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Posts tagged “Pano

SPREADING OUT THE SPRAWL

By MICHAEL PERKINS

PANORAMIC PHOTOGRAPHY IS REGARDED BY MANY AS A BIT OF A GIMMICK, an effect confined to the same ¬†realm as 3-d, fisheye lenses and faked pictures of cats driving sports cars. As a result, it’s rare that a pano is used for anything serious beyond landscape views, and, although apps have allowed even modest phone cameras to produce a modified panoramic effect, the majority of shots are still of ultra-wide, scenic vistas….the view from the beach to the resort hotel two blocks inland, and so forth.

But panos can be used to convey both scope and scale on subjects that have nothing to do with mountains or shorelines, and it’s encouraging to see more new photographers using the recently evolved technology to take advantage of that storytelling option. To use one example, the whole concept of sprawl–congested cities, vast arrays of clutter, the aftermath of the industrial age—seems custom-made for the panoramic’s less limited space requirements. It can actually open up editorial angles on a whole new range of subject matter.

The Pondrous Pile, 2015. Some subjects benefit from this obvious distortion of perspective.

The Ponderous Pile, 2015. Some subjects benefit from this obvious distortion of perspective.

Panos are great for showing overabundance, the sensory overload of contemporary life. In the above photo, it’s used to show the bulging, burgeoning, out-of-control volume of stuff in a congested antiquarian bookstore. The composition is dictated by the ultra-wide format to a degree, but when it’s married to the right subject matter, the shots can have a singular impact.

As with any other effect, there has to be a bottom-line benefit to the tale you’re trying to tell. It’s not enough to elicit a reaction of “wow, that looks weird”. That just relegates what you’ve shot to mere novelty. The upfront question should be: why are you deciding to distort visual reality or amp up the drama on this particular occasion? The effect has to seem inevitable in the result, with your audience admitting that, certainly, that was the best way to approach the shot and get the story across.

Sometimes photographs are about both process and subject. Panoramics have their place in serious photography, but only in serious hands.


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Panos are not for every kind of visual story. The best thing is, you can make them so quickly, it's easy to see if it's merely a gimmick effect or the perfect solution.

Panos are not for every kind of visual story. The best thing is, you can make them so quickly, it’s easy to see if it’s merely a gimmick effect or the perfect solution, given what you need to say.

By MICHAEL PERKINS

PANORAMIC APPS FOR MOBILE CAMERAS CONSTITUTE A HUGE STEP FORWARD in convenience and simplicity in taking the kind of sweeping images that used to require keen skills either in film processing or in digital darkroom stitching. The newest versions of these apps are far from flawless, and, like any effect-laden add-on, they can become cheesy gimmicks, or, used to excess, merely boring. That said, there is a time and place for everything.

99% of the impact in a pano comes from the selection of your subject. Supposing a panoramic view to be a specialized way to tell a story, is the story you’re attempting to tell interesting in its own right? Does it benefit from the wider frame? Let’s recall that, as well as including a ton of extra left-and-right information, handheld pano apps create a distorted version of reality. In the earliest days of panoramas, multiple photos of a scene were taken side-by-side, all with the same distance from camera to subject. This was usually accomplished by shooting on a tripod, which was moved and measured with each new portion of what would eventually be a wide composite. At each exposure, the distance of the tripod to, say, the mountain range was essentially constant across the various exposures, rendering the wide picture all in the same plane….an optically accurate representation of the scene.

With handheld panos done in-camera, the shooter and his camera must usually pivot in a large half-circle, just as you might execute a video pan,so that some objects are closer to the lens than others, usually near the center. This guarantees a huge amount of dramatic distortion in at least one part of the image, and frequently more than one. The effect is that you are not just recording a straight left-to-right scene, but creating artificial stretches and warps of everything in your shot. You are not recording a scene that unfolds across a straight left-right horizon, but capturing things that actually encircle you and trying to “flatten them out” so they appear to occur in one unbroken line. By showing objects that may be beside or behind you, you’re kinda making a distortion of an illusion. Huh?

Again, if this is the look you want, that is, if your subject is truly served by this fantasy effect, than click away. You’ll know in a minute if it all made sense, anyhow, and that alone is a remarkable luxury. These days, we can not only get to “yes” faster, we can, more importantly, get rid of all the “no’s” in an instant as well.