ole sarg Loc: south florida

Got it, but where does one get paper that is 36 inches long.

ole sarg Loc: south florida

what kind of printer prints paper that is 36 inches long

MT Shooter Loc: Montana

My HP Designjet prints at 24" x 36", paper comes from Blueprint stores.

Greg-Colo Loc: Fort Collins,Co

do not shoot at wide angle setting.... it will distort the image... zoom out...

BboH Loc: s of 2/21, Ellicott City, MD

On thing I over looked - hold your camera in the Portrait position.
I shoot with Nikon's 10.5 Fisheye; many, if not most, panoramists us a Fisheye, some even shave it

ole sarg Loc: south florida

Thanks I thought about blueprint stores but thought their paper only produced those mottled blue plans....

Will give them a shout. Have a buddy who is an architect and will use his printer.

llindstrand Loc: Seattle Metro

I do a lot of panoramas with my Canon 50D and always use AV. I use a remote cable and as long as you keep the shutter button depressed halfway, the exposure doesn't change. I set from the brightest section of the picture and then shoot from left to right with significant overlaps. It is best to use a tripod, but I have done well with hand held. I shoot over 50% of them in portrait mode so I have the greatest control in post processing. I've posted panoramas here on UH as well as on my website http://www.photosbyswede.com
Swede

jcarlosjr Loc: Orange County

Mount the camera in PORTRAIT mode. The vertical format will require more shots, but you will have more material to work with.

ole sarg Loc: south florida

never thought of that. thanks

gmcase Loc: Galt's Gulch

That is the way for single row but if you are doing multi row the advantage diminishes but it still could eliminate a row for larger panos.

English_Wolf Loc: Near Pensacola, FL

From experience, trying out and documentation

Addendum that is not mentioned here:
All lenses create distortions (especially wide angle). You need to correct this BEFORE stitching.
Focusing can vary within a band and by band This technique is akin to picture stacking.
Lighting can be adapted too, just no so much as to create weird side effects*.
White balance can be set afterward and applied to all shots afterward or by areas.

When shooting by band, the 'rules' say 1-3-5-7-9 bands, middle band being the 'master'.
Experience says: **** that, good for students, not reality.

Be aware that many stitching software get really upset when you shoot the sky, large reflective areas with no detail and pictures that are:
Out of focus
Flowing (should have used a higher speed)
Moving objects (like leaves on top of tress)
Under/over saturated images

* Light adjustment:
Mixed: three pictures: -0 -0+ 1+ (Warning: Do not forget to return to -0+) Process as realistic HDR
Transitional:
Dark to light: two pictures -0+ 1+ Blend (Warning: 1+ becomes -0+)
Light to dark: two pictures -0+ -0 Blend (Warning: 1+ becomes -0)

When moving from dark to light or dark to light the changes may exceed 1 stop, in the case shoot as realistic HDR and keep the newest correct exposure. Too many folks lose the sky or dark areas for no reason.

Focus tip: infinity is NEVER to be used but in one case: If you are shooting a silhouette of a far object (even that it should not be infinity in my opinion).
DOF tip: DOF extend one third in front of the point of focus and two third behind it. When shooting a panorama select on third behind the point of focus. This applies to all lenses.


If you are a nut... Create panoramas and process them as HDR!!! Easy to do, if you bracket all your shots (3, 5, 7, 9 limit is your camera).
http://static.uglyhedgehog.com/upload/2012/3/7/1331147533862-smiley_kolobok.png

PS: If you shoot hand-held, abandon all hope of accurate HDR and bracketing.

don1w Loc: Abilene, Texas

Along with setting the camera to 100% manual mode, I turn the gridlines on and use them to aid in overlapping my images. Starting from the left side of the proposed panorama and going to the right, I take the first picture and make a mental note of the location of things in the image that intersect with the intersection of the grid lines on the right side of the grid as viewed in my camera. Then, I reposition the camera to put this intersection on the left side of the view in my camera image. I continue doing this until I have captured enough images to cover the subject of interest. By doing this I am assured of sufficient overlap and it helps me retain the vertical orientation the same though out all of the images. Also, consider capturing the images for you panorama with your camera orientated so that the longer part of the image is vertical. This method takes more images for the same panorama but it gives you a physically larger panorama with more depth. Remember the rule of thirds and that once the panorama is made you are most likely going to have to crop the image to get rid of the unwanted portions.

English_Wolf Loc: Near Pensacola, FL

"RULE OF THIRD IN PANORAMA????"

http://static.uglyhedgehog.com/upload/2012/3/8/1331247443001-embaras.gif

don1w Loc: Abilene, Texas

Sorry, English Wolf,
What I am trying to point out is …. Don’t get too much stuff in the foreground (water, trees, etc.) or too much sky. A person can get caught up in the panorama process and forget to capture the image they are hoping to capture. I guess I should have used the ‘compose’ word.

English_Wolf Loc: Near Pensacola, FL

Actually, you can make a panorama of a macro setting as well as of a mountain. Composition in a panorama is the last thing one has to be worried about when shooting.

Then it is a matter of PP and preference, if one wants to have a 'composition'.

If you want to introduce composition in a panorama at shooting time you enter a whole new world that is rather complex.