2. An approach to keep you In Stitches… Presented by N. David King

3. Panoramas and Mosaics –“It seems to me indispensable that we, the creators of our own time, should go to work with up-to-date means.” Lazlo Moholy-Nagy Lazlo Moholy-Nagy © N. David King (www.ndavidking.com)

4. Panoramas and Mosaics Definitions: Panoramas Vs. Mosaics –Panoramas Goal is a wide but undistorted view Frames are shot on a single row side by side –Mosaics (Multi-Row Panoramas) Goal is increased resolution of normal view Frames are side by side AND multiple rows Also used in “immersion” photography –Both… Need a special tripod head or attachment Need to be shot with exactly matching frames in terms of camera settings and conversion adjustments Normally put camera in vertical position to maximize image area © N. David King (www.ndavidking.com) …..

5. Panoramas Panoramas: Goals –Present a Wider View of the Scene Convey the sense of expanse Convey the sense of expanse To better compose to emphasize the subject Framing becomes part of the message of the shot –Avoid the overtly distorted look that comes from a single shot withextreme wide-angle lenses –Can make large images rivaling prints from large format panoramic/banquet cameras. © N. David King (www.ndavidking.com) …..

6. Panoramas and Mosaics Panoramas: Aesthetics –Presents a View Similar to the Way Humans Perceive the world –Entails a Degree of Uncertainty in the final outcome which means the shot needs to be thought out in advance and cannot just be “snapped” to be successful. © N. David King (www.ndavidking.com) …..

7. Panoramas: Equipment Panoramas: Equipment Needed –Camera needs to pivot around the lens’ “Optical Axis” if the scene contains both foreground and background elements. –Camera needs to pivot around the lens’ “Optical Axis” if the scene contains both foreground and background elements. The Optical Axis point is where the light rays converge and cross, usually at or near the aperture but not always. That is often referred to as the “Nodal” point in texts but that term is not precisely correct as we are using it here. You want to get technical? OK, let’s get technical. Here is the lowdown from an optical engineer and lens designer. © N. David King (www.ndavidking.com) …..

8. Workflow for Multi-Row Panoramas (Mosaics) The Basic workflow: Equipment –The Optical Axis Point: In optical design, the NODAL Points are two axial points so located that an oblique ray directed toward one appears to emerge from the other, parallel to its original direction. Thus, the nodal points coincide with the principal points and this is referred to as H prime. In aspherical lens design the Focal points are altered in apposal directions creating H' and H'' behind and in front of H prime. H is the technical term for for object height and H' is image height and are not correct for the determination of an optical axis of a lens. The convergence of light rays is H prime and can be used as the lenses Nodal point but only in reference to its optical height. For a lens to be centered on a rotational point and used to create a centered optical axis it needs to rotate on the Meridional Plane. Sometimes confused with Nodal point since Meridional Plane is coplanar with the rotational axis. Adding a lens filter in front of the lens can cause Axis Wander and may shift the Meridional Plane, this is very apparent in zoom optics © N. David King (www.ndavidking.com) …..

9. Panoramas: Equipment Panoramas: Equipment Needed – Rotating a camera and lens around the Optical Axis can be accomplished several ways: Panoramic Tripod Head Using a focusing Rail and “L” bracket A Spherical Panoramic Head (Discussed later) A “Digi-View” Camera –Shooting Panoramas “Hand Held” © N. David King (www.ndavidking.com) …..

10. Panoramas: Equipment Equipment: Focusing Rail & “L” Bracket Allows camera/lens to be placed where optical axis is over the tripod pivot point. Tripod MUST be level! © N. David King (www.ndavidking.com) …..

11. Panoramas: Equipment Equipment: Another Option: “DIGI-VIEW CAMERA:” A View camera with an adapter to hold DSLR. Can take 3-5 shots side by side from same perspective © N. David King (www.ndavidking.com) …..

12. Panoramas: Process/Workflow –Previsualize and Plan the shot –Set up and Level the Tripod –Attach and Level Pano head and Camera –All Camera Setting must be on Manual. NO Auto Exposure NO Auto White Balance NO Auto Focus –Determine proper exposure for the whole scene before you start the frame sequence. © N. David King (www.ndavidking.com) …..

13. Panoramas: Process/Workflow Panoramas: Process/Workflow (Continued) –Determine the Desired Boundaries of the final scene –Lens Choices: Prime or Zoom Prime or Zoom Wide, Normal, or Tele Wide, Normal, or Tele –Overlap Each Exposure Wide Angle lenses need more overlap than telephotos… but all must have some common pixels to work with. © N. David King (www.ndavidking.com) …..

