The Magazine of Panoramic Imaging

PANORAMA The Magazine of Panoramic Imaging Fall 2001 Volume 18, Number 3 Two Secretary’s Message Panorama is the official publication of the Interna- President’s Message tional Association of Panoramic Photographers. Membership Renewal Submissions for Panorama must be sent to: On Tuesday, September 11, 2001 Baltimore, MD. Time Approaching IAPP the United States was violated Richard Schneider By Richard Schneider, Secretary/Treasurer Panorama Magazine Editor by unfathomable acts of terrorism, One of the major reasons P.O. Box 6550, wounding and killing innocent members attend a con- With autumn approaching, we are look- Ellicott City, Maryland, 21042, USA human beings. We are a strong vention is for the speaking forward to our annual membership [email protected] nationT and along with our world- ers and presentations. It renewal season. Unlike last year, mem- wide allies, will overcome the evil would greatly facilitate President: bership forms will be mailed to all cur- Peter Lorber forced upon us. To our members matters if I hear from rent members 1385-87 Palmetto Park Road West living and working in New York you on the subjects you as opposed to Boca Raton, FL 33486 W and Washington D.C., know we are would like to learn about. Also, please [email protected] being printed thinking of you. Our sympathies lie with contact me if you are interested in in Panorama. President Elect: the families of those killed by this attack. speaking. I know it’s early, but the con- We hope this Peter Burg vention will be here before you turn will help in 932 North Maitland Ave. Your officers and board have been busy around and we need to plan ahead for a members Maitland, FL 32701 planning the next International Conven- successful program. [email protected] renewing on tion. I wish to personally thank Jan and time. Secretary/Treasurer: Peter Burg and Richard Schneider for We are heading into the end of 2001, Richard Schneider their help in investigating new sites. signifying renewal time. Don’t wait until When you P.O. Box 6550, The Board made the final decision. So December to renew. Do it now to make Ellicott City, Maryland, 21042, USA receive the [email protected] mark it down on your calendar, October sure you receive your March issue of forms, it is of 8-13, 2002 in Shepherdstown, WV. The Panorama. We are also working dili- paramount importance to fill them out Directors: area has a number of attractions such as gently to increase our membership. New entirely. Please do not respond with Alan Bank - Tupelo, MS Harper’s Ferry National Historic Park, members bring fresh ideas we can all [email protected] “same as last year” or assume that we Ron Klein - Juneau, AK and is accessible from a number or gain from. have information on you dating back [email protected] Peter areas including Washington, D.C. and several years. Accurate and Ben Porter - Asheville, NC [email protected] up-to-date information will Mark Segal - Chicago, IL serve us all well and ensure [email protected] that your magazines and other correspondence Chairman of the Board: Liz Hymans arrives to you on time. Tiburon, CA - 415.435.5842 This request applies to ALL [email protected] members, be they rank-in- file, Charter and Life Mem- Panorama Publisher: This photo of Harpers Ferry taken from Maryland Heights, was one of the first pictures Mark Warren Wight - Winter Springs, FL Crabtree took with his #10 Cirkut Camera. The film was GAF aerial film. bers of IAPP. [email protected]

Original written articles and supporting materials, such as photographs or image files, shall be submitted to the Panorama editor for consideration. Articles may be edited and may or may not be published at the discretion of the editor. Submissions will be returned only if a self-addressed stamped envelope has been provided. IAPP is not responsible for any loss or damage to the original materials that might occur during handling or while in transit. Articles and supporting materials are for one-time use unless other arrange- page 19 page Ten page

ments have been made between the creator(s) of the text and images and page Five IAPP. The author / photographer retains full credit and copyright to their page Seven

submissions in an edited or unedited form. Memorable Shots Central Park Views Boston Conference Using Stitcher 3.0.1 ISSN #1090-994X IN THIS ISSUE Three ...please take this opportunity to consider Richard G. Fowler Foundation Update By Alan M. Bank-Chairman joining and becoming active... When you think of IAPP, remember neider, who sug- we are a viable organization, wanting gested we file with We would like to welcome the following • The quarterly publication of Panorama to grow, and needing to create a qual- the IRS and make new (and old) members of IAPP: Magazine. ity mission and purpose in order to the foundation a serve all our members. 501-C-3 non-profit Douglas Collins • The on-line and printed versions of the Part of that growth should happen fund, which we Brownsville, Texas Membership Directory and Network. throughW the Richard G. Fowler Foun- are trying to complete this year. Stephen Comer dation, which was started two years Columbia, South Carolina • The opportunity to have personal ago to help us provide same funds There are many ways to give with- Jan Faul work featured in Panorama Magazine, in the future for a worthy cause. out actually giving cash dollars Tuscarora, Maryland the panphoto.com web site, and in pho- The original goal still stands and that that I will write about in our next Nicholas Hellmuth tography exhibitions conducted as part is for 100% of the members to donate issue of Panorama. I will list a dozen Bowling Green, Ohio of our International Conventions. a minimum or more ways Jordi Llobet I Piero of $5.00 per that you can Barcelona, Spain • Lower registration fees for IAPP Inter- member Lets role up our sleeves and make contribute Charles Waldron national Conventions and regional con- per year. So a commitment, and as a result of that are legal Austin, Texas ferences. far over 50 and would members working together make this avenue help the foun- If you are a reader of this issue of Pan- • The opportunity to vote for and hold have con- of IAPP a big success. dation. orama and not a current member of elected office on the IAPP Board of tributed, IAPP, please take this opportunity to Directors. and we Lets role up consider joining and becoming active now have about $2000.00 in the fund. our sleeves and make a commit- in the oldest non-profit organization • Knowledge gained from meeting face- This is not philanthropy at its pin- ment, and as a result of working devoted to panoramic photography. For to-face with some of the world’s best nacle, but like anything else it’s a together make this avenue of IAPP a membership form or other infor- and most experienced practitioners of start. Who knows maybe some day a a big success. Please tell us what mation, please contact the IAPP Secre- panoramic photography and panoramic well-heeled member might throw the you think and write me or our tary directly or visit our web site at digital imaging. foundation a bone or another member President, Peter Lorber, of any www.panphoto.com. might get some inheritance that we ideas you might have. I can be We hope to see you this October at the might watch that would make a reached by fax at 662.566.7207, Advantages of membership include, but Boston regional conference and later on real challenge for all our members. telephone 862.566.2699, P.O. Box are not limited to: at the Chicago regional conference. Best The money is being managed by 1456, Topelo, MS 38802 or, email of luck to the organizers and safe travels our secretary/treasurer, Richard Sch- [email protected]. to the attendees! IAPP Mentor Program

We have also decided to start a mentor program. Mentoring means giving mentor please contact Peter Burg at 932 N. Maitland Avenue, Maitland, FL 32751 advice, answering questions about various panoramic cameras, the technical USA or [email protected]. He will make sure that you are included in the aspects of creating a particular photograph (ie: film type, exposures, locations, mentor list in Panorama magazine and on our Panphoto web site. Please include area labs) familiarity with various VR/stitching programs and/or how to the following information: Your name and address, telephone number and email Wenhance images through computer manipulation. If you are interested being a address, type of camera specialty, type of manipulation specialty (PC or MAC). Four Exhibitions and Gallery Spotlight

A Different Perspective: Vaniman, the lia’s major cities and scenic acrobatic photographer sights. The State Library of New South Wales Macquarie Street, Sydney NSW Austra- State Librarian & Chief lia 2000 Executive, Dagmar A Schmidmaier said: “The A Different Perspective: Vaniman, the acro- State Library houses the batic photographer, officially opened at world’s finest collection of the State Library of NSW on July 11 Vaniman’s beautiful and and will run until October 14, 2001. intricately detailed This exhibition presents 21 panoramas panoramas which can only Sydney Harbor - taken from a tethered balloon at North Sydney, 1904, by Melvin Vaniman. Platinum Print, 16 x 48”. by the multi-talented ‘Yankee’ who went be fully appreciated when to outrageous lengths – not to mention observed close-up.” “Van- of black and white panoramic photog- in a single shot, to utilize the higher giddy heights – to photograph Austra- iman’s work represents the pinnacle raphy,” says exhibition curator Alan viewpoint. He had always intended Davies. that his panoramas be seen as massive enlargements up to 5 meters long, but Chicago Conference Melvin Vaniman (1866-1912) was a pho- none are known in that format. December 6th - 9th, 2001 tographer with a head for heights. Fortunately, the majority of Vaniman’s By Shane VanBoxtel His panoramic photographs were nearly panoramas survive as platinum prints, always taken from high above the contact printed from the original neg- Don’t forget to reserve a room for the the hotel from deli to fine dining. ground and if a nearby building or atives. These prints were expensive December IAPP Conference in down- Shopping and Chicago’s history and ship’s mast was not at hand, he erected to produce and required exposures of town Chicago at the Seneca Hotel. All style surround the hotel and if we his own 30 meter pole to achieve a between two and four hours in sunlight suites are $89/night. reserve 25 rooms, the conference bird’s-eye view. His antics atop a pole in to produce, but their longevity and room is free which will make registra- Katoomba Park in 1904 earned him the exquisite tonality have made Vaniman’s DThe hotel sits one block off of Mich- tion costs next to nothing. nickname ‘the acrobatic photographer’. persistence with the technique worth- igan Ave. “The Magnificent Mile” When his trusty pole didn’t give him while. right behind the John Hancock Center. Just be sure to mention the IAPP the height necessary to photograph the Chicago’s downtown transforms into conference. All fine details are being entire city of Sydney in a single sweep, As a pioneer aeronaut, Vaniman made “The City of Lights” in the winter and worked out and should be finalized he imported a balloon from America and two attempts to cross the Atlantic Ocean Navy Pier is a scenic 10 minute walk by early October. spent months tethered 180 meters above in an air ship, and was tragically killed from your doorstep. North Sydney, experimenting with the on his second attempt in 1912, in an Questions and information on speak- new perspective. explosion off the coast of Atlantic City. Photo excursions are on Saturday the ers and volunteers, etc. can be 8th and start immediately when you emailed directly to Shane Van Boxtel, Vaniman even built his own camera, A Different Perspective: Vaniman, the acro- walk outside. Five restaurants are in [email protected]. able to record panoramic views on film up to 2 meters in length and 50cm wide continues on page Six Visit IAPP on the World Wide Web >>>panphoto.com<<< Five Fall Conference in Boston Area October 25-28, 2001

