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Photographing Panoramas for Large Prints

Lesson 27 of 30

Black & White Printing


Photographing Panoramas for Large Prints

Lesson 27 of 30

Black & White Printing


Lesson Info

Black & White Printing

So the next thing is I wanna talk about black and whites real quick, give you a quick preview on black and whites, and what you might have to think slightly differently about with black and whites so we'll go back to Lightroom for that, and hopefully it doesn't crash the system but if it does, we're just gonna talk about prints earlier. Okay so we're gonna go back to one of my favorite photos of the day. I think they're all my favorites. You kinda get attached to these photographs like I love that one, I love that one. There we go. So this is the print that we made at the end of the last segment, the black and white. I really like this shot and this shot was just made for black and white, and the reason why is because it has these really beautiful clouds, these big white, puffy clouds, and it has a lot of blue in the sky. I love blue skies because in the black and white world, I can use my selective color adjustment tools in black and white to make that area, the areas of blue, dark, a...

nd Ansel Adams did this a lot in his prints. If you look at a lot of Ansel Adams landscape prints, his skies are dark, almost black sometimes. I love that look so let me show you how to create that look in Lightroom. There are a lot of plugins that will do it for you as well, but we're all about Lightroom today so here we go. First thing that you're gonna do when you do your black and white print is you're gonna convert it to black and white, and one of the fastest ways to do that is to type the letter V on your keyboard. Obviously V stands for vlack and vhite - vvv (chuckles). I don't know, was that French, Italian, I have no idea - black and white. Alright, the other way to do it is up here in the Basic panel. You can actually on the Black and White slider, or the Black and White button there and it converts it. So you can go from color to black and white there. Alright, so all the things you normally do, you do here. Highlights down, you know push the detail back in the clouds, Shadows up if you need to get some detail back out of those, out of that industrial scene, and all of that's good. I know I said earlier that I don't use Contrast but sometimes I do a little bit of Contrast in my black and whites, and that just adds a little bit of oomph to the photo. Here I'm doing plus six; great. Clarity will do mid-tone contrast. As I move Clarity down you see the image kinda get soft, so if I move clarity up, ooo, ooo I like that. Those clouds are starting to look sinister, heavy, great I like it. So I've got Contrast, I'm sorry Clarity up at plus 24. Okay and now we move down to my favorite tool in all of Lightroom for black and white conversion, it's down here, it's in the B and W segment. It's actually HSL, Color, and B and W. The neat thing about this it allows you to adjust the colors, but output them as black and white. So I mentioned that I want the sky to be black so what I can do here is I can move here to the blue area, and I move my blue sliders down, and you see that sky starts to look really dramatic and incredible. So if you know the color you're after, you just move the slider but sometimes we don't know the color we're after, and that's where this little tool comes in. It's called the TAT, the Targeted Adjustment Tool. So I'm gonna click on that and then I bring my mouse out here to where I know it was blue. I click down with my mouse, click, and then I drag down, and you see, you can't see the mouse in the screen here, but you see the sky is actually getting darker as I drag my mouse down. So if I move my mouse up, the sky gets brighter, and then while I'm doing this if you look at the the tool on the right hand side of the screen on the monitor, you'll see it's mostly adjusting blue, but it's also adjusting a little bit of the aquas. So sometimes this actually does a better job of making your sky dark. Great. Now the next thing I sometimes do, sometimes I like a little bit of a infrared look, and infrared turns green stuff bright white. So I can go down to where I know it was green with my Targeted Adjustment Tool, click there, and drag up. So you can really modify the overall look and feel of your photo by using the Targeted Adjustment Tool. Wonderful for black and whites. So I don't know, it's six one, half dozen in the other. You like it brighter, you like it darker, what do you guys think? Bright. Brighter? Okay done. Darker, not done. (audience laughs) Rebel, okay (chuckles), there we go. So now I'm done with the Targeted Adjustment Tool and I'm gonna do before and after so I click my back-splash button on my keyboard, that's above my Return button, there's the color, and there's the black and white. Ooo I like it, it looks great, and now when I go to print there's one more thing that ya'll all need to know, you have to click that little box that says Black and White. So let's do that. So I go Print, I go here to Page Setup, make sure all that's good and it is. I click Print Settings, and this is the important one, right there. So why would we click Black and White here? Well it actually tells the printer to just use inks that pertain to black and white. Really helps the image pop, gives you the nice deep, rich blacks, and the medium grays, and the bright whites. So, so that's printing in black and white.

