Skip to main content

Photographing Panoramas for Large Prints

Lesson 19 of 30

Controlling Your Environment


Photographing Panoramas for Large Prints

Lesson 19 of 30

Controlling Your Environment


Lesson Info

Controlling Your Environment

We're all about printing this afternoon, and I'm going to start off this segment talking about kind of controlling your environment. How important it is to have a calibrated monitor, using these products here, making sure the room and the environment that you're working in is neutral in color. I'm gonna talk about soft proofing and color gamuts, and then finally we'll end up, this segment, we're gonna talk about paper and paper styles and paper choices, and I'll show you different, a couple of different paper choices. So. First things is, what about the environment? I'm gonna move forward on the slideshow, here. Your workspace actually matters. You know, we're artists. Most of you watching today are artists. We like creating beautiful prints, beautiful images, and a lot of us are all about color, so some of us are even flamboyant. We like reds and pinks and purples and all of that. Well I have to say that if you're a printer, if this is your deal, your room should not have all those co...

lors. Your room should be really neutral, kind of like the studio that we're in today. You notice the backdrop is white. In fact, as we came in for our production meeting, they all asked me, well what colors do you want on the wall? And I'm like, white, and they're like, so beige? And I'm like no, white. Tan? No, white. So white matters or gray matters. And so in my office, I actually work out of my home office, I built a special room in my house and I actually specifically decided that my walls would be neutral color, even the trim around my windows is neutral color. So grays, whites, those, I think, make sense. And why, why do we care about that neutral color? Well when you look at a print, when you're evaluating the colors, you don't want your eyes and your mind to be biased, maybe, towards the reds or the greens or the purples in the room. And so having those neutral colors helps you assess the colors in your actual print. Your computer, your desktop. I think it's important that your desktop background, you know behind your software, that should also be gray, should be a neutral color, not white and not black but kind of medium gray. So I actually go through, when I'm setting up my computer when I first buy it, and I choose a middle of the road gray for that backdrop. Again, a lot of times you're looking at your image on your screen and you wanna compare the whites or the neutral colors against the backdrop to make sure that you don't have a color cast of magenta or green or yellow, whatever. Ambient light also plays a big role in the printing world. We need to think about the viewing conditions where your final print will reside. So let's say that you're making a print for a friend, and your friend is going to display that in their basement. So there's no other ambient light in their, there's no like outdoor light in their basement, and it's all coming from, let's say, incandescent light bulbs. Well your print actually might look a little bit different in their basement than it would in the room where you're printing it. So as you're assessing the colors, if you can, try to come up with a situation that mimics where that print will finally be displayed. That's not always possible, but that's what I'm thinking about ambient light and viewing light. For the ambient light, backlighting also impacts this. Try not to have your computer set up in front of a window. A lot of people, authors, I'm an author, I write books, too. When I write books, I'm writing on my computer, and then I'll just contemplate, I'll think about the future, I'll look out, and I want this beautiful scene in front of me. That's great for writing, it's terrible for printing, because your eyes change rapidly from this bright, backlit scene, this pretty scene behind your computer. So in the room that you're working on, close the shades, make it so there's no other kind of ambient light shining in. And I mentioned the color of light in your friend's basement. If they're using incandescent light, That's right around 3,000 or 3,400 kelvin. 5,000 kelvin is daylight, so if you know your prints are gonna be in someone's living room and they have big windows, maybe you wanna view your final print in that type of light before you give it to them just to make sure it looks good. Alright, so there's your workspace. Oh, one more thing, I actually wore neutral colors today on purpose. Some photographers think that the color of clothes that you wear also impacts your mental state. If you wear bright, vibrant clothes when you're editing your photos in software, you may be more inclined to oversaturate, or push the photos beyond where they really need to be. So I do everything holistically. The room, the light, the clothing, I even try not have like a lot of chocolate or caffeine when I'm editing my photos, or have fast loud music on my speakers in my room just because I want the state of mind that I'm editing in to kind of mimic where that photo will finally be. So, all of that to go, and all that to say that workspace matters.

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!