WHATEVER TYPE OF SCENE OR LOCATION YOU SHOOT, BE AWARE THAT MOVING ELEMENTS CAN CAUSE PROBLEMS
Top & left: Successful panoramas are those that are seamless so that no joins are visible between each frame - ensuring a 30-40% crossover of each shot will help with the stitching process.
Second, you need to overlap each frame with the last one so that the stitching software can find the most effective 'join' between the images. It doesn't stitch them using straight lines but by finding a path where it’s easiest to achieve a seamless blend, and the bigger the overlap, the easier this is. A good overlap to work to is 30-40%.
Whether you shoot with the camera in portrait or landscape format is up to you.
If you turn your camera on its side, the pixel depth of the panorama will be maximised and the output size of the image will be much bigger, so you can produce giant prints even with a fairly modest digital SLR. But if your camera has a resolution of ten-megapixels or more, shooting in landscape format will still give you enormous panoramic images. With the camera on the tripod, you need to decide where the panorama will begin and end. For landscapes you're unlikely to want to cover more than about 60°, but in urban locations or when shooting interiors, you could go for a full 360° pano - the results can look amazing.
It's not important to workout how many images you need to include in the stitch - just shoot as many or as few as is necessary to cover the area you want to capture.
White Balance should be set to a fixed value: outdoors, that's Daylight; indoors, you may need to use Tungsten or Fluorescent, depending on the type of lighting used.
What you shouldn't do is use AWB (Auto White Balance) because if you do, the White Balance may change from frame to frame so the images have a different colour shift and the software struggles to stitch them - or if it succeeds, the final pano looks odd. If you shoot in Raw and use AWB, you can obviously correct any difference in colour balance by batch-processing the files that
Top and left: Panoramas are usually easy on the eye because they allow you to take in a whole scene just as you would if you were stood looking at it in real life. Vertical panoramas are also incredibly easy to make with this technique. will be stitched and synchronising them to the same colour temperature. However, it’s easiest to set your camera to a fixed White Balance and if you shoot JPEG format, you have no choice.The exposure also needs to be the same for each image if the software is going to produce a perfect stitch, so avoid using a semi-automatic exposure mode, such as aperture-priority, and instead set the camera to manual exposure mode so the exposure doesn't change when you move the camera between frames. The easiest way to determine 'correct' exposure is by taking a test shot of an average part of the scene - not the lightest, not the darkest, but somewhere between those extremes. You can then set that exposure manually and use it for each frame in the sequence. It may mean that some frames appear overexposed and others under, but you can always apply selective exposure control once the final pano has been stitched.
Whatever type of scene or location you shoot, be aware that moving elements can cause problems. If you shoot in low light and have to use long exposures, blurring in the sky and sea or things like breaking waves may cause alignment problems. Similarly, urban scenes where there's moving traffic or people - or both. If in doubt, give it a try and see what happens. It may be that you have to do a little retouching in post-production, perhaps using the Clone Stamp Tool to remove unwanted or repeated elements, or to soften visible joins between images. The more experience you gain, the more straightforward these problems are to solve, so don't let the risk of them put you off trying. Stitching software is also more sophisticated than it used to be, so you may get away with including moving elements.
Set your lens to manual focus rather than AF, so it remains focused to the same distance and depth-of-field is constant. If you use AF, the lens may focus on a different distance from frame to frame because different elements will fall behind the AF point in use. If you're using a wide-angle lens stopped down to f/11 or f/16, you'll probably have enough depth-of-field to overcome this, but if you're not, you may find that the focus shift means some parts of the scene are sharp in one frame but not in the next, which makes a seamless stitch impossible to achieve. Finally, if you shoot a number of image sequences on the same memory card, how will you know where one sequence begins and another ends? The answer is to separate the sequences, and the easiest way to do that is by photographing your hand at the start and again at the end, so the image between the two hand shots are for one stitch. Better still, photograph your left hand at the start with fingers pointing right and your right hand with fingers pointing left at the end.
Left and above: Planet panos and spherical panos are probably the most striking of all panoramas for their weird and wonderful take on a scene. They’re definitely a talking point!
SET YOU R LENS TO MANUAL FOCUS, SO THAT IT REMAINS FOCUSED ON THE SAME DISTANCE AND DEPTH-OF- FIELD IS CONSTANT.
******Usman ahmed owner of this blog created this post with his knowledge.All content provided on this blog is not copied from any other blog and site and is for informational purposes only and The owner of this blog makes no representations as to the accuracy or completeness of any information on this site or found by following any link on this site.The owner will not be liable for any errors or omissions in this information nor for the availability of this information. The owner will not be liable for any losses, injuries, or damages from the display or use of this information.
