5. Press your shutter button halfway down to set your exposure, then look in your viewfinder and make note of the f-stop and shutter speed. Now switch your camera to manual mode and dial in that f-stop and shutter speed. If you don't, and you shoot in an auto exposure mode of any kind, your exposure may (will) change for one or more of the segments, and this will drive you insane when working in Photoshop.




6. Once you focus on the first segment, turn off auto focus for your lens. That way, your camera doesn't refocus as you shoot the different segments, which would be (will be) very bad.




7. Before you shoot your first segment, shoot one shot with your finger in front of the lensthat way you'll know where your pano starts. Do it again after the last shot.




8. Overlap each segment by 2025%. That's right, make sure that about 1/4 of your first shot appears in the second shot. Each segment needs to overlap by at least 20% so Photoshop's stitching software can match things up. This is very important.




9. Shoot fairly quicklyespecially if clouds are moving behind your landscape. Don't be lollygagging for two minutes between each shot. Git 'er done, or something could change (lighting, clouds, etc.) in your pano, which will really mess things up.




10. Use a shutter release, or at the very least a self timer, so you don't have any camera movement as you're shooting each segment. Nothing's worse than one segment that is blurry.


Now, if you followed the rules set out on the previous two pages, the rest is easy:


Step One. Open Photoshop and then open all the photo segments (so all the photo segments are open at the same time).




Step Two. Go under Photoshop's File menu, under Automate, and choose Photomerge.




Step Three. In the resulting dialog, from the Use pop-up menu, choose Open Files. Make sure the Attempt to Automatically Arrange Source Images checkbox is turned on, and then click OK.




Step Four. When the main Photomerge dialog appears, it will stitch the photos together into one seamless panorama (well, as long as you followed the rules laid out earlier). If you see a small seam at the top, between two segments, go ahead and click OK anywaychances are it will be gone when the final image is created. If for some reason it's not, use the Clone Stamp tool (S) to cover it by pressing-and-holding the Option key (PC: Alt key) and clicking nearby in an area of sky that looks similar to sample that area. Then, choose a soft-edged brush from the Brush Picker and clone (paint) over the little seam to hide it.


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Smiling Eyes gives you the Best award winning guide for Digital Photographers, now tackles the most important side of digital photography--how to take pro-quality shots using the same tricks today's top digital pros use (and it's easier than you'd think). "If you and I were out on a shoot, and you asked me, 'Hey, how do I get this flower to be in focus, but I want the background out of focus?' I wouldn't stand there and give you a lecture about aperture, exposure, and depth of field. In real life, I'd just say, 'Get out your telephoto lens, set your f/stop to f/2.8, focus on the flower, and fire away.' You d say, 'OK,' and you'd get the shot. That's what this book is all about. A book of you and I shooting, and I answer the questions, give you advice, and share the secrets I've learned just like I would with a friend, without all the technical explanations and without all the techno-photo-speak." This isn't a book of theoryit isn't full of confusing jargon and detailed concepts: this is a book of which button to push, which setting to use, when to use them, and nearly two hundred of the most closely guarded photographic "tricks of the trade" to get you shooting dramatically better-looking, sharper, more colorful, more professional-looking photos with your digital camera every time you press the shutter button. Here's another thing that makes this book different: each page covers just one trick, just one single concept that makes your photography better. Every time you turn the page, you'll learn another pro setting, another pro tool, another pro trick to transform your work from snapshots into gallery prints. There's never been a book like it, and if you're tired of taking shots that look "OK," and if you're tired of looking in photography magazines and thinking, "Why don't my shots look like that?" then this is the guide for you.
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