IAPP members and guests are cordially like Rockport (Motif #1, Bearskin Neck, China/Tibet trip. lunch (or whatever). invited to spend some time in the Pigeon Cove/Halibut Point), Gloucester Greater Boston area October 25-28, (the waterfront with excellent colors Stephen Delroy, will discuss and show Saturday, October 27 – is a day for where there will be plenty of time for on the fishing boats, Rocky Neck Art images from his recent Africa trip. shooting, sightseeing or attendance at photography, sightseeing, learning and Colony, Fitz Hugh Lane House), Essex the Boston Camera Show, one of the Irelaxing, or whatever suits your fancy. (excellent birding/natural beauty on D. John McCarthy, FUJI, will talk about largest and best-known camera shows in the Essex River), Ipswich (Castle Hill/ scanning panoramic images with the the country for the sale of used and col- Hotel –The wonderful Sheraton Colo- Crane Estate, Crane Beach) and the sur- new Fujifilm Finescan 2750 flat bed lectable cameras. Located in Waltham, nial Hotel and Golf Club in Wakefield, rounding areas to explore panoramic scanner, as well as how to create 360 MA, it is an easy drive from Wakefield. MA – a 220 acre resort offering an opportunities. degree immersive images. 18-hole PGA-Certified golf course (bring As a special bonus, poster versions of your clubs), racquetball at the 60,000 Friday, October 26 - is a day of learning Arthur Rainville, Portrait Department this issues cover photograph by David square-foot fitness complex, indoor from several speakers and demonstra- Chair at New England School of Pho- Marlin will be provided to all attendees tennis, indoor basketball, step aerobics, tions. The schedule is still being worked tography, and owner of Studio Rain- of the Boston Conference, courtesy of massage, saunas and more. Rooms are on, but so far, we have: ville, plans to discuss Digital, friend or David. $95 per night by mentioning the Inter- Linda Thompson, Creative Director/ foe - the good, the bad and the ugly; national Association of Panoramic Pho- Internet Solutions at Remote Reality, stretching the portrait boundaries with For further information, contact IAPP tographers when making your reserva- will go over some 360-VirtualTour sam- panoramas; and other topics. member Kevin O’Malley and his wife tion. The hotel cut off date for reserva- ples using QTVR and JAVA outputs and Barbara at 617-479-2767 evenings, or th tions is October 5 . The numbers are explain what software/hardware was Alternate events for spouses on October check the IAPP website at 800-325-3535 or 781-876-6056. used to create them. 26 are also planned. These include a panphoto.com. trip to Boston’s North End, shopping Transportation – to and from Logan is Peter Burg, IAPP President Elect, will at Filene’s Basement, Newbury Street or We look forward to your joining us for available through the Air Porter, and discuss and show images from his Copley Plaza, walk the Freedom Trail, this special event. reservations can be made direct by tele- phoning 877-899-6161. One-way fare is $25 per person, plus $8 for each addi- IAPP Conference Boston, Mass - Registration Form tional member of your group. If you Registration Fees Pre-Registration After 10.17.01 are coming in on the same airline at Members $25.00 $35.00 Non-Members $30.00 $40.00 about the same time, they will try to Spouses/Students $15.00 $15.00 give the additional rate to each additional IAPP member. Just mention you Name______Address______are with IAPP when you make your res- MAKE CHECKS ervation. City______State______PAYABLE TO IAPP Wednesday, October 24 – A casual Country______Postal Code______Send Registration form dinner is planned at a highly recom- and Checks ONLY to: mended local seafood restaurant for Telephone______E-mail______those interested in starting early on the Kevin O’Malley chowdah and lobstah. Credit Card Type (Visa or MC):______CC Number:______42 Carlson St. Quincy, MA 02169 Thursday, October 25 – A day trip Exp. Date:______Name As It Appears On Card:______to several quaint North Shore towns Six

Exhibitions and Gallery Spotlight from page 4

batic photographer is a FREE exhibition at: [email protected]. Visit the exhibi- Jane Keehn of the State Library of NSW at the State Library of NSW. For further tion on-line at www.slnsw.gov.au/exhib/ Library Shop ([email protected]) for information, please contact Vanessa Bond vaniman/ further details. at: [email protected] or Alan Davies Catalogs of the Article reproduced with permission. exhibition are available on request from the IAPP Secretary while supplies last. The booklet From August 25 until September 15, Melvin Vani- Alberto Gandsas of Buenos Aires, man: A Argentina will have an exhibit with Biographical some of his panoramic photographs Note (item from La Patagonia at the Agora Gallery #02-9273-1811) in New York City. Next December is available for Alberto will participating at the “ Bien- $15.00 AU. nalle Dell Arte “ in Firenze, Italy, also Please contact with panoramic photography.

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�� 1-800-368-4044 � �� Seven Stitching Panoramas Using REALVIZ Stitcher 3.0.1 By Alan Kafton One of the exciting activities at the file manager that you want to stitch. Stitching Window. (I like to use one that rotate, to zoom in, zoom out, etc. This Napa IAPP convention last March was Thumbnails of the loaded images will is on the horizon and will be near the capability is needed since Stitcher allows the fundraising “silent auction.” For appear in the Image Strip located at the center of the panorama.) Stitcher will the whole sphere to be populated with this event, a large number of companies bottom of the Stitching Window (Figure “grab” the image from your mouse con- images to create a full 360º by 360º view, donated items, with all proceeds going 1). Stitcher can import a host of file trol and automatically place it in the and the user must be able to zoom Odirectly into the IAPP coffers. One formats including TIFF and JPEG. It’s center of the Stitching Window. Next, and rotate to accurately place additional of the auctioned items was a copy of important to note that all images must drag an adjacent image from the Image images. Stitcher, a stitching software package have the same pixel dimensions. Strip into the Stitching Window, but this donated by REALVIZ. I was the win- time Stitcher won’t grab it from you To add images vertically to the hor- ning bidder and am reporting on its Stitching The – it must be man- izontal row already stitched, follow capabilities. Images ually placed and the same drag-and-position procedure To understand the properly aligned in previously outlined. For the Stitching Introduction To Stitching power behind overlapping posi- Window shown in Figure 2a, I used the Panoramic imaging as practiced by most Stitcher, it’s impor- tion over the first same single row of stitched images of IAPP members falls into two categories: tant to understand image. The two Figure 1, but added two rows of images rectilinear images shot on cameras with that each rectilinear overlapping vertically to capture the top of the tall a wide aspect ratio (such as the Linhoff image is first con- images are then building. Figure 2b show exactly the or Fuji 617’s, or XPan), or cylindrical verted so that it stitched by same image, except this time rather images shot on swing lens (Noblex, maps on the inside invoking the Stitch than a strait-on view of the horizon, I Widelux) or rotational cameras (Round- of a sphere. The icon. This process changed the perspective by zooming in shot, Hulcherama, etc). sphere diameter is is repeated and placing the center of the view in the set by the focal Figure 1 sequentially for middle of the tall building. Stitching is the process of combining length of the lens, each of the other multiple overlapping images into a and the film images. The upper There is one important additional capa- larger, wider-angle image. Most often, dimensions set the portion of Figure bility worth mentioning. Accurate stitch- the stitching source is a series of recti- area each image 1 shows the Stitch- ing is dependent on precisely knowing linear images from a standard digital, occupies on the ing Window with the lens focal length – and the value 35mm, or medium-format camera. These inside-sphere sur- one row of stitched written on the lens may be off by several are combined to emulate the cylindrical face. Before start- images. percent or more. Stitcher has an “Adjust output of a swing lens or rotational ing the stitching In reality, the all Images” function that uses the panoramic camera. Stitching software process, go into the Stitching Window overlapping pixel mismatch information automates this process – and by using Properties panel to Figure 2a is a portion of the to recalculate the lens focal length complex math, can significantly enhance set the film dimen- inside of the sphere and analyze lens distortion parameters. the results and offer many options not sions and lens focal previously men- This reduces the possibility of stitching available to Photoshop-level stitching. length – that makes tioned, and you errors. Using Stitcher, the process boils down sure we’re starting can think of your- to three basic steps: loading the rectilin- off on the right self as a “viewing Rendering and Exporting The Stitched ear images, stitching them together, and foot. camera” located in Images rendering/exporting the stitched image. the center of the Rendering is the final process in creating To begin stitching, sphere. Stitcher panoramas. It involves taking the Loading The Images start dragging the gives you mouse- spherical image that has been stitched This is the simplest of the steps: with first image from the click tools to look together, re-mapping it into the desired your mouse, select File > Load Images, lower Image Strip Figure 2b up, down, along and then select those images from the into the upper the equatorial axis, continues on page Eight Eight

Stitching Panoramas Using REALVIZ Stitcher 3.0.1 from page 7 projection, and exporting it in the concerned, the slider settings can be What I’ve learned is: 1) the perspective Large rendered vertical angles required desired file format. This is specified manually overridden, and I have ren- you see in the Stitching Window is very large viewing angles in the Stitch- in the Render Setup window (Figure dered up to a 570 Mbyte file. And exactly what you get in the rendered ing Window, and while you can cal- 3). Available Stitcher projections include even larger files can be rendered, subject output – so pay careful attention to culate the values on a trigonometric cylindrical, planar (rectilinear), to your computer speed, memory, and vertical lines; 2) the viewing angle in calculator or by simple trial and error, spherical, cubical, patience. the Stitching Window bares no relation- there is no easy graphical indication on VRML, Shock- ship to the rendered image in the hori- the screen. This is an area for software wave 3D, and Figure 4 is the rendered version of the zontal dimension – you always get a full improvement. cubic or cylindri- image shown in Figure 2a. (Since the 360º; and 3) along the vertical dimen- cal QTVR. A lot of image is less than 360º, portions of the sion, there is a complicated correlation Final Example number crunch- non-stitched blacked-out area have been between viewing angle of the Stitching Figures 6 and 7 give a great demonstra- ing going on cropped. Also, this panorama is only Window, vertical angle of the rendered tion of Stitcher’s robust capabilities. Will here!!! Output file partially complete since I’ve not stitched image, and rendered width/height ratio. Landon recently took a trip to Argentina formats include vertical areas adjacent to the building.) TIFF, JPEG, and Note the cropped sky above the top Hints for Great Stitching others. Figure 3 of the building – this is the maximum • Always use the same lens focal length for each image to be stitched. Stitching software +57.5º field of view allowed in cylin- maps pre-stitched images into a cylinder or sphere whose diameter is set by lens When rendering a cylindrical image, drical renderings. To gain an apprecia- focal length. Mismatched focal lengths prevent alignment of adjacent-image pixels. In the resolution width and height must tion of how large a shift this actually addition, don’t change the lens focus either, since that also changes focal length. be specified – and of course they is and the perspective adjustment that directly determine the rendered file has been rendered, compare it with • Use the same F-stop for all exposures. While some software (including Stitcher) makes size. The maxi- the “falling adjustments for differing exposures on adjacent images, this is not the best approach. mum pixel size backward” Stitcher specifies vertical • If scanning film for stitching, use the same scanning color & exposure corrections for all using the reso- lines of images. Like exposure, Stitcher color-corrects to blend hues between adjacent images, lution the slider Figure 5, but it’s best to avoid shifts in the first place. is 10,000 X 4,999, which is • Shoot on a tripod, and if possible use a panoramic head designed to rotate the camera which will gen- the actual around the lens nodal point. If hand holding the camera, move your body position to erate >140 Mbyte top-of- maintain the center of the lens at the same position in space to simulate rotating about files. While this the-build- the nodal point. Distant subjects are quite immune to positioning errors, but foreground may seem ade- ing image misalignment can complicate stitching. quate, it should Figure 4 that was be remembered stitched. • Compose your panorama so adjacent-image overlap contains texture – it’s this detail that the that stitching software tries to align. Overlap images by 30%. Less will sometimes work, 10,000-pixel Comparing but why take a chance! width represents Figures 2a Figure 5 a 360º image, and and 4, you • Be careful of changing subject matter in the stitch overlap area. For example, if one the 4,999-pixel can see image is of an unoccupied street and the second includes a moving car, the resulting height represents that when stitched image will show a semi-transparent car! 115º of vertical coverage. Many cylin- rendering a cylindrical images, the drical panoramas will cover substan- output is not exactly a WYSIWYG ver- • Always include a 0 degree pitch (use bubble level) image near the horizontal center tially smaller angles than the maximum, sion the Stitching Window – and under- of your overall composition. This can be used as a reference to simplify setting image with a resulting cropped file size much standing how this works has been the perspective, ensuring that true vertical and horizontal lines are maintained. smaller than 140 Mbytes. But don’t be only difficult part of learning Stitcher. Nine

