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E-MONITOR Punch Holes Here IAPP November 2010 Volume 01 Issue 03 e-MONITOR Punch holes here IAPP STEP BY STEP DIGITAL PANORAMAS How to create Panoramas with a digital camera Most panoramic photographs have been morrow. Digital sensors are getting larger shot with film. And those photographs have and the larger ones are getting cheaper but it usually been made with those wonderfully will still be awhile before digital panoramic technical instruments known as Panoramic cameras are commonplace (even though Cameras. They have expanded upon digital panoramic scanning cameras are start- regular-sized photographic images and ing to come into vogue). stretched them into an art form that encom- In the meantime we must use whatʼs avail- passes something larger and more lifelike able in the digital realm to create our pano- than the standard images that are far more ramic photographs. That means that we commonplace. much stitch! Fortunately, software has made These panoramic cameras are amazing it reasonably easy for us to do just that. The machines and are still churning out magnifi- purpose of this article is to give the reader an cent photographs of breathtaking beauty. understanding of the process that he or she Technology, however, is never stagnant; it is needs to go through that will lead to a final relentlessly moving forward, and we find our- panoramic image. selves in a transitional period between the Now, a word of caution - there are many glory days of film and the onrush of the digital ways you can get from here to there, the image. We know that we canʼt stay forever in method I use is just one of them and, not the past and must move ahead as the tech- necessarily the best one for any other person nology pulls us along. Perhaps one day we except me. However, it should outline the will have a digital panoramic camera similar basic steps for anyone starting out in the to todayʼs Fuji GX617 but it wonʼt come to- world of digital panoramas and provide [1] enough information to get you there. Once First, choose the lens that you feel is best there, you can experiment with other methods for capturing the panoramic image before you. that may be more comfortable for you. I very seldom use a wide angle lens for this. Creating a digital panorama involves 4 basic You can capture more detail with a longer fo- steps: 1) Prepare, 2) Shoot, 3) Stitch, and 4) cal length lens by stitching several images to- Process. While all of the steps are important I gether to form your panorama. You can get view the initial step as being the most impor- the same panoramic feeling by using a 20 mm tant of the four. Without the proper prepara- lens and cropping out the top and/or bottom of tion the other three steps will yield mediocre the single shot but you will be limiting the size Punch holes here results at best. of print that you can make from it. For many of the panoramas I shoot I prefer to use a 45 PREPARE mm PC (perspective control), also known as a The first portion of preparing for a digital Tilt/Shift lens. You donʼt need a T/S lens but it panorama is to remember that a panorama is is what I have so I use it. There is no more just a wide (or tall) photograph and, like any hard and fast rule for the lens you will use photograph, composition is the most important than having a hard and fast rule for the lens aspect. If it is not composed properly or if you use for any other type of photograph. The there is no photo there when you look at your composition of your panorama will dictate your target, skip it. It wonʼt work. However, if you lens choice. feel the photo calling to you and you can see a The panoramic adapter does one thing and wonderful composition then the rest falls into it does it very well — it overcomes any paral- place. Many film-based panoramic camera have a set aspect ratio, usually around 2:1, 3:1, and some will wrap around a full 360 de- grees. With a digital camera the aspect ratio (the ratio of the horizontal to the vertical) can be anything you want it to be. You can take several shots along a single row or, if your tar- get is tall AND wide, you can shoot several horizontal shots and then return to your initial location and pivot the camera up to where it overlaps the just completed row. You can then shoot a second row for an even more detailed panorama (or even a third or forth, etc). lax distortion that comes from trying to shoot multiple images when you have close fore- Once you have a target panoramic photo in ground objects AND distant background ob- mind you must now use the technology nec- jects in the same panoramic photo. If you essary to shoot the individual images to where donʼt use it and you are shooting an image they will stitch together properly. Some of the that has a large rock or boulder in the fore- stitching software is good enough to (some- ground and parts of it are in several of your times) combine images that are handheld but individual images it will be difficult (sometimes the best way to shoot images that will be impossible) to align them together in the final combined into a panorama is by using a pano- panoramic image. (To find the nodal point/ ramic adapter on your tripod (I will be review- entrance pupil for each of your lenses that you ing some of the panoramic adapters that are will use is covered later in this issue). Also, for available in future issues of the e-Monitor). further details, especially for VR photography Most adapters operate on much the same you can go to: principles so I will give a general outline of http://www.vrphotography.com/data/pages/tec what is needed and how to use it to capture htutorials/technotes/nodalptalign-tn.html your individual images. [2] OVERLAP OVERLAP SHOOT Punch holes here Set up your panoramic adapter on your tri- handheld Incident Light Meter and that seems pod and attach your camera and lens. You to work well. The best method Iʼve found is to want to have an overlap from one image to its shoot three shots of each individual image in adjacent partner. Most people like a 25% the sequence - 1 stop underexposed; properly overlap but I have shot images with a 10% exposed; and 1 stop overexposed - and then overlap and, as long as there is plenty of de- combine them in HDR (High Dynamic Range) tail for the software to recognize, there should before I stitch the resulting HDR images to- be no problem. Start out with a generous gether to form the panorama. If you have not amount of overlap and you will soon learn worked with HDR before then go back and how much you can get away with. If you have shoot the average exposure for each image in used the Fuji GX617 or a similar film camera the panoramic sequence and this should give and you like the 3:1 aspect ratio then you can you a good panorama. Whichever method shoot the panorama with the camera horizon- you use make sure to examine the histogram tally positioned (landscape) and shoot three on the cameraʼs monitor and make sure that images (with a generous overlap). Or, if you the light areas are not slammed against the want your panorama to have a little more right side of the histogram or the dark areas height to it then shoot with the camera verti- are not slammed against the left side or else cally positioned (portrait) and shoot 5 images. you will lose detail in those areas. Iʼve found that I prefer to shoot the individual It would also be good to use any ND filters images from left to right as this positions the you have on the sky if it is overly bright. The sequence correctly when I examine them on best image you can get in your camera will the computer and when I check the overlap make it much easier when you get to the on the cameraʼs monitor. processing section. Donʼt forget the polariz- ing filters. Treat the panoramic sequence as you would a regular photograph, utilizing all the filters and experience you have. Having said that, here is a caveat. If you are shooting with a polarizer keep in mind the problems you might have with a very wide angle lens. The polarizer is limited to a section of the sky 90 degrees away from the sunʼs position. With a normal lens and a normal photograph the polarizer can work quite well, but with an Ultrawide lens the polarizing effect will, quite possibly, work with only part of the photo. The I usually set my cameraʼs meter on same thing will happen with a panorama so (M)anual and take readings from each indi- you need to experiment with your polarizer vidual image and average the resulting expo- before you commit to using it with your se- sures. If the contrast is very high (if I am quenced images that will make up your final forced to shoot in mid-afternoon) I will use a panoramic photo. [3] You now have your digital ready to shoot. One other camera attached properly to thing I do is to use a cable your panoramic adapter release and I usually set the and you have placed the cameraʼs custom function adapter on your tripod setting to allow me to use head.
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