Class Description


  • Shoot a variety of 360 degree panoramas (skylines, landscapes, vertical and horizontal) with the final print in mind
  • Stitch your images together to create a panorama with Adobe Photoshop and Lightroom
  • Print large images to sell or display in your home


From the skylines of New York and Los Angeles to Switzerland's mountainous backdrop, some scenes are just too spectacular to fit inside a 3:2 frame. Being surrounded by and immersed in a beautiful vista is part of the joy of being a photographer -- but how do you capture what it feels like to stand there in person inside a single image? Panoramas capture that feeling of wonder and squeeze it into the limited form of a two-dimensional print.

Take the experience of seeing a magnificent vista or panoramic view home with you. Join Mike Hagen, director of the Nikonians Academy, and learn his techniques for mastering the art of the panorama, without a dedicated panoramic camera. In this class, he will teach you:

Learn everything you need to make a breathtaking panorama from capturing that spectacular view to hanging the panorama above your couch. Shoot dynamic panoramas in the field that fit together easily when stitched in post-processing. Stitch them together with an eye for printing. Get your color toning right to minimize your reprints, and learn how printing can help you notice things that you may miss when the image is in digital format.


Adventure, travel and landscape photographers looking to improve their final product, make it print-worthy and potentially sell their work.

Adobe Lightroom Classic CC 2016, Adobe Photoshop CC 2015.5


Join photographer, author, and educator Mike Hagen on the journey to perfect the panorama. Hagen has taught hundreds of workshops spanning topics from landscapes to using flash, all while running Visual Adventures and working with the Nikonians Academy. The USA-based photographer has led destination workshops from America-based destinations to bucket-list international locations like Iceland, the Galapagos, and Italy. Hagen is known for his humorous teaching style while presenting complex topics in an easy-to-grasp lesson.


  1. Class introduction

    A print is tangible evidence of an experience, as Hagen says, but that doesn't discredit the process of actually taking the shots, editing the images and, yes, finally getting that print. In the first lesson, Hagen walks photographers through what to expect for the class from packing the right gear to perfecting that final print.

  2. Field Techniques, Camera & Lens Choices

    Unlike film, you don't need a specialized panoramic camera to create a digital panorama -- just something with some megapixel power. Don't assume that all panoramic views are captured with wide angle lenses, however. While the result is a wide field of view, Hagen explains when he shoots with a 14-24mm lens -- and when he shoots with a 70-200mm or even a 200 to 400mm lens. Discover the right gear for panoramas and why you don't necessarily need the most expensive lenses in this lesson.

  3. Selecting Gear for Great Panormas

    The smaller accessories are often just as important when stitching multiple images together for those wide views. Hagen walks you through what tripods to use, along with time-saving accessories like a bowl head.

  4. Camera Menu Settings & Exposure

    Without the right camera settings, differences between images will create obvious stitch lines. Hagen walks photographers through the best settings for shooting panoramas.

  5. Troubleshooting Environmental Obstacles

    Panoramas are often captured while traveling when there isn't an option to wait for the best weather. This lesson looks at what to do when there are obstacles in the shot, from bad weather to objects in the way of the shot.

  6. What Contributes to a Great Panorama

    Can you really capture a great wide view without really knowing what makes a great panorama? Learn what makes a great panoramic image and what mistakes to avoid.

  7. Shooting Vertical Panoramas

    There's no rule saying panoramas are all horizontal wide views. Sometimes, a vertical panorama is a better fit for the scene. Vertical panoramas present new challenges, however, with lens and perspective distortion. Here, Hagen shows photographers how to minimize those distortions for great vertical panoramas.

  8. Shooting Techniques for Black & White Panoramas

    If you start creating a black and white panorama in the editing stage, you're not going to get the best result. Learn how to properly expose and shoot a panorama with monochrome in mind.

  9. Handheld Technique for beginners

    Do you really need to spend hundreds on a fancy tripod set-up? What about when that visual spectacle isn't tripod-friendly? Tripods are helpful, but not always a must. Here, Hagen shoots on site with a tripod-free technique for panoramas.

  10. Tripod Technique for Intermediate Photographers

    Got a tripod, but maybe not the fanciest panorama gear? Walk through the process of shooting with mid-level gear for more than mid-level results.

  11. Advanced Technique for Panoramas

    Using the best gear, like a panoramic gimbal head? See a real-world shoot using high-end gear for photographers that shoot frequent wide view panoramas and learn advanced techniques for avoiding parallax issues.

  12. Navigating Moving Subjects in Panoramas

    Movement in panoramas creates tricky scenarios -- and can even make a person or moving object appear in your image more than once. While most panorama tutorials will tell you just to avoid moving subjects, Hagen walks through his approach for freezing a moving subject inside a panorama.

