Section-1
INTRODUCTION
Background of the study (Credibility in Wikipedia)
A selfie is a type of self-portrait photograph, typically taken with a hand-held digital camera or camera phone. Selfies are often associated with social networking, like Instagram. They are often casual, are typically taken either with a camera held at arm's length or in a mirror, and typically include either only the photographer or the photographer and as many people as can be in focus. Selfies taken that involve multiple people are known as "group selfies" or "ussies".
Robert Cornelius, an American pioneer in photography, produced a daguerreotype of himself in 1839 which is also one of the first photographs of a person.
The concept of uploading group self-taken photographs (now known as super selfies) to the internet, although with a disposable camera not a smartphone, dates to a webpage created by Australians in September 2001, including photos taken in the late 1990s (captured by the Internet Archive in April 2004). The earliest usage of the word selfie can be traced as far back as 2002. It first appeared in an Australian internet forum (ABC Online) on 13 September 2002.
Um, drunk at a mates 21st, I tripped ofer [sic] and landed lip first (with front teeth coming a very close second) on a set of steps. I had a hole about 1cm long right through my bottom lip. And sorry about the focus, it was a selfie.
The term "selfie" was discussed by photographer Jim Krause in 2005, although photos in the selfie genre predate the widespread use of the term. In the early 2000s, before Facebook became the dominant online social network, self-taken photographs were particularly common on MySpace. However, writer Kate Losse recounts that between 2006 and 2009 (when Facebook became more popular than MySpace), the "MySpace pic" (typically "an amateurish, flash-blinded self-portrait, often taken in front of a bathroom mirror") became an indication of bad taste for users of the newer Facebook social network. Early Facebook portraits, in contrast, were usually well-focused and more formal, taken by others from distance. In 2009 in the image hosting and video hosting website Flickr, Flickr users used 'selfies' to describe seemingly endless self-portraits posted by teenage girls.According to Losse, improvements in design—especially the front-facing camera copied by the iPhone 4 (2010) from Korean and Japanese mobile phones, mobile photo apps such as Instagram, and selfie sites such as ItisMee—led to the resurgence of selfies in the early 2010s. Kari Sealey is known to hold the world record for the most selfies.
Self-portrait of a female Celebes crested macaque (Macaca nigra) in North Sulawesi, Indonesia, who had picked up a photographer's camera and photographed herself with it
Initially popular with young people, selfies gained wider popularity over time. By the end of 2012, Time magazine considered selfie one of the "top 10 buzzwords" of that year; although selfies had existed long before, it was in 2012 that the term "really hit the big time". According to a 2013 survey, two-thirds of Australian women age 18–35 take selfies—the most common purpose for which is posting on Facebook. A poll commissioned by smartphone and camera maker Samsung found that selfies make up 30% of the photos taken by people aged 18–24.
By 2013, the word "selfie" had become commonplace enough to be monitored for inclusion in the online version of the Oxford English Dictionary. In November 2013, the word "selfie" was announced as being the "word of the year" by the Oxford English Dictionary, which gave the word itself an Australian origin.
Selfies have also taken beyond the earth. A space selfie is a selfie that is taken in space. This include selfies taken by astronauts, machines and by an indirect method to have self-portrait photograph on earth retaken in space.
In January 2014, during the Sochi Winter Olympics, a "Selfie Olympics" meme was popular on Twitter, where users took self-portraits in unusual situations.The spread of the meme took place with the usage of the hashtags, #selfiegame, and #selfieolympics.

Research Questions 1. What is Selfie? 2. What are the benefits of selfie to the fourth year students of Zamboanga City State Polytechnic College? 3. What are the disadvantages of selfie obsession?

Definition of Terms
For the better understanding of the study, the following terms are operationally defined:
1.Selfie
A selfie is a self-portrait, typically a photograph, that is posted online. The most common places for selfies are blogs, social networking sites, such as Facebook, and photo-sharing websites, such as Instagram.
2.Obsession
An idea or thought that continually preoccupies or intrudes on a person's mind.

