My first recollection of depression was around age 7 or 8, hearing that incessant voice in my head telling me I wasn’t worthy and never good enough.
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Depressed Photography Black And White Photography.

Take Control. Although coloured filters can still be used to manipulate contrast when shooting digital black and white images, it’s more common to save this work until the processing stage. Until a some years ago Photoshop’s Channel Mixer was the favorite means of turning colour images monochrome, but now Adobe Camera Raw has more strong tools (in the HSL/Grayscale tab) that allow you to adjust the brightness of eight individual colours that make up the image. It’s possible to adjust one of these colours to make it anything from white to black with the sliding control. However, it’s important to keep an eye on the whole image when adjusting a particular colour as subtle gradations should become unnatural looking. And adjusting the brightness of a red or pinkish shirt with the red sliding control, for moment , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls could also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create segregation between objects of the same brightness but with different colours.

Dodge and Burn. Dodging and burning is a approach that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows. Photoshop’s Dodge and Burn tools allow a level of control that film photographers may only aspiration of because you can target the highlights, shadows or mid-tones with both. This means that you could use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten up them to grow local contrast. It’s a great route of giving a sense of greater sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you can build up their effect gradually so the impact is crafty and there are no hard edges.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all reduced to black and white or shades of grey in a monochrome image and you have to look for tonal contrast to make a shot stand out. In colour photography, for example, your eye would at once be drawn to a red object on a green background, but in monochrome photography these two areas are likely to have the same brightness, so the image looks flat and featureless straight from the camera. fortunately , it’s possible to work adjust the brightness of these two colours discretely to introduce some contrast. However, a good starting point is to look for scenes with tonal contrast. There are always exceptions, but as a general rule look for scenes that contain some forceful blacks and whites. This could be achieved by the light or by the brightness (or tone) of the objects in the scene as well as the exposure settings that you use. The brightness of the bark of a silver birch tree for example, may inject some contrast (and interest) in to a woodland scene. Setting the exposure for these brighter areas also makes the shadows darker, so the highlights stand out even more. Look for shapes, patterns and textures in a scene and move around to find the best composition.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just as advantageous in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more advantageous . An ND grad is helpful when you want to retain detail in a bright sky while a polarizing filter may be used to decrease reflections and boost contrast. Alternatively, look on taking two or more shots with unique exposures to create a high dynamic range (HDR) composite. Don’t be anxious to use a ND grad with a standard neural density filter if the sky is brighter than the foreground in a long exposure shot. Coloured filters, which are an essential tool for monochrome film photographers, should also be useful for manipulating contrast in digital images. They work by darkening objects of his opposite colour while lightening objects of her own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

Try Long Exposure. Long exposure shots should work really well in monochrome photography, especially where there’s moving water or clouds. During the exposure the highlights of the water, for example, are recorded across a wider place than they would with a short exposure and this should help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If necessary , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to reduce exposure and extend shutter speed (by 10 and 4 stops respectively). naturally , when exposures extend farther than with respect to 1/60 sec a tripod is wanted to keep the camera still and avoid blurring. It’s also advisable to use a remote release and mirror lock-up to minimise vibration and produce super-sharp images.

Shoot RAW + JPEG. The greatest monochrome conversions are made it to by editing raw files which have the full colour information, but if you shoot raw and JPEG files simultaneously and set the camera to its monochrome photograph Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. As most photographers struggle to visualise a scene in black and white, these monochrome modes are an invaluable tool that will help with composition and scene assessment. many cameras are also capable of producing decent in-camera monochrome images these days and it’s worth experimenting with image parameters (usually contrast, sharpness, filter effects and toning) to find a look that you like. Because compact course of action cameras and compact cameras show the scene seen by the sensor with camera settings applied, users of these cameras are able to preview the monochrome image in the electronic viewfinder or on rear screen before taking the shot. DSLR users can also do this if they activate their camera’s live opinion fashion , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

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Instagram is just one tech habit that could potentially be used to diagnose mental illness. A study published in 2015 found that frequent phone usage may also be an indicator of depression.

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It causes me to feel more intensely and makes me want to see my subject for who they really are without the protective shield of color; to see instead the true, raw beauty of contrast and textures, as if I’m peeling away a false personality so that I might get to know the real subject. The good and the bad; beauty and ugliness. You must find peace with it all in order to be free.

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Your Instagram habits reveal more than just your favorite brunch spots. According to new research reported by NPR, users experiencing depression are more likely to filter their photos in black and white.

My view is tinted and altered by “dark colored glasses” crafted from a lifelong battle with depression.

Black and white: How depression has influenced my photography

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For their study, which was posted to earlier this month [PDF], researchers from Harvard University and the University of Vermont analyzed 43,950 photos from 166 Instagram accounts. Participants were asked to state whether or not they were diagnosed with clinical depression before the study. After breaking down photos by the number of faces, filters, color and brightness, and the amount of comments and likes, researchers found that certain trends could be traced back to people with depression.

Joy and sadness are represented as moments of brilliantly beautiful light piercing the darkest shadows of my mind.

Using this information, researchers plugged Instagram photos into a computer algorithm to see how good it was at spotting depression. When given data from 100 users, it correctly identified individuals with the mental illness 70 percent of the time.

3 Ingredients for soul-stirring, emotive black-and-white photography

Photography has helped to save me. Getting lost in it heals me as I release my emotions and work them into each image. Every photo baring my soul to the world in a secret sort of black and white code. My sadness enveloped by the shadows of the image and the light creating a path to continual hope.

The study has yet to be peer-reviewed, and while Instagram filters may seem like an odd tool for making medical diagnoses, the authors point out that it may not be any worse than our current methods. They write:

“Our model showed considerable improvement over the ability of unassisted general practitioners to correctly diagnose depression. On average, more than half of general practitioners’ depression diagnoses were false positives[…]Given that mental health services are unavailable or underfunded in many countries, this computational approach, requiring only patients’ digital consent to share their social media histories, may open avenues to care which are currently difficult or impossible to provide.”

My first recollection of depression was around age 7 or 8, hearing that incessant voice in my head telling me I wasn’t worthy and never good enough. Throughout my adolescent and adult years it would wax and wane at varying degrees, but never completely let go of its grip. Then in 2013 my youngest brother died suddenly. No warning, no goodbyes. It was ugly and my life fell apart, my heart was crushed, all light was gone and the darkness took over. It threatened to drown me, pulling me into the deepest depths where I could no longer reach the surface. It almost stole my voice.

Depression not only makes me a better black and white photographer, it also makes me a better, more compassionate person. It shapes who I am and was carefully woven into the intricate strands of my DNA for a reason.

…The question, O me! So sad, recurring- What good amid these, O me, O life? Answer: That you are here – that life exists and identity.  That the powerful play goes on and you may contribute a verse.

The data also revealed that photos with faces were posted more frequently by depressed users, but with fewer faces per photo. And even though Instagram pictures from users with depression garnered more comments, they tended to receive fewer likes.

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My imagination and vision of the world will probably never be sparkly and colorful. It’s not filled with rainbows and vibrancy. It’s defined much by darkness and I’ve made peace with that. I’ve learned that you will seldom see anything spectacular about the light if you have never lived in the shadows. It is the shadows that shape the light and those moments of light are what life is worth living for.

While subjects with the condition were less likely to use any filter to begin with, one was particularly popular when they did. The study showed that Inkwell, which makes a photo black and white, was disproportionately preferred by depressed participants. Healthy participants, on the other hand, favored the Valencia filter which makes photos lighter.

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