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Why Panoramas are Awesome Part 1

I've got some more toys out here. One of the great things about having this live studio environment is not only do I get toe share my computer screen, but I get to share the toys when it comes to Panorama is actually we're gonna have some real fun with toys, and it was interesting you were mentioning about my pornography or mobile photography. And, um, speaking of toys that's actually is one of the most exciting things about the current state of taking Panorama is is that we now have a device that you could almost say is specifically built for shooting panoramas and shoots. Panorama is differently than every other device in the world in terms of a camera and taking advantage of, you know, basically a supercomputer inside of it and things like that. This sort of thing, as well as things like this, which will get into yes, will automate the process of shooting Panorama is by having robotic assistance plenty of doing some brain surgery later on the afternoon with a robot, But um, anyway, ...

so the opportunity for me to share not only my screen and some techniques related to manipulating a panorama is but we'll be talking about shooting him, and we will be actually spending a good chunk of time related to mobile photography because it is a fantastic area for optimizing this idea of telling stories through panoramas. And that's really is the bottom line with everything related to photography, whether we're doing the emperor and we were doing yesterday or Motion blurs one of my favorites coming up, but nobody's mentioned just because you probably don't need take blurry pictures. I already got that down, thank you very much. But things like motion blur emotion. Freezing world's going to be doing both above water and underwater not just underwater, but with the Advent speaking again of technology of waterproof cameras with housing, or just by the fact that they're waterproof. To begin with things like this where you may be a little bit more hesitant to shoot around water in here. I'm obviously out in the water here in Molokai, shooting this this infrared camera. This was an old G nine, a cannon. Jeanine had waterproof housing, so I can, you know, carry it around and shooting environments where I wouldn't have before, so that class related to water photography will both be above and below in the whole idea of working around in underwater. Um so all these areas of technology or exciting all of them are fantastic in terms of storytelling, and that really is the bottom line for everything that we do. It's one thing to be giddy, especially as a boy about technologies and gadgets and things that flash and beep and you know that we can play with. But that's really not the point. The fact that it's cool, groovy, bitchin or fun is secondary to the point that it allows us to make more potent stories with our imagery. We happen to be talking about photography here, but with your painter or a sculptor or a musician or a writer, What if we're of the artist persuasion? If we're kind of as I said the other day, if we're not quite right, you know, a little sandwich short of a picnic. Where of that artist persuasion, which hopefully one of the things about this class as well is that all of us, unless it's been beat out of us, are of that artist persuasion? I think that's one of the things not to get too metaphysical. But this concept of being made in God's image, that is that we get to create. That is one of the most potent aspects of this concept of being made in the image of God is that we get to to create or the only species on earth that gets off on this, just fooling around with visuals and communication. And that's the thing with all sorts of species, I think communicate. We've got pictures of the humpbacks that took down in Tonga, but obviously we're a little bit different. You know, there's not a lot of van Gogh whales out there that are just kind of, you know, cutting off their ears cause it's expressive or something like that, where we're a little bit different as a species, and I think that is really part of this idea of being made in the image of creator as it were. But that's just me, and I'm just pontificating now. So anyway, so today we're specifically talking about Panorama is I think it's one of the most beautiful and powerful ways of telling a story. It is mawr of how we see the world because we don't we're not locked in to a particular view. If we had a static normal four by three aspect ratio image, that's how we saw the world and weren't allowed to do this, then our standard photography would be fine, but we don't. We have this incredible peripheral vision and we're constantly moving. We're constantly changing. Exposure were constantly we take in the world as a panorama. Right now I'm looking at I can see this right here. I can see, actually, I can see both my hands right here. So that's my field of view in terms of my peripheral vision. And what are we doing? If I pull out my camera and take a shot, gonna be this? I got a telephoto. It's like this. I may have a wide angle, may even have that fish I But then again, that's what we're getting into that kind of fish. I concept the thing with the Panorama is, of course, we don't have the distortion of a fisheye we're not getting. We don't see the world is a fish eye. We see it really as a panorama. So for me, that's one of the most exciting things about it is that it's closer to when I experience as an example this image that we have on screen now. This is the island of Tava. Ruin the islands of Fiji and coming up to the island. This is the