Significance of the study
This research was conducted to acquire information with regards to the status, Facing the problem of the Good, the Bad and the Unexpected Consequences of Selfie Obsession. The result of this study may give information to the following: * Students- This study will help the students to know the advantages and disadvantages of selfie. * Community- This study will be beneficial to the community to take part in selfie obsession. * Researchers- This study will give the researchers the knowledge about the status, facing the problem of the good, the bad and the unexpected consequences of selfie obsession.
Section II
Review of related literature
Article 1
Selfie
Selfie-ism is everywhere. The word "selfie" has been bandied about so much in the past six months it's currently being monitored for inclusion in the Oxford Dictionary Online.
“A picture taken of yourself that is planned to be uploaded to Facebook, Myspace or any other sort of social networking website. You can usually see the person’s arm holding out the camera, in which case you can clearly tell that this person does not have any friends to take pictures of them.”
Article 2
Selfie: The Word of the Year
“The hashtag #selfie appeared on the photo-sharing website Flickr as early as 2004, but usage wasn’t widespread until around 2012,” Oxford English Dictionary editorial director Judy Pearsall said. “The use of the diminutive -ie suffix is notable, as it helps to turn an essentially narcissistic enterprise into something more endearing.
By 2013, the word "selfie" had become commonplace enough to be monitored for inclusion in the online version of the Oxford English Dictionary. In November 2013, the word "selfie" was announced as being the "word of the year" by the Oxford English Dictionary, which gave the word itself an Australian origin.
Article 3
Selfiest City in the World
According to Time magazine, which published a list of the "top 100 selfiest cities in the world," Makati City in the Philippines is the "Selfie Capital of the World," with 258 selfie-takers per 100,000 people.
New York City's Manhattan ranks second among selfie-takers, with 202 per 100,000 people. Miami is third, with 155 selfie-takers per 100,000. Anaheim and Santa Ana, Calif., rank fourth, with 147 selfie-takers per 100,000 people.
Los Angeles, though, is not ranked among the top 100.
It's not entirely clear what makes a city more popular than another for taking selfies, other than being a tourist destination. Anaheim, for example, is home to Disneyland; Manhattan has Times Square; Miami has, well, a popular beach.
To come up with its list, Time used data from Instagram over 10 days in late January and early February, studying over 400,000 Instagram photos tagged “selfie” that included geographic coordinates.
Article 4
Gender roles, sexuality, and privacy
Selfies are popular among all genders. Sociologist Ben Agger describes the trend of selfies as "the male gaze gone viral", and sociologist and women's studies professor Gail Dines links it to the rise of porn culture and the idea that sexual attractiveness is the only way in which a woman can make herself visible. Writer Andrew Keen has pointed out that while selfies are often intended to give the photographer control over how their image is presented, posting images publicly or sharing them with others who do so may have the opposite effect—dramatically so in the case of revenge porn, where ex-lovers post sexually explicit photographs or nude selfies to exact revenge or humiliate their former lovers. Nonetheless, some feminists view selfies as a subversive form of self-expression that narrates one’s own view of desirability. In this sense, selfies can be empowering and offer a way of actively asserting agency. Copyright law may be effective in forcing the removal of private selfies from public that were forwarded to another person.
News blog Jezebel criticized selfies as being the opposite of empowering. The article published continued to state how selfies are a reflection of how women are represented and the most important quality is their physical attractiveness. Author Erin Gloria Ryan continued to say selfies are mostly used for social media, in an environment where people are encouraged to “like” them and respond to them. The Jezebel article drew much attention with the media, including a piece by writer Maria Guido defending selfies, saying it is acceptable to take and enjoy pictures of yourself since society and advertising is constantly condemning women to that in which they are not “good enough, pretty enough, [and] skinny enough”. The blog started a hashtag of #feministselfie, which then started a larger group on Flickr called the #365feministselfie, where women aim to post a selfie everyday advocating a new way of approaching individual, and unconventional beauty standards.
"For every city in the world of at least 250,000 residents, we then counted the number of selfies taken within 5 miles and divided by the population of that city," Time said of its methodology.

Article 5
Psychology and neuroscience
According to a study performed by Nicola Bruno and Marco Bertamini at the University of Parma, selfies by non-professional photographers show a slight bias for showing the left cheek of the selfie-taker. This is similar to what has been observed for portraits by professional painters from many different historical periods and styles, indicating that the left cheek bias may be rooted in asymmetries of brain lateralization that are well documented within cognitive neuroscience. In a second study, the same group tested if selfie takers without training in photography spontaneously adhere to widely prescribed rules of photographic composition, such as the rule of thirds. It seems that they do not, suggesting that these rules may be conventional rather than hardwired in the brain's perceptual preferences.
Why Selfies Matter?
Since November 19, 2013 when Oxford Dictionaries announced selfie as “the international Word of the Year” 4 this hybrid phenomenon of vernacular photography and social media has created quite a bit of media hype. A selfie, according to Oxford Dictionaries, is “a photograph that one has taken of oneself, typically one taken with a smartphone or webcam and uploaded to a social media website.” 5 According to Jenna Wortham, technology reporter for The New York Times, “Selfies have become the catchall term for digital self-portraits abetted by the explosion of cellphone cameras and photo-editing and sharing services.