Stitching In Photoshop – The Good, Bad, & Ugly and found himself at the expansive both PC and MAC platforms! If you Iguazu Falls without his 5” Roundshot. need to do serious stitching, Stitcher Rather than buying dedicated stitching software, you might ask if stitching can be done in So what did he do? Will pulled out his should be very high on your list of prod- Photoshop*? The answer is yes, maybe, and no way! Let’s look at three Photoshop stitching XPan with 30mm lens and shot hand- ucts to be evaluated. Fortunately, the examples to create a cylindrical output. held verticals – that format and focal folks at REALVIZ will give you a chance length combine to give almost 95º of ver- to try it out. A free evaluation copy can Stitching sequential cylindrical images Figure A shows two overlapping cylindrical images as would tical coverage! Will had little hope of be downloaded at www.realviz.com. be taken by a swing-lens camera mounted on a tripod. By success stitching in Photoshop, particu- rotating the camera about an axis that runs through the larly because of the “stretching effect” Alan Kafton started in panoramic photography center of the drum, adjacent images are really just extensions of each other, making pixel alignment easy. For this applica- that happens on the ends very wide- by creating paste-together images taken during A angle rectilinear images, along with the his travels. After attending a photo swap meet tion, Photoshop is the perfect solution to paste the pieces together. fact that the camera was hand held. & learning that there were actually cameras With Stitcher, I was able to stitch and designed to make these images, he joined IAPP 5 years ago and quickly bought his first real pan- Stitching sequential rectilinear images render this into a modest 33 Mbyte file oramic camera. Now, Alan is spending his spare Figure B shows how three rectilinear images from a “normal” camera might be combined to simulate a cylindrical output. in less than 30 minutes – and this was time gaining proficiency in his newly created dig- If the camera were placed on a tripod and rotated on a while I was still learning the software. ital darkroom. In his “real life” (the one that pays The foreground matched up, the rain- horizontal plane about its nodal point, there exits a line cre- the bills), Alan does strategic business planning ated at the intersection of each image plane where pixels on B bow matched up. Wow! (The color vari- for the Wireless Semiconductor Test division of the right side of one image will exactly line up with the pixel ation in the pre-stitched images was Agilent Technologies. on the left side of the adjacent image. These can easily be matched up in Photoshop and due to Will’s scanner a “panorama” created. – it’s an example of what happens if The problem, of course, is in finding that exact line. In addition, if the camera was handheld, or scanning software is tipped up or down even slightly, pixels will not exactly line up. Photoshop matching can quickly become complex, with local perspective stretching or compression required. Yes, even images unable to freeze color that require rather extreme manipulation to get them to match can be stitched – and IAPP and exposure member Joe DeRenzo has shown a number of excellent examples in Panorama using this settings. While Stitch- technique – but few have the Photoshop skills or patience to pull it off. er’s blending function was employed, It should be noted too that these wide-view images are not truly cylindrical. They are simply made up of rectilinear segments with abrupt changes in the viewing angle. With medium and the final output was longer focal-length lenses, the change may not be too noticeable, but when using lenses with cleaned up – partic- very short focal lengths, the change will yield images that were obviously stitched. ularly the sky – in Figure 6 - ©2001 Will Landon Photoshop.) Stitching sequential rectilinear images both horizontally and vertically In summary, Stitcher The final example in Figure C is similar to the second example, but is made more complex by adding an additional image is a professional-level to gain vertical height. In this case a second row of images software package. It is added by tipping up the camera. Merging these, with their has an array of fea- compound angles in Photoshop is next to impossible without tures and rendering incredible skill and lots of time. options that make it C applicable to photog- *Note: The new Photoshop Essentials includes dedicated stitching capabilities, however it is not adequate for anything but web or small-print use since raphers, web design- input file size is limited to 2 Mbytes/image. ers, animation artists and others. And yes, it’s now available for Figure 7 - ©2001 Will Landon Ten More Memorable Shots An Essay By Michael Westmoreland The year is 1987. The client is a large over, the space enclosed by the Bank of now advanced to two weeks. This is I keep my fingers crossed that nothing merchant bank which has taken the England, the Royal Exchange and the England and the first Sunday is (of will have happened to the site since lease on a back-lit advertising panel Mansion House. The only camera I have course) non-stop rain. One Sunday left I last saw it several weeks ago: no 30 feet by 6 feet long in a prestige at that time which will work in this and I now have a huge dilemma. Many unsightly scaffolding on one of the location at the London City airport, enclosed environment is a 6-inch Cirkut. months ago I have promised on my buildings, no workmen digging up the Twhich has recently been built to take life to meet my sister in law who is sidewalk, no crashed aeroplanes or business travellers on short haul jour- Without a proper viewfinder, I have a due to arrive on that very day at Heath- whatever. When I draw up at the site neys to other European financial centres. lot of preliminary visualizing to perform row from Melbourne, Australia with her I say oh so casually, “Just want to do I am required to fill it with a picture on how to fill the precise format in an three small children and drive them a quick snap.” No one argues and in which incorporates and underlines its aesthetic composition. It takes a long home 100 miles. The plane is due in at twenty minutes I have the epic in the current ad slogan “Schroders take time to find the optimum paving stone 7.30am; there might just be time to get to bag. At just the right moment there is a another view”. The subject must be to place the tripod, what time of day will the location if the plane is punctual after little puff of wind and the limp Union identifiably of the London financial dis- provide optimum light and shade, what its 14000-mile journey. Jack on the Bank of England flagstaff trict, but in some way different from lens to use and what amount of rising stands to attention. This was the cherry all the usual library material then avail- front. The odds are long against a successful on the cake indeed. But for all the man able. Panoramic photography was still day when I get up at dawn, but in the street knows I was driving along, thought to be quite a big deal at that I have negotiated my biggest fee to date the weather at least looks rain-free. saw something photogenic, stopped the time. The shot must be on a nice day with a very prestigious agency and anx- When I get to the airport the plane is car, got the camera out of the glovebox weather-wise. ious to make it good, but I’m having to miraculously on time. The kids are bug- and just went click. really sweat for it. The biggest problem eyed and understandably fractious after My problem with this is that London’s is that on six days a week the double- thirty hours in a small space and every- Soon after that it is raining. I look heav- financial district contains a great deal of decker buses and other traffic a few feet one wants to climb into a bed. The enwards and say thank you. anonymous post-war architecture which away never stops, and totally obscures sensible short route to bed is round the could equally well be Frankfurt, Sao the buildings. The only feasible day is a London Orbital motorway but I shoot Paulo, Tokyo, Cleveland, etc. None of Sunday when the workers stay at home a yarn about how its full of roadwork Just once I agreed to do a classic Cirkut the rooftops I laboriously reconnoitre and the only time the light works is for today and how we have to go through 10 group shot, never again. I admiringly over several weeks provide views that an hour during the morning. the peaceful city centre. Miraculously salute the small band of you out there are distinctive in any way. It looks like Just when I have sussed this all out the the sun comes out and lots of blue sky who have earned a living in this way. a ground level shot but where? There is blow falls. Instead of the two months appears with little cotton wool clouds. only one location recognisable the world I had been promised, the deadline has The city where I live has a very large Asian community and there is The final panorama created by Michael for the 3o feet by 6 feet long display at the London City Airport for Schroders. a sizeable section of very prosperous people. When this lot has a wedding it is not uncommon to ask a thousand or so guests with many of them dressing in very colourful traditional ethnic outfits.

I don’t have facilities for mass multiple Cirkut printing so there is no profit to be made. But I like the idea of an unusual experimental shot to go in an exhibition I have planned plus a special print or two for the happy couple. I agreed to Eleven

New Hot Button on try a big group shot only after recon- one’s presence is required outside. camera adjustment. Now there won’t noitring the location. be any more adjustments possible, I the Website Slowly and unwillingly people begin to am already on the slowest speed. The Our website has a new “I need a The ceremony is to be held in a get up from their seats. It is now that sky now looks very dark indeed and photographer” link on our opening big school assembly hall. This location I begin to realise my inadequacies in the crowd in all its wedding finery is page! Visitors to the site will be able would not be practicable in itself for crowd-control, oh for a microphone, or regarding it with very audible appre- to click on the hot button, and select a Cirkut shot, but outside there is failing that a loudhailer. (Even with one hension. So its now or never: I start from two sorting categories - loca- a very large tarmac of those I would the camera on its turn. At the same tion, and specialty. Clients will be Oable to find all the panoramic pho- sports area. There is Just once I agreed to probably have moment come enormous raindrops and no way of setting had a shambles then the deluge follows dramatically tographers in a state or country, or up tables and chairs do a classic Cirkut 10 group on my hands). like one of those tropical downpours sort by specialty - much faster and as makeshift bleach- shot, never again. The grumbling beloved of movie directors. My audi- more effective than checking our ers for such a crowd, noise is substan- ence has only one thought and en entire list of websites and reading so it will have to be a tial. People more masse it breaks and runs. The camera them all. one-level shot. I mark out a huge semi- or less toe the line I have marked out is still turning slowly, following it circle and try to imagine if a thousand but either bunch together or leave large through the stampede The hot-link has been lurking on people can fit on it side by side. gaps; there is too much moving around the website for months, but is and I can only make myself heard to When I get home I disgustedly throw starving from lack of information. Asian weddings take all day and it is small sections at any one time. All the the film in the bin, no point in wasting To get yourself on the hot-link, late afternoon before I get a chance to time I am conscious that the light level a couple of hours of my time process- e-mail the following information try the shot. This is accelerated because is dropping dramatically. ing it is there? to our webmaster Joe DeRenzo at I have noticed a distinct shift in the [email protected]. weather. Moving up from the southwest I adjust the f-stops and then the rota- Much later and irretrievably too late are some distinctly unpleasant dark tion speed before trying some more it dawns on me: I might, might just Business name, member name, clouds. I get the Cirkut set up with film crowd manipulation. I try to remind have had in the can an amazing and address, office phone, toll-free at the ready and the master of ceremo- myself that these are guests and not unrepeatable surrealistic picture for my phone, moblile phone, pager, fax, nies in the hall, who has a microphone, schoolchildren to be bossed around. exhibition. I’ll never know. There’s a e-mail, website URL. somehow makes it known that every- Another look at the meter, another moral in it somewhere. Qualifications and Specialties, including but not limited to: Stock, assignment, 360’s, groups, multiple formats, nature, action, evidence, car interiors, travel, portraits, digital, advertising, fine art, studio, photo lab, digital lab, etc. Twelve Napa Sponsors IAPP Goes To Italy

