Panoramic Photography No Parallax - Find the Nodal Point - Panorama From Shoot to Edit in Lightroom

today we're gonna shoot panoramas I'm gonna cover the few things you need to know about how to make a good panoramic picture [Music] so first of all of course goes without saying we need a location and right now I'm located at a beautiful place it's called clava but it's located just outside of Reykjavik 15-20 minutes and very popular place you know especially in the because it's a lake people come here a lot when they expecting northern lights and stuff like that but it is also good for today today's demonstration to cover how I do panorama pictures [Music] so about here let's set up here and while I set up let's take a look at the place from above [Music] now we're setup apart from this little guy here the rod or knodel slider as people like to call it when the camera is set up like this it is revolving around the center of the camera and that's wrong because the image comes in here to the lens and then it projects to the center of the camera and this pint is called the nodal point and it's different in every lens you'd usually you know somewhere in the front so this is a nice tool which he would use to move the point from the camera to the lens the material so now I'm set up here in my studio and I'm gonna try to explain to you what I mean with nodal point parallax and a nodal slider while I shoot let's say from left to right it can be the other way around also what you will see is I'm going to turn on record here I have a c-stand here right in front of my camera I have another stand light stand directly behind this C stand and as you can see now we're going to turn my camera now you cannot see the other light stand and now it's speaking in this direction and speaking in the other direction this is what we call parallax if I'm shooting if I'm shooting a panoramic picture with a foreground which is relatively close and on a background this is what my foreground and the light stand would be my background the the plane would would kind of not be alliant like it should be so it will be difficult to stitch those images together and post may be possible it depends on how much the distortion is but even if you can stitch them together there will always be like some problems with the image you need to fix in Photoshop and it's better just to get it right right off the bat so now I'm gonna put on the rod the image is protected to the center of the camera from the lens so the image comes into the lens somewhere in the lens is a point called a nodal point nodal point and it protects in the camera and then the lens protects it to the sensor okay this needs to be our our Center so now where I'm not completely at the camera back like I was let's say halfway is so now when I move it I can still see the light stand peeking behind it but it's not as much so if I put it more and now I move it now it's almost not moving maybe a little bit more there we go so it's different with every lens and it's nice just to there's a you just to memorize it or put a tape or something on the measurement here so you can remember what the value is for for each lens this is really important if you have a strong or a foreground update that is close if you're shooting with a with a Summa lens something in the tip in the distance and there is no real foreground that is it's not it doesn't matter you don't need to do this with that but you know if you have something pretty close to you like a meter away or something this is what you should use it's a simple thing it's just this little piece of metal this is from real write stuff it's surprisingly expensive but you know because it's kind of like yeah it's just this but it makes all that different and it's you know when you buy stuff like this Paul hat or something like that so tripod don't go for the cheap stuff because you wanted to be steady you don't want to be able to move the camera because when you're shooting a panoramic image and one image of the sequence is off the whole sequence is done and you have to do it again so that's parallax and nodal plane enjoy now you should know everything you need to know about how to set a nodal point on your slider so I'm going to do that here I kind of lost my I kicked the tripod I'm not leveled anymore and that's not good [Music] there we go alright now we have a little more Sun than before so now I'm set up at my nodal point I'm gonna sue that and iso100 and I'm gonna be aperture 16 because I want everything kind of nice and InFocus then I'm just gonna adjust the speed accordingly I'm gonna set the focus point so I would say it's manual white balance is managed I'm set to daylight eye so it's 100 as low as you can go aperture I want everything sharp and nice so I'm at f/16 and then I just set the speed accordingly until my histogram is within bounds and I'm ready to go so let us shoot first image that I need to overlap my first image with my second aim image about 30% ish you know 30 to 50% it's better to or we'll have more than less and also I did expose for the brightest part of the image meaning the Sun is there and not there so when I was pointing my camera there that would be the brightest pictures right I expose for that then I keep the same exposure so it's gonna be it might be a little bit too dark when I'm at the end but that's that's all good I'm not clipping in the histogram and the point was to not clip the highlights so it's just this is done I always do I'll back up because like you know if something happens if you kick the trap or if you do anything with one picture of the sequence it's done it's it's ruined so I'm gonna do another one let the focus I can see it overlap about 30 percent like that so why do we need panoramas it's like for example this scene here is too white for my glance I could do a wider Lance I might