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Do not let another breathtaking scene go undocumented. Learn how to capture wide landscapes using panoramic shooting techniques, whether you're using an iPhone or a professional DSLR. Rich Harrington explains general panoramic concepts, like field of view and nodal point, and then describes the technical details for getting great original shots: how to properly mount the camera on a tripod, how to overlap each shot, which lenses deliver best results, and more. Next, learn about optional hardware like the GigaPan system and sliders, and a variety of mobile apps for capturing 360 panoramas. Finally, come back into the studio to learn how to process the photos in Adobe Photoshop, Lightroom, and Camera Raw.
This course was created and produced by Rich Harrington. We are honored to host this content in our library.
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.
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