They give off this wonderful feeling of energy and excitement that most brides would love to have documented.” “A sequence of images is such a compelling way to present a story. This same notion could not be truer for the world of wedding photographers, adds Moher. “When photographers start understanding that motion is nothing but a bunch of still images spliced together, there’s going to be a huge explosion in hybrid,” says Sciorio. Pushing himself into exploring the more “experimental” forms of photography in 2009 after enduring a six-month drought in employment, Sciorio re-launched his photography business with a new hybrid mindset and cinemagraphic skills in his back pocket.
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He went full time with photography in 2005, just a few years shy of the recession. Sciorio learned to take the next step for his career the hard way. “Animated portraits are just video for photographers.” They don’t need to be moviemakers,” Sciorio says. Though these animated portraits seem to be on another level, they are still rooted in photography, Sciorio insists, so they serve as a logical step for photographers interested in exploring motion. The cinemagraph sums up so much in one file.” It was such a warm, beautiful night, and the family of the bride and groom had been swimming earlier that day. “The cinemagraph of towels blowing in the summer breeze is one of my favorite examples of this kind of moment. “There are times at weddings when I feel a photo just doesn’t seem to provide a proper sense of the feeling at that particular moment,” Moher explains. All serve to enhance a moment perhaps best remembered in their own bubble of motion. And then there is environmental animation, a repeated action that takes place somewhere in the landscape, such as Moher’s GIF of a bonfire crackling behind some billowing towels drying on a rail. Subject interaction animation, when the subject interacts with a prop, can be seen in one of Moher’s GIFs (shown in gallery), in which a makeup artist brushes some blush onto a bride’s face. The home page of his online portfolio features the first, called subject animation: a young woman slowly bursts into laughter, flips her head of curly hair, then seemingly flips it back into place as she composes herself to square one. Sciorio classifies animated portraits into a few different categories. Wedding photographer Jennifer Moher shoots a sequence of stills with her Nikon D4 and 35mm f/1.4 lens, which she then opens in Lightroom, layers the images in Photoshop and saves as a GIF.
There is more than one way to create cinemagraphs, which the online world simply calls GIFs. Sciorio also edits his clips in After Effects and Final Cut.
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1 on the Mac App Store list of photography apps in over 50 countries within a couple weeks of its release. Using short video clips taken with his Panasonic Lumix GH3 and GH4, he makes his cinemagraphs using Flixel’s Cinemagraph Pro for Mac, an app that hit No.
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“We’re in the beginning of the age of screens,” says Giulio Sciorio, a hybrid photographer and educator who capitalizes on this age by creating and teaching others how to make cinemagraphs, or animated portraits. But the consumer’s hunger for innovation and the photographer’s thirst for survival in an increasingly competitive industry has lead us here. The fascination of hybrid photography-or the creative melding of still and motion-has taken certain photographers to places they could not have guessed existed a decade ago. There may have been a time when a bold line was drawn between still and video, but as the years pass and technological advancements exceed our expectations of what’s achievable, that line has depleted into near obsolescence.
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