panoramic stitching in capture one pro 12

Panoramic stitching in capture one pro 12 manual#
Panoramic stitching in capture one pro 12 full#
Panoramic stitching in capture one pro 12 iso#
Panoramic stitching in capture one pro 12 series#

Panoramic stitching in capture one pro 12 series#

In the computer (I use Lightroom), go through each your series and confirm that the white balance of each image is identical. Move across the scene making as many images as necessary to fully capture the landscape. The overlap is what allows the computer to detect which images go where and line them up, so make sure to leave plenty of overlap. Overlap each shot by between a third to one-half of the frame each time. Then begin making your series as you pan right or left. This assures that you have some negative on the sides of the image.

Panoramic stitching in capture one pro 12 full#

Start a full frame to the side of where you expect your final image to begin. If you are hand-holding be very careful to keep your camera level as you move across your scene shooting your images for the panorama. With a level tripod, as you pan, your camera’s angle will not shift up and down. So nine images were stitched to make this final panorama image.Ī level tripod is very useful, but not absolutely essential. Notice how there is overlap from one image to the next, and they are all shot vertically. Here is a series and final image to show you how I took the shots: This dead space is important to allow for cropping later. Second, it allows me to compose with more negative at the top and bottom. First, this allows me to stitch together a greater number of photos for the same scene. Making the images for the panorama CompositionĪlmost all of my panoramas are created using vertically formatted photos (i.e. The second option is to set the white balance of your RAW images in post-processing (see below). Pick something appropriate and stick with it. Don’t use auto white balance, because the camera may decide each image varies slightly, and the colors will shift within the final panorama. The first, and easiest, is to set your white balance in camera, using one of the presets. Set the focus so that your subject is sharp, then don’t touch it again until you’ve finished the series. As you pan across your scene, you don’t want your camera grabbing a new focus point each time.

Panoramic stitching in capture one pro 12 manual#

Take note of those numbers (exposure settings), then using Manual Mode set your aperture and shutter speed accordingly. If you are shooting a landscape that varies in tones, meter off the brightest part of your scene and make the image as bright as possible without blowing out the highlights.

Panoramic stitching in capture one pro 12 iso#

That said if you are careful in-camera, and manually select all your settings from ISO to exposure and white balance, you can get by with JPGs. This allows me greater flexibility in post-processing to make sure that exposures, white balance, and other settings match from one image to the next. I shoot all panorama images in RAW format. They can cause gradations across an image that are impossible to work with later, so get that thing off your camera. Remove all filters from your lens, especially polarizers. Pick a standard lens or a short telephoto something between 40mm and 100mm will work well, though I’ve occasionally gone as high as 200mm if the situation warrants. The optical distortion inherent in these lenses tends to mess with the process of stitching them together. Making a panorama isn’t the time to use a wide angle lens. Here are a few tips for making an effective panorama from a series of images. But stitching together images from a DSLR or other high-resolution camera will yield better results if you do it right. Panoramas are hardly a novelty, Smartphones and many point and shoots can create them in-camera. I wanted the details in the mountains while maintaining a sense of the vast landscape. Going super wide to capture it all, with my 14mm, made the mountains too small and distant, and left too much empty space. The glaciers and spires were painted in peach light. I was photographing along a gravel beach near Haines, Alaska this winter, while the alpenglow was lighting up the peaks across the inlet (see image above). I was photographing along a gravel beach near Haines, Alaska this winter, while the alpenglow was lighting up the peaks across the inlet. There was just too much going on, or things were happening in a way that just didn’t match a typical single-image format.

But often, camera in hand, I’ve stood there, unable to create the image I wanted. I’m fortunate to spend a lot of time in the grand landscapes of Alaska. Sometimes, just one image won’t do the trick.