online talk Archives - Nigel Hicks Photography

Seasonal Springtime Photography

What to point your camera at this spring

My first free online talk of 2023 went ahead on 22nd March, entitled Seasonal Springtime Photography. This talk covered the kinds of subject matter you might want to point your camera at during this season of rebirth and new growth.

A recording of the talk is now on You Tube, and you can watch it by clicking on the link below.

Photographing the reawakening of the natural world

Not surprisingly, much of our seasonal springtime photography consists of the natural world, and the processes by which it reawakens at this time of year. This is particularly important for plants, and most especially a succession of wild flowers that burst into colour in our woodlands and grasslands.

Among the earliest are the much-loved snowdrops, followed by the much less well-known but equally beautiful wood anemones, a characteristic flower of our ancient woodlands. Most famous of all the early spring flowers, of course, are the daffodils, ranging from showy garden varieties through to the much rarer and more restrained original wild variety. Flowering from mid-March onwards, garden varieties are of course ubiquitous across UK parks and gardens, and indeed have spread to become wild. The true wild daffodil, can only be found in a few ancient woodland sites, such as on Dartmoor, in Devon.

Most of these wild flowers are of course very small, and so require some patient macro photography techniques, either a dedicated macro lens or an extension tube fitted between lens and camera body. Daffodils are of course the exception, being rather large and hence easily photographed with an ordinary standard or short telephoto lens.

Wood anemones: seasonal springtime photography

Lighting is also hugely important, particularly for white flowers (such as wood anemones), the petals of which frequently burn out and lose detail in bright sunlight. Also an issue for all flowers, particularly small ones, is the comparatively large patches of bright highlight and deep shadow that can be created by bright sunlight, resulting in a contrast range across even just a single flower that is too great for the camera’s sensor to manage.

For these two reasons, it is often better to photograph flowers in softer light, either on a cloudy day, or in the shade, thereby reducing contrast and the risk of bright highlights burning out, or deep shadows becoming too dark. This is often the case even for flowers that look great to the eye in sunlight: the eye can cope much more effectively with a high contrast range than a sensor can manage.

The one time that flower photography can work very well in sunlight is when translucent petals are backlit, resulting in light shining through them, creating quite a magical effect.

Beyond photography of flowers, there is then of course leaves bursting into life to consider, and particularly the stunningly vibrant greens they have in the first few weeks of life. This can be quite magnificent for photography of individual leaves, single trees or entire forests.

Daffodil: seasonal springtime photography

Animals in spring

Many animals also tend to become much more active in spring, associated of course with new breeding activities and the birth of offspring. Birds in particular can look their best at this time of year, especially the males as they put on their best breeding show.

Once offspring start to appear, then there is the annual opportunity for some oh-so-cute photography of youngsters scampering or paddling around close to their parents. Photography of young chicks is perhaps one of the most popular forms of seasonal springtime photography, but always remember that there are laws governing the disturbance of certain species of nesting birds. Always check before getting close to nests.

Then of course there are the migratory species, birds that visit the UK only for a relatively short time to breed during the spring and early summer. These include a number of our marine birds, such as puffins and guillemots, plus also a number of more terrestrial species. Perhaps the most famous of the latter is the cuckoo, arriving in the UK in April or May.

Swan chicks: seasonal springtime photography

Architecture and landscapes in spring

Both architectural and landscape photography can of course be done very successfully at any time of the year, provided the right light is available: they are not photo genres unique to seasonal springtime photography.

That said, certain things are possible in spring that may not be feasible in the winter months. This revolves around the angle of the sun during the spring. Once past the spring equinox (mid- or late March), a time when the sun rises directly in the east and sets directly in the west, the sun starts to move into the northern sky at the beginning and end of each day. This opens up the possibility for photography of north-facing surfaces, whether they be landscapes or building facades, with sunlight shining on them. For each subject you will need to work out whether early morning or evening light is best, and then photograph accordingly.

The human world

Finally, lets not forget the human world. After months of spending time mostly indoors, now things finally start to venture outside. Firstly there’s general outdoor life, such as sport and picnics. In addition, one of the most important things to consider is the series of springtime festivals that appear. In England’s southwest, for example, spring really gets into gear with two annual festivals in Cornwall, namely Padstow’s Obby Oss Festival at the start of May, followed closely by Helston’s Floral Dance. Both are great opportunities to home in on a bit of human action.

