and the last thing that I'll show you is the idea of an HDR panel. And just to show you that it could be done, you're gonna highlight all of them. And remember, you got to do over under and normal on every single one. So what I did is I just put it into HDR mode on the camera and told it, Three images normal over and under, and it does it fast, rapid succession. Sogo's that's all I do is just three shots, three shots, three shots, three shots. Um, and you just gotta hold it nice and still. And then I'm going to go right click this going to merge and then hdr Panorama, and it's got to do a lot of computing because it's a pretty challenging thing to Dio. So we'll wait for that to happen and will come back on and look at it as soon as it's done. So now that it's created the HDR panel, you can see that we're again in the preview mode and we can see it's actually looking quite nice. It did a great job in putting it together, so that's really good. Um, I'm just scanning through to see if the...
re's any areas where failed and it didn't so I'm happy with the HDR and the panel, So now we have a nice, even beautiful sky and all the information we need in the mountains and the foreground. But just so you know, there are some other options that you need to be aware of inside of the panoramic. So there's spherical, there's cylindrical, and there's perspective and use them in three different ways. So spherical is usually the one that you use when you are shooting at a distance and you see something out there and you're photographing the thing that's way out there because, uh, if you think of it as a um, if you're in a sphere, so if you were in the middle of a big ball, like those balls that the hamsters run around in, if you were in one of those balls and there was an image projected all around you, that's a spherical panorama. So there's your camera bends a little bit this way. It's a sphere, and you're looking at it. A cylindrical one would be a Ziff. You were inside a cylinder that didn't go like this over you. And so that would be, um the projection would go straight up straight down like that, so you would have to be that very rarely have ever used it. But it's like things their way, way out there. And so there's you expect them not to bend it all. There's no overhang that you're not using a wide lens. Um, and then perspective is when things were super close and you've got, like, perspective issues that would see something like you. We're shooting a panoramic on a street or something like that. So you saw a big amount of perspective. So you saw all these vanishing lines happening and things like that. So just be aware that each one of those is different, and you just have to kind of click through to get used to him. But by and large, 99% of everything you do will probably be spherical unless you do really different type of stuff. And then whatever it is that you do that's really different will use one of these other ones. But most of what you do will be spherical, cause that's the most natural one. And then, of course, there's the boundary warp. In this case, boundary work would work perfectly. Just simply go like that and it fixes it. But it would also work to fill the edges because those edges would be super easy to fill. So I just click on it and it's gonna build a preview for those edges. So it's just gonna finish. It's easy for it to build grass and rocks and dirt and sky and stuff like that. It was Just build it out, put it on the edges. So then I'll have a perfect panel HDR without any, uh, edges to fix, and and I don't have to do any kind of warping or something. But I apparently had held this thing really still like it, because if you go like this while you're doing your panoramic, that's when you get the extra spaces because you're moving too much and I must have done a really good job holding still on moving because, ah, there's not much for it to do. So it's going to finish building the preview and fill in all of these edges. And then once it's done, I'll just hit, uh, just hit, Go merge and we'll have a full on Panorama. That's huge, like the because each one's in HDR, and each one's a pan er, and it's a big panoramic of how Maney is that, like 10 different images. So it's a lot. So be ready for your computer toe. Have toe work really extra hard on an HDR panorama because that's just a lot of information to churn through, and especially when you start retouching it and adjusting it stuff like that. If you don't have a really zippy computer, it's it's gonna take a while, so don't just be patient with it. You're asking a computer. Do something really amazing. So now it is filled in all of the gaps. You can see that they looked perfect. I can't see them anymore. So it's really easy for light room to do that kind of thing, and then I'm gonna click the merge button. Now, this is where it has to actually do all the rial hard actual work. Um, and so you just gotta let it spin for a while, um, on something this big, But when you're finished, you've got a really beautiful sky. In this case, I couldn't have possibly gotten all of it because in order for me to get this sky, it was the foreground was too dark, and I was going to a lot of noise trying to bring it up. And so on. HDR Panorama was perfect option for this shoot, and it's worth just waiting. Just make sure you pick and choose. The best way to work with panoramic and HDR and and h er panoramic images is to take your images and collect the ones that you think are going to be used, and then and then show them in the survey mode so that you can see the way the panoramic will look and then choose whether or not you want that panoramic first by looking at it that way, because you kind of get a sense of what it's gonna look like before you ever even try and merge it. It makes more sense to see it in the survey mode just kind of disjointed as almost like a trip dick or something. Um and then once you've seen it and you know okay, that does look good. And I like the composition generally, Then go into the preview and emerged that John, there's no reason to do a bunch of them. Now, One thing that light room can do, which is really impressive now is that if there if you have a Siris of, you know ah, panoramic here and another panoramic here or an HDR here and then another HDR and then another HDR you can actually highlight all the HD ours. So even if they're not the same hdr So let's say you done four hdr so you had 12 images. Three here, three here, three here on three year. If you highlight all 12 of them and tell it to build the HDR, as long as they're different scenes, it will actually know the difference between them. And it will merge four independent hdrs from those images so that you don't have to wait around and you can go get coffee or go to bed or something while it's doing all the work on the HD ours. So that's something that will help save a lot of time when you're dealing with this kind of stuff in flight room. But it really is that the most rewarding thing to be able to see a challenge out there when you're out in the field and you're taking a picture where you can't possibly get the information because you don't have a white enough lens for it. Or so you make HDR. I mean a panel or you don't have the latitude in the camera, so you have to make an HDR or both. It is really rewarding to be able to kind of pre visualize what you could get out of that scene, get the data come back, merged that Atta on, then really play with the image. It's a lot of fun, so I have used HDR and panoramic images constantly, even in weddings, because you noticed before have the ability to stitch out and get rid of moving parts and pieces. Um, so I've been able to use HDR in a challenging situation where I'm at the end of the island. The sun is really bright, and so the people under the hoop A are are exposed correctly, but Hooper is blowing out in the skies, blowing out, so I simply quickly turn my camera HDR mode. Get back, take a quick burst and then I'm urging in HDR later, and it's a perfect shot and the beauty of light rooms. HDR is that it's primary goal is to give you an HDR that is realistic looking, as opposed to the weird HDR that's out there that's been out there for a long time. Um, I think light room did it right. So now that it's created an HDR panel, which is a huge file now I have all the capability I have all the, uh, I have I have so much information and data there that I could do anything that I want burning and dodging wise to this photo. So here's the final photo looks fantastic. I could do anything I want to it. But that's how we create not only HD ours and panels, but HDR panels inside of light room. So play with that. Enjoy your process. I love making HD ours and panels, and this is the only way I would do it.