Stone Field Reverie

Buying used photography equipment can be a smart consumer alternative to new equipment. For example, photography students are more likely to be able to afford used equipment and they may only need it during their education, buying new equipment upon launching their careers. This is much like buying used textbooks. Used equipment is also a good choice if a beginner is not totally committed to photography as a serious hobby. Even serious amateurs, semi-pros and pros may purchase a used camera or lens, as emergency backups. Whatever good reason you may have for purchasing used equipment, be aware of these 6 pitfalls. Learn how to avoid them to save money, to find equipment with the most remaining value and to enjoy your photography experience. (more…)

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You’ve heard it before…or you should have: digital photographers begin to show improvement in their skills and results when they are able to tell a story with their images. If you still struggle with this concept or want an interesting process to tell a common story in a different way, then assign yourself a day-in-the-life photography project. You simply spend most of an entire day with one person and document his or her day in pictures. Not only will you be challenged to capture the right moments to tell your subject’s story, but also you’ll find yourself in a variety of shooting environments. It’s an opportunity to exercise your skills and to learn how to react spontaneously. For your subject, such a project is an alternative to a formal portrait. You’ll be able to provide your subject with an album of photos that reveal more of his or her personality, moods and lifestyle than a stiff pose. (more…)

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1. According to the U.S. Internal Revenue Service, the expenses related to the part of your home used for your photography business, must be “exclusive, regular and for your business” to be deemed tax deductible.

1. To be “exclusive,” the portion of your home must only be used for your business. It can be a room or a separately identifiable space, which doesn’t require a partition or other means to identify it. The space is not considered “exclusive” if it is also serves personal purposes. For example, your dining room is not the exclusive location of your business if your family also eats all meals there. You can’t claim the value of that space in terms of the rent or mortgage paid as a business expense. It’s better to use a separate room. A portion of a room is considered “exclusive,” if inventory or product samples are stored there. This wouldn’t apply to many photographers, except maybe wedding photographers who may have album samples to show clients.

3. The term “regular” refers to the use of a specific area of your home for business on a continuing basis. The space does not qualify as a deduction if you operate your business there only occasionally.

4. The space in your home that you use for your business must be defined as either your principal place of business; the place where you meet or deal with patients, clients or customers during the normal course of operating your business; or a separate structure (not attached to your home) you use as the designated space for your photography business.

5. Determining if your home business space is your “principal place of business” is a bit tricky. As a photographer, especially a portrait photographer, you could have more than one business location. You manage your business from a home office, but photograph your clients in a studio that is leased commercial real estate. Under that scenario, your home office space would qualify, since it is the exclusive and regular place for administrative or management activities of your business. As soon as you start to conduct a substantial amount of these activities at the studio, however, your home office space would no longer qualify.

6. Generally, you’re allowed to deduct the proportion of the amounts you pay for rent or your mortgage, insurance, utilities, property taxes, maintenance, etc. that equals the space in your home. If you have a 2,000-square-foot home and use an extra bedroom of 200 square feet, then you can deduct 10% of these costs/expenses.

7. You should be aware that there is a limit to the amount of the deduction you can take. If your gross income from the business use is less than your total business expenses, then your deduction for certain expenses for the business use of your home is limited.

8. Your deduction of otherwise nondeductible expenses, such as insurance, utilities and depreciation (with depreciation taken last), which relate to the business is limited to the gross income from the business use of your home minus the sum of the following.
9. The business part of expenses you could deduct even if you did not use your home for business (such as mortgage interest, real estate taxes, and casualty and theft losses that are allowable as itemized deductions on Schedule A [Form 1040]).

The business expenses that relate to the business activity in the home (for example, business phone, supplies and depreciation on equipment), but not to the use of the home itself.

Of course, your attorney or accountant is your best source for information and interpretation of IRS statues. It’s a good idea to discuss your plans to operate your photography business from your home (totally or partially) with your accountant before you make it your business address.

