On 3/25/2020 4:55 AM, Wayne Shumaker wrote:
At 3/24/2020 10:38 PM, Moose wrote:
My rule for stitching is to use narrower AoV FLs. With the Tamron 17-35 on my
5D, if 17 mm wasn't wide enough, I'd go to 35 mm, vertical and take a bunch of
shots for the later stitch.
Here's one done that way at Ship Harbor in Acadia. Nine vertical, 35 mm shots. Awesome
printed across two pages in a lay flat book!
<https://galleries.moosemystic.net/MooseFoto/index.php?gallery=Travel/NorthEast_2009/MtDesert/ShipHarbor&image=_MG_8088-96ia.jpg>
As I think about it, I remember the same basic technique worked well with the µ4/3
Oly 9-18 zoom. Shots @ 9 mm didn't work at all well. I've got great panas with that lens done
that way. Later, I went to making pana stitch shots with the 12-60 PLeica. This was done @ 24
mm eq. <https://photos.app.goo.gl/1VbJtr4tc3E5WsMr9>
And stitched in Hugin, to put this one in context.
<https://photos.app.goo.gl/TNF3EBnSAZTdHXEE6>
Nice shots, I love the clouds.
Thanks! It was those clouds that had me snapping away a couple of pano sets, before the light changed. Another one that
looks wonderful as a double page spread in a lay flat book.
Looking at the second one, and panos, did you determine the "entrance pupil" of
the lens (often referred to as nodal point). With all the close detail, seems it would be
necessary.
Now I'm confused. Everything in the second one is at infinity, vast, open countryside. I've never found all that nodal
point stuff to matter in panos of distant landscapes. Immersive interiors, perhaps, but modest effort to turn the camera
more or less on its axis seem to work fine..
I can only imagine printed big, the online version makes my eyes squint.
I don't imagine it will ever be printed larger than about 8x20, in a book. I only included it in the gallery because
those closer shots of the barn and sheep look so darn bucolic. I wanted to show the vast, rather barren surroundings.
This area of Ireland, the Connemara, was once forested, but I was told changes in the soil since mean it can't be
reforested by simply planing new trees.
I think that, even though we don't notice them, there are distortions in the
wider lenses, or zoom settings, that disturb the Adobe panorama engine(s). The
other advantage of this technique is greater vertical AoV. It's easy to forget
that in panorama stitching, then find it wasn't enough.
Hugin is generally the better stitcher. Free, more powerful, more controls,
quirky (to be kind) interface. On a lot of landscapes, much better than PS. But
just recently, it simply choked on one that PS did fine. Very powerful tools,
such as the ability to choose control points.
I'll have to experiment.
Here's an example.
<http://www.moosemystic.net/Gallery/tech/Panorama/_B009385-392_comp.htm>
This is the Paro Valley, a few miles above the city itself. The city is below to the left, and the high mountains above
to the right. (I was at about 7.500 feet here.)
When I first tried the pano, with memory relatively fresh, it just didn't look right. Looking at the individual frames,
the mountains on the right just aren't shaped like they are in the panos from PS & Affinity. I believe this is the pano
that led me on a search for alternatives, and to Hugin.
Using a Panini projection in Hugin, it becomes clear that the projection used by default in PS, Cylindrical, acts like a
WA shot of a face too close, huge nose, small ears, the hill becomes mountainous, the field boundary curved upward, and
the mountains diminished, and, on the right, sloping steeply downward.
I didn't try LR at the time. I've added it now. If I use its Cylindrical projection, it's just like PS. The Boundary
Warp slider can do a much better job with the balance of foreground hill and distant mountains - at the expense of a
strongly curved foreground.
Straight Boundaries Moose
--
What if the Hokey Pokey *IS* what it's all about?
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