feeling you get. And I could not if I simply came up here and, you know, had that as the view. It's a beautiful place, but it does not give me the feeling that I'm basically coming up to Gilligan's Island, and that's just disgustingly, freakishly cool. You know, this you can walk around the entire island in half an hour, also happens to have two of the best waves on the entire planet. Wrapping around it, that is, makes it discussing the beautiful. But it it tells a story that I could not tell another way and by the fact that I could simply go click, click, click and then use the power of photo shop in this case to stitch this together or going into some other examples that we've got here just be going through. This is the Maroon Bells in Aspen, Colorado, and when it comes to landscape, which will kind of be the emphasis here, though, you're going to see we're going to do some macro panoramas is part of the class getting down at a flower field level and being able to shoot Panorama. There's nothing for doing still lives. Great thing about things like this were in the past. We haven't done vertical panoramas. You're going to see even something like coming up to. I've got a little set of binoculars on appear, and by sweeping up a panorama like this, I'm able to get a 28 megapixel file from an IPhone. That is a very unique vantage point because it has almost that fish. I work and look down on the base of this little binocular telescope set up and then up in it as well. So I'm getting a very unique aspect, as opposed to pulling back and just taking a shot, which would all be looking down, I can actually change. That's one of the things about Panorama. By definition, whatever you dio, you're looking this way, and that way you're looking down and up at the same time, so it's a very, very unique way affiliate. In terms of something like this landscape, you're never going to get the majesty of this environment. If you were only looking at the peak itself. That is a story. But this is a unique story. This is the same one with a infrared panorama, which again we were talking about this yesterday. That is a more standard story of the Maroon Bells. You just, you know, smoking crack at this point when you're working with infrared and which I don't recommend in real life. But doing it through photography is highly recommended. It's awesome way of telling stories. So this is what we're touching on yesterday. This is also using kind of an HDR technique as well tone mapping of our files. This is our lovely molicki over in the islands of Hawaii. This is We don't need that much zoom, um and, um but this is a sacred Palm Grove. It's exact same view. You'll notice what's going on here and again. This is one of the neat things about Panorama isn't here. I'm probably maybe 100 yards away from the coastline here in Molokai, and it's giving me this one view in this shot here. It looks like I'm about 10 miles out. I'm actually probably just yards out, but in this case, I'm shooting probably almost a 360 degree. Let's I'll say that this is degree starting from looking directly into the sun, going 90 degrees from that and then looking completely away from the sun with a consistent exposure. Interesting. We were talking about that, but you can see how, ah, different story it is by simply backing up. It also is one of the awesome things about Molokai is because for me to do this, I'm standing up. I'm not in a boat, is it's one of the only islands that has a barrier reef on it. So it actually has a lagoon. One of the only islands in Hawaii that has a lagoon. You can go out, basically, is a mud flat inside the reef here, the barrier reef that allows you to just literally walk out. And I'm still in probably knee deep water here in Molokai. This I mentioned the first day, what got me started on doing this creative photography Siris was for about 10 years I've been doing an event over in Hawaii called creative photography for the soul, and do that with Dwight Jones and Ricky cooked to National Geographic photographers and it's just been amazing. And this is the sort of thing that we do. We get to fart around all day and do really cool stuff and, you know, have all the toys and just get a little crazy with our crayon box of creativity. So anyway, that's why you'll see a lot of Molokai here. We showed this image and infrared from Monument Valley and, uh, the arc here and again. Remember this story I did yesterday? Same sort of thing that I did with infrared. If you've ever shot here, you know, there's probably 100 photographers waiting there at sunrise just to shoot this scene. So in this case, by shooting it in this case was probably again with some sort of pocket camera I could while the sun was behind the arc arch. I could come up here, so excuse me. Pretend I've just got a little teeny camera. Can I just sneak in here for a second? And they think that's so cute. And take a dozen shots and actually end up with a very unique seen. You wouldn't get this same sort of perspective with a fish eye, and you certainly wouldn't want to step back. You couldn't shoot from, you know, 100 yards back with a traditional 4/3 aspect ratio. And get this scene. You only can get this shot by shooting a panorama. So now we're talking about that panorama is not only a useful way of shooting, but in some cases, it's the only way that you're ever going to get a shot. And this is a serious that I did from that shot. These air, the infrared versions of it. And these are all infrared panoramas again. One even closer to you can see it. A traditional camera over here of that arch taking advantage of Stitch Panorama. Okay, Yeah, The