The information in this PhotographyTalk.com article is general in nature. PhotographyTalk.com does not provide legal or tax advice or imply legal or tax strategies for photography business owners. They should seek such advice from qualified professionals.

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Many digital photographers, who decide to become a part-time or full-time professional, often operate their business from their home. If this is the path you’re following, then there are certainly advantages to doing business from your home. It will save you money and often provide a tax deduction. On the downside, you may quickly outgrow whatever space you are using in your home, especially if you are a portrait photographer; and it can be awkward, and disruptive to your family, to ask your customers to meet with you in your home.

Eventually, you may find it necessary and preferable to rent commercial space for your business/studio. This PhotographyTalk article includes 7 tips that will help you negotiate a lease with the property owner that protects your wallet and makes the process less stressful.

1. At the writing of this PhotographyTalk article (February 2012), the commercial real estate market is still trying to rebound from the recession, meaning there is a glut of commercial properties. In other words, it’s a buyer’s market. More property owners are currently willing to negotiate a lease that could be more advantageous to you than during a robust economy. Even if you may not need commercial space for a year or two, and can afford it, now may be an excellent time to lease space. The economy will rebound; and when it does property owners will have the upper hand and won’t find it necessary to give you such a good deal. Lock yourself into a two- or three-year lease now and you’re apt to be paying less during 2013, 2014 and 2015 than business owners who wait until then to sign a lease.

2. If you’ve decided to lease commercial space for your photography business, then your first step is to meet with your attorney. PhotographyTalk has recommended in many of its photography business articles that you should have an attorney, especially if you’re operating a full-time photography business. Explain that you intend to lease commercial space for your business and you would like any guidance him or her could provide. It’s a good idea to understand any tax, liability or other financial implications of being a commercial property lessee. Show your attorney the lease BEFORE you sign it! If you can afford to pay for his or her time, then you can even ask your attorney to accompany you when negotiating the lease.

3. Then, it’s time for some homework. Find several locations that will serve your needs, and then look for a few properties for rent in those areas. You want this information to make some comparisons and to have a lease amount in mind before you first negotiate with a property owner. If you find one or two spaces that are your favorites, then don’t hesitate to visit and talk with other commercial tenants in the building. Ask them about their relationship with the property owner. Is he or she someone with whom you want to sign a lease? Does the owner attend to maintenance issues immediately? Is the building fully leased or are there many empty units? Not only will this kind of information help you make a better choice, but also give you an advantage during lease negotiations.

4. Another homework assignment is to contact commercial real estate brokers/companies that lease properties where you would like to locate your photography business. They can advise you about the current status of the market and what lease cost and terms you can expect. Remember, these brokers/agents represent property owners, not you, so expect them to try to steer your choice toward a property on which they would earn a commission.

5. The cost and the number of years of the lease are the two primary negotiating terms. The U.S. Small Business Administration recommends a one- to two-lease initially, with the option to renew for a third or more years. You also want to factor in and negotiate rent increases during the term and renewal options, so you are not unexpectedly hit with a rent increase without warning.

Armed with the information you’ve researched, you should be able to determine if what the property owner is offering is reasonable. Don’t hesitate to make a counteroffer and show the agent or owner the hard evidence on which you are basing your offer. A common negotiating strategy of commercial property owners is convincing you to sign a longer-term lease than you wish. Stand your ground and state that you will only sign a lease for X number of years.

Other terms that should be discussed and negotiated before you sign a lease include:

• Who is responsible for maintenance and repairs: shared systems, such as HVAC, and, for example, plumbing or electrical repairs in your unit.
• Any fees the owner may add to cover maintenance and common utility costs.
• How the utilities you use in your space are metered, individually or commonly and charged according to the amount of square feet you occupy.
• Be prepared for the worst scenario: If your business goes south and you default on your lease, then you want to know in advance how the owner will react and what steps he or she might take to evict you.