Top & left: Successful panoramas are those that are seamless so that no joins are visible between each frame - ensuring a 30-40% crossover of each shot will help with the stitching process.
Second, you need to overlap each frame with the last one so that the stitching software can find the most effective 'join' between the images. It doesn't stitch them using straight lines but by finding a path where it’s easiest to achieve a seamless blend, and the bigger the overlap, the easier this is. A good overlap to work to is 30-40%.
Whether you shoot with the camera in portrait or landscape format is up to you.
If you turn your camera on its side, the pixel depth of the panorama will be maximised and the output size of the image will be much bigger, so you can produce giant prints even with a fairly modest digital SLR. But if your camera has a resolution of ten-megapixels or more, shooting in landscape format will still give you enormous panoramic images. With the camera on the tripod, you need to decide where the panorama will begin and end. For landscapes you're unlikely to want to cover more than about 60°, but in urban locations or when shooting interiors, you could go for a full 360° pano - the results can look amazing.
It's not important to workout how many images you need to include in the stitch - just shoot as many or as few as is necessary to cover the area you want to capture.
White Balance should be set to a fixed value: outdoors, that's Daylight; indoors, you may need to use Tungsten or Fluorescent, depending on the type of lighting used.
What you shouldn't do is use AWB (Auto White Balance) because if you do, the White Balance may change from frame to frame so the images have a different colour shift and the software struggles to stitch them - or if it succeeds, the final pano looks odd. If you shoot in Raw and use AWB, you can obviously correct any difference in colour balance by batch-processing the files that
Top and left: Panoramas are usually easy on the eye because they allow you to take in a whole scene just as you would if you were stood looking at it in real life. Vertical panoramas are also incredibly easy to make with this technique. will be stitched and synchronising them to the same colour temperature. However, it’s easiest to set your camera to a fixed White Balance and if you shoot JPEG format, you have no choice.The exposure also needs to be the same for each image if the software is going to produce a perfect stitch, so avoid using a semi-automatic exposure mode, such as aperture-priority, and instead set the camera to manual exposure mode so the exposure doesn't change when you move the camera between frames. The easiest way to determine 'correct' exposure is by taking a test shot of an average part of the scene - not the lightest, not the darkest, but somewhere between those extremes. You can then set that exposure manually and use it for each frame in the sequence. It may mean that some frames appear overexposed and others under, but you can always apply selective exposure control once the final pano has been stitched.
Whatever type of scene or location you shoot, be aware that moving elements can cause problems. If you shoot in low light and have to use long exposures, blurring in the sky and sea or things like breaking waves may cause alignment problems. Similarly, urban scenes where there's moving traffic or people - or both. If in doubt, give it a try and see what happens. It may be that you have to do a little retouching in post-production, perhaps using the Clone Stamp Tool to remove unwanted or repeated elements, or to soften visible joins between images. The more experience you gain, the more straightforward these problems are to solve, so don't let the risk of them put you off trying. Stitching software is also more sophisticated than it used to be, so you may get away with including moving elements.
Set your lens to manual focus rather than AF, so it remains focused to the same distance and depth-of-field is constant. If you use AF, the lens may focus on a different distance from frame to frame because different elements will fall behind the AF point in use. If you're using a wide-angle lens stopped down to f/11 or f/16, you'll probably have enough depth-of-field to overcome this, but if you're not, you may find that the focus shift means some parts of the scene are sharp in one frame but not in the next, which makes a seamless stitch impossible to achieve. Finally, if you shoot a number of image sequences on the same memory card, how will you know where one sequence begins and another ends? The answer is to separate the sequences, and the easiest way to do that is by photographing your hand at the start and again at the end, so the image between the two hand shots are for one stitch. Better still, photograph your left hand at the start with fingers pointing right and your right hand with fingers pointing left at the end.
Left and above: Planet panos and spherical panos are probably the most striking of all panoramas for their weird and wonderful take on a scene. They’re definitely a talking point!
SET YOU R LENS TO MANUAL FOCUS, SO THAT IT REMAINS FOCUSED ON THE SAME DISTANCE AND DEPTH-OF- FIELD IS CONSTANT.
For The User
******Usman ahmed owner of this blog created this post with his knowledge.All content provided on this blog is not copied from any other blog and site and is for informational purposes only and The owner of this blog makes no representations as to the accuracy or completeness of any information on this site or found by following any link on this site.The owner will not be liable for any errors or omissions in this information nor for the availability of this information. The owner will not be liable for any losses, injuries, or damages from the display or use of this information.
No comments:
Post a Comment