Fashion magazines have become devices to make women feel terrible while also desiring to look like computer simulations. Who needs to look like an extra from “The Sims” when you have the beauty that reality gives us?
Verily Magazine never uses Photoshop, and the results are way more gorgeous.
So what do the pages of Verily look like?
Jie (on the right) isn’t a model. She’s actually a sales associate.
Grace isn’t either. She’s an advertising assistant.
Jodi is a writer. Not a model either.
And Sara is a publicist, not a model. Verily frequently uses everyday women of different races, ethnicities, sizes, and ages for their photo spreads. The women here range in age from 21 to 35 and are sizes 6-12.
Their Photoshop policy:
This pretty much describes how I feel!
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I was young and foolish and now I can’t go back.
1. Remember the first moment you saw the dress? You didn’t understand what the debate was about. It was clearly white and gold.
2. You were pretty chuffed that you were in the majority, i.e. clearly right.
3. But people around you insisted it was blue and black and you were like WUT.
4. You stared at the dress for hours, waiting to see WTF they were talking about.
5. You could KINDA see the blue – MAYBE – but the black MADE NO SENSE AT ALL.
6. Even when confronted with the cold, hard truth that the dress is, in fact, blue and black, all you saw when you looked at the original image was your trusty white and gold.
7. And then, just like that, EVERYTHING CHANGED.
8. Suddenly, you saw the blue and black, and you understood the truth.
9. It was like you were seeing for the very first time.
10. And you didn’t understand how you saw the white and gold at all because now literally all you could see was blue and black.
11. How could the same eyes see two such totally different things?!?!?!
12. And suddenly you found yourself staring at the dress again, trying to go back to how you saw it before.
I don’t believe anything anymore. THE DRESS has ruined my trust in all things. I’ll never love again.
13. Because you didn’t respect the white and gold dress enough, and now it’s gone from your life forever.
14. It’s too late. The world is blue and black now. And nothing will ever make sense again.
This Family Lives In A Tree House That Looks Like A Castle. Think That’s Cool? Wait Until You See The Inside.
Thanks to the British design firm Blue Forest, a family is “Living the High Life” in one of the coolest tree houses you’ll ever see. While it has a medieval-influenced architectural style, this tree house is anything but old school. There haven’t been many homes (on or off the ground) that feature a rope bridge, zip line, and obstacle course… definitely not with an interior like this.
Take a look!
1. The tree house is made up of two sections.
2. This is the children’s quarters.
3. The interior.
4. Whoa! There’s even a secret room!
5. One of the bridges that connects it to…
6. The adults’ quarters.
7. The interior.
8. Plenty of space to throw a party. I hope their friends aren’t afraid of heights.
This tree house is too cool. If I were their neighbor, I’d be glad it’s up as high as it is. If you want to keep your jealousy in check, you can just make sure you’re staring at the ground as you walk down the block.
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New York-based artist Mike Hall creates art that’s hard to define. He calls it “optical field expressionism.” In a dark space, he aims a camera and a projector at a surface, either a blank wall or a model. When the two optical fields interact, the result is startling, and incredible. The below stills are taken from some of his performances. The colors and patterns you see are not projections, and no editing or digital manipulation ever takes place.
Still from Colors (2007)
Still from Mask of Light II (2008)
Still from Scream of Light (2012)
Still from Vox Lumina (2011)
Still from Mask of Light II (2008)
Still from Scream of Light (2012)
What was initially just an area of light becomes a swarm of moving lines and shapes, liquid-seeming areas of color that flicker and overlap, and points of light that grow like organisms. When the surface on which they are materializing is altered in some way–such as the shadow of a hand passing over the wall or the movement of a model–the light reacts and changes. When he noticed this, Hall began to create performances using the optical fields and models.
The shapes, movement and light you see on the models’ skin and on the other surfaces are not projections, but are rather reactions happening in the moment. This is caused by the manipulation of the optical fields created by the camera and projector. The fields are adjusted via light levels and aperture openings in the camera. A second camera is used to document the performance.
Teardrops, 2012. Here, you can see how the highlights on the model’s eyes, as well as the shadows elsewhere, create areas of light and dark that react to her movements.
The performances are at once controlled and random. When the reactions occur, there’s no real way of controlling, say, the colors that appear, or if they’ll appear at all. That’s based on the way the white light is refracted on the surface. But the motion of the patterns can be controlled by moving the model or adjusting the light levels in the space, so Hall has had to work out a careful balance of minute technical adjustments and the willingness to go with the proverbial flow. “Under controlled conditions, [the refraction will] split light into its component parts will accumulate at the rate of almost 30 frames per second, setting in motion an evolution of color variation at every pixel location,” he explains.
Edge Case, 2008. This interactive performance shows a visitor playing with the light fields to generate motion and forms.
If a live model is not used, the effects can still be incredible. Instead of using a person’s features as a point of reaction, the wiggly pixels use the patterns of light and dark and create, as Hall describes them, “graphical forms that are unique from one moment to the next yet exhibiting a consistent graphical signature that almost resembles a form of aesthetic style.”
All images and video via Mike Hall
Living with mental illness is hard. Not impossible, but hard. One reason is the judgments people place on individuals with mental illness. These judgments have consequences for everyone, not just people with mental illness.
If you’re in doubt, Dr. Denny Morrison proves it over and over — starting with his own assumptions (0:16), the audience’s sentiments (1:58), major studies on the cost to society (3:09), failures of the entire health care system (5:55), and lastly, with all of us (8:43).
People are scared to talk about mental health. That’s where the stigma comes from: fear. Be part of the solution. Share this.
My little brother is finally bringing girls over for his first ever party. So I made him a present for the occasion (just in case).
Read more: http://imgur.com/gallery/n6fsgqT