![]() The images, taken with my Panasonic GH4, were specifically designed for social feeds.” “The client was 3D Robotics, and I shot photos of their Solo drone at Spaceport America in New Mexico. But often with constraints comes great creativity.” “I feel more in touch with the roots of photography,” he adds, “and I have to be more creative because of the constraints of the screen size. He thinks of the iPhone 6 screen as a 6x7 transparency, and keeps in mind what’s going to be attractive and attention-grabbing at that size. Working on a smaller canvas is a matter of deciding what’s important in the frame, directing attention to a single subject, keeping an eye on the borders, and eliminating the extraneous to deliver the message effectively. Sciorio finds that creating images other than cinemagraphs specifically for the small screen is also a return to the basics of photography. I look at the scene, I know I want this element to move, those elements to be still.” “You have to shoot with intent, and get the image right in the camera. “To produce cinemagraphs your work has to be rooted in the basics of photography, in the meat and potatoes of the craft,” Sciorio says. “The video plays beneath the frame,” he says, “and what’s revealed through the opening is what’s moving.” In effect, he’s opened a window in the still image through which a chosen section of the video will be seen. Then he opens a section of the still frame. ![]() In postproduction, he uses Cinemagraph Pro in conjunction with Adobe’s Creative Cloud suite to isolate a single frame from the video and lay it on top of the video. With his camera on a tripod, he shoots a video, having already determined which elements in the cinemagraph will be moving and which will be still. Inspired by photographer and film director Greg Williams’s work, Sciorio began to produce cinemagraphs, which are not quite stills and not quite videos, but wonderfully effective combinations of the two. I shot this in the downtown Los Angeles subway with my Panasonic GX8.” “They sell prepaid smartphones, and their target audience is millennials. ![]() If the market was going to the small screen, that’s where he’d go-but he’d go with something new. ![]() So why was I using only one-third of the tools I had? Why was I trying to sell only one kind of product?” “The creation point for all three of those is my camera: it shoots stills, video and records audio. “A mobile device can display still images and video, and it can broadcast audio,” Sciorio says. That media was no longer the two-page spread in a magazine it was the small screen of a smartphone, and he needed to create content for that media.īut what kind of content? Surely not the same images that once sold for print. He realized that as suppliers of images, photographers had to think of the media upon which their photos will be seen. “I was always on it, my friends were always on it, and if our eyes were always on it, wouldn’t it be great if my photos would be on it as well?” The probable cause of his problem was close at hand in fact, it was in his hand. In 2009 the market for Giulio Sciorio’s commercial images was drying up clients who once bought his photographs for print were no longer calling. “It’s a frame grab from a super-subtle cinemagraph: the rubber raincoat balloon guy is barely moving.” Giulio Sciorio shot this image for Net10 at the Albuquerque Balloon Festival with his Panasonic Lumix DMC-GX8.
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