canyon lands like I called him on your values. Canyon lands, of course. There. Okay. Maura Molokai. This is the shot we're looking at here. Yesterday we talked about things like infrared, where we were able to switch the sky toe a traditional blue sky from our CPS and Scion's shooting out of a plane. If you've now. This is actually a cloud bank that likes to reside off the big island of Hawaii. And this is a 10 shot panorama shooting out of jet and this was shot by click, click, click, click, Click. This actually is imprint. But that's one of the great things. That kid. Excuse me. We're gonna be touching on this more, especially since we're getting a lot of feedback that a lot of people are interested in the mobile photography in all these different areas. Unfortunately, a lot of these different areas can be captured that we're talking about in terms of creativity with a mobile phone. The great thing about this is that you can actually press your camera basically up to the glass of your jet plane and shoot a panorama. And now all of a sudden you're outside on the wing basically right, I'll show you some more Panorama is that we're taking that way. But you've never seen that. So I'm looking down the plane, right, cause I can actually look down this way, and then I can spend the phone and I can look out the plane this way so I can see things that I couldn't see even with my naked eye, because I can't if I'm looking down. I can't look that way, but I can by shooting a panorama. So things like being able to dio here is that shot. Things like being able to shoot, um, things are that are invisible basically to the human eye. That's another thing that's a major part of this creative photography serious that a lot of these things pick figuring out. OK, what 10 things. If I'm going to do 10 classes, what can I dio the emphasis on things that are not how we see the world with our naked eye? What is going to allow us to see things differently that we can't just do with the standard for my third capture? So we start off with infrared. Obviously, that's a technology that's allowing us to see an invisible part of the light spectrum today. Panoramas that's allowing us to see things that again, in a very unique way of telling the story motion blur. We can't see blurred activity with a wry we can't freeze what? We're looking at a bird in flight of thousands of a second. We normally don't live underwater or right on top of water. We don't shoot. We're going to have night sky photography and star photography. We can't you know, we don't quite have that latitude to be able to see the Milky Way in all its glory. That class I'm gonna be doing actually with Brand Forbes, a world renowned landscape photographer who is an expert at star photography, time lapse photography as well. And the HDR talk this idea of getting this extended dynamic range. So these have purposely gone in and tried to find things that are very unique ways of shaping a story. This one in obviously Yosemite, a vertical panel taking advantage of our little stream going through the valley there Mawr infrared panels. Just kind of love that again. This one you could not see this. This is almost a 360 degree Pano. So I'm looking. This is Ah, train track in my hometown of Cardiff, California, San Diego. But this building is actually right over here. So this is virtually a 360 degree Pano and we'll be talking about how you can do that sort of thing. We're basically looking into the morning sunlight and maintain a consistent exposure across an entire scene. Came or from Hawaii. Yeah, you're just going to get stuck with that. This is a panel shot out in the water. In this case, I am on my surfboard. So I'm using waterproof cameras. And with the current state of technology, specifically, we'll be using photo shop for our stitching. You can get away with murder, especially if you know things like adaptive wide angle and some of the features inside of Photoshopped that are going to allow you to fine tune. The challenge is that you're going to get by having a curved horizon line or things like that. So, as much as sometimes are APS and even our point and shoot cameras Now, a lot of them have built in Panorama shooting and stitching. Photo shop is really gonna be essential doing some professional level panoramas just because there are times when there's no way you're gonna be able to get it. I'm correct in the initial shot. We're going to touch base this afternoon. Basically, all of these creative photography Siris are broken up into morning talking about inspiration, how you shoot the technology antique technique associated with shooting it, and then followed up with how you post process that. So it's really the kind of the before you shoot, has you shoot or how you shoot and then after you shoot, Or how do you process or tweak or do your digital darkroom so the before, during and after it's kind of essential to the Siri's. I also put that in what's in your heart, what's in your hand and what's in your head. Heart is your inspiration while you're doing it, Why are you wanting to tell stories with photography? What is unique about you that is gonna make your photography different? And how can you use that technology to maybe take a tell a story that you haven't told before where you haven't seen before? Or maybe who cares if somebody else is told before, you haven't told it before and it's been something you've been wanting to do, or maybe you didn't even know that you wanted to do it. Like I said, for a lot of us, we had our creativity beat out of us as a child. First time that somebody said, Oh, isn't that sweet, Susie? Too bad you can't