indoors near a window or if there is some area of high dynamic contrast, it is advisable
to use bracketed exposures, taking several different exposures at each click-stop. It
is important to capture all of the exposures without moving the camera so that each
image lines up precisely with the rest. Multiple exposures will allow you to later create
a composite image or high dynamic range (HDR) image to be used in the panorama,
making it possible to show more detail (see section 4.6.1). For example, a composite
image shows an interior wall as well as the scene outside an adjacent window. Bracketing
can be helpful in many other circumstances as well, providing a number of options for
the best exposure to use when stitching the panorama. A consistent exposure level will
improve the end result and minimize the appearance of seams in the final product.
Check the camera’s date and time stamp to ensure that it is consistent with the current
time zone. Check that image type, file type, and quality are set as desired.
When photographing a scene, get in the habit of spinning the camera in the same direction
every time, pausing at each click-stop to capture the images. It is helpful to use a remote
shutter release to minimize camera movements and to keep the photographer out of
view. If possible, avoid people or objects that are moving in the frame so that there is
maximum consistency between frames to help in the stitching process. Work carefully
but quickly to minimize change in the lighting situation. If the tripod is bumped or moved
during the shooting of a panorama, the images will not stitch properly, and you will need
to start over. If your camera can do it, create a new folder on the memory card for each set
of images of a panorama. Another useful trick it to take a photograph of a piece of paper
with details of the shoot location etc. written on it to mark the beginning of a set of images
and to record important metadata.
Spin the camera 360° around the horizontal plane, then
tilt the tripod head about 60°^5 up so that the camera
is angled towards the ceiling or sky and spin it around
again. Be sure to provide enough overlap between frames
to complete coverage of the top of the sphere of the
panorama. It’s often a good idea to also tilt the camera
straight up 90° to the zenith to complete the sphere.
Finally, point the camera straight down 90° to the nadir
(at the tripod). Use a color-card and north arrow at the
nadir for color and orientation guidance. Capture the
image at the starting click-stop and then spin the camera
90° (even if there is no click-stop there) and capture this
frame. Be sure that your feet and shadow are not visible.
By spinning the camera in this position, all or a majority
of the tripod can be removed in post-production.
- The specific tilt depends on the camera and lens length. Some cameras can capture an entire
sphere with just one row at 0 ̊, a zenith of +90, and a nadir of -90.
Figure 1. Seitz 220VR
rotational film camera. Top to
bottom, example of a negative,
spanning 410 degrees, from
Seitz camera (using 20mm
lens). Positive after scanning,
and cropping to 360 degrees.
The cylindrical perspective
results from the use of a
rotational camera.