The connection between filmmaking and photography is complex. As we have noted often at our Motion Arts Pro newsletter, the differences between the two mediums is profound, even as the border between these two creative realms becomes more and more porous, with photographers moving seamlessly between still and motion. Last year we spotlighted an essay at Time LightBox in which Phillip Prodger, the head of photographs at the National Portrait Gallery, examined how still photographers are increasingly “playing with the cinematic before and after, bringing the language of visual progression to bear on individual pictures.”