draw like your brother. You know that kind of thing. So that is one of the things that we're doing here is gonna giving you back your box of crayons to play with. Okay, that's been taken away from you. But anyway, so what's in your heart? What's in your hand? How are you gonna shoot? What's the technology that you're gonna use to tell that story, and then what's in your head? How are you going to come up using the the digital technology of our dark room in order to shape that to polish it get is good as possible. That's really where the three parts come in. This is what we're going to be doing This afternoon is part of our storytelling because it's a unique. It's kind of a collage type of panorama, or what I call a tossed on the table collage or Polaroid, you know, um, collage. And it's actually something that's built into the photo stitching aspects of photo shopped. There is an option. You may have noticed of collage at the bottom that allows you to align your images without actually distorting them in terms of changing their basic aspect ratio. But it will align them as much as possible. Combine that with a little trick that's actually going to allow us to automatically do our Polaroid edge in our drop shadow and something like image warp which will allow us to do our little page girls. And things like that actually is a very simple process to create. So we'll be doing this is a little bit of a creative aspect of polishing our panoramas. This is a underwater panoramic done in the Galapagos. And, uh, that's just wrong to be able to shoot moving. In this case, I've got very fast moving sea turtles down there, Uh, and being able to shoot multiple shots and stitch it together in one shot, it was very, very exciting. Yeah, sunsets. You can't go wrong with sunset. This is also a panel. This is one of the shots were using for the Siri's. This is, I think, a four shot panel also shot on the island of Molokai on the northeast corner of Molokai place called Hlava. And I just love it. Um, this is an app and, um, a very fun app that shoots that kind of that Polaroid, you know, tossed on the table, Kalash. It does it automatically. It's called You got to see this and we'll mention this is part of the shooting process. All of these. I'm really not going to apologize in the past. Have apologized when using mobile photography because it's not really photography. But hopefully we can get over that because it really is. Especially now that you can shoot up to 28 megapixels, the built in cameras. Eight for the IPhone, obviously on the windows. And Oki has got a 40 plus megapixel camera. Okay, that's you really need to get out more often. If you know you need 40 megapixels on your notes, it's an actually, it's a very good cameras, an amazing job that they've done with it. But eight megapixels as a default as a panorama up to 28 megapixels. The quality is, you've probably figured out is amazing. I mean, it's using technology, like every time you take a picture with the five s, it takes three shots and only seems to the sharp one. If you're in burst mode, you'll shoot 10 frames a second for hundreds of shots. It'll create that burst. Put it into a folder as a set, automatically search for all the faces, all the sharp faces, all the smiling sharp faces will automatically tag all those for you so you can kind of go Which ones you want. Select the ones that you want and it will toss the rest, leaving behind you know, the ones that you want. Uh we'll talk about the panorama technology and this sort of thing where it's using taking advantage of this six dimensional gyroscope to do some amazing self that you couldn't do with an SLR. So I'm gonna try not to apologize for this because I know we all have these and we're only going to get more Universal has been waiting for the IPhone six. Um, the, uh the last class on mobile photography is purposely in the fall, so hopefully we'll have the latest and greatest IPhone for that class. But I'm going to sneak in some more classes here as well. This app you got to see, this is unique just because literally you go like this. That's how I shoot with it. You're going to see some more samples of it. I'm here and I mean, just jumping into it. Another sample and ah, you just do this and it's shooting. Every shot is independent, its own exposure, which is awfully nice, and I kind of purposely do. This little movement will dance with it, too. Exaggerate this idea that their individual shots and it's wonderful. It's a kick in the pants, and it's automatically doing its little, you know, jiggery pokery in terms of combining it together and doing that magic. So again, love it. The fact that you can either one using your big boy cameras pointing shoots or your phones that their techniques to get a consistent exposure even when you're doing something like looking directly into the sun and directly away from it. That's one of the things that we're talking about in terms of a shooting technique that's exciting back out in the water. Sometimes you'll notice here that I purposely leave the sculptured edge. If I am shooting individual shots as opposed to one continuous one with something like a mobile device. I'll leave that on there because I actually like that as a framing technique. Sometimes I do. Sometimes I don't. It depends. One of the things that we re talking about in terms of the technology is how to get rid of that edge. How can you retouch in that sky? I'm using things like content aware fill which is really, really cool. Well, actually, go ahead will make an action that will automatically do content aware fill to fix your little edges when they don't go edge