get it all but then the mountain the small mountain in the background they would be even smaller so the scene wouldn't be as compressed and also there would be a lot of stuff in the frame I don't want a lot of ground a lot of sky you know there is a lot of ground and a lot of sky anyway but more I don't know then that this would look nice and also when you take a wide shot but you only need a tiny part of it you're gonna cut a lot of pixels away from your from your photo and you'll and you'll end up with really a row low resolution file so yeah that's why so now let's see what we can do with this in post okay here we are in Lightroom and I took a two three I made three panoramas and I'm gonna select the middle one here consists of six images here's four here's five years six it's probably gonna give us very similar results that I kind of usually go for more images than less sometimes Lightroom has problems merging these picture together and there is really nothing you can do about it if Lightroom refuses to do it sometimes you could like skip one image and you could you can do tests like if I'm if this is not happening I could try to do do with these five or maybe maybe just for you know usually somehow I'll manage to do it like this and if it's really important I will just add the last one in in Photoshop if it's at the end if it's in the center it's obviously not possible so but here I'm gonna I'm gonna it's the trap it was pretty leveled I'm using my Knowles ladder there is absolutely no reason why this picture should not merge so let's try it right-click photo Mertz panorama and now we're gonna get a preview of these six images States with a cylinder of protection here we go like I told you I was very leveled my tripod was leveled when I start the picture so you can see this very little space very evenly very even space here took bottle top top and bottom and almost no there's always something on the corner but that's just how it is the production options are they are free in Lightroom and other softwares you could see more of those but it's just how Lightroom did this these images together and usually just you know try them all see what fits best but the rule of thumb is like the cylinder rule but what I use most of the time if you get a single roll you know long panoramas that works very well circle is like for example if you're doing a 360 you would use that and also when I'm doing like many rows like this is just one row if I would do two rows or three rows circle is usually what works best for that and perspective is you know for example if you're using if you're doing architectural panoramas and your lines need to be straight perspective is something you should try to do I also find that perspective works really well when I'm doing like a verse drama when I'm shooting from the bottom to top there is always this kind of perspective distortion and I find that perspective protection works were really well for that I could do auto crop here and in this image I'm going to crop this image more so in this image it's fine but sometimes when I do auto crop you know maybe it crops too close to something on the picture so enjoy it so it looks too tight and you know I don't control I'm not in control when I do auto crop so what I usually do i crop the image i just merge it and i crop the image like i wanted to be and if i have some spaces in the corner something I just do content-aware fill and photoshop however I have this guy here this boundary wrap and what it essentially it's just stresses the image to the edges for example in this image where it was so small it actually touched a really really good job and I done this with photos that had a lot of space to fill up and I think it actually does a better job than encountered other film but you know don't take my word for it each image it has its own thing so you know there's no right over just try it see if it works for you what I'm done I just paid merge so here we go my panorama is there now I would maybe do my cropping let's try sixteen by nine and reduce a little ground let's try that [Music] I I did not use any filters when I shoot panorama images I try not to if I need to if if the dynamic range is just too much for my camera i bracket the shot rather than use a filter you could essentially use like a gradient gradient filter you know but try not to use like a polarizer a Polar's especially when you have a blue sky like this you're gonna see the polarizer even if you use modestly it creates a little weird shadows in in the picture especially in the sky you know if it if it used nicely and moderately on a normal picture you want to see it but if you try to if you do it on a six image panel and then you stitch it together you might see some strange shadow some weird darker spots here and there so there you have it everything you needed to know about panoramas at least a good foundation if you like this video please feel free to watch my other videos like it subscribe to my channel and hit the notification bell because it's you you ain't gonna see my videos ain't gonna show up on your feed even if you subscribe to my channel so if you want to get notified when I upload hit that bow hope you enjoyed this video until next time bye you [Music]

Channel: OliH Photography

Views: 27,758

Keywords: panorama, panoramic photography tips, nodal point, nodal slide, parallax, panorama photography, really right stuff, panorama photography tricks, shooting panoramas, landscapes, lightroom, adobe lightroom, no parallax point, how to find nodal point, how to shoot panoramas, stitching, panorama photography tutorial, how to make a panorama in lightroom, how to photograph panorama, find parallax point, image editing, panorama photography gear, photography, image stitching

Id: -yRPvG_-0hM

Length: 20min 21sec (1221 seconds)

Published: Wed Nov 07 2018