Hey! Welcome to the third edition of Gif(t) Images. To simply repeat the premise: this is where I'll be giving you the gift of several GIF sequences that I've shot in recent history. You get the pun, right? Giving you a GIF image as a gift. Or something. Let's just explain the concept here… It's quite obvious that the advent of digital cameras and the rapid technical progression of BMX has left photographers shooting more sequences than ever. Sometimes those sequences are just that: a sequence of images meant to be laid next to one another. These days, though, most people try to shoot what some of you may know as a "seamless sequence" or "morph sequence." That's basically what you see directly below: two Garrett Reynolds’ in one image, using the "peak action" to correctly show what went down. Much like everything in life, this is done in Photoshop. But, there's often a lot of frames that get left out of the final image. And there in lies the idea behind Gif(t) Images…
Fair warning: some of the GIF's are fairly large, so they've been broken into separate pages. Wait for them to load properly and every photo is available larger if you wanna click it.
Garrett Reynolds – Manual-to-barspin-to-wallride
This school got destroyed on the Cinema trip last year. Garrett comes through yet again with stuff that the average person wouldn't even consider possible. The amount of time/distance he has from when the bars are just at the sweet spot to the wall doesn't even seem possible. And, if the wall looks slanted to you, it's not. The "double exposure" version of this ran in the NORA Cup 2013 article in Ride.
Bruno Hoffman — Opposite pegs-to-180-to-halfcab
Every time I see this sequence, I immediately think of narrowly missing the cops as we pulled out. Some random hero started screaming at us to the point where everyone left, taking Will's and my own bags with them so we could escape as quickly as possibly. Bruno got it done and we bounced as quickly as possible, rounding the corner just as a cop was hauling ass down an opposite street straight towards the school. Gotta love it. Also, another prime example of Will taking the back line allowing me to piece together the sequence properly. I love Will.
Dakota Roche — Ice/ice/ice-to-nose manual
This is a horrible low-light situation (most of the sequences that are black and white usually are), but how could you at least not attempt to shoot this? Christian Rigal was helping Dakato film for Talk Is Cheap and I mean it in the nicest way possible, but Christian is a little more militant about his clips than other filmers. He wants everything to be perfect and I don't blame him. And although there's a slight overlap on one of the frames, it all worked out in the end and I'm %99 certain I passed this photo onto Dan's Comp, because we had an abundance of Dakota photos (this was before we decided to work on an interview with him). I never saw Dan's put out the photo, so I don't think I should post the seamless. Sorry! Oh, and if you're wondering why there's like four extra frames of Christian in there; I just thought it was funny how predominant he was in the frame at the end, so I kept the button down. Photographer humor.
Dan Lacey — Barspin & 360
Dan is one of my favorite people to shoot photos with because he truly is a no bullshit dude. If he says he wants to do something, he's 100% in from the very first go. I love it. This isn't something I'd normally shoot, but when he called it out, I immediately whipped my head around in search of some high ground and it worked out perfect. In the moment, I remember being undecided it I would run the entire sequence (I left a couple of the very first frames out, but I enjoy how he snakes from top right to the bottom right) or just the two key images. In the end, we decided to keep it simple in his interview in Ride and just go with the two.
Kert Petersel — Roof 270
I love this sequence. There’s just so much going on that you really appreciate how a second or two can make a world of difference. Homie in the Jameson shirt smoking a cigarette at 11am had already kicked us out about ten minutes earlier threatening to call the cops. We made the move to leave, but Kert changed his mind and said he’d fire it out right away. Sean Burns, Dakota Roche (thanks to Dak for the spot, too), and I set up across the street and Kert ran up and gave it one quick look. The guy must have spotted us and was on his way to block the path. We called out that he was coming, but I’m sure Kert didn’t know he was actually on his way to block him and I’m sure the guy didn’t expect that Kert gate-started towards his roof, either. Imagine the scene if he actually got a piece of Kert? And just when it seemed all was well, a Lexus comes along and almost hits him…