6. Consider negotiating these add-on clauses to the lease to protect your investment and long-term business interests.

• Sub-lease – You’ll have the flexibility to sublet your space to another business if your business plans change.
• Exclusivity clause – Prevents the landlord from leasing any other premises on the development to a direct competitor of yours.
• Co-tenancy – If the development has an anchor tenant, such as a known retail brand, and the tenant closes, a co-tenancy agreement can protect you from a potential loss of customers by allowing you to break the lease if the landlord doesn’t replace the anchor tenant within a specified time period.

7. Don’t be afraid to stop negotiations at any time you don’t like what you are being offered. There are always other properties to lease. Don’t be surprised if the stubborn owner contacts you and offers you better terms because you were willing to take a walk!

The information in this PhotographyTalk.com article is general in nature. PhotographyTalk.com does not provide legal advice or imply legal strategies for photography business owners. They should seek such advice from qualified professionals.

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Convenience Benefits

1. Virtually every type of photography from which you can make a living doesn’t require much space. Photographers who shoot all their assignments at specific locations (architecture, nature, sports, photojournalism, etc.) generally only need enough space to store their camera and have a desk with a computer. New wedding photographers can usually work from home too, but eventually they’ll want a separate place to meet with customers. If you plan to make a living as a portrait photographer, then adequate and permanent studio space will be needed. A home doesn’t typically have such dedicated space, so leasing commercial real estate is the best choice.

2. With your photography business office in the spare bedroom, attic or basement, you’ll find it very convenient to commute to work at the start of the day and from work at the end of the day. U.S. Federal Highway Administration research reveals that the average American spends 348 hours each year commuting.

3. You have the flexibility to work whenever it is necessary. If you need a late-night session to finish editing photos for a client that expects them the next day, then you don’t have to travel from home to a commercial space to complete the work.

4. You’re at home if you’re needed. If a package is delivered, then you are able to accept it. If your child is sick, then you’re able to care for him or her. If a repair technician is coming to fix the AC, refrigerator, etc., then you’re available to explain the problem and monitor his or her activities while in your home. You’re also able to attend to family emergencies immediately.

5. As your children grow older, they may acquire an interest in photography and become ready-made assistants. A teenager, with some training, should be able to answer your phone and perform various typical business tasks. He or she will learn some early lessons about responsibility, earning money and saving you time to shoot more money-making assignments.

Time- and Money-Saving Benefits

6. Photography is one kind of business that you can operate as a part-time enterprise. You’re not required to invest a substantial amount of money in commercial space, furniture, employees, etc. simply to open the doors. You can start to generate income quickly.

7. With no commute to a commercial location for your photography business, you save the travel time and fuel or public transportation costs as well as any lunch expenses.

8. The time you save commuting can be applied to more productive activities.

9. Operating your business from home costs much less than leasing commercial space and the added utilities and other expenses.

10. When working from home you have more flexibility, as the size of your business changes. Generally, you may have enough room for an intern or part-time assistant as your business begins to grow. Plus, it’s much easier to move to commercial space if your business becomes too big for your home than it is to cancel a lease for bigger space that you no longer need.

11. The amount of dedicated space for your business becomes a tax-deductible expense as a proportion of the rent or mortgage you pay as well as utilities, insurance, property taxes, maintenance, etc.

Security Benefits

12. You’re home is seldom unoccupied, so burglars are less likely to target it.

13. You’re able to be at home when your children return from school.

The information in this PhotographyTalk.com article is general in nature. PhotographyTalk.com does not provide legal or tax advice or imply legal or tax strategies for photography business owners. They should seek such advice from qualified professionals.

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Sun, Sand and Photos…. it doesn’t get any better than that !

So you are planning a vacation getaway this winter, tickets are bought and your bags are packed. Now is the time to brush up on your photography skills. Don’t be just another tourist with a camera. Use these simple photography tips to create stunning photos.

Composition

How to spot an interesting scene:

• Look for the un-ordinary. if it’s interesting to you it will be interesting to others
• Lines and shapes create interest
• Foreground items draw attention in
• People help tell stories
• Vivid colors catch your attention

Framing the scene to create appeal and balance: refer to a previous post for more info

• Using the rule of thirds is a proven method
• Stepping outside the composition box can produce unique shots, so keep an open mind

Lighting

How to use available light:

• Morning – great for color, fog, silhouettes and reflections
• Noon – keep the sun at your back and use a polarizer
• Evening – sunsets are excellent for color, silhouettes and interesting shadows
• Late night – use long exposures for stars and city-scapes
• Use your meter and camera settings to manipulate light

• Adjusting fstop, shutter speed and ISO can change the amount of light being exposed and can create interesting lighting affects

20 More Tips for Better Vacation Photos

• Instead of pointing your camera at the buildings off in the distance capturing their unique architecture try to put interesting elements in the foreground to help create a story

• Wait for subjects to come into your composition. It may take a few minutes of waiting to catch your foreground interest but it will pay off adding additional appeal to your photos
• It is common to pull the camera out in midday when the sun and tourist are out in full force, try getting out first thing in the morning or at the end of the day when the light is complimentary for great photography color and depth
• Mid-day bright light mixed with deep shadows can be difficult to expose, use your spot meter to get an average meter reading
• Get out early to beat the tourist crowds and be amongst the locals on their way to work or out doing their morning activities, they can make for excellent added interest
• Look for unique compositions that differ from typical vacation snap shots, change up your perspectives, get down low or get up high for a bird’s eye view, place objects in your composition to the outer edges (not smack in the middle)
• Be aware of tourist who insist on being in your frame no matter how you move about, just wait them out or turn around and see what’s in the other direction
• Be aware of locals who do not want to be photographed, some may get upset without their permission
• Be aware of locals that want to be photographed but want to be paid, they see you with a camera and want to make a quick buck
• Be aware of the direction of the sun in relation to your scene – it seems like all the best stuff wants to point you towards the bright light, if possible keep the sun at your back
• The beach and ocean can be difficult to photograph, use additional foreground or background interests to spice things up
• If you have a tripod and a ND filter long exposures of the ocean waves make for interesting shots
• Be quick, scenes change in an instance
• Snap a series of photos to give you more choices within the same scene
• Bracket your exposures, I like 3 quick shots 1 stop apart, that way if my meter reading is off I will most likely have one properly exposed shot or I will have 3 images for exposure blending or HDR processing
• Try to be inconspicuous when photographing, candid shots are always best
• Pack extra memory cards and batteries, you do not want to run out when it’s all happening
• Keep a lens cleaning cloth handy, the ocean air can leave a salt film on your camera and lens in a matter of minutes
• Never change your lens at the beach, blowing sand and salt air can wreak havoc on your gear
• TAKE GIGS OF PHOTOS, more is better

Photographing Havana Cuba is a photographers dream with its architecture, cars and people. But you need to beware of your surroundings at all times and ready at a moment’s notice to frame your foreground interest just right so that your composition falls generally within the rule of thirds grid (vertical and horizontal). Things happen quickly in the big city so have your camera and eye ready at all times and you will have some amazing holiday photos to show friends, family and the world.Article and photos by Mark McCulloch / www.photopaddler.com

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1. Any photography contest is subjective. A group of judges, presumably with some credentials, will choose what each of them think is the best photo. Their judgment, however, has as much to do with their life experience as it does with their technical photographic knowledge and compositional abilities. The lesson is to forget about the judges; you can’t control their emotional or subconscious response to the theme or your pictures. You’re more likely to do well in a photo contest, and/or make a living as a photographer, if you have your own set of lofty criteria about what is an excellent photo. In reality, the only person against whom you’re competing is yourself. If you can satisfy or exceed your own criteria, then you are already a winner, and are more likely to score high with the judges.

2. Shooting photos that comply with the theme of the photo contest wouldn’t seem to be much of a secret, but it must be because so many entrants typically submit photos that are off target. Your first task, therefore, is to read the contest rules more than once and make sure you understand them explicitly. If the contest theme is “happy children,” then don’t just assume because you are a parent, you can capture a winning image. Study the work of successful child portrait photographers. Find and study the winning photographs of other contests with a children’s theme. Learn how to use their techniques in your pictures just short of copying their images directly.

3. Regardless of your photography skill levels, you’ve learned that photography, like other art forms, has compositional rules, such as the rule of thirds. Photography also has its own set of technical rules, relating to how you use the camera, lens and their technology. This is similar to how a painter uses a brush or a sculptor a modeling tool. It’s an unwritten law that once you know the “rules,” you’re allowed to break them. The contest judges know this “law” too. As you begin to visualize the kind of photo(s) you would like to create to submit to the contest, think how you would capture them according to the “rules” as well as which specific rule you might break to record a truly unique and winning image. Breaking photographic rules can be a creative tool, if you know how to control it. You just might present the judges with an image they can’t overlook.

4. Typically, judges are looking for a message, a story in your photo that connects with them. One of the “rules” of conveying a message or emotion in a photograph is to keep the composition as simple and as uncluttered as possible. Generally, the more elements in a photo, the more likely the message is diluted or lost completely. This is especially true if the message is supposed to come from a subject or single element within that visual cacophony.

5. The story you tell in a photo must be powerful and strong. It should seem to leap from the image. You want your message to slap the judges in the face because they won’t spend much time looking at your photo(s). Photography can be an excellent medium to convey subtleties of emotion and drama, but you’re trying to win a contest. Save your subtle messages for a photo exhibition in a gallery, when viewers have more time to search for and connect with your understated story.

6. As mentioned in #3 above, photography is bound by technical rules. Don’t expect photo contest judges to disregard the technical flaws in your image just because the composition is outstanding. That being said, breaking technical rules can also lead to highly creative and original photos. Make sure you understand the technique you plan to break thoroughly before you use it purposely as a creative tool. When you decide to submit such an image, you are definitely working without a net. One group of judges will understand and appreciate what you are trying to create; another group may throw it on the reject pile immediately.

7. During the visualization, or planning, process of the photo(s) you want to shoot for the contest, take some additional time to find the unique approach that will allow your image to be different from all the rest. Regardless of the compositional and technical perfection of your photo, if it looks like most of the others, then it won’t receive a second look. Think deeper about the contest theme and create an image that represents it with as much originality as possible.

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1.   For many photographers, traveling with camera equipment and personal luggage can be a huge hassle. They often need multiple bags on wheels or must rent a number of airport luggage carriers. Even then, piling equipment cases and luggage on those carriers doesn’t make them very secure when hurrying through the airport. Bringing a separate cart or dolly isn’t much of a solution, since it becomes an extra piece of baggage to check, and the airlines charge for it.

2.   Maybe, the ultimate solution is one of the Porter Case products designed and manufactured specifically for photographers. These travel cases are built with sturdy 4-inch, ball bearing wheels on solid 3/8” steel axle, so they can be rolled through the airport, across a parking lot or on most any surface where your photography assignments take you.

3.   They also conform to TSA luggage regulations, allowing them to be taken onboard. They roll through the aisle and fit under many seats and in overhead compartments. Each Porter Case is fastened with a TSA combination lock for complete safety when it must be checked, which also permits security personnel to open and inspect the case with their passkeys.

4.   Since Porter Cases don’t have to be checked at the airline counter, photographers also save a considerable amount of money with no excess baggage charges.

5.   The biggest advantage of Porter Cases, however, is that many of them also have a CART system. It easily transforms into a rugged baggage carrier on which you can stack as much as 150 pounds of camera cases, tripod and lighting packs and your personal luggage. The tie-down strap then secures all the luggage and bags in place.

6.   A Porter Case is so durable it can also be used as a seat when waiting for a scheduled flight or train.

7.   The PCi Camera Divider Case and PCi Deluxe Camera Divider Case have side and end handles and an equally protective interior. The inside of the lid has a form-fitted piece of foam and an elastic crossover strap. The main compartment is ringed with an outer foam piece and divided into a series of adjustable sections for various photography equipment and accessories. There is another foam piece covering the bottom of the interior that can be customized to the size of your equipment.