Every major social media site is overflowing with millions of them. Everyone from the pope to the Obama girls has been spotted in one.” 6 Selfies have been called “a symptom of social media-driven narcissism,” 7 a “way to control others’ images of us,” 8 a “new way not only of representing ourselves to others, but of communicating with one another through images,” 9 “the masturbation of self-image” 10 and a “virtual "mini-me," what in ancient biology might have been called a "homunculus" – a tiny pre-formed person that would grow into the big self.” 11“Language research conducted by Oxford Dictionaries editors reveals that the frequency of the word selfie in the English language has increased by 17,000% since this time last year.” Wortham, Jenna. “My Selfie, Myself.” The New York Times, October 19, 2013. Some of the scholarly responses to the sudden rise of popularity and even notoriety of the selfie reveal even wider multiplicity of approaches and possible meanings. For instance, Mark R. Leary, Professor of Psychology and Neuroscience at Duke University and author of The Curse of the Self: Self-Awareness, Egotism, and the Quality of Human Life (Oxford, New York: Oxford University Press, 2004) and editor of Interpersonal Rejection has pointed out that “by posting selfies, people can keep themselves in other people’s minds. In addition, like all photographs that are posted online, selfies are used to convey a particular impression of oneself. Through the clothes one wears, one’s expression, staging of the physical setting, and the style of the photo, people can convey a particular public image of themselves, presumably one that they think will garner social rewards.” 12

Karen Nelson-Field, Senior Research Associate, Ehrenberg-Bass Institute for Marketing Science, University of South Australia, and author of Viral Marketing: The Science of Sharing
(Oxford, New York: Oxford University Press, 2013) is more critical and sees a calculated premeditation behind all the cute, playful, and instantaneous self-portraits posted online: “We now all behave as brands and the selfie is simply brand advertising. Selfies provide an opportunity to position ourselves (often against our competitors) to gain recognition, support and ultimately interaction from the targeted social circle. This is no different to consumer brand promotion.” 13 Nelson-Field’s argument sounds plausible, as indeed most of the selfies posted to Instagram can appear to be attempts at self-branding, trying to “sell” the best version of #me: positive, happy, accomplished, proud, well-dressed (sometimes partly or completely undressed), seductive or sexy. As Casey N. Cep has rightly noted, “all those millions of selfies filling our albums and feeds are rarely of the selves who lounge in sweatpants or eat peanut butter from the jar, the selves waiting in line at the unemployment office, the selves who are battered and abused or lonely and depressed. Even though the proliferation of self-portraits suggests otherwise, we are still self-conscious.” 14 Jenna Wortham has also pointed out that “selfies often veer into scandalous or shameless territory — think of Miley Cyrus or Geraldo Rivera — and at their most egregious raise all sorts of questions about vanity, narcissism and our obsession with beauty and body image.” 15 Moreover, let us not forget Kim Kardashian’s white swimsuit that everyone seemed to talk about in 2013.
To conclude, scholars so far have proposed that the selfie among else can function as a means of self-expression, a construction of a positive image, a tool of self-promotion, a cry for attention and love, a way to express belonging to a certain community (even if it is as vague and ephemeral as “all the young, beautiful, and successful ones”). We could confirm or reject such claims by inspecting individual selfies photos. Sometimes the claims are made based on outstanding exceptions that catch people’s attention, go viral, and easily become a symbol of the whole phenomenon (think again of Kardashian’s white swimsuit selfie, which is featured in numerous articles discussing the selfie). Yet such symbolic images are not necessarily representative of larger trends. Therefore, before making conclusions in order to avoid generalizations unsupported by measurable evidence, some methodological questions should be clarified. For instance, if we use content analysis, a standard method used in communication studies, we should be able to answer the following: what is the source of the selfies we are to analyze and why we have chosen this particular source, what is the total amount of selfies inspected, what kinds of categories we should use for analysis, what is the statistical breakdown within this set of selfies supporting and contradicting our preliminary hypothesis, etc. By analyzing large sample of selfies taken in specified geographical locations during the same time period, Selfiecity argues that we may be able to see beyond the individual agendas (such as the notorious celebrity selfies) and instead notice larger patterns, which sometimes can contradict popular assumptions. For example, considering all the media attention the selfie has received in 2013, it can easily be assumed that selfies must make up a significant part of images posted on Instagram. Paradoxically enough, Selfiecity revealed that only approximately four percent of all photographs posted on Instagram during one week were selfies.
Selfie as Old and New Genre of Photography

