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Photographing Panoramas for Large Prints

Lesson 18 of 30

Saving Images for Print


Photographing Panoramas for Large Prints

Lesson 18 of 30

Saving Images for Print


Lesson Info

Saving Images for Print

Saving the image for printing. Cuz really that's what today is about the end point is printing. I'm going to talk about it from the Lightroom perspective and then I'll quickly talk about it from the Photoshop perspective. So I'm gonna go back to one of the images that we shot back here at Creative Live in Seattle. I'll go back to that folder, and I'm gonna use my filter again my green filter and pull up my favorite image of the day, here we go, there we go so there's that image. Alright so what do we got. We've got this image in Lightroom and let's go look at how big it is I'm gonna type the I key. This image is 17,000 pixels wide, alright. This is the exact image that we showed earlier in the workshop when it was standing on the wall over there so that photo over on the wall is six feet long so 17,000 pixels easily makes a six foot long print. But how did I do that or you know, where did this print get created? Well I actually made this print at Costco using their Epson printer, Costc...

o, where I live has this really big Epson printer, so I had to export this out for the laboratory. If you're working on your own inkjet printer in your own office or at home, then all you have to do is you go print. So I'm in Lightroom, I just go over here to the upper right and I go print, and Lightroom manages it. But if you have to go else where with that image, then we have to export it and that's what I wanna show you right here. So if I'm gonna export this I right click or down here on the lower left, I can actually click the Export button, both of 'em work and both of 'em do the same thing. So let's do the right click, and then export, and then you can see down below in this little contextual menu I've got all these preset exports. So I actually make them so I don't have to go into this, this menu here and redo it every single time. So for this example though, I will walk you through it. So I have to Export out an image for my laboratory, maybe your lab's Costco, maybe it's something like Impix or Audorama Pix, whatever it is, you're gonna kind of do the same thing. So where do you wanna export it to, do you wanna put it in the same folder's original, that's great, that sounds good to me, do you wanna add it to this catalog, yes, but down here is the most important thing. File settings. So you can export a JPEG, a PSD, which is a Photoshop document, a tiff or a DNG, I can tell you this, your laboratory is not gonna be able to use, anything other than a tiff or a JPEG. They will not be able to use a PSD file or a DNG file. So, I typically actually export out JPEGs that image on the wall over there, that six foot long image, that's a JPEG, and as long as you've done your work well and your screen is calibrated, JPEGs are gonna be just fine. So JPEG, quality 100, color space, well now you need to figure out what your lab is printing. I know my local lab, I actually talk to the people there I know them by name and I work with them so when I send the photo over the internet I don't know why I'm holding up a phone but when I send it over the internet, hello, can you print my photo. I know that I need to send them Adobe RGB. Because that's the color space their Epson printer works in. Cool so I set that. If not, if you ever have questions, use SRGB. Do you wanna resize this image? Yeah I probably should resize it. I don't think they need 17,000 pixels. So I can resize it to fit the long edge at in inches, and if I know that's gonna be six feet long, six times 12 is 72, so 72 inches and my resolution, for big prints, I typically use 200 pixels per inch. Anywhere between 200 and 300 is a good bet. So for this one I'll use 200. And then the last one here is sharpening. How should I sharpen this image for output, but I typically do what's called output sharpening for the type of paper I have, matte, and then low. And then I click export. And I'm not gonna do it just because it takes a little bit of time but the key with saving your image for print is understanding what's going to be printing that image. So in this case I use the example of Costco, they're gonna be printing my image, if I'm printing out of light room from my inkjet printer here in the room I don't have to save it any special way and then same thing would go for Photoshop. If I print from Photoshop, I don't even need to really save it a certain way it's really when you're saving the image for someone else to do the print job for you that's when you have to be cognizant of the size , and the resolution and the format so. Alright so audience participitate, audience participation point here which print do you guys want to see so, we've got this one, we've got any of these city scenes. We've got an industrial scene, what do you guys think. Industrial? Alright, let's try this one, that is funky looking image and let's see how it turns out.

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!