Photographing Panoramas for Large Prints

 

Photographing Panoramas for Large Prints

 

Lesson Info

Troubleshooting Environmental Obstacles

The next is engaging with your environment. Working with what you've been given, when we travel a lot of times we really want the beautiful skies, the great weather, but sometimes we don't get it, so how do we deal with that when we shoot panoramas? So the weather at your location plays a big role in panoramas from the standpoint of, some days are like this, these blue bird days with these white, puffy clouds, this is an epic day to shoot panoramas. The colors are poppin' off of all of this rust on this area in the background, you can't hardly miss in situations like that. But what do we do when it's cloudy, or rainy, or windy, other scenarios, other environmental situations really impact our panorama photography. So when it's sunny out, generally what I'm looking for are white, puffy clouds. If I can get white, puffy clouds in the background behind my subject, I'm a happy man. So on the other hand, maybe it's cloudy out, it's kind of drab, in that situation, I actually change my panor...

ama approach, I go to a scenario where I'm excluding a lot of the sky because it's very boring in a big panorama like this, there's no texture and detail up in the clouds. So maybe I'll go down to a rusty portion of bolts and I'll shot a panorama of that, or maybe some grass and flowers. So I really limit my scope in my panoramas on cloudy, rainy days. On sunny days, go big, go bold. You know, another thing to think about when you're photographing in the environment, a lot of things you can't control. For example, here we have this black fence around the perimeter of the gas works park area and I think the black fence is kinda ugly. So you gotta kinda weigh, do I wanna photograph the scene so the black fence isn't there, or do I wanna include the black fence in the scene? And if I do wanna include it, would I have enough time later on to do editing in Photoshop to actually get rid of it? Well in this case, getting rid of a black fence like that is near impossible. So what I'm gonna do is I'm actually gonna incorporate the fence as more like a gritty, urban scene. So one of my rules around composition is, if you're gonna include it, then really include it, and make it a part of the photo, and that's what I'm gonna do for this shot. Cool, so the, let me forward this here, here's the resulting image. This was the resulting image with the black fence, and you know, I mentioned earlier that I think this sometimes, fences always bother photographers. Do you include the fence? Do you not include the fence? Well here there's really no other option. Well maybe there was an option, I probably could've taken the panorama and cropped it something like this, but it would've just looked odd. You don't have the feet of the buildings, or the base of the industrial scene down here, so we need that as a foundation. So here I included the fence. I think it's okay, it's alright, it's not what I expected when I went to the park. So one of my rules of photography is if it's there in the frame, then include it, include it in a way that makes sense. So we even made a print of this, this is the last print that we just produced right here, and now that I look at it in the print, the black fence isn't really all that bad. So dealing with the environment when you get there is a big part of being a photographer and an artist. I also talked about weather, we're not always able to control the weather, we live here in Washington and it just worked out on our pre shoot day that we had beautiful, stunning weather. But if we didn't, I would've changed my approach and like I said, I tend to go smaller when the weather gets worse. So I'm looking for more detail type stuff when we have rain or cloud. Beautiful days like this, those clouds make your photos just sing, so include it.

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.