Panorama of Cruise Ships at Bar Harbor, Maine / October 18, 2016 by Todd Henson

Final stitched panorama showing 3 cruise ships docked at Bar Harbor, Maine, in stormy weather.

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The Story

Bar Harbor, Maine, is a popular tourist destination both by land and by sea. On one of the days my father and I spent in the area we saw three cruise ships docked at Bar Harbor. The day had been very drizzly, with clouds at low elevations, low enough they completely engulfed Cadillac Mountain. An overlook on one of the park roads offered a great view of all three cruise ships with parts of Bar Harbor peeking through the tops of the trees. Various islands could be seen further out and the clouds completely filled the sky.

It was a beautiful scene, and I wanted to capture as much of it as possible. The first images I created were with a wide angle lens, trying to get everything in. But then I had the idea to create a multi-image stitched panorama to capture more detail. Rain was moving back in, the winds were picking up, and fog was quickly coming in from the left, so I had to work quickly. I setup the tripod and fired off the shots. In the end I had 13 images to work with. I would later use Lightroom to stitch these together into the final panoramic image.

The final image has been scaled down in size to allow it to load quickly on the website, so it’s hard to appreciate the detail within it. Below, I’ve split the image into three to make it easier to see some of the details. I did have to crop in a little from the full image to split it into three without cutting into the middle cruise ship. Click on each of the three images to see a larger version of each.

The Technique

I set up my tripod, put the 70-200mm lens on my camera and positioned it vertically, set the focal length to 78 mm, and put everything into manual mode. This included setting the white balance (not in auto mode), setting the aperture, shutter speed, ISO, everything. This is done to assure the camera doesn’t change anything that will affect exposure from one image to the next. If the exposure changes between images then we won’t be able to cleanly merge them in software.

My tripod has a bubble level on the collar, where the tripod head mounts. I made sure that was level. This assured the base of the tripod was level and would help me create a level and even panorama. I also put a double axis bubble level on the camera's hot shoe. I used this to assure the camera was level. I was using a ball head, so it would be easy for the camera to not be level even though the base of the tripod was. I tightened the ball head, but loosened the panning base to allow me to rotate the camera left and right, keeping it level. Once I had everything level it was time to shoot.

One of the many tips I’ve picked up from others is to start and end a sequence of images that will all be used together, either for panoramas or HDR, with a photo of my hand. This way I know where the sequence starts and where it ends, making it much easier to pick out the images in Lightroom. I also try to shoot more than I think I’ll need to give me plenty of room to crop if needed, something that is almost always necessary with stitched panoramas.

I started from the left side and created the first image in the sequence. Then I panned the tripod head to the right. I made sure to have plenty of overlap between the first and second images to give the software enough information to line up the images correctly. I continued this process, creating an image, then panning between 1/3 to 2/3 of an image to the right, then creating the next image. In the end I used 13 of the images to stitch the final panorama. This created an image close to 80 megapixels in size using a 12.3 megapixel camera.

The Post-Processing

Post-processing the 13 raw images into the final panorama was actually very easy. In the past Lightroom needed to export the images to Photoshop to merge them. But the process is much simpler now that Lightroom has the ability to merge panoramas itself. You can still use Photoshop for more complicated or troublesome panoramas.

Step 1: Select All The Images

The first step is selecting all the images in Lightroom that will be part of the panorama. This step shows nicely how I overlapped each photo, creating plenty of duplicate content that Lightroom used to properly stitch them all together.

Step 2: Click Photo Merge, Then Panorama

After all the images are selected, right click, then click on Photo Merge and select Panorama.

Step 3: Panorama Merge Preview

A window titled Panorama Merge Preview will pop up. It may take Lightroom a little time to create a preview of the panorama, depending on how many images you have and how large they are. You can see on the right of the window Auto Select Projection is checked, as is Auto Crop.

Step 4: Projections and Cropping

Once the preview is created you can try manually switching between the different projections to see if one does a better job than another, but in most cases Lightroom should be able to choose the best one automatically. You can also try checking and unchecking the Auto Crop box to see how well the images were stitched together.

