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Posts Tagged ‘Panorama’

Video: Curiosity rover captures 360-degree panorama of Mount Sharp on Mars, showing changing landscape

24 Aug

NASA’s Curiosity Mars rover recently explored Mount Sharp. The mountain is 8km (5 mi) tall and is within the 154km-wide (96 mi) basin of Mars’s Gale Crater. Curiosity captured a new 360-degree panorama at Mount Sharp, revealing its diverse terrain and shedding light on the area’s ancient environment.

NASA writes, ‘Images of knobbly rocks and rounded hills are delighting scientists as NASA’s Curiosity rover climbs Mount Sharp, a 5-mile-tall (8-kilometer-tall) mountain within the 96-mile-wide (154-kilometer-wide) basin of Mars’ Gale Crater. The rover’s Mast Camera, or Mastcam, highlights those features in a panorama captured on July 3, 2021 (the 3,167th Martian day, or sol, of the mission).’

Studying the region has been a long-term goal for the Curiosity mission, which is now in its ninth year on Mars. By studying the layers of Mount Sharp, scientists hope to understand how the environment of Gale Crater dried over time. Similar changes in mineral composition are seen across the planet, so understanding Gale Crater should pay dividends in understanding other parts of Mars.

‘The rocks here will begin to tell us how this once-wet planet changed into the dry Mars of today, and how long habitable environments persisted even after that happened,’ said Abigail Fraeman, Curiosity’s deputy project scientist, at NASA’s Jet Propulsion Laboratory in Southern California.

‘NASA’s Curiosity Mars rover used its Mast Camera, or Mastcam, to capture this 360-degree view near “Rafael Navarro Mountain” on July 3, 2021, the 3,167th Martian day, or sol, of the mission. Stitched together from 129 individual images, the panorama has been white-balanced so that the colors of the rock materials resemble how they would appear under daytime lighting conditions on Earth. A craggy hump that stretches 450 feet (137 meters) tall, the geologic feature is located on Mount Sharp in northwest Gale Crater.’ Credit: NASA/JPL-Caltech/MSSS. Click to enlarge.

When Curiosity landed on Mars on August 5, 2012, its primary mission was to study whether different Martian environments could have supported microbial life in Mars’s ancient past. Lakes and groundwater once existed within Gale Crater, and scientists want to use Curiosity to understand better what happened and how Mars changed over time.

Looking forward, Curiosity is currently working its way up a path between Rafael Navarro Mountain and a towering butte. In the coming year, Curiosity will drive past these features and enter a canyon. It will then revisit Greenheugh Pediment.

You can learn more about the Curiosity mission by visiting NASA’s dedicated Mars website. You can also check out some of our prior coverage, including Curiosity photographing rare shimmering clouds in June and a neat selfie Curiosity sent to Earth in March.

Articles: Digital Photography Review (dpreview.com)

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Film Fridays: Photographing Machu Picchu on a panorama film camera

26 Sep

Visiting Peru, specifically Manchu Picchu, was something I wanted to experience ever since I wrote a school report on it in the fourth grade. The idea that there was a civilization of Incans living in the mountains hundreds of years ago, having such a thriving existence was extremely mind-boggling for a young boy growing up in the suburbs of Chicago. A different civilization from mine, living not only in the jungle but the mountain jungle made me want to visit and see what it was all about.

For such a special trip I decided to pack not only my regular travel camera gear but also my Panon 120 camera

Fast forward about 50 years, when my wife and I were planning on going to see Machu Picchu and other areas of Peru. Our trip would take us to Lima first – we’d then take the train to Cusco for a few nights, then onto Machu Picchu. My wife thought it would be great to splurge, and she found Belmond Sanctuary Lodge just a few hundred feet from the gates of the park. It was considerably more expensive than staying down in Agua Caliente and taking the bus up to Machu Picchu, but we bit the bullet and did it. Photographically, the decision was well-worth the price.

The medium format panorama camera Dan lugged to Machu Picchu.

For such a special trip, I wanted to make photographic memories unlike those I’d seen before. I decided to pack not only my regular travel camera gear but also my Panon 120 camera, as I thought it would be great to get some panoramic shots of Machu Picchu. It would also be fun to shoot some 120 film. I took ten rolls of film to shoot specifically at Machu Picchu, five rolls of color and five rolls of black and white.

