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Shooting a 360-degree panorama

From: Shooting and Processing Panoramas

Video: Shooting a 360-degree panorama

There's a couple techniques I ran out of time to show you in Red Rock, so we've come back out to the mountains here. We're actually in the Shenandoah Mountains in my backyard, and I want to just take some time to walk you through a couple techniques for getting better panoramic photos. One of those is shooting a 360. Now, it's incredibly important that you get the tripod level. In this case I'm on a slight hill. So I've actually extended the frontmost leg. And it's easier to put the single leg going downhill. This makes it simple to just make a quick adjustment.

Shooting a 360-degree panorama

There's a couple techniques I ran out of time to show you in Red Rock, so we've come back out to the mountains here. We're actually in the Shenandoah Mountains in my backyard, and I want to just take some time to walk you through a couple techniques for getting better panoramic photos. One of those is shooting a 360. Now, it's incredibly important that you get the tripod level. In this case I'm on a slight hill. So I've actually extended the frontmost leg. And it's easier to put the single leg going downhill. This makes it simple to just make a quick adjustment.

And I could, go ahead and modify the height just slightly. Looks good. And what I'm looking at is the first bubble level here. Making sure that it's a level platform. Once I have the tripod level, I need to go ahead and level out the ball head. Now in this case, I've got a simple release lever. And a spirit or a bubble level right on top. That's good, and I can tighten that down. In this particular case, I'm using the arm here to sort of offset the camera.

It has it's own bubble level so I really have three that I can check. What I want to do now is rotate this. Now what I'm trying to see is that as I go through, does it stay level? In this case, it's a little bit off so I'm going to split the difference. And what I want to try to do is level out the platform as much as possible. Alright, that's looking pretty good. And as I take that around, it's reasonably close. Because I'm on a hill, it's difficult to achieve perfect levelness, but it's pretty good.

And I'm reasnably certain that the software will be able to accomodate the slight shifts that we have here. Go ahead and take the camera, and I'll mount it, let's just pull that free. And I'm using the L bracket. Remember, it's a really good idea, when you're shooting, to keep the camera in the portrait aspect ratio. Let's go ahead and line that up. And what I'm doing here is making sure that the center point is lined up at the center of the camera, and I'll engage it. Alright. Now, it's pretty simple.

Remember, you can try to accommodate for the nodal point. If you're going to do this, you're going to want to offset the camera. Instead of having the mount here right over the center, you'll take that back just a little bit, until you achieve really where the camera and lens connect should be about over the center of the tripod. So that's looking about right there. And I'll just tighten that down, and we're in good shape. And at this point, I'm ready to go ahead and make the shot. Now, it's no different than what we did before.

I'm just going to flip over to manual mode, and dial in the correct settings. There we go, got the focus, and let's dial in the exposure. Let's set that to manual focus, and let's just check our overall quality. Good. I'm going to stay at ISO 320. And since it's a relatively wide range here, we'll actually do a three shot exposure bracket.

And let's go with slow shutter. And let's go with a slow multiple exposure. That's good. At this point, I'm just going to line that up. I've put my mark on the zero point, and I can take the first exposures. I've gotten the first set, and I'll turn this 15 degrees. And you may have to let it go ahead and buffer to the card, so don't go too fast.

But at the same time, you don't want the clouds to move very much on you. And the shot has been achieved, now to make it easy to tell this, what I typically do is insert a break into the camera. I'll just go ahead and hold my hand up, and that's going to make it really easy when I browse the images inside of Bridge or Lightroom to see where one panoramic ends and the next one begins.