The difficulty with photography of street festivals (as the two above examples are), is that the activities can be against a backdrop of both distracting shop and street signage and very unattractve tarmac. Both can seriously mar otherwise perfectly good shots of the event, so consider zooming in very closely on vignettes of the action in order to minimise or even totally cut out these problems. This of course entails using a telephoto lens, and if the action is moving quickly you’ll need a telephoto with fast shutter speeds and whose focussing is fast and accurate.

Inevitably, photography in a crowded place must be handheld – no one will thank you for setting up a tripod, and anyway it will slow you down. So, especially if you’re using a moderately strong telephoto lens, if light levels fall away you may well need to increase the camera’s ISO (ie sensor sensitivity), and put up with the small loss of image quality that this may entail.

Another factor to consider is crowd control. Festivals where this occurs, whether through crash barriers or the presence of police and/or security guards, can result in your photography being seriously cramped. So concentrate of those festivals where this is not an issue. Even then, crowds of spectactors can still restrict your photography. If this occurs, I can only recommend a pair of sharp, though polite, elbows to ensure that you always reach the front and with a good field of view!

The next talk

I really hope you’ve enjoyed this talk and blog on Seasonal Springtime Photography.

My next free online talk will be on 21st June 2023, and will be Using a Wide-angle Lens. To join this talk you just need to register so I know to send you the link. You can do so by clicking on the link below and then filling in and submitting the simple form.

You can also find out about my photography workshops by clicking on the workshops link below.

I’ll look forward to seeing you!

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Creativity in Coastal Photography

Landscape photography along our seashores

My fourth and final online talk of 2022 went ahead on 7th December, during which I covered the skills and techniques often used with creativity in coastal photography.

The whole talk can be watched simply by clicking on the You Tube link below. I hope you’ll enjoy it! You can also read on through this blog, which summarises much of what’s in the talk.

Capturing the beauty of the shore

From calm, sheltered estuaries, to wide and sweeping sandy beaches, to wild and rugged cliffs, there is so much subject matter to help us with creativity in coastal photography. Hugely variable, and photographable at any time of the year, the seashore is a wonderfully inspiring place for any landscape photographer to lose themselves in their art.

The aim of this article and its video is to give some pointers and tips towards really honing one’s coastal landscape photography skills.

Not only is the coastal environment enormously varied, but so are the types of photography you can get stuck into. Firstly, there’s the classic kind of photography, the large wide views of a clearly identifiable place, photographed in the middle of the day during calm and sunny summer weather. Such images are evocative of warm summer holidays, and are often the stuff of travel brochures and magazines.

Many photographers will often find themselves taking these kinds of images for a great many reasons, and although they generate good quality, attractive record shots of a place, they rarely satisfy the inner artist searching for creativity, mood and artistic beauty. For that, you need a rather different approach, at the very least shooting at the ends of the day, when the light is low and warmly coloured. Most of this article will concentrate on these more creative techniques.

The simplest form of coastal photography consists of shooting wide views in the middle of the day during calm, sunny summer weather.

Horizon, horizon, horizon

Before I go any further with creativity in coastal photography, I have to say a word about the horizon. It might be an exaggeration to say that coastal photography is all about the horizon, but it is an absolutely critical point.

That line where sea and sky meet way off in the distance is usually quite strongly visible even on a hazy or stormy day. And guess what: it is always, always, always LEVEL! A sloping sea simply can’t exist, otherwise all that water would just slosh off down the slope. So in coastal landscape photography it is imperative to get your horizons level.

It is perhaps acceptable in forms of photography where the landscape element is secondary, such as in an image of some action sport that dominates the frame, to have a background horizon sloping. But in landscape photography, particularly of the coast, in which the horizon is usually very visible, it must be level. I’ve seen so many otherwise perfectly acceptable coastal photography images ruined by a sloping horizon.

Creativity in coastal photography — In coastal landscape photography the horizon absolutely must be level.

Some essential creative techniques

Once you’ve sorted out the horizon, one of the first steps towards creativity in your coastal photography is the time of day you shoot. Photography during the middle of the day in summer is all very well – it certainly produces images that capture the idea of summer holidays – but such images usually lack atmosphere and artistry.

Photography during what is known as the golden hour, that is the first and last hours of the day, as well as during dawn and sunrise, and sunset and dusk. For roughly the first hour after sunrise and the last hour before sunset the light will have a warm, golden or reddish hue, creating a wonderful richness in the landscape’s colours. What’s more the low sun angle will create strong shadows, greatly increasing the apparent three dimensionality of a scene, helping foreground elements to really stand out from their background.

Furthermore, shortly before sunrise or after sunset there can be wonderful colours in the sky, and while your landscape itself will be rather flatly lit (since the sun will be below the horizon) this is more than made up for by the colours in the sky. Of course, those colourful skies don’t always happen and they can be a little tricky to predict accurately. A lot of luck can be involved here.

What is much more predictable is that about an hour before sunrise and an hour after sunset everything will be quite blue, what is sometimes known as the ‘blue hour’. This is the final stage of lighting in the landscape before it finally becomes totally dark.

When photographing seascapes, it is astonishing how often I see photographers pack up and leave a scene the moment the sun has dipped below the horizon. Don’t do that! The sunset is only the start of the evening show: you have to wait to see what the sky will do over the next hour, until you’re well into the blue hour.

Exposing sky, sea and land

One of the big technical challenges of coastal landscape photography is getting an exposure that is right for every element in the scene: sea, land and sky.

To be honest, the sea and land usually need a fairly similar exposure, so there’s not too much of a problem there. However, the problem comes with the sky. Even on a cloudy day, the sky is usually a lot brighter than either the sea or the land, something that the eye often doesn’t notice.

The human eye is incredibly adept at handly the large contrast range between sea and sky, and is able to see detail in both quite easily. Unfortunately, a camera’s digital sensor is nowhere near as sensitive as the human eye, leaving the contrast range between sea and sky far to great for it to cope.

The result? Usually you end up with images in which the sea and land are correctly exposed but the sky is hopelessly burned out, all those lovely cloud patterns lost due to significant over-exposure. It is particularly bad when shooting into the light, especially when the sun is low.

The solution is to use neutral density graduated filters (usually shortened to just ND grads). These are rectangular filters in which one half is darkened and the other half is left clear. They fit easily on the front of your lens with the help of a screw ring that has the same thread size as your lens, and a filter holder that slides over the ring.

All you need to do is put the darkened part of the filter over the brighter part of the image (usually the sky), and then line up the filter’s dark/clear transition line with the horizon. Immediately, you’ve reduced the contrast range to something that the sensor can handle, darkening the sky and brightening the sea/land. The result is an image that looks much closer to what you see with your eye than the ‘unfiltered’ image is able to manage.

As you can see in the image below, there are – generally speaking – two types of ND grad, hard and soft, the former having a sharp transition between dark and clear, the latter having a more gradual one. The hard filter is of more use in coastal photography, though it’s also more difficult to use well. Beginners to ND grads may find the soft filter easier to use initially.

A basic ND grad filter kit, consisting of two filters (hard and soft ND grads), a holder and adaptor ring.

Although the ND grads’ main use is to correct for a failing in the digital sensor’s performance, creating images that more closely resemble the real world, they can also be used to great effect to enhance and exaggerate mood and cloud patterns.

In this use, it is common to deliberately over-darken the skies, enhancing the clouds’ visibility and often exaggerating the ‘angriness’ or storminess of a scene. The result is an image with lots of brooding mood, and often a very dynamic sense of energy.

To blur or not to blur moving water

The sea is, of course, a very dynamic environment, the water constantly on the move, full of energy, driven by invisible forces. Unfortunately, when you take a still image of that environment there is a danger that all the movement is lost, resulting in a very static image, one that completely misses the sea’s all-important dynamic mood.

One of the most popular ways to overcome this is to use a slow shutter speed. This will blur the moving waves, something that immediately puts the sense of energy and movement back into your still image. However, just how much blur you put in will have a big impact on the mood of your image. A shutter speed of say somewhere between one-tenth of a second and one second will result in an image containing a very agitated and dynamic sea, in which waves and spray are still clearly visible, though their movement is blurred.

On the other hand an exposure time of over about four seconds will result in the sea completely blurring out into a smooth sheet, often with what appears to be a veil of mist above the water, resulting in a very soothing, ethereal and artistic scene, something that may run quite contrary to the actual mood of the real scene.

Needless to say, these shutter speeds are just guess-timates, as just exactly how much blur you get depends very much on how fast your waves are moving and how big they are. This is part of the joy of this kind of photography: you don’t really know what you’re going to get, and so you often just have to keep on shooting, allowing different waves to create different patterns in your images.

This kind of photography is quite straightforward – provided you put the camera on a tripod – when light levels are low, such as at the start or end of the day, or in cloudy weather. However, when shooting in the middle of the day, and particularly in sunny weather, you’ll need to use a neutral density filter – one that cuts down the light right across the lens – to reduce the available light sufficiently to make a slow shutter speed possible.

That said, there are times when using a fast shutter speed to freeze the movement of the sea is appropriate. This is particularly so when the waves are quite large, or when you want to home in close on a wave to show every droplet of spray flying through the air.

Photography of stormy conditions

It is tempting to want to go to photograph the stormiest of stormy conditions, to capture the drama of nature in the raw. However, unless you are shooting something that is genuinely newsworthy, I would generally caution against it for the following reasons:

The light is nearly always terrible;
Salt spray and rain will very quickly cover your lens and filters making it very difficult to shoot. Salt spray in particular can be very hard to clean off;
The wind is usually so strong that you’ll struggle to hold the camera still enough. And a tripod will get blown over in seconds, even a sturdy one;
It is just plain dangerous, particularly along the most exposed coasts, such as – in the UK – Cornwall and west Scotland.

For these reasons, it is far better to wait for the main storm front to pass before venturing out. At this time, the cloud cover will usually break, allowing for some sunlight, including rainbows and dramatic shafts of sunlight. Furthermore, the wind strength will be a little lower, but the waves will still be big and angry. Coupled with the improved light this can result in some very dramatic scenes.

Spray and rain will be less of an issue, and you’ll be able to use the camera safely – hand-held or on a tripod – and all without the risk of being blown off the cliff (really, it has nearly happened to me).

What’s more, with the use of such techniques as a moderate blurring of the waves, coupled with some dramatic low light (including shafts of sunlight breaking through clouds), it is possible to produce images that, though shot in moderate conditions, actually look as though the weather was quite stormy.

A word on safety

This article would not be complete without a word on safety. The sea is a wonderful environment to photograph, but it can be dangerous, especially for the unwary. To minimise risk follow these guidelines:

Always know the tide times for the area you’re shooting in, and plan around them;
Be aware of risks of being cut off by a rising tide, and avoid them;
If shooting on a surf-bound shore close to the water’s edge, keep a sharp lookout for regular wave surges that can drive up towards you without warning;
Always take a fully charged phone with you, but don’t rely completely on it – many stretches of our coast have no phone signal, so also make sure you tell someone at home where you’re going;
Avoid photography at the height of a storm, particularly on an exposed clifftop.

So now you’ve got all that lot sorted out, get out shooting our coast and really enjoy it!

Future talks

My free online talks take place every three months, so the next one will be in March 2023. I’ve yet to decide on a title, but that will be forthcoming shortly. If you’d like to attend the live talk, all you need to do is to register so I know to send you the link.

To stay up to date with plans and events, click on the link below to join our mailing list. To register for future talks you will be able to do so shortly once the next one has been confirmed.

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Autumn photography: capturing the season

What to point your camera at this coming season

My autumn photography talk went ahead on Zoom on 21st September, this season’s subject entitled Autumn Photography: Capturing the Season. Predictably, it was all about the kinds of things you could be photographing during the autumn, many photographers’ favourite photography season.

The full talk can be watched below. Just click on the image to start the video.

Autumn colours, one of the season’s top subjects

When getting stuck into some autumn photography to capture the season, inevitably one of the top choices of subject matter is going to be autumn colours among the trees. In the UK’s natural woodlands that generally means golden colours among beech, birch and larch trees. Oaks, which make up a large proportion of our forests, unfortunately rarely produce good autumn colours. Another tree native to the UK that produces great golden colours is the Field Maple, a tree commonly found in hedgerows.

Unfortunately, the stunning reds we see in maples in the forests of North America and Japan don’t occur in our woodlands. To see and photograph these in the UK, head for almost any public garden or park.

Autumn colours are not always as straightforward to photograph as you might expect, the complexity of trees mingling together in a woodland making it hard to create a strong composition.

I often find myself just concentrating on a part of a tree, and in particular with a composition that has clear space behind it, such as an opening created by a river or stream. This helps to simplify the background, reducing clutter and increasing the possibility of being able to put the background out of focus.

If coming in close to leaves it is best to use only compositions where there is a single layer of leaves. Multiple layers usually result in a bit too much complexity, in which the leaves become confusing and rather start to merge with one another.

Autumn photography: capturing the season

Mist and fog

Autumn is a perfect time for fogs and mists, particularly early on a still clear and damp morning. Ground mist at dawn can be a stunningly beautiful sight across a wet meadow or in a shallow river valley. However, in many parts of the UK you have to be very early as once the sun is up the mist will burn off quickly. Only if temperatures are really quite low will the mist linger very long after the sun has risen.

Hill fog is of course also very common in autumn, and can easily hang around all day long, particularly in windless, rainy conditions. This can be fantastic for moody, ethereal woodland photography.

River or lake fog is also stunningly beautiful, and again can hang around for many hours in the right conditions. However, more often than not, it does last only for a short time during the early morning, so once again you have to be very early.

Mist and fog have the wonderful effect of reducing clutter and detail, restricting subject matter to simple outlines and silhouettes. The results are hugely evocative, generating images that really could not be caught under any other conditions.

Autumn wildlife photography

Autumn can be a fantastic time for wildlife photography. Firstly, there is the autumn deer rut, most famously among the herds of Red Deer. What’s more, the numbers of wading birds in our marshes and estuaries are greatly swollen by over-wintering birds. This can provide some fantastic photo opportunities with both flocks and individual birds, provided you have a good telephoto reach with your equipment.

One final aspect of autumnal wildlife photography is that this is the time of year when Grey Seals give birth to their oh-so-cute white pups around our coasts. This mostly takes place in inaccessible coves, though there are a few sites where it is possible to obtain reasonable photographable views.

The human world

Don’t forget the human world during the autumn, whether this be photography of people involved in autumnal activities such as the harvest, or festivals, most often associated with Guy Fawkes’ Night.

There are always plenty of opportunities for seasonal people photography, and it’s really worth trying to grab a few of these. In southwest England these can include such things as the grape harvest at the growing number of vineyards, plus the dramatic spectacles of such events as Bridgwater Carnival (in Somerset) and Ottery Tar Barrels (in Devon), both held in early November.

Autumn photography: capturing the season

As this brief introduction shows, there is a huge amount to photograph out there during the autumn. I hope you’ll get stuck in and enjoy the season.

You can get plenty more ideas in the above video: there is a lot more material covered there that than I’ve been able to in this article.

Future talks

My next online Zoom talk will be on Wednesday 7th December at 8pm GMT, and will cover coastal photography. If you’d like to attend, just register using the link below, so I know to send you the link. It’s all free!

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The Techniques of Underwater Photography

Photography of tropical coral reefs in the Maldives and the Philippines

In my summer online photography talk, given live on 22nd June, I showcased the techniques of underwater photography. Though a relatively small part of my photographic work, it is one that I hugely enjoy. So I thought I would introduce some of the work I’ve done photographing the marine wildlife of coral reefs in the Philippines and the Maldives.

A recording of the talk can now be watched any time. Just click on the image below.

The challenges and techniques of underwater photography

The most obvious initial challenge to underwater photography is of course the very fact that it is under water! Inevitably, a first prerequisite is to be able to scuba dive, or at least snorkel, before any photography is possible. Once that is sorted, then you can start to face the challenges of underwater photography, which include:

Light levels rapidly fall away as you go deeper, even in the most sunlit conditions;
The colour balance of the light rapidly changes, with red light being absorbed in the first few metres, leaving only blue light by the time you reach a depth of about 10 metres;
This loss of white light makes it important to use flash lighting to provide white light, and hence to show up the true colours of any subject;
No seawater is completely clear: there are always at least some suspended particles able to block and reflect flash lighting back to the camera;
It is usually necessary to come as close as possible to the subject, often using a very wide-angle lens, to minimise the camera-to-subject distance and hence the amount of suspended matter between the two;
Two flashguns (or strobes as they’re called for underwater photography) are commonly used, each mounted some distance on either side of the camera, increasing the angle of the flash, and helping to reduce the amount of light bounced back to the camera from suspended particles;
High pressures encountered while diving mean that all equipment – especially the camera’s housing – must be highly water- and pressure-resistant, making them rather cumbersome and heavy (at least when on land), especially when coupled with two widely-mounted flashguns;
Despite measures to reduce problems caused by suspended particles, most underwater images require considerable amounts of post-photography cleaning up in order to remove specks and make the images appear at their best.

These are just the main photography-specific challenges to the techniques of underwater photography, and are quite apart from the general challenges of scuba diving. The latter include limited dive time due to a restricted air supply, safety limits on the maximum depth of any dive, as well as the speed at which one can ascend or descend, and restrictions on the frequency with which you’re allowed to dive.

Photography of corals

Corals are among the most beautiful living structures on Earth, consisting of colonies of thousands of coral polyps that together build complex forms. These can vary from huge 2-metre fans (such as in the image above) or rounded boulder-like solid structures, down to tiny tree-like organisms.

Many are the most important building blocks of the coral reef environment, and to me are a joy to photograph. And yet, they are often overlooked by photographers in search of the more high profile charismatic and mobile animals, such as turtles and sharks.

Corals deserve far more photographic attention. Being immobile, they aren’t going to swim away just when you’re trying to line up a shot. But corals can be fragile and require significant care when being photographed: one badly timed kick of a fin can destroy several years of coral growth. So it is critical for a photographer to have close and exact control of their movements when under water, something that is not always easy.

Photography of mobile reef animals

The techniques of underwater photography of course encompass both those of immobile corals and of the more mobile animals, such as turtles and fish, to name just the most obvious.

This of course includes the hundreds of commonly seen reef fish, many of which are extremely colourful and beautiful, but also rather small and shy. The latter points can make them rather tricky to photograph as they will almost always swim off and/or hide in a reef crevass the moment you approach. My usual technique is to zoom in a little with a short telephoto lens. Although this then suffers from the problem of increased amounts of suspended particles between me and the subject, it is a worthwhile compromise that helps me get the shot.

Other animals are rather less of a problem, either being much larger than most reef fish, or not at all bothered by the human presence, or both. When I first started diving in the Philippines 20-plus years ago, turtles were very shy and hard to photograph, but today they’re largely at ease with the diver’s presence. This makes it possible to swim alongside them for some distance, shooting more or less at ease, with or without a flashgun.

Sharks too are generally undisturbed by the presence of divers, and can readily be photographed. Obviously, they do have a fearsome reputation, something enhanced by their aggressive appearance, but the great majority of species are quite safe to be around.

Scuba diving versus snorkelling

Scuba diving requires some rigorous training and then certification before you can even consider starting underwater photography via this route. So there is some temptation to give it a try while simply snorkelling, since this is unregulated and equipment-free.

While some forms of underwater photography can be done while snorkelling (such as swimming with whale sharks, as in the image above), it is not at all easy, requiring some tricky control of your buoyancy in order to be able to dive, even for a few seconds, below the surface.

Furthermore, many of the most varied, interesting and photogenic forms of coral and fish can’t be found close to the surface, and so can only be photographed while scuba diving.

So, although photography while snorkelling does have its uses, it is rather limited in what can be achieved. Scuba diving, though presenting more of a challenge initially, does offer a much more versatile and effective way of carrying out the techniques of underwater photography.

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A guide to panoramic photography

How to shoot sequential images and then merge them together in the computer to create a panoramic view of a scene

Nigel recently gave his first online talk of 2022, and on this occasion he gave the audience a guide to panoramic photography. This is the technique associated with the creation of a large rectangular image from several standard images, often with a wider view than is possible in any single image.

He gave an overview of both the in-camera photographic techniques, and the post-photography in-computer skills needed to create beautiful panoramic images. This talk is now available any time on You Tube, and can be watched here. Just click on the link below.

Step 1: Creating a sequence of images

As a guide to panoramic photography the first step towards success is to shoot a series of overlapping image that pan across a scene. To do this follow this list of do’s and don’ts:

Shoot with the camera in the vertical/portrait orientation. This gives a wider (ie from top to bottom) image that can help if any later cropping is needed.
Mount the camera on a tripod. Although the sequence of shots can be done with the camera hand-held, you are much more likely to be able to maintain a level horizon throughout the sequence if the camera is on the tripod.
Make sure both tripod and camera head are completely level. If they are not, then as the camera rotates to shoot the sequence it will start to tilt, putting the horizon out of line.
Shoot the sequence with a lens no wider than 35mm in focal length (on a full-frame camera). Using a lens with a shorter focal length than this can result in distortion in the image corners, making it difficult for the panoramic software to subsequently merge the images.
If shooting a view where there is no foreground with elements less than about 30 metres from the camera, it is fine to rotate around the camera body.
However, if shooting a view with a foreground and nearby elements, to avoid any parallax changes as the camera rotates it is better to rotate the camera around the lens’s nodal point, not the camera body. The nodal point is the lens’s optical centre, not necessarily the physical centre.
To achieve this, have the camera mounted on a sliding focussing mount, coupled with a vertical locking plate that allows the camera to sit above the focussing rail in the vertical position.
Slide the camera backwards on the rail until there are no parallax changes as the camera rotates: the relative positions of all foreground elements remain the same.
Once the camera is set up, focus on the scene and then turn the autofocus off, ensuring that the focus will not change as the camera goes through its sequence.
Meter the exposure in aperture priority, pointing the camera at something that is towards the middle of the view. Then switch to manual exposure and set the exposue manually. This will ensure that the exposure will be the same for all images in the sequence.
If shooting with a slow shutter speed make sure to use either a remote shutter trigger or a two-second time delay, and (if using a DSLR) switch the mirror-up facility on. These steps ensure there will be no vibration to blur the images.
Go through a couple of practice sweeps to make sure everything lines up nicely, and that there are no nasty surprises creeping into the view.
Then go through the shooting sequence from left to right or right to left. Make sure to leave about 30% overlap in the view between successive images. This ensures that there is plenty of duplicate data that the panoramic software can use to accurately sequence and line up the images.
Most sequences shot with the camera in the vertical/portrait orientation will need 7-8 images to make a complete view, but fewer or more may be needed for some views.

And that’s the in-camera work done. Now we move on to the in-computer work.

Step 2: Merging the images in-computer

Continuing with our guide to panoramic photography, having shot the sequence of images we now need to merge them together in-computer to create the final panoramic.

If you shot the images as Raw files you’ll first need to convert them to the Tiff format. In doing this, any changes you make to colour temperature, saturation, contrast etc will need to be applied to all the images equally.

Having created the Tiff files you can then load them into the panoramic software. In this article, I’m assuming the use of Adobe Photoshop. Follow these steps:

Access the panoramic tool via the File>Automate>Photomerge commands.
In the dialogue box that opens load the files using the Browse option.
Choose the type of image merge method you need from the list on the left. For panoramic photography it is as well to stick with ‘Auto’, the default option.
Of the four boxes at the bottom, tick those whose actions you need. ‘Blend Images Together’ must be ticked to ensure the images are correctly blended to together. Tick ‘Vignette Removal’ if there is any shading in the corners of your images. I generally leave ‘Geometric Distortion Correction’ unticked as it often results in a curving horizon rather than the nice straight one I have in my original images. ‘Content Aware Fill Transparent Areas’ is a useful tool that you might to tick. Usually, the merged images don’t marry up to create a perfectly rectangular panoramic image. Instead, the outer edges curve or slope, leaving blank/transparent areas around the edges. Ticking the option to have these areas filled can be highly effective. Leaving it unticked will make it necessary to crop the final panoramic image to create the correct rectangle.
Once ready, hit ‘OK’ and sit back.

Depending on how much computing power you have, it may take some time to process the images to produce the panoramic. When finished, you’ll have a panoramic image with all its component images arranged in separate layers. If you’re happy with the result then flatten the layers into a single layer by going to Layer>Flatten Image.

You may then need to crop the panoramic to remove blank/transparent outer areas. Finally, check the whole panoramic for any bits of sensor dust that might be present and repeated across the panoramic. Also look closely for any artefacts due to imperfect image merging.

Finally, name and save your file. You now have your completed panoramic image.

Upcoming talks

Hopefully, you’ve enjoyed this guide to panoramic photography.

Our next online talk will be about underwater photography, on 22nd June. All our talks are free to attend – just register to be sent the Zoom link below.

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