Food Cinemagraphs with Daria Khoroshavina

Words by Danielle Irene

Published Dec. 31, 2018

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One of the most delectable corners of the internet belongs to the foodies: people from all over the world uniting together over a shared love of food.


In a town in Moscow, Russia, there is a woman by the name of Daria Khoroshavina creating cinemagraphs of breakfast, lunch, and dinner. And dessert. And wine. And dessert wine.


A cinemagraph is a little-known but highly demanded art form of the 2010s. In essence, it’s a still photograph where a minor movement is repeated. Cinemagraphs are usually published as GIFs, but unlike any regular GIF, a cinemagraph is manufactured to be viewed as a neverending video instead of just a TV show or a video clip.


In other words, there has to be cinemagraph artists in order for there to be cinemagraphs.


“When I’m asked about what I do, I usually just say that I’m a food photographer because it's too difficult to explain,” remarked Khoroshavina. “But it’s the uniqueness of this work that makes it the most fun.”


Khoroshavina has made a business out of creating food cinemagraphs called Kitchen Ghosts. Browsing the Kitchen Ghosts website or Instagram, you’ll probably find yourself drooling over a delectable birthday cake or hearty pizza within minutes.


“I’m really glad that I focused on one thing and now can call myself an expert in it,” she concluded.


Becoming a cinemagraph artist has changed Khoroshavina’s life, and she urges others to explore the craft, despite its initial setbacks. “[Making cinemagraphs] is much more difficult than just doing food photography. A lot of food photographers try making cinemagraphs and give up very fast, because it’s not as simple as just switching the camera to video mode,” she explained.


But it’s not impossible. Khoroshavina and Kitchen Ghosts is living proof of that. “Cinemagraphs require a lot of patience and painstaking work, but when you master it, it's all worth it.”


You can keep up with Daria and Kitchen Ghosts on Tumblr and Instagram.

See the rest of the articles from issue four here.

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