(fashion) People tend to subconsciously centre their Instagram selfies on their left eye, a study has revealed.
Researchers from City, University of London, the University of Parma, and the University of Liverpool analysed around 3,500 Instagram selfies as part of the study.
They observed that, when taking a selfie, people tended to centre their eyes, with particular focus on the left.
This reflects of a phenomenon observed in healthy brains known as pseudoneglect, in which spatial attention tends to be unconsciously shifted to the left.
The study also suggests that the alignment is because our eyes provide information on what we are paying attention to and centre left is the best way to inform people about our mood.
Previous research also suggests that the left eye is more commonly centred than the right because people prefer showing their left cheek.
The phenomenon is similar to painters who apply an eye-centering principle in portraits.
The study used a publicly available selfie database of photos uploaded to Instagram from in Bangkok, Berlin, London, Moscow, New York City, and São Paulo.
Most of the photos studied were posted on social media spontaneously.
Out of a total of 3,556 selfies, they found 1,931 (54 per cent) had the subject's left eye in the horizontal centre of the picture.
In comparison, 1,625 (46 per cent) had the right eye in the centre. Although the difference was small the researchers said it was significant.
The study said that the trend is a reflection of a phenomenon observed in neurologically healthy people known as pseudoneglect, where spatial attention tends to be shifted to the left. Pictured is an example of the centre-left selfie phenomenon
Professor Christopher Tyler, Professor of Optometry and Visual Sciences at City, University of London was a collaborator in the study.
He said: 'The core result of this study was to replicate my earlier finding that painters tend to centre one eye in portraits, throughout the centuries, in a modern version of which the selfie takers are simultaneously both the artists and the subjects of the portrait.
'This centring tendency opposes the alternative