to edge. So yesterday we did a little bit of automating writing an action for infrared photography, flipping those sky colors, and we'll do the same today related to content aware fill. Also, there are other ways of doing it that sometimes I prefer even mawr than retouching in non existence Guy that you can do to have your panorama is go edge to edge. So we'll be talking about different ways of doing that panorama. Sometimes you just gotta get freaky. Uh, this is in Chicago, and I'm purposely letting that there's no way actually gonna compensate for that kind of looking down into the river and up at a huge skyscraper that I'm at the foot of. It's just a funky shot, you know? I'm not gonna try it. Can you fix that perspective? No, I have no desire to. I've got way too much on my plate to try and fix that. When other ones we will, we will definitely be taking advantage of things, even like the upright filter inside of a CR and light room. New for the last version of it. The upright filter is or capabilities are excellent. Ah, in Virginia. Okay, you get the idea. Even some sweeps. This is the my time. Oh, and swamis point where I live. And this is a panorama of Manhattan again, out of a plane. I'm using an IPhone. So being able to sweep that kind of view while traveling at, um, that's probably not 30,000 feet, but but it's way up there more. Obey my feet. Like doing be disa Siri's. This is obviously a waterproof camera. This is a waterproof IPhone camera with a fisheye lens panorama. And this is one of the rules we're gonna be talking about how you can me in the bathroom. I'm almost tempted to go forward on that, because that's a little bit you know, you really don't need to see me in the bath, but I'll mention it because one of the rules there's a number of rules off how you shoot panorama, strict rules that you have to follow, and serious photographers follow those rules, and I'll be sharing those rules with you. But I'll also be talking about how to break those rules because the whole one of this idea about a creative box of crayons is yes, you can do things in a very set manner, and you may get significantly better quality, especially if you're wanting to Do you know, museum gallery, large format prints. But for a lot of us to be able to capture a story in the moment quickly, easily, joyfully as opposed to. Okay, honey, I'm bringing this £500 tripod over here in the leveller in my brackets and I'll be right with you. And the kids are now, you know, 500 yards away, down in the canyon and you're still upon it. And the whole family vacation is everybody's yelling at you because you need to get the shot in a certain way. How cool is it to tell a story and being able to do it, get the story magnificently and still be able to be on a family vacation? That's kind of cool, so we'll be breaking rules. One of the rules is you would never, ever attempt to stitch together a panorama shut with a fish eye lens just physically impossible to do that with things like this. A fisheye lens attached to something that has a built in gyroscope that shoots a panorama in tiny little segments. Irregular little segments, not picture Picture picture picture actually allows you to shoot a panorama with a fish eye, which is giving me chicken skin right now. OK, it's just that is so cool. So this, in that case is, is doing that, and that is one of the benefits of using a mobile device post processing. Here. We've got our grunge ification of things, if that's part of the story again. Over on Molokai, Lovett Sunrise, a group of Sunrise service again wonderful way of telling a story here in the North. This one's up in Canada again, doing our little instagram effects. We'll see how far we push our processing of images this afternoon when we get into it again on this is Case is a IPhone shot. This is not using the built in camera because one of the limitations of the built in cameras cool is it is for shooting panoramas is that it's a single plane and one of the things we want to talk about today whether with mobile photography or with traditional cameras, is this. I do idea of doing a checkerboard panorama, click, click, click, click, click, click, click, click, click, click, click, click. So we're actually looking up and down and creating an entire scene. In this case, this was done with Photosynth, another AB that does allow you to look up and down and all around and take individual shots and stitch them together into a much broader panorama than what you'd get with the native device or, um, again if we were using a more standard camera. This will allow us to get a much broader view, much more like a fish eye. But in this case, you're seeing the verticals of the buildings that were able to maintain with this sort of technique. We also see the speed at which were able to capture it with the people in the foreground. That will bring us up to that sort of thing to toys like this. This is the motor Galileo, which you may have heard about. This is really cool because this is a, um, remote device that allows you to control this. Basically, it's a it's a I'm head that could go onto a tripod that allows you to automatically shoot a panorama. But because of its software driven. And it's an open source device that allows programmers that doesn't different Absar available for it already, you can program it to the minute detail of how to shoot. A panorama in this case will be shooting one that shoots a 360 degree panorama in three different layers so it will shoot up, down and 3 60 You just simply click a button and go put in the center of the room and leave. Or put it in the center of the Grand Canyon. Or put it