The camera produces six approximately 2″ x 4 3/8″ images on a 120 roll of film.

Let me give you a little background on the camera and how it operates. It was made by the Showa Company, which was started by Nakayama Shozo in 1952 in Tokyo, Japan. Showa’s best-known camera is the Widelux cameras, which began in 1958 and is, in my opinion, the standard in 35mm panoramic cameras.

The Panon is kind of a beast to use. It weighs in at 2.2kg (4.9lb) with the case. It measures 16cm wide (6.5″) x 14cm tall (5.5″) x 11cm deep (4.5″). On top of the camera are the main controls, the shutter speed dial, the shutter release, pop-up viewfinder, bubble level and winding knob. There is also a diagram of the angle of view you see printed on the top.

The camera comes with a 50mm F2.8 Konishiruku Hexon lens that rotates from the left side to the right when it is cocked and ready to go. To operate the camera, you manually pull the lens to the left, set your shutter speed, and pull up the pop-up viewfinder to get the approximate view. I always check the angle on the top before I press the shutter button. You have three speeds to choose from when shooting: 1/200, 1/50, and 1/2 sec. The aperture settings are inside the lens area, and you manually set that by rotating the dial from F2.8 to F11. There’s no meter, so you’ll need to use an external meter for exposure.

The busses taking the tourists back to Agua Caliente leave at 4:00 pm and the park is almost empty from 4:15-5:30pm when it closes. It’s magical.

Loading the film is a bit tricky. There’s a film insert that you take out once you take the bottom of the camera off (see photos of it in the gallery at the end). This is held on with locking knobs. On the side of the film insert is a diagram with arrows showing the direction of the film. Once you load the film onto the insert, you pop it back into the camera and put back on the bottom cover. If the film insert is in upside down, the plate won’t go back on the camera. I’ve done this several times while on the trip.

The camera produces six approximately 2″ x 4 3/8″ images on a 120 roll of film.

The park at Machu Picchu opens at 6:00 am, and people start to arrive by either walking up the trail or taking the bus from Agua Caliente at around 5:15 am. We got in line at around 5:45 am as there was a good crowd by then. We stayed for a while during the morning hours, then went back to the sanctuary for breakfast and rested. We headed back to the park in the afternoon.

Here is the best reason to stay at Belmond Sanctuary: The busses taking the tourists back to Agua Caliente leave at 4:00 pm and the park is almost empty from 4:15-5:30 pm when it closes. It’s magical. You almost have the whole park to yourself and maybe 50 other people. You can sit and see the wondrous site or snap photos, all with virtually no people in the sight.

I think I got some pretty fantastic images and recommend you take a special camera when you visit a once-in-a-lifetime spot.

For more of Dan Cuny’s analog work, head here.

Gallery

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Articles: Digital Photography Review (dpreview.com)

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Vaonis teases upcoming feature for its Stellina smart telescope with 546MP panorama

16 Sep

French company Vaonis unveiled a fully automated camera telescope, Stellina. The product is designed to allow amateur astrophotographers to easily capture beautiful images of the night sky without the need for regular manual control or extensive astrophotography knowledge.

Vaonis is preparing to launch a new feature via software update in 2021 and it recently tested the feature by capturing a massive 546MP panorama of a group of nebulae. The new feature is ‘Automatic Mosaic-ing’ and it will take advantage of Stellina’s image stacking and image stitching technologies. This feature will let you create ultra-high-resolution panoramas of the night sky without you needing to do anything manually.

The image, shown via the screenshot below, was captured with the new feature by Vaonis Technical Director, Gilles Krebs. The image shows, from left to right, the Running Chicken, Statue of Liberty and Carina nebulae. These nebulae are about 7,000 light-years away. The image is comprised of 208,000 total photos, stacked into 168 images and then stitched together into a 546MP panorama. The panorama represents 336 hours of total exposure time. You can explore the full-size image by clicking this link.

Image credit: Vaonis

The Vaonis Stellina is designed to be easy to use and its intelligent, smart design allows the user to easily set up and use the device. DPReview contributor and astronomer Jose Francisco Salgado wrote an excellent review of Stellina. Salgado says, ‘The Stellina is a well-thought out smart telescope. It can easily be transported from one location to another and setting it up cannot be more simple.’ He continues, ‘…if you want a fun-to-use, click-and-shoot device that will work for you while you relax and enjoy the night sky then the Stellina is right for you!’ You can learn some of the basics of Stellina in Vaonis’s video below.