Step 5: Click Merge

I unchecked the Auto Crop box so you can see the difference. There isn’t much difference in this case, which is great. It means I did a good job of creating images with little distortion and I kept everything very level. You can see a little on the lower right and the upper left that gets cropped. If you prefer, you can use the Boundary Warp slider to warp the image to fill it all in, instead of cropping, but doing so does distort parts of the image. In some cases you won’t notice the difference, but in others the warp might be too obvious and distracting. In this case everything lined up so well I used the Auto Crop box. Click the Merge button when you’re ready for Lightroom to merge the images.

Step 6: Lightroom Creates The Panorama

The pop up will disappear and you’ll be back in the normal Lightroom interface, but notice in the upper left corner the status bar showing it is creating the panorama.

Step 7: The Raw Stitched Panorama

When Lightroom is finished it will display the final stitched panorama. Now all you need to do is apply any desired raw adjustments.

Step 8: The Final Adjustments in Lightroom

Here you can see my final image, after I finished adjusting the raw panorama.

The Resources

The resources below contain affiliate links and I will be compensated if you make a purchase after clicking on my links. This is at no extra cost to you.

I’ve learned how to shoot and edit panoramas from a number of sources. Some of the best are CreativeLive classes I’ve purchased over the years. CreativeLive is a company that produces fantastic online video classes on a large range of topics. One of the first topics they began teaching was photography. They bring in amazing photographers and teachers and have them teach classes live. During the live broadcast they stream the class, for free, over the Internet. If you enjoy the class you can purchase it, giving you the ability to stream it again anytime you want. When you purchase you also get access to HD-quality videos you can download and watch at your leisure. And many classes have extras available when you purchase.

Below are the CreativeLive classes I’ve purchased that are about, or have sections about, creating panoramas.

Photographing Panoramas for Large Prints with Mike Hagen

In this 1-day class from 2016 Mike discusses everything about panoramas. He talks about how to create them in the field, how to setup your gear, what settings to use on the camera, how to shoot the images that will be stitched together later in software. Then he goes into how to process the images in software. He shows how to merge the images into a panorama in Lightroom, and also shows how it is done in Photoshop using the Merge to Panorama in Photoshop option. Finally he talks about how to print the panoramas on a large format printer. He shows how to print from both Lightroom and Photoshop, and he goes into both how to print the images on your own printer and best practices when sending the images out to a lab to be printed. This is a really excellent class if you’re interested in panorama photography.

Creative Wow: Panorama Photography with Jack Davis

This is a 1-day class from 2014 dedicated solely to panorama photography. Jack Davis is a great instructor and talented photographer. This class is part of a series he did called Creative Wow, where each 1-day class covered a single topic. Great series, I own them all. Jack goes into many aspects of panoramas, such as what makes them so great, how to create them, how to setup the camera, examples of using an iPhone for panoramas, and lots of post processing techniques in Photoshop.

Post-Processing for Outdoor and Travel Photography with Ben Willmore

In this 3-day class Ben teaches post-processing techniques in Lightroom and Photoshop for outdoor and travel photography. The majority of the class uses Lightroom, and it focuses on outdoor and travel. The class is from 2014, which is before Lightroom had the ability to merge panos, so the merging is done in Photoshop. The pano sections are very similar to those in Ben’s Photoshop for Photographers classes. This is not the class for you if all you want is panorama techniques, but it's great if you want to know lots of other techniques related to outdoor and travel photography.

Landscape Photography with Marc Muench

This 2-day class has a short section on stitching panoramas. The class is from 2014, which is before Lightroom had the ability to merge panoramas itself, so Marc used the feature in Lightroom that sends the images to Photoshop, which automatically stitches the images for Lightroom. He then discusses a little about what he does in Photoshop before saving the file back to Lightroom for final processing. I would not recommend this class if your only interest is panoramas, but I would recommend the class for all things Landscape. Marc Muench is a name you should know if you’re interested in nature landscape photography.

Innovative Techniques for Outdoor Photography with George Lepp

In this 1-day class from 2015, George Lepp talks about a large number of techniques he uses to create his images. One of the techniques is panoramas, and he talks about various types of panos. As with others, this is not a class to purchase strictly for the pano section, but like Marc Muench, George Lepp is a name you should know if you’re into nature and outdoor photography. I enjoyed getting George’s perspectives and insights on all the techniques he covers, which include things like photographing birds, mammals, macro, snowflakes, landscapes, lightning, panos, HDR, time-lapse, video, and more.