in the center of any place where you know that it will stay there without walking off, because you've left your IPhone in the middle of Central Park or something. So this is a great device. Absolutely love it. If you're doing any sort of real estate work, the fact that you could shoot a room and a complete what would be a quick time VR environment with one button with no stitching, it's all done automatically uploads it to a website where you can send that link and it you know. So we'll be talking about that technique. This is now the panorama. This case vertical. Sorry. You're gonna get a lot of that whole tropical. You know, Feel here. Down in Tonga were those world where whales were, um, one of the things when you are shooting panoramas, especially on one's, it gets pretty disgusting. I'm sorry about that. Um, is that if you're not perfectly leveled with your horizon line, if you're not shooting on a level tripod, which is going to be one of the rules that you absolutely must do when you shoot Panorama is and one of the things we're gonna immediately break as a rule because I don't like the fact of having to have your horizon line in the center of your scene. And most of these air going are having that because it does make things easier. Um, and but even things like this, we're looking down to get the fence. This is an illegal panorama because you can't look down because of what's known as a keystone. In effect, the perspective of looking either down to the vanishing point or looking up where things converge to a vanishing point makes shooting these very difficult. And if you have shot him in stitched him, you've noticed that you end up with this, you know, bark going on with seen. And that's one of the things that will be using foot a shop to get rid of excellent their adaptive wide angle filters going. Allow us to get away with murder in terms of those sorts of things. Um, I passed by a vertical pano shot with the IPhone. This is another one of those illegal panorama is because if you have to have a level tripod, this is about as unlevel Jas. You can get right looking straight up looking down, Um, and this is gonna be based upon the fact that these devices have gyroscopes built into him, which even some of the point shoots have now as well. So I looked to see that kind of being a standard in photography, the taking advantage of gyroscopes not only to stabilize a shot like a like a vibration reduction lens, but to give the camera on understanding of its place in three D space. No, it's motion. A lot of cameras can figure out motion, and that will determine how it's going to do its vibration reduction, or in this case, it's allowing it to figure out. OK, how am I going to do this without the distortion? And again, we'll do this with a big boy camera and you'll see the difference between a big boy and camera and that I think also one of the things that I'll do. Um this afternoon is part of the technology aspect. The digital dark room. I mentioned the content aware fill technology that's built into photo shop. But the content Aware technology started off with a filter called content Aware Scale, which is amazing because it allows you to change the aspect ratio of a shot after the fact without distorting it, so it allows you to distort it without distorting it. Interesting concept. As an example. You've been with me before, you know have used this shot to turn this from a panorama into a vertical shot, maintaining everything in the scene without distorting the couple on the right hand side. Conversely, you can also take something that is not a panorama and extend it and turn it into a panorama after the fact. Now we're not going to do that for the most part because that's cheating, even though cheating is what we do this class, there are things where you want to find tune it. You've shot something so wide, but you can't print. You've gotta set aspect ratio for a print. Now you're going out to something, and this ability to massage the aspect ratio of something slightly out or slightly in without doing distortion is really cool. And that's something that's built into photo shop. And a lot of people don't know about content aware scale, and they certainly don't know how to control in a way. So they get the results they want, so you can do it without problematic distortion. Okay, again, on a boat panorama, you can see the different shots here that's gotta be at least six shots. And to be able to stitch that even with moving water in the foreground is just pretty darn cool. Florida Probably 180 degrees. You're getting the idea. This is one of the ways just kind of like what we have here. You may have a shot like this shot taken as a panorama, but because of costs or expenses or just the environment in which you display it. You'd round to do a trip Tik, and so just keep that in the back of your mind. One a panorama as you kind of. So with that tossed on the table, I'm collage doesn't have to be stitched. You can tell a panoramic scene. Theoretically, this could have been, you know, five different shots. They didn't need to be stitched, especially since they're being presented this way. So just keep that in your mind. Trip ticks or dip ticks or or hex it tips throughout every would qualify. Um, are totally fine, as a matter of fact, because it's so easy to get these sort of gallery wraps printed out at some sort of print house there, one of the ways of telling panoramas. So don't again. Don't hesitate to think in terms of a wide field of view, even if you're not using Panorama software, mobile abs or even bothering to stitch them inside a photo shop. Um, it's great. It's matter