Photographing Panoramas for Large Prints

Lesson 30 of 30

Reviewing Panoramas Printed in Class

 

Photographing Panoramas for Large Prints

Lesson 30 of 30

Reviewing Panoramas Printed in Class

 

Lesson Info

Reviewing Panoramas Printed in Class

This is the exciting time when we actually get to look at our prints that we made throughout the day, and we get to answer any final questions from the audience. To do this, I think what I'd like to do is have maybe someone from the production staff come over and help me. Let's go ahead and hold up these prints and we'll get the cameras to show them off. I'll stand here. Go ahead and walk that way a little bit. And let's just Drum roll. (laughs) Look very carefully here. So how many did we make today? One, two, three, four, five, six, and then there's a seventh one coming out. This is great, a panorama of panoramas. (laughter) The paper that we used was a 50-foot long roll paper. Very cool. In fact, we were planning on cutting these throughout the day, but I thought it actually looked fun to keep them all together. We'll cut them after the workshop today and then we'll hand them out to the audience members and the production staff. All people here have already put dibs on some of t...

hese. (laughter) "I get that one, I get the black and white." Go ahead and walk that way a little bit more. Right there. Okay, cool. Let's talk about, real quickly, what works and what doesn't work. Starting with that one on the end, that one is Iceland. The things that worked well in that print, I think we got the greens good. I noticed the clouds, though, if we look closely at the clouds above the island chain there on the top, the clouds are actually washed out. There's no detail in the clouds. That was a problem. Probably when I took the photo, I didn't pay close enough attention to the highlights. That print's okay. It could've been better. This one here, this next one, this one was taken at sunset. Love it. Seriously love it. I can't think of many things in the image that I would've wanted to do different. Really good tripod technique. The exposure range on the highlights and in the shadows, it's all within the range of the printer. That one turned out really well. No issues with that. Here's the industrial scene. Great. We held detail there in the clouds, so I did a fantastic job of metering, if I don't say so myself. (laughs) Congratulations, Mike, good job. The reason why we have detail in those puffy clouds is because I washed the blinkies on my camera out in the field. Also, we were able to pull out some detail here in the shadows. If I had a chance to do this better, I probably would've come by earlier in the day when the light was lower and softer. Then I would've been able to get the detail in the shadows. This one. Thank you for asking us to print this one. I'm really happy we did. On the whole, this is a good print, but there's a problem. Do you guys see what the problem is? The cloud on the left, yeah. This was a super high dynamic range image. Earlier in the day, someone asked about HDR panoramas. This would've been the perfect shot to do an HDR panorama, where I could've retained detail in the clouds. There's no detail there. It's totally gone. As much as I tried to fix it in Lightroom, you can see it just looks funny. You can't bring detail back in just a plain white part of a photo. But this section, I'm happy with that. That all turned out really well. So maybe we re-crop it, or maybe something like that. This is a shorter panorama. This is basically a one unit high by about two units wide, so it's like 13x26 or 13x27. (laughs) Black and white. This is great. I've already had two people on staff here say they want these, so fortunately, I made a couple. This is a great print. Staff people who want these, I'm gonna ruin your experience because I'm gonna nitpick (laughter) my photo. I made a mistake in this photo. Can you guys see it? Do you see a mistake? Everybody's looking, "No." Look here and look right there. Dust. (groans) I got dust on my sensor and I didn't use my post-processing technique. I didn't actually go in and look to remove the dust, so staff members, you'll just always have to look at my awesome dust. But this one actually turned out well. I love this black and white. In here, I don't want detail in the shadows. I think that black down there makes the photo look heavy and weighty and important. Great. The last one is coming out of the printer now, and that's my sunset photo. Really love that one as well. Got all the colors in the sky. That one just turned out so nice because the tonality, or the brightness of the sky, pretty much matches the brightness of the landscape. Got a great print. Right on. Give yourselves a hand, this is wonderful. Prints look fantastic. Questions before we wrap up? Let's just take a couple of hodge-podge questions and then wrap it all up. So from PhotoMaker, do any art papers come on rolls this large, or just matte and