14. Panoramas: Process/Workflow Panoramas: Process/Workflow (Continued) –If Shot in RAW Do NO corrections … (or apply identical corrections to all frames) Do NO corrections … (or apply identical corrections to all frames) Convert from RAW to TIFF. –If Shot in JPEG Do NO corrections …(or apply identical corrections to all frames) Do NO corrections …(or apply identical corrections to all frames) “Save As” TIFF FORMAT “Save As” TIFF FORMAT –Why Bother With RAW? No compression No compression 16 bit 16 bit Greater Dynamic Range Capture Greater Dynamic Range Capture © N. David King (www.ndavidking.com) …..

15. Panoramas: Process/Workflow Panoramas: Process/Workflow (Continued) –Stitch Panorama Manual Stitching –Create new blank layer slightly bigger than final –Start in the middle and add each new frame as a new layer. –Overlay and Align Frames. Transform (skew, rotate, etc.) if needed to match and eliminate distortion –Blend edges –Flatten and crop Using Software –Photoshop™ –Other Software Only need single row capability for panoramas © N. David King (www.ndavidking.com) …..

16. Panoramas: Examples © N. David King (www.ndavidking.com) …..

17. Panoramas: Examples © N. David King (www.ndavidking.com) …..

18. Panoramas and Mosaics Mosaics: Goals –Capture as much detail and visual information as possible; can exceed human vision capabilities –Avoid the overtly “digital” look that comes from over-sized and over-sharpened files –Produce large printed images rivaling prints made from large format film cameras. © N. David King (www.ndavidking.com) …..

19. Concept for Multi-Row Panoramas (Mosaics) How much EQUIVALENT Resolution can we get? © N. David King 8.2 megapixels x 21 frames = 172 megapixels / less 10-15% overlap = 150 Mp+/- Or… similar to shooting with a 100mm x 50mm, 150 megapixel sensor Data is Based on a Canon 20D 8.2 Mp Sensor

20. Concept for Multi-Row Panoramas (Mosaics)? How DOES IT COMPARE TO FILM? (using 2006 technology) © N. David King Film Grain clumping diminishes resolution so at these sizes the chart somewhat understates the comparison of grain-free digital files from DSLRs

21. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: –GETTING PROPERLY EQUIPPED –TAKING THE SHOTS –PROCESSING THE FILES –ASSEMBLING (STITCHING) THE IMAGE (Manual Ops) –POST-ASSEMBLY/PRE-EDITING WORK: (Flatten), De-distort, Crop, Fix Seams and blending joints –PROCESSING/EDITING THE STITCHED IMAGE –PRINTING THE IMAGE. Let’s take a quick look at each step in the workflow… © N. David King …..

22. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Equipment –GETTING EQUIPPED Tripod and remote/cable release Spherical-Panoramic Head Lenses –Primes v. Zooms –Brand issues Finding a Lens’s “Optical Axis” Point. © N. David King …..

23. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Equipment –TRIPOD & SHUTTER RELEASE Get the sturdiest and most easily useable tripod you can afford and which you will be willing to take with you. The Tripod must be easy to level on all terrain yet hold that position with considerable weight cantilevered off axis at times. The Remote/Cable Release lets you trip the shutter without moving or shaking the camera or tripod/head… © N. David King …..

24. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Equipment –SPHERICAL-PANORAMIC HEAD Allows movement around the lens’s optical axis (both horizontal axis & Vertical axis). This eliminates perspective/spatial relationship changes between frames. Made by Kaidan, Bogen, Novoflex, Nodal Ninja, Panosaurus, etc. or can be self made. © N. David King …..

25. Workflow for Multi-Row Panoramas (Mosaics) Equipment: A “SPHERICAL PANORAMICHEAD”“Panosaurus” www.gregwired.com $75.95 © N. David King …..

26. Getting Equipped? Equipment: A “SPHERICAL PANORAMICHEAD:”“Panosaurus”(Horizontal Pivot Point) Pivot Point) © N. David King …..

27. Getting Equipped? Equipment: A “SPHERICAL PANORAMICHEAD”“Panosaurus”(Vertical Pivot Point) Pivot Point) © N. David King …..

28. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Equipment –Lenses Primes vs. Zooms Primes vs. Zooms –Resolution Potential, –Focal length slippage between shots, –Lens’s “Sweet Spot” (or spots). © N. David King …..

29. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Equipment –Lenses, Continued Finding the Lens Optical Axis Finding the Lens Optical Axis –Why bother? Perspective issues –Usually at or near the aperture/iris ring but sometimes not even in the lens body –Testing for it © N. David King …..

30. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Capture –TAKING THE SHOT PICK YOUR SHOT: ANALYZE SCENE & INTENDED SIZE FOR NUMBER OF FRAMES NEEDED CHOSE PROPER LENS FOCAL LENGTH SHOOT Lets look at each step above in depth.. © N. David King …..

31. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Capture PICK YOUR FINAL VIEW PICK YOUR FINAL VIEW –Identify the proper Scale/size of Final print… –Assess the Need for fine detail to tell your subject’s “story” or present your “vision” © N. David King

32. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Capture How Many Frames Are Needed? –The number of Frames needed will be based on either… –The number of Frames needed will be based on either… the final print size needed, and/or… the final print size needed, and/or… the amount of detail you desire to capture. the amount of detail you desire to capture. © N. David King

33. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Capture –Frames Based on Print Size: Pixels = Final Dimension x resolution For Example: For a 10 inch wide print at 300 ppi you need 3,000 pixels wide. Or, for a 30 inch print at 300 ppi you will need 9,000 pixels Number of frames needed is: (Pixels needed / pixels per frame) + % of overlap © N. David King …..

34. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Capture –Frames based on Desired Detail It will depend on the pixels per frame of your camera. It will depend on the pixels per frame of your camera. In my experience with 8.2mp*: 18-21 frames matches any large format camera. 24-27 exceeds human eye’s capture resolution and becomes “Hyper-Real.” –(* Using Carl Zeiss Primes for Hasselblads on Canon 20D) © N. David King …..

35. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Capture Choosing Lens Focal Length –What lens will give the right number of frames? –Primes vs. Zooms redux © N. David King

36. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Capture Shoot the Frames –Camera Settings: NO AUTO ANYTHING!!!! Color Space –Focus adjustments for Depth of field –Filter issues: Polarizers, Grads, etc. –Order/Sequence of shots (Cartoon Style) –Dealing with moving objects –How long does it take? © N. David King

37. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Processing Processing The Files –Monitor Calibration –Batch Corrections if shot RAW –Conversion settings Bit Depth FormatResolution Let’s look at each… Let’s look at each… © N. David King …..

38. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Processing Batch Corrections if shot RAW (and if the RAW converter allows) – –(REMEMBER ALL SHOTS MUST MATCH)Luminosity/Exposure Color balance and cast Scale –If Shot as JPEG lock all settings. © N. David King

39. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Processing MONITOR/SYSTEM CALIBRATION –IT ALL STARTS HERE!!!! –GOAL: Use in both Open and Closed Systems Print what you see Saves Paper © N. David King

40. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Processing Conversion settings For conversions from RAW Files… ‘Color Space’ Choices Bit Depth: 8 or 16? Format: TIFF or JPEG Resolution: Printer Based Epson: 360 ppi Epson: 360 ppi HP or Canon: 300 ppi HP or Canon: 300 ppi Confusions over Printing Resolution © N. David King

41. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Processing Stitching the Mosaic –Software Options Manually in Photoshop™ Issue of Lens distortion Issue of Lens distortion VERY Labor Intensive Panotools™ PT Interfaces PTAssembler™ ($39 to register) PTAssembler™ ($39 to register) PTGUI™ ($80 to register) PTGUI™ ($80 to register) OTHER STITCHERS Check for Multi-Row Capability Check for Multi-Row Capability © N. David King

42. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Processing Stitching the Mosaic –Output/File options File size (PIXEL DIMENSION) File type (TIFF, JPEG, PSD) Layered or Flat? Layered or Flat? Color Space ( sRGB, Adobe RGB, ProPhoto ) File Resolution (If Available) Name conventions (File #1) © N. David King

43. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Editing PRELIMINARY WORK IN EDITOR (Following sequence is image specific) –Remove projection distortion if applicable –crop –Fix seams and blending issues –Flatten (if still in layers) –Adjust resolution if necessary –Save as Mosaic file name (Assembled File #2). © N. David King

44. Workflow for Multi-Row Panoramas (Mosaics) The Basic Mosaic Workflow: Editing PROCESSING/EDITING THE IMAGE (Process using the normal workflow*) (Process using the normal workflow*) Tonalities (Global) Tonalities (Global) –Levels & Curves Color (Global) Color (Global) –Photo filter/Saturation/color balance Selective area editing Selective area editing Save Edited Master file at full size Save Edited Master file at full size –(File #3). (Come to workflow presentations for details) © N. David King

45. And That’s All There is To It Well… that’s all except for matting and framing a huge print. But that’s a discussion for another seminar… To download this presentation and other materials go to www.ndavidking.com and click on the link to “SDFair Resources” on the home page.www.ndavidking.com

46. QUESTIONS?