(2) The photographer then picks up the camera and tripod and moves to a
point nearer the center of the subject, maintaining the distance from the
subject, traveling along an imaginary line, parallel to the subject.
The
photographer finds a spot where he can get the object which occupied the center
of the viewfinder in #1 to lie at the left edge of the viewfinder. Once this has
been done, the photographer takes the second exposure.
(3) The photographer continues the procedure until the right end of the
target is centered in the viewfinder, then makes the final exposure. Throughout
the above procedure, the lens-board must be parallel to the subject.
h. In
both
swing
and
moving
panoramics,
the
photographer
must
do
the
following:
(1) Overlap 50 percent between exposures.
(2) Keep the camera level from one exposure to the next.
(3) Exposure in all photos must be consistent so as to result in a uniform
appearance. Should lighting conditions change while a panoramic is being made,
the photographer will compensate with shutter speeds rather than apertures since
different apertures will result in variations of depth of field.
(4) Focus must remain the same throughout a strip, for variations in focus
will result in variations in image size and the prints will not match. F/16 or
smaller apertures should be used.
Hyperfocal distance should be used if there
are foreground objects, but infinite focus is satisfactory if the foreground is
unimportant.
(5) The sky, ideally, should be free of clouds which cast detail obscuring
shadows over the subject. Filters may be used to penetrate haze.
i. Emphasis must be placed on the necessity for a 50 percent (fig 1-5)
overlap. In assembling the prints of a panoramic, the laboratory specialist will
cut off and throw away 25 percent of the picture's right side, leaving only 50
percent in the photo's center with which he will assemble the strip. The reason
for this seeming waste lies in the fact that the greater distortion lies at the
outer edges of the photo.
Were the lab technician to utilize these edges he
would be unable to find satisfactory matching points. If the negatives have been
made with all the above points in mind, assembly of the prints can be done as
explained in the following paragraph.
j. All the prints are arranged side by side and overlapped 50 percent,
so they will appear the same way as they look through the camera viewfinder.
The edge of the upper print will now register with the scene in the
lower print.
Overlapping edges are then lightly tacked down with an
adhesive which can later be removed without damage to the print.
Both
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