Hi hi hi! Welcome to the sixth 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: several 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…

If you haven’t seen the previous Gif(t) Images, check ‘em…

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.

Connor Lodes – Nollie pegs-to-quick bar
This was shot on a Premium trip to Chicago in 2011. I remember the trick itself being pretty uneventful. Connor is dialed and he did this pretty much right away. What I do remember is that we bumped into some kid along the way and he came to this spot with us and just chilled. He was quiet, but seemed all right. Premium TM Colin McKay hooked him up with a shirt and did some sort of social media swap. Well, this unassuming kid straight up filmed a majority of the session, put it online, and ignored requests from Colin to take it down. Well-played, young scumbag. Photo-wise, this is definitely a place-the-camera-on-the-ground photo and I left the gif sequence pretty much untouched. I do remember being somewhat psyched on the relative tight framing…having one of those moments where I thought I may have blown it as Connor popped the bar a little more than I expected. But, all was well. This was shot at a higher ISO (1000 on a Canon 7D in this case), so I turned it black and white just to make it tolerable. 1000iso on a 7D turns up pretty noisey in the mag.