We would like to thank the following companies and individuals for their support How does Italy in the spring ing (seminars, exhibitions, trade in Napa for sponsoring the 2001 IAPP International Convention and for making our sound? IAPP member John shows, photographic awards silent auction so successful. McCarthy is working on a etc.) We’ll have our own room conference to be held in Orvieto, set aside for member pre- Italy from Saturday, March 16th sentations. ABC Photo / Imaging Panoscan, Inc. - Casey Coss through Tuesday, March 19th ArtW Leather - Tom Hanson PPA H 2002. Orvieto is 120 km (75 Orvieto Fotografia Better Light - Larry Guyer Remote Reality - Linda Thompson miles) north of Rome, and 160 is an annual inter- Everen Brown Real Viz - Richard DiMaio Km (100 miles) south of Flor- national convention Calumet - Robert Tamura, Cary Turner RTS, Inc. - Mark Tahmin ence, is easy to reach by car or train. of professional Custom Panorama Lab - Peter Lorber Spheron VR - Gerhard Bonnet photographers, promoted Eastman Kodak Co. - Tom Kunhardt Words and Pictures - Warren Wight This will be the perfect place for many and organized by the Italian Epson America, Inc. - Dan Steinhardt of our International members to get Photographers Associations Fuji Photo Film, USA - D. John McCarthy together. Orvieto located in Umbria and (SIAF - CNA and Confartigianato Foto- Gran View Camera - Mark Cieslikowski on the road to Tuscany is an ideal loca- grafi) that has been held since 1999. John Gross National Product tion for starting point for touring Italy. McCarthy gave a presentation on pan- Hasselblad, USA - Peter Power When we arrive the first flowers of oramic photography at their 2001 con- Spring will be in bloom. ference. His presentation was very well Will Landon received by over 300 people. After his Lee Filters - Jessie Friend Our conference will be held in conjunc- speech, quite a few attendees came up Panoptic Vision - Joshua Eskin tion with the Orvieto Fotografia Interna- to him and told him that they are also tional Convention of Photography and doing panoramic photography. Imaging, “Photography in the Pacific Area”. Plans are for our conference For more information about the con- The View Camera Store, Inc. attendees to have the option of attend- ference and Orvieto go to: http:/ ing the Italian conference that will /www.orvietofotografia.com/eng/ Wisner BTZSFocusCloth 4x10TechnicalField 2195.00 4x5 54.95 5x7/4x10 59.95 include events related to the world Default.htm or contact John at 7x17TechnicalField 3095.00 8x10 64.95 11x14 74.95 of professional photography and imag- [email protected]. 8x20TraditionalL 3800.00 7x17/8x20 74.95 12x20/14x17 84.95 8x20TechnicalField 4000.00 IlfordHP5+Film 12x20TraditionalL 5000.00 4x5-25 17.85 5x7-25 27.06 12x20TechnicalField 5000.00 8x10-25 59.17 11x14-25 113.78 Want To Be Heard? Canham 7x17-25 93.94 8x20-25 120.62 6x17RollFilmBack call 14x17-25 call 12x20-25 182.15 4x10Field 2990.00 ArchivalNegativeSleeves Send A Letter To The Editor 7x1736"bellows 4500.00 4x5-25 4.92 5x7-100 7.17 8x2036"bellows 4650.00 8x10-25 12.68 8x20-100 43.42 Please keep your letters to 400 words or less, and please avoid personal attacks. 11x1448"bellows 6000.00 11x14-100 26.25 16x20-25 24.33 12x2048"bellows 6000.00 ContactPrintingFrames Remember, the idea is to suggest improvements that help IAPP. The board will AWB WindStabilizerKit 116.48 8x10 182.00 7x17 197.00 certainly listen and make every attempt to respond to legitimate complaints or 11x14 210.00 8x20 210.00 CustomFilmHolder 12x20 231.00 16x20 315.00 problems but better yet, good ideas might surface in “letter to the editor” for the 7x17 408.00 8x20 420.00 RiesTripods benefit of all. 11x14 420.00 12x20 474.00 J100 532.00 J250 291.00 HarrisonFilmChangingTents A100 616.00 A250 329.00 P 4x5 154.00 8x10 199.95 F.64Backpacks Letters To The Editor should be sent to: 11x14 249.95 12x20 349.95 4x5 175.00 4x5(wheels)225.00 IAPP Editor Richard Schneider, 8x10 275.00 Filtercase 16.00 , POBox19450~FountainHills,AZ85269 ~Tel:(480)767-7105~Fax:(480)767-7106 P.O. Box 6550, Ellicott City, Maryland, 21042, USA info@ viewcamerastore.com [email protected] Thirteen Buy, Sell and Trade...... Free ads for IAPP members Mark Your Calendars Now!

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SERVICES: Gears cut - 49 pitch and 32 pitch, Convention 2002 14 1/2 degree pressure angle gears with any number of teeth. Less than 50 teeth - $25, 50 to 125 teeth - $35, over 125 teeth - by quote. Gears are fitted with shafts Shepherdstown, WV or hubs made to customers measurements. Ron Klein, Northernlight, 1208 Pike Court, October 8-13, 2002 Juneau AK 99801-9549. Phone 907-780-6248 or e-mail: [email protected]. More information in upcoming issues FOR SALE: Art Panorama 624, excellent con- of Panorama and on our website - dition, graduated filter, 50 rolls frozen Fuji- panphoto.com chrome RDPII Provia, Luna Pro, Nikkor SW 120mm f8, $2,400 OBO. Also, like new copy of The Panoramic Photography of Eugene O. Goldbeck, by Burleson & Hickman, First Edition in slipcase, $100. Stewart Sterling, 520-649-3342 or [email protected]. Fourteen

Inventions, Gadgets and Gizmos Improvised Scanning Digital Camera By Andrew Davidhazy

My interest in scanning photography they could achieve high quality without scanner whose function was to pull a intermittent nature of the scanning pro- started in graduate school when I was having to make a large chip by simply snapshot through while recording its cess that it was designed with. This under pressure to produce interesting moving a CCD array made up of a surface. The price was $45. I bought posed no major problem when scanning photographs of sports events. This was single row of sensors across the focal one on a hunch that it just might have as intended but in my applications it in the mid-1960’s and had recently dis- plane of the camera. In this fashion they the makings to help me improvise a was evident the scanner lost track Mcovered the photographs George Silk accumulated image information across demonstration quality digital camera of of the images thrown upon it by had made of Olympic events with a spe- the field of view of the camera over the scanning type. the camera lens every so often. The cially modified camera constructed by time. This is essentially how focal plane scanner used these “dark” periods to Marty Forscher. It was identified simply shutters expose the image in film-type Before long the device was disassem- transfer data to the computer. This left as a “photo-finish camera” and a brief cameras. bled, reduced to it’s basic components somewhat disconcerting discontinuities caption explained its operation. It did and began doing things its designers in the final images. not take me long to decipher the As digital counterparts of the film cam- probably never foresaw. All indications instructions, make my own version eras started to become available I soon were that the scanner simply imaged the I invested in another small scanner. This and start making not only sports saw the connection between the two sys- passing surface of the snapshot by pass- time it was a cheap hand operated photos but exploring the entire field tems and started referring to the possi- ing it in front of a stationary linear CCD model, the kind that a person pulls of scanning photography from bilities afforded by digital strip cameras array with the image of the print being slowly over original material and in photo-finish to peripheral to linear in my lectures and publications. Unfor- reduced optically to match the size of the process records the passing features and then panoramas. tunately getting my hands on a digital the sensor. Sure enough, at the end of of the image over time. Just what one strip camera would prove to be more a plastic funnel serving as a light shield would expect of a scanning camera! It As digital cameras started to be intro- difficult than expected as the price for sat the CCD array. It did not take long was a KYE HandyScan Color Deluxe duced it did not take me long to such cameras was beyond what I could to remove it and install it in the back hand-driven rolling scanner costing $10 realize that the two approaches to image afford. On top of it all, the manufactur- of a camera. Soon after I was proving during a promotion! The advantage of recording that existed with film type ers did not see the potential of strip tech- that one could make demonstration this scanner was that one would not cameras were being duplicated by dig- nology as being applicable to their linear quality images that bore all the ear- have to stop during a scan sequence. ital systems. The 2-dimensional CCD array camera designs and they made marks of traditional film type strip cam- The scanner software / hardware would array cameras behaved like “snapshot” them strictly to serve the advertising/ eras when used in similar applications. work in combination to limit the rate cameras, capturing the image of the commercial photography market. at which the scanner moved over the whole scene all at once. Large arrays There were certain limitation to the surface to one that the device could were difficult to make and thus expen- My efforts finally were rewarded when I Kodak scanner in terms of quality and deal with in uninterrupted fashion. This sive. Then manufacturers realized that noticed that Kodak make a simple print operation, the worst of these being the proved to be the case and it was not long

Figure 1 Figure 2 Figure 3 Figure 4 Fifteen “My interest in scanning photography started in graduate school when I was under pressure to produce interesting photographs of sports events.” before this scanner’s linear CCD array to attach the array in the middle of within the limits that the scanner soft- by a variable speed gear-head motor. was installed in the back of a Minolta. a tongue-like device that could slide ware could cope with (figure 4). Later on A big problem is the size of the The camera’s focal plane was gouged within a “C” channel glued to the I removed the chopper wheel assembly files that can be generated, huge! out with a Dremel tool leaving flat sur- camera body. This allowed the CCD completely and replaced it with an LED faces on which the printed circuit board array to be moved across the focal plane driven by a variable frequency oscillator. 2. Peripheral or “rollout” photography of the scanner bearing the CCD array of the camera. I planned to slide the This provided a steady signal to the The complete recording of the outer could be attached (figure 1). array from one side to the other by scanner’s software that was not prone to surface of (usually) cylindrical objects taking up a string attached to one be interrupted by broken rubber bands! has been the specialty of a very few The CCD array itself is normally con- edge of the sliding tongue onto the photographers. The technique of periph- nected to the rest of the scanner body shaft of a small variable speed DC APPLICATIONS eral photography was first considered, and hardware with a short 12-wire con- gear-head motor. This would allow me developed and applied in the late nector. I cut this wire in half, bared each the capability of “focal plane scanning” 1. Panoramic Photography 19th century in archeological museums of the ends and carefully numbered each (figures 2 and 3). As you might expect the earliest appli- where Greek and other vases from so as not to loose track of the proper cation that I looked into was that of antiquity were photographed “in the connections. I made an extension cable To recap, then, the array itself functions making a panoramic round” to record the total outer to enable the array to be installed in as a “slit” shutter and the data extrac- photograph. This is achieved by simply circumference of designs added to their the camera at a distance of about 4 tion process of the scanner is the placing the camera on a tripod with the surfaces. to 5 feet from the scanner body itself. memory or digital film. This is remi- CCD array arranged so that it is parallel niscent of my special interest in tradi- to the tripod’s axis of rotation (meaning For peripheral photography I placed the Unlike the Kodak array, when I fixed tional photographic life strip cameras. in a vertical direction) and while the linear CCD array in the camera roughly it in one position, this time I chose scanner is presumably scanning an orig- in the middle of the film gate. Then, By way of further explanation it is inal, slowly rotating the tripod’s column I stood on a turntable in front of the important to mention that this scanner (figures 5 and 6). Using a very short camera after having pressed the “scan” device is designed for movement over focal length lens, such as a 14mm lens, command on the software controlling a surface. This causes a chopper wheel it is possible to make an almost full the scanner. The idea was that as I to turn giving the scanner information 360-degree image showing acceptable rotated in front of the camera the lens about the rate of motion of the scanner aspect ratios of objects included in the would project continuously changing over an original. The moment the scan- scene. The aspect ratio of any image or features from my head onto the linear ner is modified it is not really practical scene reproduced through these means array located in the camera image plane. to move the body by hand. Therefore, is roughly a function of the vertical I fitted a rubber band over the shaft angle of view of the lens and the hor- The scanner would be functioning as of the chopper wheel and with a vari- izontal angle of view that one covers. a “non contact” printing press where able speed DC gear-head motor drove If the camera is turned too quickly my head would supply, over time, the the wheel at a constant speed that was or the focal length of the lens used changes in information that the scan- is too long the objects in the scene ning array would then store in the will appear much too narrow or computer’s memory. I tried to make a horizontally compressed. couple of turns or so during the time it took the scanner to believe it had While one can simply turn scanned a 14-inch long print. Success! the camera by hand I also I also applied the camera to traditional made a motorized tripod head Figure 5 Figure 6 for this camera also driven continues on page Eighteen Sixteen

Member Gallery - Images of Boston, Massachusetts

This aerial panoramic view of the Boston waterfront was taken by David Lawrence with a Fuji G617 using Kodak EPP film. While “Boston Public Gardens” is the combined result of three images taken with a Noblex 150 and stitched in photographing Boston Logan Airport early one Sunday morning from a helicopter using a handheld gyro-stabilizer, David swung Photoshop. Neil Gordon used Fuji NPS color negative film which he then scanned in an Epson 1600 scanner. out over the harbor to get this shot of the Boston waterfront on the way back to the helipad. Copyright 2001 - David Lawrence. Copyright 2001 - Neil Gordon.