In addition to the multiple interpretations expressed so far, it seems especially relevant to view the selfie in the larger context of history of photography and self-portraiture in general. The selfie can be interpreted as an emerging sub-genre of self-portraiture, as an example of the digital a turn in vernacular photography as well as a side product of the recent technological developments, which in their impact and scope are not unlike the revolution in photographic practice associated with the Kodak Brownie camera and its availability for the masses starting in the early 1900s.
Often the term is applied retroactively to proto-selfies or self-portraits made in the nineteenth-century and early twentieth-century photography. These accounts inevitably start with Robert Cornelius’s selfie, a daguerreotype self-portrait made in 1839. 17 Another outstanding example of early attempts at dramatically staged self-portraiture is Hippolyte Bayard’s Self- Portrait as a Drowned Man (1840). 18 In the context of early photographic portraiture and self-portraiture it is also interesting to note the chosen background or environment. “If a European staged himself outside the studio, the site was most likely a classical or Egyptian ruin. The American pioneer (‘The American Adam’) situated the self in space – unquestioned, unquestioning, claiming the ultimate otherness of the wilderness, building the American Self,” wrote curator James Lingwood. 19 Kandice Rawlings, art historian and Associate Editor of

Oxford Art Online asserts: “It seems that from photography’s earliest days, there has been a natural tendency for photographers to turn the camera toward themselves.” 20 Photography can easily be used as a tool for constructing and performing the self. Photographic self-portraits offer ultimate control over our image, allowing us to present ourselves to others in a mediated way. The same problem has been encountered and addressed by artists and photographers. Dawn M. Wilson has pointed out that “[i]n self-portraiture, an artist seeks to have the same kind of access to her own face as she has to the face of any other person whom she might choose to portray; this is why mirrors are invaluable: it is not possible to see my own face directly, but I can see my own face in a mirror.”

It seems even disquieting how true and relevant is what art historian Jean-François Chevrier wrote almost thirty years before the explosion of the selfie-mania: “The most intimate place for narcissistic contemplation, the room with the mirror – a bathroom for example – becomes in this context the most common of places, where every distinction of the self is in the end abolished.” 22 By inspecting individual Instagrammed selfies that were analyzed in Selfiecity, a selfie taken in front of a mirror stands out as a particular type or even sub-genre of the selfie. Moreover, often it is the very bathroom mirror mentioned by Chevrier, sometimes also a mirror in an elevator or a gym. Attempt to identify mirror selfies from large data sets using computational image analysis methods would be quite challenging. Because Selfiecity project aims to show what computers can see in images today, the team did not focus on the analysis of the background spaces in the photos.

Chevrier makes unpacking this construction of the self and the selfie even more complicated by applying terms of Lacanian psychoanalysis to photographic self-portraiture. According to Chevrier, “We can no longer escape the obvious truth that every identification pre-supposes the mediation of an image and that there is no identity that does not pass through this process of alienation. (…) Every self-portrait, even the simplest and least staged, is the portrait of another.” 23 This “another” is also a social construction. As research by Nancy Van House, Professor at University of California Berkeley School of Information, has shown, “making, showing, viewing and talking about images are not just how we represent ourselves, but contribute to the ways that we enact ourselves, individually and collectively, and reproduce social formations and norms.” 24
Furthermore, in photographic self-portraiture, according to Amelia Jones, “technology not only mediates but produces subjectivities in the contemporary world.” 25 Accordingly, the use of technology, the new online platforms of dissemination of the images in particular, is what makes selfies different from earlier forms of self-portraiture. Rawlings notes that “On one hand, this phenomenon is a natural extension of threads in the history of photography of self-portraiture and technical innovation resulting in the increasing democratization of the medium. But on the other, the immediacy of these images – their instantaneous recording and sharing – makes them seem a thing apart from a photograph that required time and expense to process and print, not to mention distribute to friends and relatives.” 26 Instantaneous distribution of an image via Instagram and similar social networks is what makes the phenomenon of the selfie significantly different from its earlier photographic precursors. It is a product of a networked camera. The selfie consists not only of a self-portrait photograph, but also of the metadata, generated automatically and by the user, of the chosen platform of sharing it as well as the following comments, “likes,” and re-sharing by other users.

