How to take panoramic photos (technical approach part.1)
posted on 11th of july, 2007
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When you wake up from a sound sleep and you walk dizzily towards the window hoping that the light and the vividness of the street will animate you, the first reflex is to watch panoramically. The habit of your conscious requires this thing as a necessary evil. The panoramic look and the mechanical twist of the neck produce a soothing effect through the physical internal press puncture as well as the self re-awareness and re-awakening process in the familiar space. This fact is certainly well-known to those who produce advertising and images since wherever you slowly turn your eyes, the accent falls on the panoramic image, panoramic advertisement, so on and so forth . . . generally on the panoramic unfolding of the visual "event".
The social psychology of the panoramic image as well as the technical tips related to its accomplishment are always more than welcomed.
The first stages would be: possessing the technical equipment required for a correct execution of the panorama, choosing the the panoramic setting/subject to be photographed and establishing the photographing technique in order to get the complete and ultimate psychological and visual effect/impact.
It is obvious that the usage/acquisition of a tripod is essential as well as a cap/device for panoramic photographing, which allows the perpendicular axis to be fixed in a fixed/mobile correct posture.
In this first part we will evidently discuss about the technical approach of the panoramic photograph (technical equipment). Two of the most professional models can be found at the following links Link 1 and Link 2.
It is extremely important that after setting the camera on the panoramic device you read the instructions for each device separately and on the prospects you will find accurate and precise indications on how to place your camera in the graded metallic patina.
Why is this important? Because the surface of the last lens must twist perfectly around the axis formed on the perpendicular diameter of the lens on the ground (centering the lens on the rotation axis) as well as the aligning of the nodal point to the rotation axis so that the perspective aberrations are minimal. For the fish eye lens panoramas, purchase a special device that allows the distancing of the camera on every side of the tripod or system. Also, in order to solve optical geometrical issues it is advisable to have a dedicated soft that can give you precise indications about the number of images that need to be used for the spherical panoramas, the angle, the focal length, the crop factor, the control of the sticking points (an excellent example is to be found here ) (at Calibration - Horizontal Field of View (HFOV) area).
For further counsellings (sketches, images, formulae), do not miss the next sequel.
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Tags: advice panoramic photographer photos tips
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Pavalache Stelian
(Photodesign)
Bucuresti, RO
>Who are you photography?
Why such question? Otherwise how? How could I talk to the light? I am trying to plunge into its world and bring it to the surface under the shape of letters. What an impossible mission has been assigned to me. It is as if I would rudely and constantly rummage the mystery of the infinite man. But...do you remember the shooting starts? ...well, knead infinite stars in your palm and then, as genuinely as a child, throw them back into the universe. Men and worlds will emerge. Somewhere out there, a tiny bit of light is my world and the light within it.
Through light, all things have shape and enhance effect. Light reveals itself to me and I am surprised. I do not believe in shapes and colors. . . . I do not even know if they truly exist. I do not believe in the moral of shapes, I do not believe in the moral of lightless words, I do not believe that . . . I do not believe that light is ultimate or absolute . . . I press the shutter towards infinite worlds . . . (even my world), and they all fall mingled through the child's fingers and they settle plainly on the silverish forever. A soulful image. I close the shutter . . . darkness in the hand of the lightless child.
Wondering what all this has got to do with photography?
This is how I feel it.
This is my creed . . . ABOUT LIGHT.
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