“Boston Public Gardens” is the combined result of three images taken with a Noblex 150 and stitched in Photoshop. Neil Gordon used Fuji NPS color negative film which he then scanned in an Epson 1600 scanner. Copyright 2001 - Neil Gordon.

This skyline of Boston was taken by Brad Lapayne with a #10 Cirkut Camera. The panorama was taken with a 24” Artar lens from near the Long- fellow Bridge. Eighteen

Improvised Scanning Digital Camera from page 15 peripheral photography by placing a ticular scene and the linear array is the camera lens. Sometimes a cheap associated with scanning photography, vase on a turntable and adjusting the slowly moved from one side of the heat absorbing glass from an old and especially panoramic photogra- image size and the rotation rate so camera’s image gate to the other while slide projector will work adequately. phy, to simple or simplistic statements that a more or less acceptable repro- the scanner accumulates the changing related to the Theory of Relativity. One duction of the surface features of the image information. In commercial cam- Or, one could take this deficiency and of these topics deals with what subjects vase was displayed in the final image. eras the linear array moved across make it into an opportunity! The scan- look like “beyond infinity”. the image plane by sophisticated ner can be used as a rudimentary 3. Linear strip photography transport mechanisms at a rate that infrared imager. Think about this, If you accept that when you make a (“photo-finish” and moving array over is predetermined by the software an infrared-capable _panoramic_ point into a line you have achieved subject applications) controlling the scanner. imager! To make a panoramic image infinite distortion (such as when the The idea this time is to aim the array one rotates at some location in space and have a 5. Infrared sensitivity the camera subject go across that location or take the Another “problem” that the designers as described camera as a whole and move it past a of this scanner (and most other scan- above. To stationary subject. This particular appli- ners as well) had to deal with was make this cation of the system seems more limited the inherent sensitivity of CCD devices device into than most because the data capture and to infrared. Most manufacturers of an infrared transfer rate are relatively slow and scanners deal with this in a similar way. imager one thus any real application to photo-finish They light the subject with light that places an photography is somewhat far fetched. contains little infrared or they include Infrared an IR absorbing filter in front of the transmitting, Nevertheless, if the objective is to move array. Not even this filter is totally but light the image of whatever subject one aims effective in eliminating infrared. This absorbing the lens (normally one would adjust the is acceptable however, because all one filter, such data capture/transfer rate) at a speed so needs to do is to make sure that enough as a visually the image compiled by the scanner has of the infrared is removed so that the opaque the same aspect ratio of height to length color response of the device is not Wratten 87 Figure 7 as the original, then the system “works”. noticeably adversely affected by the or 88A or Even if there is some slight discrepancy presence of residual infrared. similar, over the lens. Or simply use N and S poles of a globe are made between the reproduction and the orig- this as a device for making interesting into lines as long as the Equator when inal that could amount to as much But once the array has been removed images only by infrared energy. making flat maps of a spherical Earth), as 50% in either direction, the repro- from the camera and is used to record or when you project the polar axis of duction will usually be recognizable as everyday scenes, the array is bound In fact, the CCD array is extremely sen- a sphere that is coaxial with a cylinder being an image of a particular subject. to run across situations where there is sitive to IR and it is quite simple to and tangent to it at the equator, then an overabundance of infrared present. light a scene with ordinary tungsten the place you’d expect the axis of the 4. Scanning array 2D photography This results in an unwanted color illumination and covering the lens sphere to be reproduced or touch the (moving array across film plane) cast to the final image. To eliminate with an 87C filter and, as shown in surface of the cylinder is at infinity. I also decided to try duplicating “focal these as much as possible one is the attached illustration, experience no Well, if you buy into this then the plane scanning” as is done with sophis- then forced to include an infrared problems at all in making infrared panoramic system, with the camera’s ticated scanning camera backs such absorbing filter someplace ahead of images. field of view extending “behind” the as some made by Phase 1 and by Fine- the scanner’s picture camera, so it can see both forwards light, and others and typically used elements. Usually this is accomplished 6. Infinity and beyond (reality) and behind the axis of rota- in 4x5 cameras. by placing an IR absorbing (but I have also been on this “kick” of tion, then the resulting photograph will For this the camera is aimed at a par- light transmitting) filter in front of trying to tie some imaging artifacts show those objects “beyond infinity” as Nineteen

Part II Central Park Views - The Ramble being upside down and reversed left By Joseph DeRenzo to right (but only from the “reality” point of view) and 180 degrees out of The second part of the Central Park Bow Bridge from which the Dakota fairy-tale. phase with “reality”. Views series covers an area known as building off to the west can be viewed. The Ramble. Located due east from There is a little waterfall area at the An entire day can be spent exploring The illustration (figure 7) shows my about 74th Street and Central Park West north end of the lake known as The Gill this area for interesting locations from lab and it is a composite of five 360 in New York City, these woods are filled that many people in the summer find a which to capture the area’s tranquil sur- horizontal scans assembled together Twith foot trails and a stone bridge along great place for picnics and meditation. roundings or just relaxing in a beautiful by hand. Up there in the ceiling tiles side a most placid lake. One might think Beyond that is Iphigene’s Walk. The part of Central Park. It’s up to you. you are starting to see beyond infinity! of The Hobbit while passing through stone bridge is tucked back in beyond this quaint forest. At night, the skyline the waterfall under a canopy of trees Top: Noblex image from The Ramble with the In another case the camera’s lens was along Central Park South is reflected in which in the summer keeps it well Dakota in the distance. fitted with one of those “through the the glass like water and viewable from shaded. In autumn, many of those same door” surveillance peep gadgets. This Hearnshead. leaves offer the panoramist a most color- Middle: Noblex 360 infrared image from atop The Stone Bridge. enabled the camera to have a very ful view. As one would expect, winter wide angle of view along the CCD With its turn-of-the-century gazebo, turns the area into something out of a Bottom: Noblex 360 of Hearnshead Gazebo. array. The camera was then pointed Hearnshead sports a panoramic view in almost straight up and rotated. In this all 360 degrees with The Ramble visable case (despite its minor flaws related to from across the water eastward. From leveling and consistent scanning rate, the rocks over looking the lake, one can etc.) the relationship between what view the San Remo building as it stands was in front of the camera (“reality”) over the park. This summer I had the and what is “beyond infinity” was chance to sit on those rocks and observe much more clearly evident. sworms of fireflies at twilight with light- ning from a thunderstorm in the dis- Experiments are continuing. The tance. “peephole peeper” lens will be replaced soon by a better quality fish- A foot trail winds around the lake to eye adapter and then the optics and image sharpness will, hopefully, be better. However, considering the price of these scanners the amount of photographic entertainment that I have gotten out of them has easily been worth their weight in gold!

If you have any comments of questions about this bit of digital tinkering feel free to drop me an e-line at: [email protected]. You can also see some of the original articles the one above is based on the web at the following address: www.rit.edu/text- demo-scanner.html Twenty Digital Architectural Panoramic Photography in Guatemala By Nicholas Hellmuth

