I have just finished working on a project which I always wanted to shoot but never had enough courage, knowledge and the right equipment. Finally, the day has come and, together with a good friend of mine, we teamed up and mounted a camera on the bonnet of his car. Below you can see the results.
Inspired by a series of Vertoramas depicting the transition between daytime and night-time, I decided to try to achieve a similar effect in an equirectangular panorama. I have to admit, the final image isn’t perfect and there’s definitely more room for improvement but overall, I’m pleased with the result. This post will discuss some of the issues I experienced during this project. In order to appreciate this image more, make sure you visit the interactive version on 360cities here.
Following a recent trip to the mountains with a friend of mine, I decided to write about long exposure photography again. This time, however, realised in a different and rather tight shooting location.
Capturing the Nadir (the area of the ground directly below the Nodal point of your lens) is probably the most challenging and time-consuming aspect of panoramic photography. It is also important to compose the Nadir properly if you want to turn your image into an interactive panorama. This post will explain some techniques you can work on in order to improve or even design the Nadir of your panoramas. If you are completely new to panoramic photography please read my previous posts: Equirectangular Panorama and HDR Panorama.
The basics behind capturing and stitching a HDR vertorama / tiltorama are almost the same as an equirectangular panorama. The only difference is that a vertorama / tiltorama represents a vertical field of view. If you are new to this kind of photography, please familiarise yourself with my previous posts: Vertical Panorama, Equirectangular Panorama and HDR Panorama to get an overview of HDR and panoramic photography.