Une série photo signée Rankin dénonce l’utilisation néfaste des filtres embellisseurs chez les adolescents Une série photo signée Rankin dénonce l’utilisation néfaste des filtres embellisseurs chez les adolescents

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Une série photo signée Rankin dénonce l’utilisation néfaste des filtres embellisseurs chez les adolescents

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Publié le Mercredi 6 Février 2019

"Selfie harm", le nouveau projet du photographe britannique Rankin, pointe du doigt l’impact psychologique qu’ont les filtres Instagram sur les adolescents.

Les études sont nombreuses à en parler, Instagram ce n’est pas la réalité. C’est ce qu'a voulu démontrer l’artiste contemporain Rankin. Photographe de mode et de nu, le Britannique s’est servi d’Instagram, justement, pour dévoiler sa série "Selfie harm", qui dénonce l'excès de retouches effectuées par les adolescents sur leurs selfies postés sur les réseaux sociaux. Mise en abîmé réussie !

Instagram est le lieu dématérialisé où l’on raconte tout : sa dernière coupe de cheveu, sa peau tout juste bronzée, son maquillage. Or, la plateforme - comme les autres, telles que Snapchat - propose par de nombreux moyens d’embellir ses selfies compulsifs. On se blanchit les dents, on s’agrandit les yeux, on lisse son grain de peau. Toutes ces pratiques ne sont, à la longue, pas saines et affecteraient les plus jeunes, et leur perception d’eux-mêmes. Ils finissent par ne plus aimer leur réalité. C’est sur ce postulat que le photographe s’est lancé dans la réalisation d’une série de dyptiques intitulée "Selfie harm".

Les images ont d'abord été exposées lors d'une exposition intitulée Visual Diet, une nouvelle initiative lancée par l'agence de publicité M&C Saatchi, Rankin et l'agence artistique MTArt Agency visant à explorer l'impact de l'imagerie sur notre santé mentale. Pour cette série, le photographe renommé a pris des portraits de 15 adolescents puis leur a donné le pouvoir de modifier l’image non retouchée ; jusqu’à ce que ces adolescents estiment que la photo était "prête pour les réseaux sociaux". "Les réseaux sociaux les ont transformé en leur propre marque. Les gens créent une version bidimensionnelle d'eux-mêmes avec un l'angle parfait, avec la lumière la plus flatteuse et en supprimant les défauts apparents", a expliqué Rankin. "C’est une nouvelle réalité, un monde dans lequel les adolescents peuvent se modifier à l’aide d’outils numériques en quelques secondes. Ajoutez à cela des célébrités et des influenceurs affichant des formes impossibles avec des visages impossibles et nous avons la recette du désastre", a-t-il ajouté. Pour le photographe cela donne un monde de "tristesse, d’anxiété accrue et de dysmorphophobie".

 
 
 
 
 
 
 
 
 
 
 
 
 
 

For my latest series, Selfie Harm ???? I photographed 14 teenagers & handed them the image to then edit & filter until they felt the image was ‘social media ready’. People are mimicking their idols, making their eyes bigger, their nose smaller and their skin brighter, and all for social media likes. It’s just another reason why we are living in a world of FOMO, sadness, increased anxiety, and Snapchat dysmorphia. It’s time to acknowledge the damaging effects that social media has on people’s self-image. Thanks to: the incredible individuals that took part in the @Visual.Diet project; Jennifer, Felix, Alessandra, Maisie, Isaac, Seb, Beneditcte, Shereen, Mahalia, Eve, Siena, Tomas, Emma & Georgia. Also, @mimigray_ at @mcsaatchilondon, @marinetanguyart, @gemfletcher, @technicallyron & @justintindall on making this project come to life ???? PLEASE NOTE ???? The majority of subjects preferred their original image.

Une publication partagée par Rankin Photography (@rankinarchive) le
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

In 2003, I was asked by @theofficialselfridges to work on a body politics window display for their “Body Craze” theme. Photoshop had been around for about 12 years and was starting to pervade the photography business in what I perceived as a very harmful and damaging way. As we all got used to this new technology, most photographers were guilty of over using it in some way (me included!). Also the early Photoshop technicians were very heavy-handed, and there wasn’t a great deal of subtlety in the way they altered images, especially when it came to something as intricate and nuanced as skin. I found the whole process problematic because I really felt (and still do) that a person’s personality could be found in their idiosyncrasies; for me it was what made them, them. But with digital retouching it's so easy to lose/tidy/clean those little bits of imperfection, and step-by-step people’s images merged into one. My concept for the body politics project was to find people who were considering (or had considered) some form of cosmetic surgery. I wanted to photograph them as they were, then retouch what they wanted to change about themselves. Looking back at it now, I’m not sure our images worked that well because the use of Photoshop is far too inelegant, even for the sake of the project. But the really fantastic outcome was that (like Selfie Harm) nearly ALL the subjects preferred their unretouched image. Now, the thing that really stands out for me when looking back at these images is how similar they are to what I’ve done with the apps for my recent project, Selfie Harm. As the apps get more sophisticated and the technology becomes more polished, they are going to offer even better filters that will be scarily indiscernible from reality. Scary stuff! Thanks to: Anna, Beryl, Carlos, Jack, Joanne & Jo for participating in this project ????????

Une publication partagée par Rankin Photography (@rankinarchive) le

 
 
 
 
 
 
 
 
 
 
 
 
 
 

In 2003, I was asked by @theofficialselfridges to work on a body politics window display for their “Body Craze” theme. Photoshop had been around for about 12 years and was starting to pervade the photography business in what I perceived as a very harmful and damaging way. As we all got used to this new technology, most photographers were guilty of over using it in some way (me included!). Also the early Photoshop technicians were very heavy-handed, and there wasn’t a great deal of subtlety in the way they altered images, especially when it came to something as intricate and nuanced as skin. I found the whole process problematic because I really felt (and still do) that a person’s personality could be found in their idiosyncrasies; for me it was what made them, them. But with digital retouching it's so easy to lose/tidy/clean those little bits of imperfection, and step-by-step people’s images merged into one. My concept for the body politics project was to find people who were considering (or had considered) some form of cosmetic surgery. I wanted to photograph them as they were, then retouch what they wanted to change about themselves. Looking back at it now, I’m not sure our images worked that well because the use of Photoshop is far too inelegant, even for the sake of the project. But the really fantastic outcome was that (like Selfie Harm) nearly ALL the subjects preferred their unretouched image. Now, the thing that really stands out for me when looking back at these images is how similar they are to what I’ve done with the apps for my recent project, Selfie Harm. As the apps get more sophisticated and the technology becomes more polished, they are going to offer even better filters that will be scarily indiscernible from reality. Scary stuff! Thanks to: Noreen, Rebecca, Mike, Stavorig, Lindsay & Rose for participating in this project ????????

Une publication partagée par Rankin Photography (@rankinarchive) le

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