Make a panorama

Now is the per­fect time to shoot land­scapes, so Dan Mold ex­plains how you can get pro­fes­sional re­sults with a wide-span­ning panorama.

Practical Photography (UK) - - Welcome -

Shoot and edit a widescreen land­scape with this creative project.

US PHO­TOG­RA­PHERS love to ex­per­i­ment, as find­ing new an­gles and styles is all part of the fun when cre­at­ing a pic­ture. No doubt you’ll be fa­mil­iar with panora­mas, es­pe­cially now ev­ery smart­phone and com­pact cam­era worth its salt has the abil­ity to cap­ture these ex­tremely wide views. This is a quick and fun way of cap­tur­ing the scene, but to get the best re­sults you’ll need to use a creative cam­era such as a DSLR or CSC, and shoot in the larger RAW for­mat for ex­tra de­tail. This is more in­volved than sim­ply wav­ing your phone across the scene, but the ex­tra ef­fort is well worth it, pro­duc­ing highly de­tailed re­sults.

Us­ing a creative cam­era not only boosts your im­age qual­ity via its larger sen­sor and lens, it in­creases your res­o­lu­tion too. For ex­am­ple, if you take five shots for your panorama and each im­age is 20MP you’ll end up with a fi­nal res­o­lu­tion close to 100MP. That’s im­pres­sive! The great news is that af­ford­able soft­ware such as Light­room and Pho­to­shop CC make it pos­si­ble to stitch your RAWs together so you can edit the pano just as you would a stan­dard RAW file. But we’ll cover this later on.

Turn the page to see how you can cap­ture the stills in-cam­era and bring it all together in Pho­to­shop or Light­room for pro­fes­sional re­sults.

PANORAMIC SE­RIES OVERLAP EACH SHOT BY 30%

Left A to­tal of five pic­tures were stitched together to cre­ate this wide-span­ning vista of Ry­dal Water in the Lake District.

SIN­GLE SHOT

Far left The pic­tures in this panoramic se­ries overlap each other by at least 30%, which gives the soft­ware a good chance of stitch­ing them together. Left A sin­gle pic­ture of the scene just doesn’t do the broad vista jus­tice, with much of the lo­ca­tion left out of the com­po­si­tion.

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