During summer 2001 the FLAAR architecture and look distorted. varying in size from a 24” Epson 7500, eventually revealed the grain structure Photo Archive engaged in a project several 36” Hewlett-Packard DesignJet of the film, so digital prints would to record the impressive buildings Previous experience in pan- have been restricted in size and lim- of talented architect Adolfo Lau on oramic photography ited in quality. Furthermore, I like to the campus of Francisco Marroquin Like many people who belong develop and print my own images. DUniversity. We realized that a digital to IAPP, I began with simple Doing this at mural size and in any panorama camera would provide the wide angle lenses on 35mm cam- location on earth (without being tied ideal means to accomplish the pho- eras decades ago, moved to the down to a darkroom) is possible only tography. The project took place here 6x17 cm class of medium format with digital photography and digital because this is the university in wide angle camera, and eventu- printing. Guatemala where FLAAR has an ally traded up to a 4x5 Linhof office, the Digital Imaging Technology with Schneider 47mm lens for The focus on digital photography at Center. 120 degree ultra wide angle. At FLAAR is a result of several grants. the same time I also used a In 1996 I received funding from a pri- Although most panorama cameras are 15mm non-distorting ultra-wide vate foundation to undertake a fea- used to photograph either natural angle lens on a Nikon F3 camera. sibility study of scanning traditional landscapes or urban landscapes, this All of these cameras were used slides and film within the FLAAR Digital scan of inside courtyard of the Edificio Academico, project sought close-up panoramas of to record ancient Maya architec- Universidad Francisco Marroquin, Adolfo Lau, architect. Photo Archive. That same year I also individual buildings, or at most two ture in the decades before digital 47mm Schneider Super Angulon XL lens with 120 degree received another grant from the Jap- buildings at a time. technology was available. view, hence no need to rotate the camera, BetterLight anese Ministry of Education to assist Super6000 scanning back, FLAAR Photo Archive. their National Museum of Ethnology Since the university is situated in a Then I purchased a Seitz Super- in a program to digitize their slide hilly area and has dense forest around RoundShot, not so much for its pan- printers, a 60” HP 5000ps, up to the archives of Maya culture. So within most of the buildings, finding a van- oramic abilities as for its turntable 72” inch ColorSpan Displaymaker inkjet the space of one year FLAAR had a tage point was a challenge. The pan- capabilities, since my main interest is printer. So we are interested in printing opportunity to acquire digital technol- orama system is based on 4x5 inch doing rollout photos to record the cir- panoramas at mural size. I tried to ogy and most importantly, training. large format cameras so we used cumference of Classic Maya vases. In scan the Ektachrome transparencies that Rodenstock and Schneider lenses. The real life, before I moved into digital resulted from the Seitz but there were FLAAR’s experience with the Seitz Schneider 47mm was useful for inte- imaging, I was an archaeologist. several problems. In the process of their rollout mode raised the interest of rior patios or courtyards. This is original darkroom development in the Michael Collette. He was in the pro- roughly equivalent to a 14mm lens I took the Seitz SuperRoundShot to the United States the transparencies were cess of developing a digital turntable on a Nikon. For exteriors yet in close Maya ruins of Tikal and got some nice stuck with a residue of chemicals as well rollout camera for a start-up digital confines we used a 58mm lens which panoramas, but it’s difficult to get 70mm as grit, due to poor development as well imaging company named BetterLight. would perhaps be similar to a 21mm film developed in Guatemala. I have as contamination in the photo lab. Thus In effect his system was a complete lens on a Nikon or Leica. When we only the 70mm back for the Seitz; the the scans merely magnified these defects digital counterpart to the film-based had a bit more distance a 90mm was 120/220 back is the one I need but from the development laboratory. We Seitz system. Since there were few preferable. For wider panos a 120mm it is no longer manufactured by Seitz. sent the transparencies to two different independent institutes who had expe- lens was selected, perhaps roughly 120 and 220 film can be developed in drum scanning companies but got poor rience in rollout photography, FLAAR equivalent to a 35mm lens. With the Central America but our version of the results since in essence the 70mm photos was selected to be beta tester for wide angle lenses in tight situations Seitz can’t use that size film without a had been ruined during development. his prototype digital turntable rollout we used the lens without doing a pan- replacement magazine. camera. orama rotation. Rotating an extreme Besides, even if the film had been prop- wide-angle lens would curve the FLAAR has six wide format printers erly developed, the scans would have So by 1998 I had a digital rollout Twenty-one “We realized that a digital panorama camera would provide the ideal means to accomplish the photography.” camera. Any computerized system stationary. What turns is the overall provides a virtually flawless automatic all the cheap 4x5 cameras and actually which can do rollouts can usually also camera, so as the turntable turns one color balance function. Besides, since rules out most of the monorail studio do panoramas, so I actually ended up 1 pixel width, the sensor shoots one the image is digital, you can always cameras as well. You need zero detents with a complete system which could scan equal to one vertical pixel column improve the color balance afterwards or a comparable locking system that also take digital panoramas. This digital in width. The turntable rotates another in Adobe Photoshop. Nowadays Gretag- has stability simultaneously on both system is so sophisticated you can read unit; another vertical pixel column is MacBeth makes color charts and soft- sides of the camera. Cameras with brass the text on a billboard which is over a scanned. The size of a pixel unit varies ware to improve color management fixtures or sliding movements in any mile away. You can easily enlarge a pan- depending on the focal length of the even further. Other companies active in metal are too lopsided. The brake on orama to 36 inches high by 15 feet long lens as well as the resolution setting color management in digital imaging one side is not at all coordinated with with any wide format inkjet printer. This you chose. BetterLight is one of the include Monaco Systems. X-Rite and the positional stop on the other side. was perfect for the needs of the FLAAR few digital panorama systems which Gretag make the industry standard color Ironically using film did not require as Photo Archive. is sophisticated enough to allow true measurement tools. Further information much precision as does a CCD sensor. value image capture with no interpo- on these useful products is available However the base area of a Wisner flat- Equipment and Digital Technology lation. The camera operator selects the from www.digital-photography.org; just bed camera platform is in many ways Insight precise number of pixels you want; that look for the index page. more solid than most fully metal studio All BetterLight digital systems use a tri- is exactly what the CCD will record, true cameras. Out on expedition, if you are linear scanning back. This means that a optical dpi. Focus with the BetterLight system can photographing only long distance (with red, blue, and green CCD sensor, each be done manually on the camera or elec- no close-ups), the Wisner can be a one pixel wide, in vertical arrangement, The BetterLight camera is capable of tronically via the software. The camera good companion. Just be sure to have “takes” the actual picture 7 cm high. In scanning up to 65,000 pixel lines in software can focus the sensor more accu- a bellows that is shielded from infrared a studio situation (non-panoramic) these width. In real life you can utilize only rately than any human eye. But this light. Test any camera at home before three parallel sensors would be moved up to 29,000 pixels because Adobe is why you need a rigid camera, since you go out on location. across the entire 9 cm width of the image Photoshop software can open only any camera with sliding movements area pixel row by pixel row with a 30,000 pixel rows. Seemingly no one at up and down an open grove can’t be The “camera” is merely anything that stepping motor. This is approximately Adobe could conceive of any image cap- locked at any specific point or moved holds the scanning back. You can use the same way that a flatbed scanner ture system that could produce so much precisely enough. Merely turning the a Sinar, Linhof, Toyo, Arca-Swiss or scans the entire surface of its glass sur- raw data. 29,000 pixels is about 300 to locking mechanism on these cameras any 4x5 camera. We found the Cambo face. The scanning back for the camera 500 MB in file size for a roughly 120 throws the sensor out of focus again. Ultima was strong enough to hold the would take over 10,000 individual verti- to 180 degree panorama, depending on Thus it is recommended not to use weight of the scanning back without cal scans, stitch them together simulta- various factors. The camera will take a any 4x5 camera that lacks geared move- sagging. Another Cambo model, the neously, and end up with a raw image full 360 degree panorama but then you ments. Those attractive brass fixtures on Cambo Wide series have the advantage 9 cm wide by 7 cm high which is have to lower the resolution so as not to those wooden cameras look picturesque, of being lightweight but if you want about 120 MB in size. If any of this exceed 29,999 pixels. but these field cameras are totally inad- rise and fall perspective control func- is confusing, there is more information equate for studio photography with a tions you need the Cambo Ultima. on www.digital-photography.org or you The nice thing about modern digital digital scan back. In the field they Whatever camera body you use, don’t can get the actual technical specs on photography is that you don’t need to are sort of okay since your focus is use one with an L-shaped form like www.betterlight.com. know anything about what is going usually at infinity. Just be sure your the Linhof Technikardan, since they sag on inside the scan back. Just point the camera allows for a bag bellows and/or with the weight of the scanning back When you put this system on a rotating camera and let the software take the pic- accepts a sunken lens mount, an acces- combined with the pull of the heavy pano tripod head, instead of scanning ture. sory needed for wide angle lenses. SCSI cables. However the Linhof M679 across the 9 cm width of the image Digital would be an excellent alterna- capture area, the sensor moves to the Color balance is done by including a Actually the CCD sensors require a rock- middle of the capture area and remains gray card in the prescan. The software stable camera platform which eliminates More on page Twenty-four Twenty-two

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1385-87 Palmetto Park Road West • Boca Raton, FL 33486 561-361-0031 • 561-361-0494 (24 hour fax) http://www.roundshot.com • [email protected] Twenty-four Digital Architectural Panoramic Photography in Guatemala from page 21 tive. The Linhof M679 Digital offers a 58mm and get an acceptable image with is especially design which looks rock-solid. Unfor- little noticeable distortion. useful in archi- tunately we don’t have that improved tectural history Linhof model nor an Arca-Swiss. With the 90mm on the Cambo Wide and and archaeol- the 120mm on the Cambo Ultima you ogy, for The digital equipment requires a Macin- can rotate them with the pano head as distortion free- tosh laptop from a model 3400 to the long as the buildings are about 50 to 100 photography of current G4 Titanium. Best model is yards away. We do not currently have friezes and the G3 WallStreet since that still has any telephoto lens; if we did we could other sculpture. built-in SCSI. BetterLight does not oper- produce spectacular urban landscapes, Unfortunately ate on USB nor with FireWire; only SCSI. such as city skylines, especially along linear mode is Although you can add an Adaptec SCSI a coast or along a river. However still lacking in card to all recent G3 and G4 Macintosh within the university campus the beauti- digital pano sys- PowerBooks, the conflicts and operating ful forest makes long-distance photogra- tems. system freezes are legendary with this phy impossible. jerry-rigged SCSI adaptation. We actu- The principal ally found a Mac store that still had Rollout Potential advantage of older generation WallStreet models of Just like the Seitz SuperRoundShot the the BetterLight Digital panorama scan of Edificio Nuevo Media, designed by Guatemalan the G3, and we bought two just to get BetterLight system can also do turntable software is the architect, Adolfo Lau, Universidad Francisco Marroquin, home of FLAAR- Latin America. 58mm Schneider Super-Angulon XL lens, Dicomed FieldPro SCSI already built into the laptop. photography of round objects. However size and quality with BetterLight digital panorama system, FLAAR Photo Archive. the BetterLight system is not yet outfit- of the raw data The BetterLight system is fully portable ted to do linear mode of the kind accom- files. If you since it operates on a battery. The turn- plished so well by the Seitz camera. wish to do museum-quality mural-sized to enter and disturb the image capture. table operates off of the same battery Peter Lorber has done some beautiful enlargements, most digital pano systems The company which makes the clever via the processor unit. The system fits linear shots with his Seitz system. The are not powerful enough. That’s what I sunshade mask told me they simply got into a small carrying case which fits BetterLight, in distinction, can do QTVR personally like the most about the Bet- the various lenses, made a mold of each under an airplane seat. All the Better- object movies, that is, allow you to terLight system, you can enlarge the pic- lens, and then made a lens-shade from Light equipment has survived jungle take 36 views of a rotating 3-dimen- tures to monumental proportions. the mold. It would be nice to have this humidity, tropical heat, and the rain of sional object. The BetterLight software on the BetterLight, or at least a slit- black volcanic ash from the constant vol- takes a product photo every 10 degrees What is more sophisticated in the other shield out in front like that of the newer canic eruptions on the horizon outside and then stitches the results together. competing digital panorama systems is Seitz systems. the FLAAR office in Central America. www.maya-archaeology.org/VRHTML/ their clever lens sun shade hood. Seitz copangate.html shows what the result- offers a slit cover that fits on the new Another feature that is lacking on most With the Schneider SuperAngulon XL ing images look like. models (but not on my SuperRound- digital panorama cameras is “cloud con- 47mm lens you get such wide coverage Shot). At Photokina I saw another digital trol,” that is, software that balances each that we don’t usually need to do a pan- Difference between the BetterLight and pano system which had a light shade pixel row for the times that a cloud orama shot. So we just take a still pic- other digital panorama cameras is pre- physically molded on top of the lens passes over the sun. The cloud results ture with no rotation. That way there cisely this multi-faceted ability to do glass. It had only a vertical slit for the in darkness for a few minutes. This is no distortion. If you rotate a lens object movies and turntable rollouts. proper place up the middle of the lens. ends up as ugly vertical bands of darker such as this the building façade will Adding linear capability would require The vertical height up the center portion image for the minutes the pixels in those turn out round in the panorama. You get writing the software to work with of the lens is the only part of the lens parts of the scene are being scanned. In this effect even with a 58mm ultra-wide an conveyance and track such as that is used for a pano or rollout. All effect your panorama is totally ruined. angle lens in pano mode. However if the kind already available for the Seitz the rest of the glass on both sides is just This means that you can only do digital you back further way, you can rotate the SuperRoundShot. Linear photography an invitation for disruptive reflections panoramas on days of full sun or com- Twenty-five