The PCi Deluxe Camera Divider Case has an added narrow compartment in the lid that accommodates thin laptop computers, such as the MacBook Pro and MacBook Air.

8.   The PCX Lite Photo Divider Camera Case is another Porter Case solution for budget-conscious photographers, who still need the protection and security of the full-size cases. The PCX Lite features a similar interior design as the PCi Camera Divider Case and PCi Deluxe Camera Divider Case, including foam inserts in the lid and bottom of the case and 8 customizable dividers to create the compartments you need for your specific photography equipment.

The PCX Lite is also small enough to take on board a plane and fit under seats and in overhead compartments. Its CART mechanism will support as much as 100 pounds.

9.   Other Porter Cases designed for photographers include the Rolling Softie 160 Photo Camera/Computer Case and the Large Rolling Softie 260 Photo Camera/Computer Case that is 2 inches wider than the 160 model. These smaller cases are built to hold a camera and some accessories or a digital projector and a laptop.

10.        The PCi Camera Divider Case is priced at $242.00 and the PCi Deluxe Camera Divider Case at $259.00 from BH Photo Video on its Web site at http://www.bhphotovideo.com/c/search?Ntt=Porter+CaseN=0InitialSearch=yes.

11.        The PCX Lite Photo Divider Camera Case retails for $224.00, the Rolling Softie 160 Photo Camera/Computer Case for $226.00, and the Large Rolling Softie 260 Photo Camera/Computer Case for $244.00. Visit the Porter Case Web site at http://www.portercase.com/catalog/ for more information.

Feel free to visit our tripods, bags and all “other” accessories forum

Photograph provided by www.adorama.com

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1. Poets have often equated night with sinister and evil events, giving it a negative connotation in opposition to the bright, positive sunlit hours. For photographers, the night is the other half of a 24-hour day that is generally neglected as being too dark for creative shooting. Nothing could be further from the truth. Night may be the absence of sunlight, but artificial lighting (and the moon and stars) still illuminates the same scenes and objects that are there during the day, just differently. That’s where creativity resides. You must be willing step into the night and find it.

2. An excellent experiment is to experience the night from a photographic perspective without the use of your camera. Most humans spend the nighttime hours in their residences, and sleeping, so it’s likely you don’t know the night as well as you think you do. Schedule a few nighttime walks through your neighborhood and city. Leave your camera at home. Primarily, you want to notice how the light that is available illuminates the night environment. Make one of your walks (or drives) in the downtown section of a city. Visit a brightly lit retail area of your town. For contrast, drive into the country on the night of a full moon and notice how the moon lights objects differently than artificial lights. If you’re serious about nighttime photography opportunities, then schedule your scouting trips at different times during the night, including the wee hours.

3. Common objects that you see or use during the day often become more interesting at night. They become creative subject matter because photos taken of them after sundown communicate a different mood or feeling than they would at midday.

4. Be particularly observant of how the outlines of shapes can be more distinct, whether they can be recognized or are just in silhouette. A tree branch, the texture of a brick wall and the pattern of bumper-to-bumper cars on a brightly lit city street seem to be more visible or evident.

5. At night, colors seem to come from a different palette. It is as if there is an entirely unique set of colors for the night. They are garish when mixed with plenty of black, while other colors appear muted and subtle. The colors define the scene or object/subject, but become secondary to the shapes and high contrast.

6. Look for silhouettes and shadows. Silhouettes are a rather obvious creative approach for nighttime images, so try to avoid the clichés and think of unique ways to use the silhouette technique. The shadows of night are too often overlooked. Light creates another set of shapes when casting shadows; plus, a shadow is what creates the high contrast that can make night photos so interesting.

7. Overhead lighting is another element of the night that has no effect during the day; so many photographers forget these ready-made lighting sources. It’s another reason to explore the night environment. Although a bit of a cliché too, the regular pattern of a circle of lights on the pavement from a series of overhead fixtures creates a “night studio” where you can capture more artistic images. Colored overhead lights in an entertainment venue, for example, give faces an unusual cast and charge the atmosphere with a far different mood than during the day.