The very raison d'être of a selfie is to be shared in social media, it is not made for maker’s own personal consumption and contemplation (for clarity’s sake, the term selfie in this research is applied only to the self-portraits shared via social media, in accordance with the definition provided by Oxford Dictionaries). By sharing a selfie Instagram users express their belonging to a community, or a wish to belong to one. As artist and critical thinker Paul Chan has put it, “In belonging we actualize ourselves by possessing what we want to possess us, and find fellow feeling from being around others who own the same properties. And by properties, I mean not only tangible things, like shovels or tangerines, but more importantly, the immaterial things that give meaning to an inner life, like ideas, or desires, or histories.” 27 Thus performing the self is at once a private and individual and also a communal and public activity. The individual and unique #me becomes part of #us, a virtual community via means of a common platform for image sharing and the uniform image format provided by Instagram.

Why Instagram Matters?

The project has some socioeconomic limits as data (i.e. selfie) production is limited to users of smartphones who are also active users of Instagram. Even though it may seem that about everyone in the world is, actually only a relatively small fraction of the world population is on Instagram. The United Nations’ International Telecommunications Union have mentioned “around 6.8 billion mobile subscriptions” by the end of 2013, which is a significant number considering the current world population of approximately 7.1 billion. 28 The number of smartphones, however, is significantly lower – only 1.4 billion by the end of 2013, according to Business Insider. 29 The number of Instagram users is even smaller – more than 150 million monthly users in 2013. 30 A person to be an active Instagrammer anywhere in the world means to fall within a certain income bracket that supports the purchase of a smartphone and monthly expenses related to network subscription and service fees (or to be a dependent of such a person). In addition, it is mostly young adults who post selfies to Instagram – median age of a selfie-maker in Selfiecity sample of 3200 photos is estimated to be 23.7 years. Describing an earlier research project phototrails.net 31 that also was based on analysis of photographs posted on Instagram, Lev Manovich and Nadav Hochman have emphasized the following: “Our work takes advantage of the particular characteristics of Instagram’s software. Instagram automatically adds geospatial coordinates and time stamps to all photos taken within the application. All photos have the same square format and resolution (612 x 612 pixels). Users apply Instagram filters to large proportion of photos that give them an overall defined and standardized appearance.” 32 In addition, the whole phenomenon of Instagram is a perfect example of “softwarization” that Manovich discusses in his most recent scholarly book Software Takes Command: “The new “global aesthetics” celebrates media hybridity and uses it to engineer emotional reactions, drive narratives, and shape user experiences.” 33 What else makes Instagram so fascinating to study is that we can view it as an archive in the process of becoming. Unfinished, live and living archive evokes multiple exciting questions from the perspective of the recent and much discussed “archival turn” in art historical writing and digital humanities as well. 34

Art of the Masses, Finally

The artistic and aesthetic aspects of the selfie form a part of this media hybridity requiring further attention. As often is the case with new trends, the conservative voices have hurried to claim that selfies definitely are not (and cannot be viewed as) a form of art. For Hochman, Nadav, and Lev Manovich, “Zooming into an Instagram City: Reading the local through social media.” First Monday 18, no. 7 (July 1, 2013): n.p. http://firstmonday.org/ojs/index.php/fm/article/view/4711/3698

31 Manovich, Lev. Software Takes Command (New York, London: Bloomsbury, 2013), 179. For a general introduction about the archival turn in relation to photography, see Visual Resources: An International Journal of Documentation (special issue: Following the Archival Turn: Photography, the Museum and the Archive) 18, no. 2 (2002). For the most recent debate on archives and digital data, see Journal of Visual Culture (special issue: The Archives Issue) 12, no. 3 (2013). instance, Stephen Marche has argued that the ease of taking and disseminating selfies prevents these images from entering the rarified field of art: “We still think of photographs as if they require effort, as if they were conscious works of creation. That's no longer true. Photographs have become like talking. The rarity of imagery once made it a separate part of life. Now it's just life. It is just part of the day.” 35 Of course, the selfie is not an example of art for art’s sake, but it very well could be a new art for the masses, almost like Lenin would have liked it. Or finally “everyone is an artist,” just like Beuys envisioned it. And just as family snapshots a couple of decades before, the selfie, the vernacular of the twenty first century, already has entered the museum and the artworld. Selfies have been exhibited in art museums, for instance in the video installation National #Selfie Portrait Gallery in National Portrait Gallery in London, curated by Kyle Chayka and Marina Galperina. 36 The camera manufacturer Leica sponsored an open call of selfies in order to produce a coffee-table book.

