We talked to three photographers about how they are pushing back against a bias that's existed since film was invented. TheMelaninEdit
But it doesn’t have to be this way. Black and brown folks deserve the simple pleasure of recognizing themselves in photos and being proud of their image, without having to worry about their skin color being distorted through the lens by faulty tech or by a faulty photographer who lacks the requisite awareness to shoot a spectrum of skin colors.
I use vintage edits all the time. That never changes the skin color. It keeps the same complexion that it would if I was using cool or warm tones, or warm shadows. It never changes. There are things that I can do [in editing] to still keep the integrity of the person's face.How do you think photographers and retouchers of all racial backgrounds can do darker skin justice in photos?, [who] is my biggest inspiration.
When you're shooting a wide range of skin tones under the same lighting conditions, it's about having enough time to figure out what makes sense most for each person: Some skin tones need a little bit more highlight so that you can see the contours, and then sometimes, when you bring someone in who's got really white skin, you need to bring the lights down.
For me, the most important thing is always visualizing what people look like in person and trying to use that knowledge in the post-production process when you're doing any burning or dodging [a technique that manipulates the exposure of a selected area on a photograph, deviating from the rest of the image's exposure] to make sure that you never lose the contours of someone's skin.
France Dernières Nouvelles, France Actualités
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