankfully, with a digital camera you don't have to make that choice when you load the camera. Then of course there's the middle way, where you can reduce the saturation to give a very subtle effect. OTOH, where the light is flat and colour is the main 'outliner' of the subject, colour is perhaps your only option. By 'strong' lighting I don't necessarily mean contrasty. Where subject shapes are strong and with equally strong lighting, I think B&W can be very potent. I think shape, lighting and mood are the 3 key considerations. (Maybe a crop of just the guy on the right would work better, but things move fast in a carnival, and even zooming takes enough time that you lose a good expression.)Īt a steadier pace this more downbeat play of light and shade in a graveyard just cried out for a monochrome treatment. I wouldn't, for example, try to convey the vibrance and exuberance of a Carribbean or venetian carnival in black and white. I order a very small percentage of this images, almost all are seen at screens, or given in digital storage devices.Īlthough digital archives seem to be better for almost everything, I find them somewhat overwhelming because the backups, the storage, printers, and specially, the huge amount of images we can have.Įnjoy your course! :D Edited Octoby jose_angel The imagination part is not that strong, For whatever the reason I cannot feel the charm of B&W traditional photography while shooting color or digital. Also familiar images, since they tend to like more than black and white. I shoot color for the opposite, always digital, for profesional documentation, events or just for speed and mostly for convenience. I do it the way I like, which is far easier (also faster and cheaper) than ordering them at a commercial lab. Second, I exclusively shoot b&w on film to be fully processed at home. Also for more neat images, what people use to call "fine art", mostly for decoration. The images I take in B&W use to be for a long term viewing, to produce the very same feeling that a vintage photograph makes on me right now. so I like to wonder about the images I'm looking at. I certainly have two clearly different approaches.įirst, monochromatic images make me see not realistically, they use to open my imagination.
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