This post originally appeared on the blog of cinemagraph creator Mario Sahe-Lacheante. We're sharing it here with his permission.
Now that we’re familiar with, and all excited about, cinemagraphs, the next step is to just go out and try to create some for yourself. (If you're reading about cinemagraphs for the first time, please refer to my earlier blog post here for an introduction.)
Creating cinemagraphs will be a lot of fun, and will most likely become a passion soon after your first few attempts.
As you start out and fall in love with cinemagraphs, and keep practising and pushing to get better, you might even end up landing some work for clients.
Should you find yourself anywhere in this creative spectrum, I thought I’d share a few tips with you from my experience:
- Subtlety is leader, but not always king. Subtlety is definitely the magic component in most cinemagraphs, from breezy hair or dresses, to softly poured drinks, subtlety is usually where it’s at. Until it’s not. Some people would have you believe that a cinemagraph is not a cinemagraph if the movement isn’t subtle. To me, that’s like saying a photograph isn’t a photograph unless you’re using an expensive lens. While it goes a long way to help, it’s not mutually exclusive, and you can make good cinemagraphs with bigger motion the same way you can take great shots on your phone. Referring back to our earlier definition of a ‘living photograph’, approach your cinemagraphs with this question: “What motion will really make this image pop?”. I’ve seen and created cinemagraphs where the motion was very obvious and even took up most of the frame, without breaking the cinemagraph aesthetic, and others where the motion can take a moment to spot. So the rules aren’t cut and dry.
Here's an example of a lot of motion in a cinemagraph that I shot for Shell at the Goodwood Revival festival in the UK: