My guide to Panoramic Photography
TL:DR I have been shooting panoramas for over a quarter century. Here’s what I learned along the way.
Table of Contents
Cropping
Back in the bad old days of film photography, the simplest way to yield a panorama was to take a photo using a wide-angle lens, then cropping the top and bottom of the frame away. Here is a shot of the Mont Saint Michel I took circa 1995 with my old Nikon 35Ti luxury point-and-shoot, that had a panorama slider switch that would enable this cropping in-camera.
Photo minilabs of the day could make panoramic prints with roughly 3:1 aspect ratio. Obviously you throw away some image resolution and detail in the process, and the higher enlarging magnification meant grain was more apparent.
Phone camera apps
Nowadays of course, most regular people’s exposure to panoramic photography is through their smartphone camera app, which makes you rotate the camera slowly and uses the vast computational power of their CPU to stitch it together in near real-time. The results can be pretty good if you have a steady hand.
Most proper digital cameras sold today also have this feature built-in, as long as you accept losing the ability to shoot RAW.
Stitching photos
To work around the limitations of optics, software was developed that would warp, combine and stitch together multiple exposures into a single panorama, whether one meant to be projected onto a cylinder, a sphere, or if the angle is not too wide, a flat surface. As any student of geography knows, projecting a sphere onto a flat surface inevitably entails distortion, but if it’s a partial panorama, this can often be ignored. The exposures need to have a significant amount of overlap so the software can find the overlap and calculate how the images need to be warped to fit. This is usually done using an algorithm called SIFT combined with RANSAC. SIFT was developed at the University of British Columbia in Vancouver, and used to be patented until the patent expired in 2020.
You can certainly take multiple exposures hand-held in a pinch, but for professional results, it is highly advisable to use a tripod with a panorama head designed specifically for the task.
Parallax and the nodal point
An ideal lens would have all rays converging at a point the focal distance away from the sensor. If you rotate the camera around that focal point, you would be able to cover the entire scene perfectly. Rotating the camera around any other axis would cause the relative positions of near and far objects to shift
Thus, to calibrate the nodal point:
- Put your camera and lens on a tripod.
- Find some distant vertical object like a lamp-post.
- Rotate the camera until the distant object is perfectly centered in the viewfinder
- Put a pole or some other vertical object, aligned between the tripod and the distant object. The near object should also be in the center of the viewfinder.
- Now rotate the camera clockwise on the tripod:
- If the near object has shifted right of the distant object, your nodal point is behind the rotation axis. Adjust the nodal slide on your pano head forward.
- If the near object has shifted left, the nodal point is too far ahead of the axis, and you need to adjust the slide back.
- If you do this with a live viewfinder, you should be able to adjust the nodal slide smoothly until the two objects coincide again, without having to do many back-and-forth adjustments. Good pano heads have graduated rulers, you can make a note of the nodal slide position for the camera and lens combo.
Manual panoramic tripod heads
Kaidan Kiwi+
The first pano head I purchased was a Kaidan Kiwi+ (PDF). It was fairly crude and not that well machined compared to what you can get from Manfrotto or ReallyRIghtStuff today. One feature that distinguished it was the use of interchangeable detent discs, that allowed you to take the right number of exposures for your lens and camera combo, with more precision and less guesswork than doing it by hand using graduated scales on a regular tripod head. The head also had a horizontal adjustment to slide the camera back and forth until the nodal point of the lens was aligned with the tripod vertical axis, to avoid parallax. Most modern panorama heads follow similar design principles.
PocketPano
PocketPano is a German company that makes beautifully crafted pano heads for compact cameras. The material is interesting in that it is laminated paper imbibed with resin, with metal hardware, which makes it very light yet strong. I have one bespoke for the Ricoh GRIII, which means no fumbling around with nodal point calibration, it is precalculated and you just screw the GRIII in it.
Motorized pano heads
Using a manual panorama head is incredibly tedious and error-prone, which is why I don’t recommend using one and would advise instead using a motorized head that you can program to set the number of exposures needed for your lens and camera combo, and it will take them. The tricky part is
Gigapan Epic 100.
Gigapan, an offshoot of Carnegie-Mellon University and NASA, was one of the first companies to make motorized panorama heads. They were originally designed for the Mars Spirit and Opportunity rovers, then repurposed to shoot gigapixel and higher panoramas using telephoto lenses, where ordinary panorama heads with click-stops are simply not accurate enough. I have the smaller Epic 100, which is designed for mirrorless cameras and a perfect fit for a Leica M.
Benro Polaris
This motorized head was a successful Kickstarter. As the name implies, it was first and foremost designed for astrophotography as a replacement for a German equatorial mount, but it can also be used as a motorized pano head, and is much cheaper and more compact than a Gigapan. The build quality is excellent, e.g. the use of metal gears you only get in the top-end Gigapan models, the lower ones having to content themselves with plastic.