If you’d like to learn more about purchasing the Vaonis Stellina, you can head to Vaonis’s website. Vaonis has also begun teasing a brand new product that they ‘believe will change astronomy.’ The Stellina is already a compact device considering its capabilities, but the new teased product will be even smaller. It will be fully unveiled on Kickstarter on October 1. If you’d like to sign up for alerts or learn more about the new product, click here.

Articles: Digital Photography Review (dpreview.com)

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NASA Curiosity rover breaks its own record with new 1.8-billion-pixel Mars panorama

09 Mar

On March 4, NASA shared the highest-resolution panoramic Mars image ever captured by its Curiosity rover. The panorama features 1.8 billion pixels and is comprised of more than 1,000 individual images captured by the rover over the Thanksgiving 2019 holiday break in the US.

NASA explains that Curiosity captured two different panoramas using two different lenses: the record-breaking 1.8-billion-pixel panorama using the Mast Camera (‘Mastcam’) with a telephoto lens and a smaller 650-million-pixel panorama using a medium-angle lens. The larger panorama captured with the telephoto lens was not able to include most of the rover in the final image, but the lower-resolution panorama does include Curiosity amid the landscape.

Curiosity’s smaller 650-million-pixel panorama. Credits: NASA/JPL-Caltech/MSSS

The Mastcam is mounted at a height of 2m (6.5ft) on Curiosity; it supports capturing color images and videos using ‘left eye’ and ‘right eye’ lenses featuring 34mm and 100mm focal lengths. The camera has a resolution of 2MP, which produces images with a 1600 x 1200 resolution. When recording video, Curiosity’s Mastcam can capture 10 frames per second. According to NASA, the rover’s 8GB storage can hold 5,500 or more Raw frames.

While the mission team was away on holiday leave from November 24 to December 1, Curiosity worked to snap images using Mastcam over a six-and-a-half-hour period of time spread across four days. The camera was programmed to take the images from between noon and 2 PM local time to ensure that the lighting was consistent for the eventual panorama.

The new record 1.8-billion-pixel image. Credits: NASA/JPL-Caltech/MSSS

NASA explains this holiday break provided a rare moment of downtime for the rover, which typically does not stay in one place long enough to capture so many images from the same vantage point. The resulting 1.8-billion-pixel panorama, which exceeds the rover’s previous record 1.3-billion-pixel image, took ‘months’ to assemble.

NASA Jet Propulsion Laboratory’s Curiosity project scientist Ashwin Vasavada said:

While many on our team were at home enjoying turkey, Curiosity produced this feast for the eyes. This is the first time during the mission we’ve dedicated our operations to a stereo 360-degree panorama.

The public can download a full-resolution version of the 1.8-billion-pixel panorama in JPEG and TIFF formats from NASA JPL’s website here, as well as the 650-million-pixel version from the same link. At its highest resolution, the panorama has a massive 2.43GB file size. The space agency offers lower quality versions with file sizes ranging from 82MB all the way down to 350KB.

In addition, NASA has an online 360-degree viewer to present the panorama in full screen with a zoom tool.

Articles: Digital Photography Review (dpreview.com)

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How to Use the HDR Panorama Photo Merge in Lightroom Classic CC

21 Jul

The post How to Use the HDR Panorama Photo Merge in Lightroom Classic CC appeared first on Digital Photography School. It was authored by Adam Welch.

Not long ago I wrote about Four of the Latest Updates to Lightroom Classic CC. In it, we talked about some of the fresh features Adobe has recently added to Lightroom. One of those great new additions was the single-step HDR Panorama Photo Merge. That’s a mouthful of a name, but it’s an incredibly useful tool that allows us to combine multiple bracketed exposures into a seamless high dynamic range panoramic image in, as the name suggests, essentially a single step. In this article, we’re going to delve a little deeper into the new single-step step HDR Panorama Photo Merge (geez) feature and show you exactly how to capture and combine your images to make a beautifully executed panorama.

What is an HDR Panorama?

High dynamic range (HDR) photographs and panoramas are nothing new to the world of photography. In fact, neither are HDR panoramas.

HDR photos are simply images combining multiple exposures to form a final photo that exhibits tonal and/or focus ranges far beyond a single exposure. Along those same lines, panoramic photos are images stitched together that carry a visual perspective beyond what is obtainable from a single exposure (with a few exceptions).