Show transcript

This video is part of

Image for Shooting and Processing Panoramas
Shooting and Processing Panoramas

68 video lessons · 6265 viewers

Richard Harrington
Author

 
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  1. 1m 40s
    1. Welcome
      36s
    2. What you should know before watching this course
      35s
    3. Using the exercise files
      29s
  2. 2m 25s
    1. The end product
      1m 20s
    2. The objectives
      1m 5s
  3. 6m 25s
    1. Determining a target delivery size
      1m 5s
    2. What is field of view?
      1m 49s
    3. What is the nodal point?
      2m 33s
    4. Postprocessing choices for panoramic photography
      58s
  4. 8m 48s
    1. A solid tripod for panoramic photography
      1m 22s
    2. Choosing a tripod head
      2m 52s
    3. Lens choices for panoramic photography
      2m 15s
    4. Compensating for the nodal point
      2m 19s
  5. 4m 59s
    1. Shooting source images in JPEG format
      1m 49s
    2. Shooting source images in RAW format
      1m 21s
    3. Stitching in camera
      1m 49s
  6. 14m 21s
    1. Leveling the camera platform
      2m 17s
    2. Cleaning the lens
      3m 28s
    3. Locking exposure and focus
      1m 58s
    4. Shooting with overlap
      1m 50s
    5. Minimizing camera shake
      1m 43s
    6. A refresher on the exposure triangle
      3m 5s
  7. 8m 50s
    1. What is GigaPan?
      1m 46s
    2. Building the GigaPan platform
      2m 39s
    3. Framing and recording the shot with the GigaPan system
      4m 25s
  8. 5m 20s
    1. Why shoot an HDR panorama?
      1m 23s
    2. Setting up for the shot
      2m 27s
    3. Shooting the source images
      1m 30s
  9. 11m 49s
    1. Shooting a 360-degree panorama
      4m 20s
    2. Shooting handheld
      2m 6s
    3. Shooting panoramas using an iPhone
      1m 11s
    4. Using Photosynth for panoramic photography
      2m 59s
    5. Using 360 Panorama from Occipital for panoramic photography
      1m 13s
  10. 5m 48s
    1. Using a card wallet
      1m 8s
    2. Transferring data
      3m 22s
    3. Choosing a working drive
      1m 18s
  11. 8m 40s
    1. Using stacks in Adobe Bridge
      3m 35s
    2. Renaming and renumbering image sequences
      5m 5s
  12. 31m 30s
    1. Basic exposure with Camera Raw
      7m 10s
    2. Advanced recovery with Camera Raw
      7m 26s
    3. Reducing noise with Camera Raw
      3m 24s
    4. Removing dust with Camera Raw
      7m 2s
    5. Choosing a bit depth
      2m 21s
    6. Compensating for lens distortion
      4m 7s
  13. 1h 18m
    1. Initiating the Photomerge command from Bridge
      1m 29s
    2. Initiating the Photomerge command from Photoshop
      1m 47s
    3. Initiating the Photomerge command from Lightroom
      4m 16s
    4. Choosing an alignment method
      4m 37s
    5. Compensating for lens distortion
      7m 19s
    6. Blending the photos
      2m 51s
    7. Post-merge cleanup
      5m 44s
    8. Using the Adaptive Wide Angle filter to remove distortion
      4m 4s
    9. Merging the 360-degree panoramic photo
      10m 16s
    10. Merging the HDR panoramic photo
      13m 44s
    11. Merging the GigaPan panoramic photo
      5m 39s
    12. Using Photoshop filters to enhance panoramas
      3m 18s
    13. Using third-party filters to enhance panoramas
      9m 36s
    14. Additional third-party filters to enhance panoramas
      3m 49s
  14. 13m 36s
    1. Using the Photo Filter adjustment layer
      2m 5s
    2. Refining shadows and highlights
      4m 8s
    3. Improving contrast in panoramic photos
      2m 29s
    4. Adjusting vibrance in panoramic photos
      1m 26s
    5. Converting panoramas to black and white
      3m 28s
  15. 24m 40s
    1. Should you flatten a panorama?
      2m 47s
    2. Cropping a panoramic photo to a target size and resolution
      5m 23s
    3. Saving panoramas for printing
      3m 37s
    4. Saving panoramas for the web
      12m 53s
  16. 58s
    1. Goodbye
      58s

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