plete overcast. Or if clouds are present, software is written by an outside hired The other thing a digital scan back lens almost as you would with film. only if the clouds are far enough apart engineer, who is not an employee of the system can’t handle is wind blowing That opens up the depth of field to that you can shoot the entire panorama company. As soon as it is believed the the tree leaves, or waves on a beach. I close to an adequate level. Hopefully in between clouds. An average pan- software is finished, the engineer moves have taken panoramas of a fast moving this situation will be further improved orama with the older prototype takes on elsewhere. So there is no guarantee of stream with ripples and that came out with the next generation of CCD sensor about 28 minutes. The newer BetterLight any update, and even if so, not necessar- okay, but not actual waves. If the wind and its correspondingly new software. 6000 ought to be appreciably faster. ily by the original person who knew the is slight you can repair the image with original software. the rubber-stamp tool in Photoshop, Of course if you are shooting a distant The BetterLight system is developed by but a really windy day with lots of landscape you don’t notice any of a leading camera company with seven Future Equipment trees you simply cannot take digital these situations; thus the Dicomed years experience producing professional The new generation digital panorama landscape shots at all. But an urban does a beautiful job with long-range digital scan backs. So this scanning tech- system consists of the BetterLight digital landscape of just buildings, or a landscape shots as Stephen Johnson nology is backed up by technical exper- scanning back Super6000, the new national park with just rocky land- has demonstrated for years with his tise. The camera itself was originally Pano/WideView adapter (the turntable scape, that is where this digital system award-winning national parks project., distributed exclusively by Calumet; cur- which fits on top of your tripod head), does just fine. But if you are doing architecture that is rently Kodak is the distributor but Calu- and panoramic software which is still 50 feet to 200 feet from the camera you met still sells the BetterLight scan backs. under development. FLAAR currently When people walk through the scene need adequate depth of field. The pano adapter and pano software has a beta version of the new panorama they show up as red-blue-green stick are presently available only from Bet- software. You can see the new equip- figures. You simply erase them with Since FLAAR is not a commercial com- terLight. ment on www.betterlight.com/pages/ the rubber-stamp tool in Photoshop. pany making profit we need at least pano_product.html. The hardware and We shot one view of the two adjacent to have some enjoyment from all this. The first scan back was manufactured new software are an enormous improve- museums on campus. Hundreds of stu- The digital panorama system from Bet- by BetterLight but actually marketed ment over the version from 1997. dents crossed directly in front of the terLight is a source of continuing sat- by Dicomed as the FieldPro. However camera, as well as their cars. Half an isfaction. If panorama photography is Dicomed subsequently went out of busi- Where can you get the equipment? Best hour of rubber stamp work and they all your hobby, then you definitely need to ness; indeed BetterLight took over tech- place is from Calumet Digital Solutions. disappeared. People who stood still or try out this fabulous system, especially nical service for all Dicomed FieldPro Contact George Zimmermann, e-mail sat very still turned out okay as long as if you do long-range landscape or long- and Studio Pro cameras. For anyone [email protected], tel (630) they were at a distance. distance urban landscapes (such as the who still has a Dicomed, my best 860-7447, ext 601. For the pano head The Dicomed scan back has an inade- bay and bridge of San Francisco, sky- suggestion would be to update to a adapter, e-mail [email protected]. quate depth of field because it required lines of major cities, desert or mountain Super6000 BetterLight. The BetterLight so much light that you had to open the landscapes, and so on). has a vastly superior software interface Digital Reality lens to f 8. To get depth of field you and the CCD technology is improved as We have already mentioned that clouds need to put the lens at f 32. Thus we do If you don’t know Adobe Photoshop, well. are a problem because when a cloud not recommend the Dicomed FieldPro don’t worry. Almost every community passes over the sun the lighting inten- or Dicomed Studio Pro due to our college teaches that nowadays. We had There are a number of advantages sity on the building is less. If the sky is continued problems of poor depth students learning in a day. FLAAR in having an American-made system, totally clouded over, then you can take of field and focus. Sharp focus is already has a combined digital-pano namely that you can get technical assis- photos okay, other than the difficulty of enough of a problem in digital photog- course together with a Photoshop tance in your own time zone from the seeing much detail in the shadow areas. raphy without exasperating it with low course: brush up if you already know actual people who write the software You can rescue some shadow detail depth of field. But the new BetterLight or start-from-ground-zero if you are and build the camera. Furthermore, the with Adobe Photoshop software but the Super6000 has a noticeably improved new to digital imaging. The software software is continuously being updated. shadow area is usually grainy. This is software and hardware. You don’t need of the BetterLight is easy to learn. No the “noise” of digital scanning of any as much light as the earlier models With some other digital cameras the dark area. which means you can close down the continues on page Twenty-Six Twenty-six Digital Architectural Panoramic Photography in Guatemala from page 25 previous experience is required. at offices at two universities, Universi- Courses on digital photography, pan- Ries for providing two of their attractive dad Francisco Marroquin in Guatemala orama photography, and wide format wooden tripods. We thank Michael Col- The student who took the summer and Bowling Green State University of printing will be offered on this campus lette of BetterLight for providing two course had never before used Adobe Ohio. FLAAR develops web sites in in the future. This program is in coop- scanning backs and two pano heads (the Photoshop nor a single digital camera. three languages covering flatbed scan- eration with BGSU’s professor of print- beta system in 1997 and the new system Within 8 hours he was able to operate ners, wide format inkjet printers, color ing, Chuck Spontelli, the Director of the this year). We thank Hewlett-Packard the entire panorama system plus he laser printers, and digital photography. Center for Applied Technology, Joe Cat- large format printer division for provid- knew how to prepare the images in With 12 sites and over 500 pages or alano, the chair of the VCT program ing four wide format inkjet printers. We Photoshop for printing. So if you reviews of hardware and software this is at BGSU Larry Hatch, and the Dean of thank Epson USA and MacDermid Col- are interested in learning how to use the largest such independent network in the overall College of Technology, Ernie orSpan for each providing one of their the BetterLight pano system, either the world. Over the course of a single Savage. wide format printers. We thank IJ Tech- contact them for a demo or check year, more than one million people will nologies, TAL, HP, and 3P Inkjet Textiles out www.digital-photography.org for read the discussions of digital imaging Universidad Francisco Marroquin is the each for providing several 100-foot rolls FLAAR’s listings of when the next equipment on the FLAAR Information home to the Museo Popol Vuh of Mayan of photo paper for printing our pictures. course will be. network. Actually a single FLAAR site antiquities, hence a magnet for FLAAR’s in just one month will get up to interest in pre-Columbian archaeology. The digital photographs were taken FLAAR a 700,000 hits from 14,000 readers FLAAR’s move to campus is a result the assisted by Jeancarlo Saenz, Marlon Cas- FLAAR is a non-profit tax exempt who eagerly seek information on what interest of Vice-Rector Max Holzheu in tillo, and Eduardo Sacayon. institute dedicated to architectural his- camera or printer is best for their needs. bringing advanced digital imaging tech- tory of pre-Columbian Mesoamerica. nology to campus. We thank the Board of Directors of In reality this means to photograph Bowling Green State University’s Col- the Universidad Francisco Marroquin, ancient Maya palace, pyramid-temple, lege of Technology has opened a Large Acknowledgements including the university, Rector, Fer- and ballcourt architecture. Beginning in Format Digital Imaging Division by We thank the Wisner Company for pro- nando Monterroso, for providing facili- 1996-1997 FLAAR moved into digital acquiring FLAAR’s personnel and expe- viding a practical folding field camera, ties on this campus. imaging. Currently FLAAR has 15 rience and grafting this on their own Calumet Digital Solutions for providing employees dedicated to digital imaging educational assets already on campus. two Cambo cameras to this program; I thank several members of the IAPP for generously responding to our request for assistance in obtaining information on historical panorama photography for the course we are preparing. They will be credited by individual name in our report on this course syllabus on the FLAAR web sites.

Digital panorama scan of the Museo Popol Vuh (at the right) and Museo Ixchel (at the left). I believe Adolfo Lau designed the building at the right. 120mm Super-Angulon Schneider lens, Dicomed Field Pro with BetterLight digital panorama system, FLAAR Photo Archive. Twenty-seven Twenty-eight Exhibitions and Gallery Spotlight Submission Guidelines The Great Wide Open: Panoramic Photographs of the American West The Mary Lou and George Boone Gallery at the Huntington Library for Panorama Magazine 1151 Oxford Road, San Marino, CA 91108 Panorama Magazine is the official pub- Panoramic photographs of the American graph, as it documented, explained, and The Great Wide Open drew from a lication of the IAPP. The Board of West were the focus of a summer exhibi- mythologized, the American West from broad spectrum of both historic and con- Directors, which includes the Panorama tion that opened June 14 and continued the 1850s to the present. Photographs in temporary images. In emphasizing the Editor, seeks to continuously improve through September 9, 2001. The exhi- this format showed a wider section of unique connections between the pan- the quality and content of this pub- bition was entitled “The Great Wide a view than can usually be captured in oramic format and the West, the exhibit Plication, making it the best it can possi- TOpen: Panoramic Photographs explored spatial metaphors as bly be. This goal however, is impossible of the American West,” and organizing principles. Five the- without your help. examined the dynamic relation- matic sections –Range, Pathway, ship between the panoramic Grid, Site, and Tribe—were used Panorama relies on the contribution of photograph and understand- to classify the ideas and materi- articles and images from its readership. ings of the American West from als of the exhibition, as well as All articles are submitted on a voluntary the 1850s to the present. The to provoke new ideas and visual basis; no one is financially compensated show featured approximately connections. The Great Wide for their work. All articles will be read 60 historic and contemporary Open suggested that the panora- and considered, and will be published at images of the region in a pro- ma’s representation of time and the Editor’s discretion. vocative installation designed space, as well as its narrative to elicit new ideas and visual qualities, have made it ideally It would be greatly appreciated if poten- connections. suited to the pictorial demands tial authors communicated with the of the West’s epic dimensions. Editor on articles and images they The panoramic images on dis- wish to contribute, preferably well in play were drawn from the Though the exhibition closed advance. This will help to eliminate photographic holdings of the before the publication of this redundancy and balance out the content Huntington Library as well as a wide a single frame. Their ratio of width to issue of Panorama, IAPP members of an issue. Last-minute submissions variety of other repositories and lenders. height was at least two to one, often may still be able to see some of may not receive the same level of con- Well-known early photographers such substantially more. Artists have long the individual works. Interested parties sideration as those submitted in advance as Carleton E. Watkins, William H. Jack- recognized the unique expressive ties should contact Jennifer Watts, Curator and may be shelved for a future issue. son, and Eadweard Muybridge were between this special format and the of Photographs, at 626-405-2180 or Submission deadlines are generally the represented, along with contemporary immensity of western space. Not only [email protected] in order to first of the month proceeding the publi- photographers including Karen Halv- could a panorama show much more schedule an appointment. Ms. Watts has cation month (for instance, November 1 erson, Mark Klett, Gus Foster, Robert than a conventional photograph, it indicated that the private viewing of for the December issue). Dawson, Stuart Klipper, Catherine Opie, could do so in ways that mimicked these works will be conducted on an Lois Conner, and Skeet McAuley. the experience of looking at the land- individual basis and is dependent on her Authors may refer to the following mag- Albums created by amateur photogra- scape itself. Spilling beyond the bounds work schedule. azine topics when considering what to phy enthusiasts and the archives of com- of conventional images, the panorama submit. While it would make for a truly mercial photographers—most notably (meaning “all seeing”) offers its own The catalog “The Great Wide Open?” may dynamic magazine, we do not expect be purchased for $50.00 (its available in hard- Texas photographer E.O. Goldbeck— vista and encourages the eye to roam every topic to be covered in every cover only) from the Huntington Library Book- also yielded a wealth of historic images the spaces it describes. Seduced by store. To place an order, please contact Pamela issue. Please note that certain topics are for the show. these obvious advantages, photogra- Conway, Bookstore Manager, The Huntington reserved for IAPP members in good phers embraced the “long view” as an Library, 1151 Oxford Road, San Marino, Cali- standing only while others are open to The Great Wide Open focused on a important ally in attempts to represent fornia 91108. Phone: 626-405-2130 or e-mail at any interested party. A “member in good single medium, the panoramic photo- the West. [email protected]. standing” is a person whose dues have Twenty-nine

