![]() Not the brightest side, not the darkest side, just the middle – but know your camera well enough to be able to make a call on how bright to meter the exposure. Set your camera to the middle brightness of your chosen scene – especially if shooting during golden hour. You can’t expect software to join three or four images together if they have completely different apertures, shutter speeds, depths of field and ISO ratings, so we need to shoot consistently. When shooting a series of panoramic images, you need to lock down as many settings as you can – and that means employing manual mode. It’ll take some trial and error to find the exact position, but if you’re shooting complex scenes, this movement can make the essential difference between a perfect stitch up-front and having to find and “fix” a lot of things in post processing after. Essentially, an elongated baseplate, that allows us to position the camera body back off the edge of the tripod and have it rotate around the lens itself, the front of which now stays in the same position. This stops those objects from moving around as you rotate from left to right, but the problem is your baseplate attaches under the camera body.Īnd this is what a “nodal rail” is for. The fix for this is to shift the “nodal point” of the camera forward, to near the front of the lens, so that the sensor/film is now rotating around the lens. Essentially, as you turn the camera to capture each frame, the lens is rotating around the sensor (or film) – allowing items to appear to move in the recorded image. The reason for this is that your baseplate position, by default, will be under the sensor plane of your camera. ![]() So as you turn, the objects in the frame move, so any stitching tool then struggles to blend the images together (after all, things have moved around from one image to the next). The problem with Parallax is that it positions subjects and items in different relative positions from one shot to the next. What all stitching software, often, battles against is something known as “parallax” – that is, the way that objects appear to move in relation to each other as the camera turns and looks around (kind of like when you want to look behind an object, you look to the left or right of it). In essence, that’s all we need to get started – that, and a solid baseplate (or L-bracket, more on that later) to allow you to keep the camera stable – and then, you’re pretty much ready to shoot, apart from one small thing… The Parallax Effect ![]() This is to ensure that your motion is restricted to only one plane unless you choose to shoot a multi-row series. To get started on the right track, you’ll have either a ball-head or a geared head with the ability to lock and unlock panning movement independently of all other axis. If your tripod doesn’t have a bubble/spirit level built-in (ideally one on the legs and one on the top of your mounting base), you can grab one online for a few dollars from most stores. However, you do need to ensure that your tripod, and camera, are level and can be turned without altering that angle. ![]() It’s been tested and proven on a full range of scenarios from hand-held panoramic sequences, drones and phone cameras, to calibrated panoramic heads with full-frame medium format camera systems installed – and it does a good job in most cases. The first thing to say is you don’t necessarily need any additional equipment to get a good stitch in Capture One. The process of capturing a sequence of images can be as simple as panning across a single row of 2 shots to blend together into one larger view, through to catching multi-row, 360º “tiny planets” with all the gear that’s needed to do that accurately. Keeping that in mind, we’re going to detail a few tips and tricks to get the most out of your stitched image, and how to choose the right projection setting for your chosen subject. Well, while Capture One’s new Panoramic Stitch is an impressive tool, there are a few things you can do to help get the very best results and most of them are actually at the point of capture. So you’re heading out to shoot a panoramic series of images, knowing that Capture One’s latest development can stitch them all together into one seamless photograph when you import them, right? ![]()
0 Comments
Leave a Reply. |