Muted frames come first, long before the tears or the wrinkles reach you. When photographers chase so‑called high impact, many of them drain bright hues and lean on dark grey, shadow and near‑black. The move is not nostalgia; it is a way of re‑wiring how your perception allocates attention inside the frame.Human vision is a ruthless editor: it tracks contrast edges, luminance gradients and signal‑...More