  13. How Time of Day Impacts Panoramas

    Light plays a big role in every image, and without flash as an option, planning the shoot for the best natural light is essential. In this real-world shoot, Hagen walks you through how he prepares to find the best light in the scene.

  14. Workflow in Lightroom

    By this point in the class, you have several, separate images -- this is where you learn how to assemble those images into panoramic views, starting by organizing all those files. Using Lightroom, Hagen walks through his post-processing workflow.

  15. Developing Images in Lightroom

    Once photos are uploaded, culled and arranged, development is next. Hagen walks through Lightroom techniques for editing before the stitch and easy methods for keeping images in the same panorama consistent.

  16. Merging Images

    Assembling those separate images together happens in Lightroom through the merge tool -- learn the basics as well as tricks for correcting panorama errors with tools like the Boundary Warp.

  17. Finishing Techniques

    The work isn't quite finished after the stitch. Learn how Hagen continues to fine-tune panoramas, from retouching the sky while leaving the lower portion untouched to removing dust spots.

  18. Saving Images for Print

    If you own your own printer, you can print directly from Lightroom -- but you can still get great prints without investing in a printer. Hagen walks through the best parameters for exporting large panoramas for lab printing.

  19. Controlling Your Environment

    There's a big difference between viewing a photograph on a monitor and seeing it in print -- and to help create the print that has the colors that you're imagining on the screen, the environment matters. Here, Hagen talks about why you may want to paint your office neutral colors and why it's important to know where that final image will be hung.

  20. Profiling & Calibrating Your Monitor

    Monitor calibration is important but often overlooked essential to getting prints to look just as great as the colors on your screen. Watch the monitor calibration process and real time and find the best types of monitors for photo work.

  21. Wide Gamet Color Settings

    What color space is best for working with large, high-quality prints? Here, Hagen explains color spaces and when to use each one.

  22. Soft Proofing Images

    Printing errors are expensive when you're printing out wide view panoramas that measure in feet instead of inches. Soft proofing is a technique that can help you avoid those expensive printing errors.

  23. Selecting the Right Paper for Prints

    Paper choice matters. Hagen walks you through how paper choice influences the final image and what paper choices are best for different types of panoramic projects.

  24. Sharpening Images

    Sharpening polishes that final image before printing -- but do you use Lightroom's sharpening tools in the Develop module or the Print Sharpening tool? Hagen walks you through the best practices for sharpening a photo for printing.

  25. Printing with Lightroom

    Lightroom's print module helps prep images for print, but what do all the options mean, and what settings are best for panoramas? Hagen digs into Lightroom's print module in this lesson.

  26. Printing with Photoshop

    Photoshop is another option to print panoramas from -- but a lot can go wrong here. Hagen walks through troubleshooting prints from Photoshop.

  27. Black & White Printing

    Editing and printing for black and white is an entirely different ballgame from color. Learn how to edit a black and white panorama in Lightroom, followed by, of course, printing.

  28. Best Practices for Printing your Image at a Lab

    You don't have to own a high-end printer to get great prints -- and in fact, Hagen himself sends a majority of his images to a lab. But how do you know what color space to use, and what lab is best for printing panoramas?

  29. Analyzing & Displaying the Print

    Getting great prints is about more than color calibration and proper print settings -- the room the image will be hanging in matters too, particularly the ambient lighting. Hagen takes students through the process of analyzing the print and prepping for the final display.

  30. Reviewing Panoramas Printed in Class

    Through this class, you've walked through the panorama process from gear to shoot to print. In the final lesson, take a look at the results of the images created during the course, from the classic Seattle shot in the United States to black and white 360 panoramas of France or Ireland.


Fred Morton

Get it, get it and get it. I bought Mike's Speedlight course and this is on the list after watching it on line. The course design by Mike with the Creative Live staff is a successful blend of content and presentation. I absolutely loved how Mike took us on location for several shoots, where we could see the setup and problems that he had to resolve. This is a must have course for photographers interested in landscape work. Another powerful part of this class is Mike's willingness to demonstrate and show us what didn't work. The practical experience in his course was just like being in the field with Mike.

user a5f3c6

Mike combines two characteristics of a great teacher: he's obviously knowledgable and competent about his subject matter and he's relaxed and confident in how he presents his ideas. This class covers everything I need to know about photographing and printing panoramas. But, it is much more. It is a class that shows the essential skills involved in shooting, post-processing, and printing photographs and how to apply them to a specific application: panoramas. I learned a lot! Thanks, Mike.

Sue Sirius

This workshop was terrific! I learned so much about taking, processing and printing panoramas (and photos in general). I found the presentation very easy to follow with great examples and instructions. Highly recommend this!