8. One of the reasons to visit a city’s downtown area at night is to see how monolithic structures, such as skyscrapers and government buildings, reveal aspects of their architecture that are rather mundane, boring and unappealing in daylight. Backlights on the courthouse entry pillars suddenly create depth and a dynamic perspective.

9. You can make the night the time when you shine the brightest, creatively; finding and capturing outstanding images while most other photographers are snoring.

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Back in the days of old school photography it took a lot of skill and know how to produce a good panoramic photo. In recent years computers and software have become very powerful and efficient at producing top notch images easily. Panorama photography can have a very dramatic affect on viewers and a major wow factor when printed in a large format. Years ago you had to have a special panorama tripod head that required leveling from front to back and side to side, setup took forever. Software stitching had to be done by hand, manually lining up images and overlapping them. It all had to be so precise or it just didn’t look right. Not to mention how long it took the computer to process it. Now a days with new technology and new software, shooting perfect panos is a snap.

10 Steps to Perfect Panos

1. Look for an interesting scene, then plan your start and stop points. Panos do not only go from horizon to horizon but can also be framed vertically, stacking foreground, center frame and sky . I call this technique my poor man’s wide angle lens.

1. Use a tripod for easier alignment.*In good light I prefer to use a stable body stance by holding  my legs shoulder width apart, arms and elbows tucked in tight to my sides and forearms resting on my chest for stability. To pan I  turn from the hips using a fluid motion, making sure to hold my stance firm.
2. Using the view finder frame your first image and then do a practice sweep to see how your last image will be framed. Do this a few times back and forth to help line up a good framing point for all images. It also helps to loosen you up if you are shooting without a tripod.
3. Two keys to successful software stitching are to overlap your images by 25 – 30 % and if possible have objects for reference in those overlap areas.
4. Use manual mode for camera aperture and shutter speed, adjust shutter speed for each frame to ensure equal exposures. Also use manual focus to lock focus for all frames.
5. With the camera setup in manual mode and your camera stabilized pan from the hips pausing at each overlap point for a photo, be sure to use a stable fluid motion to ensure good image alignment. I usually take 3-5 images per pano. Shoot a few different passes to ensure a good set of working images.
6. View your images on your computer and choose the best series of photos to use within your computer stitching software, I prefer The Panorama Factory v5 by Smoke City Design. It is easy to use and excellent at aligning images (that’s why I can get away without always using a tripod). When selecting images keep in mind that they are on the same level and exposure for best results.
7. Import your images into your photo stitching program, follow the steps using the wizard guide to begin the stitching process. Make sure your images are in the correct order with proper rotation. After a minute or so it’s done, save it to your photo folder.
8. Open the pano up in Photoshop or your favorite photo editing software, to do any further processing, eg. cropping, sharpening, saturation adjustments or the use of a 3rd party plugin.
9. Save, Print or Publish to the Web.

Tips

• Avoid photographing moving objects eg, waves, trees blowing, people walking, cars etc. They do not blend well when stitching
• Panos can be shot holding you camera in landscape as well as portrait mode (horizontal / vertical)
• Overlap images by 25-30%
• Use objects to help align images eg. trees buildings, mountains, horizon lines
• Wide angle lens can be difficult to align with its fisheye effect
• Use a hotshoe bulb level, they come in handy

* Tripod Use

There is a time and place for tripod use. Some shots you just can’t get without the use of one. But I believe strongly in learning good camera holding techniques. When not attached to the tripod you are free to move around getting different angles and perspectives quickly. The more photo choices you can give yourself the better the chance of finding that wow shot. You know how it is during a sunrise, sometimes you only have 5 minutes of vivid color to get your shot and I can’t afford 3 of those minutes  resetting up my tripod.  For that reason I have mastered the ability to hand hold my camera rock steady.

*All images in this article were shot without the use of a tripod.

It’s that Easy

Photos and Article by Mark McCulloch / www.photopaddler.com

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