5 Ways To Create An Ultra Megapixel Panorama

five ways to create a ultra mega pixel panorama hi I'm Joel Grimes with the jeweled Rams Academy I'm going to show you five ways you can create ultra mega pixel panorama so what I mean by that well first of all no matter what megapixels you have so I have a couple cameras but my biggest camera is my 5d SR which is 50 megapixels pretty good size camera but I have clients that are pretty demanding so I have recently did a big project where they had and they actually I saw the prints later they were 20 feet wide so that's a big big file and so I did some things to help increase my megapixels it's not unheard of for me to create a file that is a 350 plus megapixel capture not only can I get more megapixels I can also do it a really cool panorama look or not just even from left to right but I can go up and down to make bigger files this way the first way I would say is the easiest way is to take a longer lens say like I have my 7200 here the Canon 2.8 version two lens and so I can let's say I have I don't do weddings but let's just say there was a beautiful bride underneath a big gorgeous tree and the lights absolutely perfect and I can go and I can frame her I go easily horizontal and I would snap in the middle of framing her perfectly and then I can go and I can move left and right and snap some more pictures as quick as I can go usually I'm going to be shooting at a shallow depth of field so I get that kind of soft bokeh look or if you want to not have her centered you might go a lot left and maybe a little bit right either way and then you go and you put those together in Photoshop and phone emerge and you get this crazy beautiful 200 millimeter depth of field look but with a wider angle of view so really what you're doing is you're producing a lens that does not exist on the planet in one capture so I've been doing that for years it's really fun it gives my work look that maybe people go and scratch your head and say how did you do I like that when people kind of say that's something I've never seen before and as a photographer who's branding myself in the marketplace that's a great thing to do is have people look and say I want an image like that so that's handheld in the reason why you can get away with that is it's a long lens can't do that with a wide-angle now there are some programs out there that like say ptgui which are really good when you have some issues that will solve it where photomerge and Photoshop says don't like it ptgui might solve that but still with a wide-angle lens not a good idea to go handheld and stitch an image so well let's go to the next step all right so number two you can take and put your seventy two hundred or with a lens that has a collar mount and you can put it so that you're spinning your camera not on the base of your camera but on the lens itself now you can test the little point on this and it's pretty darn close and you can slide it a little bit this way in this way right but with a with it say 200 millimeter mark focal length it's not that critical it's you can pretty much stitch it together and you'll never know right so just pop it on there do my pup up up up across so a lot of my images that I've shot in the past I've done tutorials on and I'm actually showing how I do this and it's really fun and get this crazy 300 megapixel capture and a super shot at the field and again it's all done by again me shooting on a tripod so I hardly ever do this handheld so that's number two that's a great way to do it it's a cheap way to do it and you already have basically the setup if you have a tripod to do it doesn't have an extra cost involved alright we're now we're on number three this requires a tilt shift lens I do a lot on this I've been using the tilt shift lenses for a long time now I now own three of them if I can talk my wife into another I'll have four soon so I have the 17 24 and then 90 so I want the 50 I've tested it it's incredible the 90s also amazing and so here's how I do that so I have the ability to shift this left and right so on a this is the 5d mark 4 but on my 5d sr if i go left and right i get about an 80 megapixel capture and the end when I stitch it all together in this camera I'd probably end up with about a 50 megapixel if I go and do it this way or I'll spin it like this I'll do like an up a middle and down that gives me more like a 4 by the old 4 by 5 format so it's not quite squared up but it's a little bit you know longer on top and bottom that I'll do like a lot of landscape stuff or portraits I do portraits to I stitch it and so that gives me about a hundred and ten to 20 megapixel capture on the final so last summer I spent a hundred days on the road shooting harley-davidsons across America I probably did over a hundred portraits I shot all the portraits either with the tilt shift lens because I didn't get those until the end of the project or I did my nodal plane I'll show you that in a minute I did three captures and so I have these 60 by 90 inch prints of my Harley riders I mean that is huge and when I print them out on a big wide format printer I print at 200 dpi and there is none zero interpolation in terms of going up in resolution that's native resolution out of my file from Photoshop and they look unbelievable dude your jaw hit the floor they're so gorgeous and so that's why I go to the extra effort to go and do something like this so you can do that with the nodal point I'll show you that a minute but or with the tilt shift lens so this is a great way to increase your megapixels or like I said do panoramas left-right that gives me a long beautiful panorama so you'll look at my portfolio jewel grants calm I have a lot of panoramic shot with these tilt-shift lenses so or that stitching like I said doing it really long maybe five to six images will give me a long panorama and those like I said get huge files number four this is a system that I started with probably 15 years ago so here is the nodal plate right here you can see I got a piece of I've got a piece of paper stuck to that it's actually like a sticky you know like a label I just stuck it on there tripping it up that's all my nodal points I'll explain that a minute that's my reference so I'm in the field so I have to you know do the nodal point on the field which I've done in the past and then this goes on here I take my camera and usually what I'm doing is I'm running it vertical I line it up here so I have my little two marks line up here and then I look at my lens this is the 24 to 70 let's say it's 35 millimeter let's just say that's my focal length I want to go across there I look down