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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


  • 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!