Photoshop for Photographers: The Essentials with Ben Willmore

This is a 3-day class from 2014 that covers the basics of Photoshop. It’s essentially a class to get you started and give you skills you need to perform basic Photoshop work. Of course, in 3 days you do get more than just simple basics. On the second day Ben covers a number of techniques, such as black and white, focus bracketing, and panoramas, as well as others. The panorama section is just under 30 minutes and covers the basics of stitching a pano in Photoshop. This is not the class if your only interest is panoramas, but it’s a great class if you’re looking for an in-depth intro to all things Photoshop.

Photoshop for Photographers: Beyond the Basics with Ben Willmore

This 3-day class is a continuation to Ben’s Photoshop for Photographers: The Essentials. In this class he covers more advanced techniques. On the first day he had 2 sessions covering difficult panoramas. These include creating an HDR panorama, and handling panos that don’t stitch cleanly using the automated Photoshop tools. He also goes into ways to adjust and correct perspectives in panoramic images. As with the other Photoshop for Photographers class, this isn’t for you if your only interest is panoramas, but if you have the first class and want to continue learning, or if you already know the basics and want to begin learning more advanced techniques, then this may be an excellent class for you.

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Rocky Shoreline of Acadia National Park / October 11, 2016 by Todd Henson

My favorite image of a rocky beach in Acadia National Park, Maine

Acadia National Park, in Maine, has some absolutely beautiful coastline. Most of it is rough coastline with rocky beaches, which I much prefer over the more common sandy beaches down south. During a recent vacation my father and I explored parts of Mount Desert Island, which contains the main portion of Acadia National Park. Park Loop Road loops through a large part of the park and contains the majority of the sites most commonly seen (though there is much to be seen outside this loop). On our final day in the park we drove through the one-way portion of the loop and were favored with fantastic views of the rocky coastline extending out into the Atlantic Ocean, with some islands in the distance.

The morning had begun with light rain and some fog. We started the day with a drive towards the summit of Cadillac Mountain, but it was completely fogged in, much as it had been the very first day we drove up there. So we turned around, went back down the mountain out of the fog, and took the one-way portion of Park Loop Road. I’m glad we did.

The Panoramic View

We found a location with a small pull out on the side of the road. It was a small enough location they hadn’t put in a full parking area. A trail led from the road out along the top of a cliff line that ran above a small inlet and rocky beach. It was a fantastic view with several places to photograph from. At one of the views I created a series of images, holding the camera vertically and rotating the camera a little between each frame, knowing I’d merge these into a multi-image stitched panorama when I got home. The final image was created from 8 individual vertical frames.

Little Hunters Beach Panorama in Acadia National Park

Little Hunters Beach Panorama is available for purchase as a print or on a variety of products.

Down to the Rocky Beach

A wooden stairway led from the road down to the rocky beach. There were still storm clouds around from the earlier rain, and the tide was slowly coming in, moving up the beach. I decided this inlet would be perfect to try some long exposure images of the water lapping at the rocky beach. The lack of parking kept the crowds down and I had the entire beach to myself for the majority of the time.

I tried two different compositions, one facing the shoreline and cliffs to the left, where I’d created the panoramic image, and one facing the shoreline to the right. I processed each differently, tweaking the white balance just slightly to give each a different mood.

For the first composition I faced towards the right, including part of the rocky beach and the right edge of the inlet. I used an aperture of f/22 for a large depth of field and a slower shutter speed, and put on a 10 stop neutral density filter, allowing me to hold the shutter open for 70 seconds. This turned the water into a milky mist. In post-production I lowered the color temperature, which shifted the white balance towards the blue end of the spectrum. This gives the image a colder feel.

Long exposure (70 sec) of right side of inlet taken from rocky beach, cooler tones

For the second composition I faced towards the left, including part of the rocky beach and the left edge of the inlet. I had stood at the top of this cliff line to create the panoramic image. Once again I used an aperture of f/22 and a 10 stop neutral density filter to slow the shutter speed. This time I held the shutter open for 100 seconds. In post-production I warmed up the color temperature a little, though it’s still naturally towards the blue end, and I shifted the tint slightly towards magenta, giving a warmer feel to the image. I think this is my favorite of the two.

