hen we asked the noted outdoor and nature photographer Rod Planck about his method of shooting panoramas, the first thing he said was, "I like to keep it simple." We like to hear that, though he did add that making panoramic images isn't spontaneous point-and-shoot photography; it takes some preparation. But it is pretty basic, and the results are very cool.

A panoramic image depicts a field of view considerably wider than the one that can be captured in one exposure, and it tells a more complex story and draws the viewer of the image closer to the feeling of what it was like to be there.

To make a panorama, you take several shots that capture overlapping sections of the scene; then you use imaging software to seamlessly stitch (that is, join) the sections together.

Essentials
Gear

First, a tripod with a built-in bubble level. Next, a ball head for that tripod so you can smoothly and accurately turn your camera to capture the sections of the scene that the software will stitch to form the big picture.

The essential first step: level the tripod. Then attach and level your device.
For most panoramas, it's best to shoot with your camera mounted to the tripod in the vertical position; that way you'll have plenty of room to crop the top and bottom of your stitched image.

Shooting a panorama horizontally is fine, too, but it can result in very narrow image. Best bet: experiment, then evaluate.

Settings

Rod shoots aperture priority for almost everything, but not for panoramas because he doesn't want the camera making automatic settings. "I go to manual exposure for my panoramic images," he says. "I pick the brightest part of the scene, meter it in manual and set the shutter speed and f/stop to bring the manual meter to center on the display. Then I take a sample shot and check the histogram to see if I'm within an acceptable range." (Because that sample shot is not going to fit anywhere in the sequence of image sections, it's a good idea to delete it immediately to avoid confusion later on.) You can also use Matrix metering to get your starting point for the test shot. Once you get your setting, use it for every section of the panorama.

The Process

"With the camera hand held, I look through the finder and actually rotate my body through the scene to get an idea of what I'll get," Rod says. "I'm finding my composition and deciding how many sections I'm going to have. You've got to have a composition that works well—just as any photograph, it should be a balanced, pleasing image."

When you're composing the image, remember that a panorama will pull the viewer left to right or right to left; there's not a lot of vertical movement.

If you'd like to try this, be aware that the camera should be in the horizontal position unless you want the result to be roughly a square format image. And be sure your test shot is made with the lens in its center position.
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