
The first time I picked up a camera, it wasn’t called a “phone.” It had weird numbers all over it, and when you got near the end of a roll of film, you were never sure if you’d get a free extra shot or two before having to rewind the roll and get it developed. Now we’ve all got cameras in our pockets, and software on those cameras for image editing. Photographs can be awesomely powerful. Indeed, they can change history. The Vietnam War is, to me, an incredible example of how a few images can tell a deeper, more visceral story than the finest wordsmiths. There are plenty of other examples throughout history. Another that leaps to mind is the work of Dorothea Lange in Manzanar. What are the first sliders you tweak when editing an image? We all have our own workflows, but it’s likely that “Contrast” comes to mind. What a concept, eh? The farther apart we pull the luminance values of highlights and shadows, the more distinction we get between objects in an image. Conversely, an image with very high contrast (how about that photo of Tommy jugging on El Cap during golden hour, while Kevin sits on the portaledge scrolling Pornhub Instagram?) grabs the attention a certain way, and only after some time spent with the image can the viewer begin to integrate the light and dark portions into an interconnected scene. There has been much contrast in the world lately. Contrast is good, because…