As you may have guessed, an HDR panorama combines multiple photographs to produce a wide perspective composite image featuring high dynamic range.

Previous methods for merging multiple images to produce HDR panoramic photos were generally tedious and required venturing over into Photoshop. Luckily, with the new HDR Panoramic feature introduced in v8.0 of Lightroom Classic CC, you can now efficiently combine your images with just a few clicks of the mouse. Let me show you how I made the above HDR pano combining twelve separate bracketed photos right inside of Lightroom.

Obtaining your images for merging

The first and arguably most crucial part of creating your HDR panorama begins inside your camera.

Lightroom places some stringent criteria on the images you can combine using it’s single-step HDR Panorama function. ALL of these rules must be met by each one of your images prior to merging.

Here are the “rules” for images you plan to merge into an HDR pano directly from Adobe:

All the images in your selection must contain the exposure metadata – Exposure time, f-number, and ISO.
Each set of bracketed exposures in your selection must have the same number of images. For example, if you chose to bracket with three images, then all the sets in the selection must also use three images.
Every set of bracketed exposures in your selection must have the same exposure offsets. For example, if your first set has exposure offsets of (0, -1, +1), then all other sets in the selection must follow the exposure offset pattern. The image sets can have different exposure values; only the exposure offsets pattern must be consistent across all the sets.
Each set of bracketed exposures must be captured contiguously. For example, if you’ve considered a bracket size of three while capturing the images, then the first three images in the sequence become part of a bracket set. The next three images in the sequence become part of another bracket set, and so on.
Within a set of bracketed exposures, the images must not have the same exposure value.

While you can shoot your images in either a vertical or horizontal orientation, it is a good idea to use vertically orientated photos in you plan on displaying them digitally. This avoids extremely long, yet narrow images. Of course, this is entirely up to you.

Combining the images

Now that you’ve made it through the rather exacting process of actually obtaining your photos for merging, the rest of the operation is refreshingly easy to complete.

Selection

First things first. In the Library Module of Lightroom Classic CC select the images you want to use for the HDR pano. An easy trick to select all of your images at once is to select the photo at the beginning of the series and then hold down the shift key while clicking the last photo in the series. This automatically selects all your bracketed exposures at once. It also saves you quite a few mouse clicks if you are using a high number of photos.

Once you’ve got all of your photos selected, right-click on any of those images and choose Photo Merge, and then HDR Panorama.

It’s here where you learn for sure whether all of your images meet the requirements for merging. If not, you will receive the soul-crushing message ‘Unable To Detect HDR Exposure Bracket Size. Merge To Non-HDR Panorama Instead?’ That means Lightroom will merge the photos into a normal non-HDR pano if possible.

However, if you’ve done your duty, and you obtained all of your images correctly, your photo will appear as a preliminary smart preview. From here, it’s just a matter of controlling how you want Lightroom to handle the final merging of your images. You’ll have quite a few options that will affect the ultimate product.

Projection modes

Think of projections as the shape of the canvas on which Lightroom paints your finished HDR panorama. There are three different projection modes from which to choose based on the nature of the panorama you are creating:

Spherical: This aligns and transforms the images as if they were mapped to the inside of a sphere. This projection mode is great for ultra-wide or multi-row panoramas.

Cylindrical: This projects the panorama/HDR panorama as if it were mapped to the inside of a cylinder. This projection mode works well for wide panoramas, but it also keeps vertical lines straight.

Perspective: This projects the panorama/HDR panorama as if it were mapped to a flat surface. Since this mode keeps straight lines straight, it is great for architectural photography. Extremely wide panoramas may not work well with this mode due to excessive distortion near the edges of the resulting panorama.

Boundary Warp

The amount of Boundary Warp is a way to stretch your merged HDR pano so that it more or less fills the frame of the selected projection mode. With Boundary Warp, you have a slider that ranges from 0-100 that allows you to preserve any content of the photo that you may lose after cropping.

Experiment with different Boundary Warp settings until you reach a happy medium between distortion and content preservation.

Auto settings/crop

These settings work extremely well to save you some editing time at least on the front end. The auto-crop and auto-settings functions allow Lightroom to trim and process your finished HDR panorama automatically. While you, of course, can crop and process your image manually after merging, I’ve found the auto settings function gives consistently outstanding results.