of fact. It's often times a lot easier to print them because of that aspect of doing individual prints. Okay, more verticals. You've got to see that again. Hand stitched. Now this is tone map. This is interesting because this is not obey. This is kind of the opposite of this one. This one, even though I'm looking Adam actually standing on the shore line which goes in both directions so close to it, my field of view is all land. It looks like Gilligan's Island because of my proximity to it. This one, because I'm on land looking out to sea and looking out, This is the opposite perspective where this is the same. This is 360 degrees. So I'm actually on the land and by wrapping around this way by looking at to see I'm now inside of a bay when there is no bay here in a perfectly flat shore. So it's because I'm looking along the coastline here and out to sea rather than out to sea. Looking at shore, I'm getting again a completely different story. A cheating story looking at toe Lynn, I This is Maui over here, Lin I and I'm on Molokai again. There's all sorts of things you can do to mess with people's minds if you're of that persuasion. Okay. And again shadows disgusting sunsets. This is from my front yard in San Diego. Yeah, Yeah, This is for my roof. In the end, you go, man. This is my front beach yard in San Diego. Swamis point down there again on a moody and out in the heart of swamis Point with everybody going. Dude, what are you doing? Put the camera away. Your surfing vertical panel again looking all the way down to my feet all the way up into the sky. Uh, something that you would normally never get The feeling of the proximity of of this beautiful waterfall in Hlava Valley and the fern encrusted rocks at the bottom. Okay, you get the kind of idea the Grand Tetons. This one is a much more than with a traditional camera. This also is that the topic of you may use a panorama not necessarily to extend your field of view, but to increase your resolution. In other words, if this right here which is would be ridiculously if this is a 24 megapixel shot, I go like this click. I've got 1 24 megapixels by go like this and go click, click, Click. Because this is a greater field of view. I'm getting basically the same field of view. But now I'm shooting 75 megapixels. I can enlist double that. Even because of the overlap, I'm now doubled it. I've now got a 50 megapixel sensor, so to speak, at my disposal because I am increasing the feel of you, which is horizontal. I'm turning it now to a vertical by taking multiple shots, I get the same basic field of view. But I now have a at least double the number of pixels. So if it's the money shot, if you're standing in front of it, you're gonna going. This is I'm gonna retire on the shot. Remember, that panorama is in the same thing Goes with your mobile devices. If you're limited to eight megapixels forgetting the built in camera panorama capabilities If this is eight megapixels, you rotate this and go click. Click, click 888 24. Let's say with stitching your at least doubling it. This is that going to be the same field of view as this? But this is gonna be 16 megapixels, at least 20 megapixels. So remember that you've got the ability to use Panorama is not necessarily to get this extended field of view, but also just to simply increase the number of pixels you have. If you really were greedy, you could go like this. Click, click, click, click, click, click, click, click, click. Now, I've got this kind of wide angle field of view. But theoretically, I may have 100 megapixel file. Um, depend upon the camera because I've done this. Checkerboard, if you're working that with a big boy camera, this is probably gonna allow you to zoom in. In other words, this is if I've got a wide angle camera. This is 24 megapixels. I zoom in a little bit. Do my checkerboard. Now I've gone from 24 to again. 100 megapixels? Yes. Question. What about a big gig? A pan giga pan? I actually have a gig. Japan Being of that toy persuasion. Japan is great. Divide Giga Pan is similar to this. Think of this as, um a really sophisticated little giga pan. But Japan is specifically set up for creating the high resolution panoramas because it will take advantage of this idea zooming in on a scene. And for those of you could just do a search for Giga Pan on Google and you'll find it, and it allows to shoot literally hundreds and hundreds of megapixels in a file. Even with a point and shoot camera, you can put in something like the Canon G. Siri's is. Actually, it's the original ones weren't geared for SL ours as much the weight on them, but it automates the process, and it is associated with its software. Where it goes, Shoot, shoot, shoot, shoot, shoot, shoot, shoot, shoot, shoot, shoot, shoot, shoot, shoot, shoot, shoot, shoot literally will take up up to hundreds of pictures, stitch them all together, each one of them zoomed in so you can go into the crowd scene and get incredible detail and get a ridiculous of large file size. So it's really neat, but I've found that I personally just don't carry it around enoughto they get the use out of it that I had hoped for also, with software even that's built into photo shop. Your ability to do basically the same checkerboard panorama concept works out great, so I rarely since I'm not doing the large, oversized prints. If I do need that extra resolution, I'll do it simply with whatever camera have in hand and do this multiple shot, you know, again, there are things like auto stitches, an app that shoot that stitches together. Individual files inside your mobile device is a great one for doing those checkerboard ones in the scene.