The way the Polaris works, however, means it is impossible to get perfect alignment of the nodal point, so this limits its applicability for panoramas, for instance they would not be ideal for real estate virtual tours.
Rectilinear panoramic cameras
I have owned two rectilinear panoramic film cameras: the Hasselblad X-Pan II (made by Fuji and also known as the Fuji TX-2 in Japan) and the Fuji G617. I have never owned a Widelux or Noblex type camera that works by rotating a lens across the frame, however. Actor Jeff Bridges is attempting to reboot the Widelux.
The X-Pan and X-Pan II were outstanding cameras, with a build quality that made a Leica MP feel insubstantial. The lens aperture click stops were a thing of beauty.
The G617 (and its interchangeable-lens sibling the GX617) were large-format cameras masquerading as medium-format ones, shooting a huge 6x17cm negative or slide which corresponds to a crop of a 5x7 negative, and thus using large-format lenses, but using much more convenient 120 or 220 medium format roll film. A single roll of 120 film could only hold 4 frames… These were imposing cameras meant to be used on a tripod, but I’ve known photographers like Mark Denton who used them handheld. Mainstream production of these cameras ended two decades ago, but there are hobbyist efforts, often 3D-printed.
Scanning such wide negatives was a challenge. You could use a flatbed scanner, but their optics capable of at best 1000 ppi resolution are inadequate for the extremely high quality lenses, as I recount in my article on loupes and so I had also purchased a Nikon Super CoolScan 9000 ED medium-format film scanner and the specialized medical slide film holder that could actually hold a 6x17 frame without it drooping thanks to the anti-Newton glass in the holder.
Since professional film scanners have gone the way of the dodo, there are no real prosumer options left for scanning 6x17 film even if you buy one of the few 6x17 camera models still made, you would need to settle for a flatbed scan (and even the Epson V850 has been discontinued due to lack of availability of linear CCD sensors) or find one of the dwindling number of service bureaus that still have drum scanners.
360° cameras
Ricoh revolutionized the field when they launched the Theta in 2013. I’ve owned nearly every model in that line they released since, up to the first-generation Theta Z1. I also have a DJI Osmo 360 with a similar design. The Z1 has two large (for 360° cameras) 1" sensors, that yield excellent image quality despite Ricoh’s conservative resolution settings, unlike their Chinese competitors’, ahem exuberant megapixel specs like the Osmo 360’s alleged 120MP that are simply not supported by reality.
These cameras operate by having two 180° fisheye lenses on either side of the camera, each with its own sensor, taking in half of the total field of view. Software inside the camera stitches the two halves into a single 360° panorama. Since both lenses shoot a single frame, there is no risk of ghosts.
Insta360 makes a number of well-regarded 360° cameras (I have never owned one, however). They went one step up with the Antigravity A1 quadcopter that has a built-in 360° camera instead of the usual gimbal-mounted wide-angle.
Tripods and Selfie sticks
When shooting with a 360° camera, it is very important to use either a selfie stick or a tripod designed to stay within the blind spots of the fisheyes so it does not appear in the final result. Holding the camera with your hands guarantees they will feature prominently and spoil the photo.
The Ricoh TM-3 is a very discreet selfie stick that has small lugs to help prevent a Theta from twisting (with modest success). It does a very good job of staying outside the frame, is lightweight and takes little place in your kit, unlike the equivalent from DJI. It has a standard 1/4"-20 socket on the handle to mount it onto a clamp or mini-tripod for added versatility. I never take the Z1 anywhere without one.
The Ricoh TM-1 (right) is a very cleverly designed tripod manufactured by SLIK. it has avery small tripod base and a telescoping pole with a button that allows it to be extended very quickly. There is a circular quick-release that screws into the camera’s tripod socket, with one spare. This makes for very quick deployment: pull on the telescoping tube to extend it, unfold the feed, stick the camera on the head’s quick release.
Ricoh also has a TM-2 with an articulating head, but then the stick becomes visible in the picture, which defeats the purpose. I’ve never been in a situation that warranted this joint.
Gimbal cameras
Gimbal cameras like the DJI Pocket or the Insta360 Luna Ultra are the spiritual successors of the camcorder. The fact the gimbal can orient in nearly every possible direction makes them like a panorama head and camera combined in one, and indeed, they all have a panorama feature, the Luna Ultra can take 200MP panoramas usin 24 stitched frames, albeit not full 360°. This resolution is much higher than that of the dual-fisheye cameras that can do around 30MP, but otherwise is no different from other stitched panoramas, including the risk of ghosting.
Printing
DNP DS-820A
Service Bureaus
Web publishing
Aframe
Marzipano
Google Panoramio
VR Goggles
Exotica
Seitz Roundshot
Matterport