 Stephanie M. Stevens |
panorama trouble I've been trying to make stitched panoramas lately. I have a Canon Digital Rebel XT, use the 18-55mm kit lens, usually at 18mm, I use a tripod and manual settings through the whole thing, I use the photomerge tool in PSE2. Somehow, I still can't get them right. There's a color difference, generally it's only a problem with the skies. Am I doing something wrong, or is this always an issue with stitching, and if so, how should I fix it in post-processing?
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- Gregory LaGrange Contact Gregory LaGrange Gregory LaGrange's Gallery |
Lenses can have vignetting at the edges, with wide angles being more pronounced. Plus the sky color is slightly different based on relation to the part of the sky and the sun's location. You'll have to blend it by lightening or darkening areas that need it.
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- Gregory LaGrange Contact Gregory LaGrange Gregory LaGrange's Gallery |
Forgot a suggested way. Use layer masks to lighten or darken the skies. And where on section meets another, match the color of the edges and you can use the gradient tool with the layer mask and have it blend across the section. You have section A,B, and C, with C being darker than B. By duplicating layer B, you make the color of the copyB similar to C. Then by using a layer mask on copyB, you use the gradient tool to gradually erase copyB layer. You have it so that going across copyB layer it gradually reveal original B underneath.(Just like you see black fade to white on a gray scale) When you combine layer B with copyB after it's been gradually faded, you can then use layer B to stitch to layer C and you won't have the defined line of two sky tones where the two meet.
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Jon Close |
Additionally,... If you are using a polarizer - don't. The polarizer's effect varies with angle to the sun, so with ultra wide angle or panorama the saturation of the sky will vary from side to side. For such wide/sweeping compositions, a split or graduated neutral density filter will give a more uniform sky.
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Marianne Fortin |
Shoot vertical and make sure the images overlap by at least 30%. Also use the same exposure settings for each shot (manual or exposure lock).
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Stephanie M. Stevens |
Thank you!
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