Stacking

Consider stacking as an afterthought of your post-panorama post-processing. It’s a way for you to keep all of your ducks in a row, so to speak, and is especially useful if you’ve used many photos to construct your HDR panorama. Choosing the stacking option literally stacks all of the images used for your HDR panorama merge into a group with the merged image placed on top. This aids in keeping your filmstrip tidy and saves physical space in the Library Module.

Once you have made all of your selections for the HDR pano merge, it’s time to click the ‘Merge’ button. This begins the process of combining the images into a single DNG file.

After the merge is complete, you will have an image which you are free to finish processing just as you could with any other digital RAW file. This includes adjusting the auto-cropping and, of course, the auto settings. This achieves the final image that we saw from earlier.

Final considerations

Remember that any HDR image is already by its very definition a composite photo. As such, it is a combination of many different exposures which, if pushed too far, can result in an incredibly fake-looking final product. Always keep your HDR images within the realm of passable reality unless you are intentionally going for a hyper-realistic appeal. Along those same lines, make sure the photos meet all the criteria for HDR panorama merging listed above.

Furthermore, attempt to previsualize the final merged photo in your mind and shoot your images according to the tonal range and perspective you wish to achieve. When in doubt, it’s always better to have too many images to work with than not enough.

Have some HDR Panorama photos you’ve created inside of Lightroom Classic CC? We’d love to see them! Feel free to share them in the comments.

The post How to Use the HDR Panorama Photo Merge in Lightroom Classic CC appeared first on Digital Photography School. It was authored by Adam Welch.

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Samsung project uses Galaxy S10+ to capture 943km panorama of Portugal’s coast

14 Jun

Samsung Portugal has detailed a unique project that involved its Galaxy S10+ smartphone, a boat trip and the creation of a panorama featuring 943 kilometers (585 miles) captured from the cities Moledo to Monte Gordo. The panorama, which is available to view on Samsung’s website, was created from images of the coastline captured from the water over an eight-day trip.

The Galaxy S10+ photography project boat trip involved José Gomes as skipper, Carlos Bernardo as ‘chronicler’ and André Carvalho as photographer. Entries from the trip’s logbook detailing each of the 8 days can be found—written in Portuguese—here. The final result is intended to highlight the flagship smartphone’s triple-lens camera, which Samsung refers to as ‘pro-grade.’

This is one of many massive panoramas, past examples including a 600,000 pixel panorama of Tokyo and NASA’s 360-degree panorama of Mars published earlier this year.

Articles: Digital Photography Review (dpreview.com)

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NASA Curiosity rover captures 360 panorama from its Vera Rubin Ridge ‘Rock Hall’ drill site

15 Feb

Last month, NASA announced that Curiosity rover had wrapped up its work at Mars’ Vera Rubin Ridge and would be making its way to a clay-rich region near the Red Planet’s Mt. Sharp for additional work. In an update on that mission last week, the space agency shared a panoramic image captured by Curiosity’s MastCam at the ridge drill site before it left, as well as an interactive video of the area.

Curiosity’s last drill site on the ridge is known as ‘Rock Hall,’ and it’s located relatively close to the ‘clay-bearing unit’ that researchers will study next. A panorama from the Rock Hall location was created using images captured by the rover before it departed the site. NASA also published a 360-degree video from the images and annotated a few landmarks in it, including Mt. Sharp in the distance.

Visible near Mt. Sharp is the clay-rich region, now called ‘Glen Torridon,’ where Curiosity will help researchers uncover more details about Mars’ landscape and history. The rover is equipped with multiple cameras, including the MastCam and the Mars Hand Lens Imager (MAHLI), which is attached to its robotic arm.

Last month, NASA shared a stitched image of the full Curiosity rover at the Rock Hall drill site; that image is made from 57 individual images that were captured using the MAHLI camera. The ‘selfie’ features the final Rock Hall drill site in the bottom center of the image.

Articles: Digital Photography Review (dpreview.com)

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This 7.3-gigapixel panorama ‘timelapse’ of London is made from 6,240 D850 pictures

18 May

Photographer Henry Stuart has created a 24-hour panoramic timelapse image of London that combines 6,240 raw photographs to form a picture that contains over 7 billion pixels.