Long exposure (100 sec) of left side of inlet taken from rocky beach, warmer tones

Tips For Long Exposures

A tripod is critical when creating these longer exposure images. It’s also good to use a remote release if you have one. If not you can use the timer on the camera to activate the shutter. The key is not pushing the shutter button on the camera during the exposure. Anytime you touch the camera you can introduce vibrations.

To get slower shutter speeds you can use the base ISO for your camera (200 in my case) and stop down the aperture (larger f/stop numbers, f/22 in my case), but you’ll need a neutral density filter to get very long exposures. A 10 stop neutral density filter allowed me to get exposure times in the 1 to 2 minute range. You can try using a polarizer if you don’t have a neutral density filter. Depending on which polarizer you have it should slow the shutter speed down 1 to 2 stops. This may not be enough for very long exposures, but it’s a start. For more ideas about using slow shutter speeds see my post, 9 Creative Uses for Slow Shutter Speeds.

The book recommendation below contains affiliate links and I will be compensated if you make a purchase after clicking on my links. This is at no extra cost to you.

A Book Recommendation

Buy on Amazon

If you’d like to see more examples of the beautiful scenery all throughout Acadia National Park, check out the book, Acadia National Park: A Centennial Celebration. I picked up a copy in a small store in the town of Northeast Harbor, on Mount Desert Island. It’s a large format book, about a foot wide and tall, and around an inch thick. It contains 224 pages, most of which are filled with beautiful images from all over the park, showcasing not just the amazing landscapes, but also some of the wildlife and plant life that inhabits the park. I’m very pleased with the book.

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Book Review - The Art of Photographing Nature by Martha Hill & Art Wolfe / September 20, 2016 by Todd Henson

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This post contains affiliate links and I will be compensated if you make a purchase after clicking on my links. This is at no extra cost to you.

See my review of the updated edition of this book, titled: The New Art of Photographing Nature.

As Martha Hill states in the introduction, this is a book about seeing. It’s about learning how to see a scene, to interpret a scene, to capture that scene in a photograph. And not just a photograph, but a great photograph. It’s about learning the elements that contribute to strong compositions, and how the different choices affect the final image. The book is broken into topics, and for each topic a selection of similar photographs by Art Wolfe are shown. Art Wolfe describes his thoughts about creating the images, and Martha Hill talks about the artistic merit of the photos. Martha Hill was the picture editor of Audubon magazine for 14 years, and Art Wolfe has been photographing and publishing his images for most of his life. His work has been seen in countless publications, including his own books.

I found this book a very effective way of learning about composition in nature photography. I loved the sections that contain multiple similar images and discuss the merits of each. In many cases there is no one best image, but images better suited for one use or another. I also enjoyed the differing perspectives of Art Wolfe and Martha Hill. Art is the artist and Martha is the editor. Each discusses the photos from their unique perspective, and both perspectives have great value. How much value you get from each discussion will depend on your purpose for your own photography.

The Art of Photographing Nature consists of 9 chapters:

Isolating the Subject
Composing the Picture
Defining Your Perspective
The Power of Color
The Elements of Design
Reading the Light
Creative Options
In the Field with Art Wolfe
At the Light Table with Martha Hill

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The sample pages are from chapter 6, Reading the Light, and demonstrate how the different times of the day can affect the quality and character of the light, and thus affect the final photograph. None of the images are necessarily better than the others, but each has a different mood based on the different lighting. The book strives to make you aware of what elements you can use to bring to life the photograph you visualize.

As with so many of my photography books, I keep returning to this one. It’s great to pick a section and re-read it, restudy the photographs. I like to constantly refresh myself on these topics, always hoping to learn something new or further reinforce a subject. Over time I learn and mature as a photographer and I see and appreciate scenes and subjects in new ways, and returning to books like this I’m able to pick up new subtleties I might have missed the first time through.

The topics covered in The Art of Photographing Nature are timeless and just as relevant whether using digital or film gear. If you’re someone who learns from example you might benefit from this book. I continue to find it immensely useful.

The edition of the book I own is from 1993. This edition appears to be out of print and only available used, but I have since purchased a new updated edition published in 2013. See my review of this new edition, titled: The New Art of Photographing Nature: An Updated Guide to Composing Stunning Images of Animals, Nature, and Landscapes.

New edition:

Original edition:

Book Reviews