been paid in full for the present calendar tion on cameras’ design, construction a Word (.doc) or Acrobat (.pdf) attach- at the discretion of the editor. Submis- year. and operation. ment. Hard copies of digital submissions will be returned only if a self- 9. Historic Panoramic Photographs (all sions may be submitted on floppy disc, addressed stamped envelope has been 1. Cover Photograph (IAPP Members sources). Information on an individual CD or Zip. PC and Macintosh platforms provided. IAPP is not responsible for only). This may be submitted on its own image or a body of work by 19th or early are accepted. any loss or damage to the original mate- or in conjunction with an article. 20th century photographer/studio. rials that might occur during handling 2. Members in the News (IAPP Mem- 10. Inventions, Gadgets and Gizmos Illustrations (photographs, drawings or while in transit. Articles and sup- bers only). If you or your work has been (all sources). If you would like to and digital images): porting materials are for one-time use featured in a mass-media publication, share your discoveries, a place has been Illustrations may be supplied as prints, unless other arrangements have been please give a synopsis along with infor- reserved for you. transparencies or in digital file format. made between the creator(s) of the text mation on how to gain access to it. 11. Panoramic Painting and other Fine and images and IAPP. The author / pho- 3. Upcoming Events (all sources). Arts (all sources). Generally overlooked Prints and drawings – images on paper tographer retains full credit and copy- This may include information such in the past, this section is reserved for of any size may be submitted (including right to their submissions in an edited or as IAPP conferences, exhibitions, book information on historic and contempo- Cirkuts), but images less than 14” inches unedited form. publications, contests, workshops and rary panoramic painters, studios and in length are preferred. other venues of interest to the reader- places where these works can be seen. All submissions, articles, ads, etc. must ship. 12. Product Review (IAPP Members Transparencies- transparencies no larger be sent to: 4. Letters to the Editor (IAPP Members only). Please describe a product and than 10” x 8” may be submitted for pub- only). your experiences with it in this section. lication. Panorama Magazine Editor - IAPP 5. Member Spotlight: Photography 13. Book Review (IAPP members only). PO Box 6550 (IAPP Members only). Tell us about 14. Essay (all sources). Aesthetics, obser- Illustration submissions are accepted Ellicott City, MD 21042 yourself, your images and offer some vations, experiences and thoughtful digitally either as a TIFF, Adobe Photo 301-713-6714 (work phone) technical guidance. opinions on the panoramic image. Shop or as an Adobe Acrobat files. E-mail all submissions to: 6. Member Spotlight: Digital Imaging 15. Marketplace (all sources). Images should have a resolution of 300 [email protected] (IAPP Members only). Advertise (text only, no images) a dpi. Size illustration images to 10 1⁄2” Same as photography with perhaps product or service for sale or trade. wide max. Size cover photographs to It is desired to have a magazine more of an emphasis on the software Advertise you desire to purchase a prod- 21” wide max. There is no need for com- that is comprehensive, a magazine that and hardware you have been using. uct. Advertisements are free for IAPP pression. Grayscale, RGB and CMYK addresses the past and present, a maga- 7. Exhibitions and Gallery Spotlight members in good standing. Non-mem- files are accepted. zine that considers the artistic, the tech- (all sources). bers pay $15.00 for a 1 x 2 1/2” sized nological, and the inventiveness of its Specific information on current or future notice. Hard copies of digital submissions may readership. We welcome your input and exhibits featuring work by an individual be submitted on CD or Zip. PC and involvement. photographer or group of photogra- GUIDELINES Macintosh platforms are accepted. Illus- phers. Images may be contemporary or trations may be sent as e-mail attach- historic. This section may also include Articles (text): ments as long as the file is 10 Mb or less. general information on galleries, librar- Article submissions are accepted con- ies or museums that may feature pan- ventionally (handwritten or typed) and Copyright Information oramic photographs in their collections. digitally either as e-mail, word process- Original written articles and supporting 8. Historic Panoramic Cameras (all ing file (Microsoft Word 98 is the pre- materials, such as photographs or image sources). Specific information on a ferred software program) or as an Adobe files, shall be submitted to the Panorama camera, manufacturer and/or inventor. Acrobat file. E-mailed text can appear editor for consideration. Articles may be May also include technological informa- either in the body of the message or as edited and may or may not be published Thirty

Historic Panoramas The Art of Scientific Photography: The Panoramic Photographs of Charles D. Walcott By Michael J. Horsley

One of the more significant photograph where he served until his death in 1927. serves as a prototypical example of com- Although Walcott did not take any pho- collections in the Smithsonian Institu- bining illustrative skills with scientific tographs until his fifth field season in tion Archives are the panoramic pho- Walcott’s first experience as a profes- description. The “Key” is a panoramic 1885, he was most likely introduced tographs taken by Charles D. Walcott sional geologist in the west was during drawing from a scenic overlook on to photography while conducting field- (1850 to 1927) who served as the Insti- Captain C. E. Dutton USGS survey the north rim of the Grand Canyon, work with Captain C. E. Dutton and Otution’s fourth Secretary (1907 to 1927). party of the Grand Canyon Region in and it contains scientific annotation to through his close association with fellow Walcott took most of these images 1879. The signify geological struc- geologist Grove Karl Gilbert. Both during expeditions to conduct geolog- work of the tures depicted in the Dutton and Gilbert were veteran scien- ical research and collect fossils in the USGS was image, but also includes tists from the earlier surveys, and both Canadian Rockies. Although Walcott a contin- an artistically rendered of them utilized photography to doc- had little formal schooling, he became uation of foreground complete ument their scientific explorations. In an important leader in the scientific the “Four with small figures from typical laconic style Walcott describes community, and among his many Great Sur- the survey party (possi- taking his first photographs in his 1885 accomplishments he is perhaps best veys of the bly Holmes and Dutton) diary: “Went to Rock Canyon 12 miles remembered for the discovery of the West” led lounging on the rocks. south of Workman’s Spring. Examined Burgess Shale near Field, British Colum- by Clarence Similar compositions can Section. Photographed junction of Perm- bia--a rich fossil record of an evolu- King, Fer- be found later in Wal- ian and Carboniferous…” For the next tionary big bang during the Cambrian dinand V. illustration 1 cott’s panoramic photo- 10 years Walcott became more proficient period. His images are fine examples Hayden, graphs as he chose to with the camera, and most of his images of panoramic landscape photography, John Wesley Powel, and George include small details in the foreground were straight views of geologic forma- serving as visual documentation of geo- Wheeler. During these surveys photog- of his images, such as members of his tions recorded on 6”x 8” glass plate neg- logical features and executed with a raphers and artists such as, William survey party or his packhorses foraging. atives. high degree of artistic skill. Henry Jackson, Thomas Moran, Timothy O’Sullivan, Carleton Watkins, and Wil- Advances in photographic technology Walcott’s first attempts to create pan- As a young man in upstate New York liam Henry Holmes, created iconic such as the introduction of the gelatin oramic images occurred during his 1891 Walcott developed an interest in paleon- images of the natural beauty of the west- dry plate negative in the early 1880’s trip to Colorado where he took 3 tology which led him to build a large ern frontier. These artists often used meant that photography in the field was sequential images and then mounted the collection of trilobite fossils. In 1879 panoramic perspectives in their work to much easier than the wet collodion pro- prints to create a wider view of the he joined the newly created United illustrate both the sweeping vistas of cess employed by photographers such landscape. A survey of Walcott’s meticu- States Geological Survey (USGS), a fed- the western landscapes, and the com- as O’Sullivan and Jackson during the lously kept negative logbook indicates eral scientific bureau of the Interior plex geological relationships found in earlier surveys of the west. Relieved of that between 1891 to 1903 he took over Department, tasked with the geologic the rock strata. The line between scien- the burden of traveling with a mobile 13 segmented panoramic views, but it exploration of the American west. For tist and artist was sometimes blurred darkroom out in the forbidding western was not until Walcott’s 1905 field season the next fifteen years Walcott continued such as in the work of William Henry landscape, scientists such as Walcott that he photographed with a true pan- to work for the USGS and eventually Holmes who was primarily a geologist, could easily document their work with- oramic camera. Although there is no was promoted to Director of the Survey as well as an artist with the Hayden out having to develop the photographs record of the type of camera Walcott in 1894. In 1897 Walcott was appointed Survey and later with the USGS. in the field. During the 1880’s photog- used at this time, it is likely that he Assistant Secretary of the Smithsonian, raphy quickly became a major tool for had an Al-Vista 5. [illustration 2] Wal- and served for 18 months while at the The illustration “Key to the Panorama scientific illustration, and scientists inev- cott’s negatives in the Smithsonian Insti- same time he continued as Director from Point Sublime” [illustration 1] by itably became as adept with the camera tution Archives collection measure 5” x of the USGS. In 1907 Walcott was Holmes as found in Dutton’s report as they were with the pencil to illustrate 16” which is one of the Al-Vista negative appointed Secretary of the Smithsonian “Tertiary History of the Grand Canyon” their work. formats. Thirty-one

Walcott took his cott’s photogra- first panorama phy, as well as while conducting some of the con- fieldwork in servation issues Montana’s Rocky encountered by Mountains. The the Smithsonian negative log entry Archives where reads “No. 709 most of his Ridge west of photographs are Camp Creek, illustration 2 illustration 3 stored. The illustrating upper Charles D. Wal- portion of the sec- cott Collection tion of the Algonquian rocks beneath the Northwest end of Scapegoat Mountain in aesthetic quality to the work done (Record Unit 7004) is located in the Cambrian. The point in the foreground from the Continental Divide on the by other panoramic photographers. His Smithsonian Institution Archives. The is on the Continental divide. For loca- North. Ovando Quadrangle, Montana (6 work appeared in the National Geo- finding aid for the Walcott collection tion of Camp Creek, see Ovando Quad- negatives) (5 inch film) C.D.W. 1905”. graphic Magazine, brochures for the may be found on the World Wide rangle, Montana. C.D.W., July, 1905”. All The term “6 negatives” indicates that Canadian Pacific Railway, newspapers, Web at: http://www.si.edu/archives/ the 33 photographs that he took during Walcott took six variations of a scene and to illustrate popular lectures at the archives/faru7004.htm. Due to the frag- the 1905 field season were panoramic from the same locality, and “5 inch film” Smithsonian. He was surrounded by ile nature of the original panoramic photographs, and it is possible that he refers to the images taken with his pan- some of the best scientific illustrators of photo prints, use of this collection wanted to concentrate on learning his orama camera instead of his 6 x 8” sheet his day, and as a preeminent figure in requires prior arrangement with the new photo outfit. He writes in his diary film camera. Washington D.C., he was no stranger to Archives staff. The Smithsonian Insti- entry for July 7, 1905 “Washed up, wrote the world of culture. Perhaps the great- tution Archives is located in the Arts out notes, put up photo films etc.” It is Walcott did not take any photographs est artistic influence on his later pan- and Industries Building, Room 2135, curious to know what he meant by “put during the next two field seasons but he oramas was his third wife Mary Vaux 900 Jefferson Drive, S.W., Washington, up photo films etc.”, but he may have was certainly a busy person during this Walcott whom he married in 1911. D.C. 20560 202-357-1421 been testing his equipment and loading time. He was burdened by administra- Mary Vaux Walcott, who later became [email protected]. film. tive duties as director of the USGS, and a noted illustrator of North American in 1907 he was elected Secretary of the wildflowers, accompanied her husband Michael Horsley is a fine art photog- There are two photo albums for the Smithsonian. By his next expedition to on his expeditions to the North Amer- rapher and serves on the Preservation 1905 field season in the Smithsonian the Canadian Rockies in 1908 he had ican Rockies where she would create Team for the Smithsonian Institution Archives; the first album contains a acquired a Cirkuit #8 camera that he paintings of rare and fragile alpine flow- Archives. select number of views that have geo- used along side his older AL-Vista. From ers while they were in bloom. She is logical information inscribed by Walcott 1908 to 1925 Walcott would alternate often depicted in photographs with a Display Advertising Rates on the photo print. The second album is between the two cameras to create over camera, and many of the photographs of probably a presentation album, because 650 panoramic images. Charles can be attributed to her. the print quality is much better and Insert - $250 they are mounted on linen backing. The Although it may be a stretch to consider This is part one of a two part series con- Full Page - $200 photograph depicted here is from the Walcott as an artist, it can be argued that cerning the panoramic photography of 1/2 page - $110 second album and is negative number his superb technical skill elevated his Charles D. Walcott. Part two will 718a. [Illustration 3] The description work beyond dry scientific documents. concentrate more closely on the 1/4 page - $60 in Walcott’s negative log reads: “718 Many of his best images are comparable technical and aesthetic aspects of Wal- Boston By Night This issue of Panorama’s cover entitled Boston By Night, was photogrpahed by David Marlin from across Boston Harber with a Fuji G617 on Fuji NHGII 800. Posters were made using this panorama...and if you attend the Boston Conference (see page Five) you will recieve a poster for FREE!