Section 3
Methodology
This chapter deals with the research methodology. It includes the site and participants, the plan of the study, and data analysis procedure. Site and Participant
The study was conducted at the school of Zamboanga City State Polytechnic College (ZCSPC) R.T. Lim Blvd, Baliwasan Z.C. and is located at the west coast. Near from the city proper.
The participants of the said research is the fourth year highschool students of Zamboanga City State Polytechnic College.

The Plan of the Study 1. What is Selfie?

Selfie is a new word in the oxford dictionary. It is defined as a picture taken by yourself and uploaded in facebook, My space, Instagram and other websites.
Selfie helps us to express ourselves and also it helps us to gain more self-confidence.
It can also help us to express our emotions through pictures and also to capture our daily activities by sharing it to others. By selfie we can get the attention of other people and someone will recognize and appreciate you. But too much selfie can also lead us to obsession and sometimes it destroys our reputation.

2. What are the benefits of selfie to the fourth year students of Zamboanga City State Polytechnic College?
The benefits of selfie to the fourth year students of Zamboanga City State Polytechnic College is to store the memories of each individual, used to express our feelings or emotions through selfie. By this, we can prove that sometimes a selfie is the best way of showing that you’ve spent time recently with your best friends and classmates. Another benefits of selfie, is it makes them feel enjoyed and interesting.

3.What are the disadvantages of selfie obsession?
If there are advantages of selfie, there will be also disadvantages that they can get in taking selfie. Just like they can experience cyber bullying which makes their life miserable.
It also have disadvantages to the students because even class hours they are taking their selfies which can also destroys their studies.

Even someone who will appreciated and recognized you in taking selfie but remember there is someone who will judge you.

Data Gathering Procedure

High School | Gender | Total | Respondents | Total | Percentage | | Male | Female | | Male | Female | | | IV-A | 27 | 18 | 45 | 16 | 11 | 27 | 60% | IV-B | 12 | 27 | 39 | 5 | 8 | 13 | 40% | Total | 39 | 45 | 84 | 21 | 19 | 40 | 100% | | | | | | | | | | | | | | | | |

The table illustrate that there were two (2) sections in ZCSPC, Fourth year highschool students. These sections were IV-A, and IV-B. which were use as randomly selected to find out the opinion, ideas and status about selfie obsession.

Data Analysis Procedure Interview Questions | Number ofRespondents | % | | YES | NO | MAYBE | | 1.I often spent time taking selfies that I meant too. | 4 | 16 | 24 | 88 | 2. I would find it very difficult to make it through a day without taking a selfie. | 3 | 27 | 9 | 78 | 3. I spend a lot of time thinking about selfies or planning how I will take selfies. | 4 | 24 | 11 | 82 | 4. I feel an urge to take selfies more and more. | 0 | 30 | 9 | 78 | 5. I take and post selfies in order to forget about or avoid doing other things. | 5 | 23 | 11 | 78 | 6. I’ve tried to cut down on the amount of selfies I take without success. | 4 | 21 | 14 | 78 | 7. When I post a new selfie,I am very disappointed if no one comments on it. | 2 | 28 | 2 | 64 | 8.I take selfies so much that it has had a negative inpact on my relationship ob or studies. | 1 | 34 | 2 | 74 | 9. I imagine everything I do as a selfie. | 6 | 24 | 5 | 70 | 10. Posting selfies makes me feel important. | 7 | 22 | 4 | 66 |

In this table it shows the number of respondents who answered the following questions of the title facing the problem of the good, the bad, and the unexpected consequences of selfie obsession. Section 4
Findings
The result of the study shows that there are more fourth year highschool students who answered NO and MAYBE in the research that we conducted. It only shows that there are few highschool students of Zamboanga City State Polytechnic College is obsessed in the trending word today “selfie”.

Conclusion
Therefore we conclude that students of the said school is not addicted/ obsessed in the trending word today “selfie”. But it is said that Philippines is the “selfiest country in the world” and also Makati, Pasig, and Cebu City are the “selfiest cities in the world.”. It is also conducted that there were advantages and disadvantages that we can get for being selfie obsession. In advantages we can get the attention, appreciation, and popularity from other people while the disadvantages are, we can be judged by other people and we can be addicted in selfies. There is no wrong in taking selfies but remember too much selfies is not good to us.