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- The Golden Rule of Landscape Photography
- Become Married to Your Tripod
- Shoot in Aperture Priority Mode
- Composing Great Landscapes
- The Trick to Shooting Waterfalls
- A Tip for Shooting Forests
- Where to Put the Horizon Line
- Getting More Interesting Mountain Shots
- The Trick for Warmer Sunrises and Sunsets
- Turn on "The Blinkies" to Keep More Detail
- How to Deal with the Dreaded Blinkies
- How to Show Size
- Don't Set Up Your Tripod. Not Yet
- The Trick to Getting Richer Colors
- What to Shoot in Bad Weather
- Atmosphere Is Your Friend
- Getting Rid of Lens Flare—The Manual Way
- The Landscape Photographer’s Secret Weapon
- Keeping Your Horizons Straight
- Shooting on Cloudy Days
- Tips for Shooting Panoramas, Part 1
- Tips for Shooting Panoramas, Part 2
- Tips for Shooting Panoramas, Part 3
- Faking Panoramas
- Why You Need a Wide-Angle Lens
- Want to Take Things Up a Notch? Shoot Low
This chapter is from the book
Tips for Shooting Panoramas, Part 2
- Press your shutter button halfway down to set your exposure, then look in your viewfinder and make note of the f-stop and shutter speed. Now switch your camera to manual mode and dial in that f-stop and shutter speed. If you don’t, and you shoot in an auto exposure mode of any kind, your exposure may (will) change for one or more of the segments.
- Once you focus on the first segment, turn off auto focus for your lens. That way, your camera doesn’t refocus as you shoot the different segments.
- Overlap each segment by 20–25%. That’s right, make sure that about 1/4 of your first shot appears in the second shot. Each segment needs to overlap by at least 20% so Photoshop’s stitching software can match things up. This is very important.
- Shoot fairly quickly—especially if clouds are moving behind your landscape. Don’t be lollygagging for two minutes between each shot. Git ‘er done, or something could change (lighting, clouds, etc.) in your pano, which will really mess things up.
- Use a shutter release, or at the very least a self timer, so you don’t have any camera movement as you’re shooting each segment. Nothing’s worse than one segment that is blurry.