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Why are my pans going wrong now??


MikeWh e2
3 59 United Kingdom
5 Nov 2012 8:09AM
Hi...I have had some reasonable success stitching panaramas in the past, for some reason I'm getting lines & tone difference between each frame & can't really see where I'm going wrong now!! The images are batch processed in camera raw & stitched in CS5...I'm not sure wether or not to apply lens corrections, but either way seems make no difference....I know the light can change during shooting, but I just tried to process one that I have got right in the past....
I have got light room but never use it...If anybody has good experience of stitching from raw, then your advice would be very welcome, even if it means learning to use lightroom.......Many thanks ....Mike

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sherlob e2
8 2.4k 126 United Kingdom
5 Nov 2012 8:38AM
How are you shooting your pans? E.g. are you manually setting the exposure to stop the exposure changing between exposures? Are you using a polariser at the time of exposure?

In my experience - tonal differences in Pan's are down to exposure problems and not post processing.

Adam
5 Nov 2012 8:39AM
Also dont use auto white balance.
Jane
sausage e2
10 289 United Kingdom
5 Nov 2012 8:44AM
Everything on your camera should be on manual.

Lightroom doesn't do stitching. But I do use LR to batch convert from raw.
MikeWh e2
3 59 United Kingdom
5 Nov 2012 8:51AM
Hi & Thanks!!
All images shot in manual
White balance is always "cloudy"
Exposure spot metered, then left alone..
Focus is set auto & locked off..
As I said I've just tried to re-run through an image I made a while back & it was fine first time.. It's a while since I've done this though & I'm kind of banging my head against the wall as to what i've changed..
In cs5 I'm using the auto setting in automate & the blend images together, I'm sure thats how I've done it in the past, so I'm sure it's down to the raw processing.....Thanks again...Mike
P.S I do use a polorizing filter often, & can see where your comming from with that question!!
Sooty_1 e2
4 1.3k 203 United Kingdom
5 Nov 2012 9:06AM
Elaborating on the above..... Take a meter reading from a representative area of the scene, or meter the brightest and darkest areas and take an average. Use this for every exposure in the panoramic. Set the camera to manual, and white balance to the conditions.. Ie sunny, cloudy etc, or manually set a colour temperature (around 5500 for normal sunlit day).
If using raw, wb shouldn't matter, as you can adjust it in LR, but if it changes from frame to frame and you batch process, it will keep the differences unless you adjust individual frames to the same setting.
Overlap frames by at least a quarter, more if using a wider lens, and consider using the camera in portrait mode for more height.

As far as using raw, I would suggest opening in raw converter, batch process if you want, then open as jpg in photoshop. Using manual, the pictures should blend satisfactorily, then when happy with the shape, flatten the image before globally processing the stitched panorama.
MikeWh e2
3 59 United Kingdom
5 Nov 2012 9:45AM
Hi & thanks for taking the time to try & help...Most pans I've shot are as you sugest, in portrait...I have a lot of them shot & unprocessed from all over the UK...I know they are not the be all in photograph but I do like the effect of some of them espesially crazy looking skys etc...They were all shot the same way, & I've managed to stitch images comprizing of more than 70 frames without much trouble...I do feel this is a software thing & of course user error!!! Trouble is, when I first noticed a problem, I, using bridge, cleared all settings to camera raw defaults....I'm just wondering if, when I open a batch of images in camera raw, I should select all & start from "as shot" & see how it goes....I'll give that a go after work tonight & take it from there....Many many thanks for all your input on this, & I'll let you know how it goes.... It's definatly not the shooting, because it is turning out like this with images I',ve already had success with.............Thanks again....Mike

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