luster and glossy? Do you know? Oh yeah, art papers definitely come in rolls. If you're a high-volume printer, you can get this stuff on roll paper. When we're talking about mounting, do you ever use print spray? Yeah, actually that's what that stuff is. It's an actual special product made for prints for applying and adhering prints to backdrops. Do you ever coat anything on top? On top. Maybe that's more his question is, do you protect the print with some type of a UV spray? No, I typically don't, but that does bring up a point. If you're not careful with that spray, you can get the adhesive sometimes on the front of the print, so you've gotta be really careful that you don't get the front ... The way that I do that, I actually have a technique. It's a little bit silly, but I don't mind being silly. I actually take the print and I move the print away from the spray can. I go outside of my garage, out onto my driveway, and my neighbors must think I'm crazy, but I do this. I go, (makes spraying sound) and I'm moving down and spraying so that the spray goes behind the print and doesn't wrap around to the front. Whatever it takes. Can you do that again? Okay, one more time. (laughter) Here we go. (makes spraying sound) It's like a crab walk. You've gotta move your hand up from the top to the bottom. (laughter) Thank you. Maybe you could come back and do a whole class on that. Yeah, the spray crab walk. All of that. One quick question, Para-fecky-do, who says, "What about printing on a color laser instead of an inkjet printer?" What happens in that scenario? Is that not a good idea? Good. To answer your question, I haven't done a lot of laser-jet printing, but here's what I do know. Again, it's a communication with whoever owns that. Is it the lab? Maybe you're doing it at the business you work at. You just have to make sure that you have the right profile and the right color management strategy. Printing technology has moved along rapidly. The last 10 years, we've gone from decent prints to magnificent. Even the color laser printers are producing really high-quality work. In fact, a lot of print-on-demand books are using that color laser printing for these little short-run print-on-demand books. The photos out of those look fantastic. Yeah, use them, but understand the limitations. If you can, do a soft-proof and see if you can mimic the paper type and the printing technology, but you should get pretty good results out of that. Do you have any final thoughts, final words for people about the importance of printing their work, and printing their panoramas, too? Yeah, I absolutely do. Printing matters. I think printing is important. There's a legacy feel to this. For years, I've been a professional photographer, and since I went digital, you know where my images live? Right there. They live on that little disk drive. I'm not kidding. Quite literally, every digital photo I've ever taken is currently living on that disk drive. From an emotional standpoint, my wife, and my kids, and my mom, and my dad, and my in-laws, they all wanna see my photos. So I put them up on Facebook, I put them up on Instagram. But it's not until the people actually come and experience the print in real life that they really become emotionally attached to that image. There's an emotional attachment that I think is important. So I encourage everyone watching today, and you guys here in the studio audience, I encourage you to try to make beautiful prints. Give them away as gifts. Literally, I am giving away all of these prints here today because I know what joy it brings to people. It's a tangible reminder of what they did today. For those of you who were at CreativeLive, and two weeks ago, when we were up at Gas Works Park and we were working together, this is gonna help you remember that time together. It was a great experience. That's what printing is all about. Print, print often, and print big. Hopefully today, I've taught you how to do all of that.

Class Description


Being surrounded by and immersed in a beautiful vista is part of the joy of being a photographer. Capturing that feeling of wonder, and representing in the limited form of a two-dimensional print, is one of a photographer’s greatest and most satisfying challenges.

You can take the experience of seeing a magnificent vista home with you. Join Mike Hagen, director of the Nikonians Academy, and learn his techniques for mastering the art of the panorama. In this class, he will teach you:

  • How to shoot a variety of panoramas (skylines, landscapes, vertical and horizontal) with the final print in mind
  • How to stitch your images together to create a panorama with Photoshop® and Lightroom®
  • How to print large images to sell or display in your home

In this class, you will learn everything you need to make a breathtaking panorama from start to finish. 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. 

Reviews

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!