Captured through a Nikon D850 and AF-S Nikkor 300mm F2.8 lens using a robotic mount by Nikon-owned robotics company Mark Roberts Motion Control (MRMC), the 155° view presents the city in an incredible amount of detail, with Nikon claiming that you can read signs up to 5 miles away from where the image was captured.

The full frame

A fully zoomed-in frame from the center of the picture above

The Twenty Four Hour London project was taken on by Visualise—a company of virtual reality filmmakers—in partnership with Nikon UK and MRMC. The camera was supported and moved by MRMC’s Ulti-Head robotic camera mount, which allowed Stuart to repeat the exact shooting position—to pixel level, according to the release —for 260 shots per hour over the course of the 24-hour sequence.

Once processed and stitched together, the resulting image allows viewers to pick the time of day and to zoom into the image to see the details of distant buildings—and even people relaxing inside their apartments!

The concept was a commission for Lenstore, a UK vision-care company, to promote eye health. To see the full 7 gigapixel ‘timelapse’ for yourself, and explore London in all its glory, head over to the 24 Hour London website.

Press Release

World’s first 24-hour Gigapixel time-lapse panorama, captured with the Nikon D850 and MRMC’s robotic Ulti-Head

24 Hour London is a unique collaboration between Lenstore, Nikon, Visualise and the Nikon-owned robotics company MRMC. Together they have created the biggest ever time-lapse of London’s skyline, taken from the roof of Canary Wharf’s One Canada Square.

In total, over 6,240 photos were taken across a 155-degree view over 24 hours, and subsequently stitched together to create an incredibly detailed panorama, and the first gigapixel timelapse of London. This level of detail was achieved by combining a Nikon D850 and AF-S NIKKOR 300mm f/2.8 lens with MRMC’s robotic Ulti-Head to precisely repeat the same pattern of detailed photos 260 times an hour for 24 hours. The finished product allows you to see London change colours across the hours, from sunrise to sunset, with all the shades the capital has to offer in between.

Commenting on the collaboration, Jeremy Gilbert, Marketing Director for Nikon Northern Europe said:

We’re thrilled to be involved with this unique project. The Nikon D850 captured London in incredible detail in challenging conditions. Finding the best combination of camera, lens and precise motion-control was essential for this project and we are proud to have been integral to its success.

The project was shot by Henry Stuart from Visualise, he had the following to say:

Shooting gigapixel photos is hard – we have been shooting them for the Olympics, the World Cup, for events and places all around the globe. Each panorama is so large it needs specially built computers to process it. In this case, we had to build a special server system and network all of the workstations in our studio to the content so that we could stitch five of the photos at a time.

To capture a photo like this you need a really capable camera – we used the Nikon D850. It has this beautiful big sensor and captures a huge range of light and dark (large dynamic range). This is so important when shooting panoramas where one part of the image is bright, such as towards the sun, and another is dark such as over the Thames. We shot everything on the camera’s ‘RAW’ setting, which keeps loads of extra information in the shots that you would usually lose.

The 24 Hour London ‘Gigalapse’

The image is 7.3 Gigapixels (7,300 Megapixels or 7bn pixels), which is over 1000x more powerful than the camera on an iPhone X.
The Nikon D850 and Nikon AF-S NIKKOR 300mm f/2.8 lens combination delivered phenomenal detail – you can even read signs which are up to 5 miles away in the photo!
The robotic motion control technology using the MRMC Ulti-Head used to create the pinpoint accuracy of images, leading to every single pixel of every point in the panorama being the exact same position as the photos 24 hours earlier.

Articles: Digital Photography Review (dpreview.com)

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How to Make a Joiner Collage for a Retro-Style Panorama Image

24 Sep

Almost every camera can do a panoramic shot. A lot of apps and software can create a “little planet” image. So how can you capture that beautiful view and still stay creative? Try going vintage! In this article, I’ll show you how to do a patchwork-style collage (called a Joiner Collage) so you can do any panorama in an original way and end up with a one-of-a-kind image.

What is a Joiner Collage?

Back in the 80s, an artist called David Hockney was studying how human vision works and experimenting with an idea he created called Joiners. Using Polaroids at the beginning and commercial 35mm film later, he shot one subject from many different angles and then put them together into one image creating sort of a patchwork pattern.

Following on this idea, I’m going show you how to do some digital panoramas. By following these steps, you can capture any subject from every point of view that you want. Here is a panoramic I made of Milan that I’ll use to show you all the steps.