here and I say a 35 millimeter that's at my mark 5.3 I lock it down there's my nodal point since you'll see I'm on really right stuff tripod this is X made a little teeny tripod so I probably would be using my bigger tripod if I did this this is when I go backpacking are really don't want to go heavy doesn't matter the ball heads the same in terms of its bigger ball head but it doesn't matter this is what's important right here this rail and I have this L bracket on the back here which is from really right stuff that allows me to go and mount this all up so I've had this rig for at least 15 years this rail and I bought it before there was a program to even stitch Mac on a Mac side I think on PC side there was a program very crude program so I ended up buying this rig I had at the time the one des of a Canon one d s 11 point whatever 2 megapixel capture and I ended up stitching those images to get bigger megapixels at the time I was doing fine art black-and-white cactus stuff out in the desert that stuff ended up in Arizona Highways magazine I've sold a lot of those prints that was one way for me at that time to get an increased megapixel because I wanted some beautiful resolution images and so I I stitch them all by hand now we have easy peasy times right with photo merge and ptgui programs like that it'll stitch it together really simple so on a wide angle when you get to the wide angles focal lengths you want to make sure you have your nodal point I'm gonna explain the nodal point right now how to get it if you go to really write stuff calm they have a whole tutorials on how to do that very simple it's not hard it's not rocket science it's basically taking two points I take a light stand and I take something to background like a beam or something and I line it all up and what I do is I rock it back and forth and I slide it until the light stand and or whatever stick or whatever is in front of my lens does not do this they go and they stop and so when you turn it you're not there's not moving back and forth very simple to do make the mark and then later in the field I can go to it that's number four it's not that expensive this rail here's about a hundred plus one hundred ten twenty dollars I'm not sure exactly spend so long with inflation who knows maybe 140 now this l-bracket depending on what model you have what camera you're putting on should be about 180 bucks but this gives it a super super heavy-duty platform in fact Wyatt and I are talking about this today this mount here gives me a lot more stable than one little teeny plate on the bottom of my camera so if you want some really stable you know non vibration you know your camera this mount is probably the best mount you could possibly get to do that or amount like it but I love the really high stuff people they're great and they I think they make incredible products that's the I would call the poor man railing system for doing basically one sets of rows you won't you don't want to do multiple rows with this rig right here it's usually one set of rows almost all the time I'm doing it in this position right here pop up up up up up up across like that alright number five this is it the Big Daddy this is not for everyone but I'm going to show you I love this rig this is the really right stuff panel head three-way access and so this allows you to go multiple rows I don't think I've ever done more than maybe four four four usually it's three three three somewhere around there there are some people that go crazy and they go obviously stitch more than that if I do a three rows three three three I usually if I do my overlapping right I run a 300 megapixel capture it's a pretty big file and my kit my computer starts smoking you know when I put it together so that gives me enough but let me show you how that works let's say I have a harley-davidson in front of me which I did last summer and I shot a number of those with this rig I'll shoot the bike and usually in that case I did this I would shoot my bike so I'd frame up my bike so that the harley-davidson was perfectly in this one frame then I would go to the left fire frame to the right fire frame then I'd go above and I'd usually get just a little bit of them maybe the handlebars in there go three across that way and then I would go maybe three on the ground or if I wanted a beautiful sky I'd go three across that so I get really top but the bikes on the bottom of the frame so I'd get my three rows I'm also doing HDR in the middle of all that so I'm getting three times C so nine times three and then my strobing I strobe the bike so when I go back to this position I would do the middle just the bike itself all strobed and then I put it all together in Photoshop it takes me about an hour to do that it's a little bit time-consuming but the end result is off the charts we'll put one of the images in there to show you what I did it's the harley-davidson shot at the Magic Beach Hotel and again that was run Adobe ran that and one of their trade shows at 8 by 10 feet and so Kenan also put it in there their lobby or their gallery at one of the trade shows in New York and it was about a 60-inch something print it was beautiful so that gives me the ability to go and create number one a lens that does not have that's not on the planet in terms of want to capture because if you're increasing your angle of view when you stitch basically what you're doing is you're creating a sensor that's bigger not only am I making a bigger sensor than any medium format camera on the market I would probably say it's bigger than a four by five piece of film the sensor gets bigger than that depends on how many you know rows you do but it is a huge high-resolution capture and so that's how I do it and there's a lot more information you're gonna learn on this and I do in the jewel grands Academy I have all this covered folks I love it I love to get big prints and of course if you want to do the gallery thing or you working for advertising clients like I do the demand is super high this is how I do it all right don't forget to Like and subscribe and hit that little bell and then of course you're always caught up with all my current content [Music] you [Music]

Channel: Joel Grimes Photography

Views: 74,877

Rating: 4.9425254 out of 5

Keywords: canon, megapixels, ultra megapixels, create, panorama, panoramas, increase, photography, photo, really right stuff, joel grimes, joel, grimes, nodal point, nodal, how to find nodal point, 5 ways to, landscapes, commercial photographer, education, photo education, tips and tricks, tip

Id: 6Jsph3O0lE4

Length: 13min 59sec (839 seconds)

Published: Fri Sep 21 2018