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09-01-2012, 02:56 AM   #16
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QuoteOriginally posted by rob1234 Quote
Quick try at 1.4 with the DA*55:

Not fantastic.



K5, DA*55, circa 10 shots
It's a solid result though.

With this method, the narrower you want the DoF, the harder it is. For tiny DoF you need to get close to the subject, but that means that to get a wide field of view you need to take a LOT of shots.

I've been thinking it's been ages since I did any photos like this and I should do some more, as I love the results. I'll be photographing a friend's 10 year anniversary vows soon and I thought I might stretch myself to try a Brenizer with the couple.

09-01-2012, 03:33 AM   #17
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QuoteOriginally posted by rob1234 Quote
I am practising with boring subjects until I can get it right!

I am finding it incredibly difficult to perfectly line up/merge the photos, regardless of what software and settings I use! I have little problem using a wideangle, but close shots with a short tele are stumping me...

I think part of it is not moving the camera very much from around it's central axis?

Here's another. I only ended up using about 6 frames of 20 though, hence not that exaggerated an effect:
Very nice!
The level of immersion with this image is reminiscent of MF qualities. BTW. how do you feel about sharing some of your experiences and observations on this particular technique?
ie. would you be open to a Q&A type type questions on this shooting method?
  • Were you trying to achieve a desired effect?
  • Do you work-out calculations and/or formula's such as with a particular lenses + distances type of things to achieve a desired result?

I'd love to learn more about this and I'm sure alot of other people would also.

Last edited by JohnBee; 09-01-2012 at 06:30 AM.
09-01-2012, 04:24 AM   #18
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I'm glad this thread has come up again. I found this method months ago and am keen top get it right. I did a trial run with my macro, but I now have a 135/2.8 that I'll use when I get an adaptor, then save for a faster prime.

This is my test run, composition is crap and lighting doesn't match so ignore that, I was just trying it out quickly. I've tried my 50/1.7 but there is too much barrel distortion to stitch it.

09-01-2012, 11:13 AM   #19
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I spent some time this afternoon with this method, with mixed results. The best one is the first. The others brought some problems. Two and three had missing areas so had to be cropped much tighter than I'd have liked. Five refused to use many of the shots which should have formed the upper half of the photo. This seems to be a weakness with the program (Autostitch) and I can only think that it was caused by the the difficulty of matching portions that are purely bokeh.

All were taken using jpeg only 2MP shots. Cross-posted to the "M" club as they demonstrate well the rendering of the M 85mm f/2.












Last edited by Jonathan Mac; 09-01-2012 at 11:24 AM.
09-01-2012, 01:33 PM - 1 Like   #20
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Rob and J Mac -- thanks for getting the thread started and keeping it alive. I made my first attempts at some Brenizer panos recently and while it was mainly a learning exercise in the negative sense (what not to do), I'd like to join in. I attempted four different panos in one outing, using a Pentax-A 50/1.2. My first was ineffective, because I was too far from the focus plane, so that the background wasn't blurred enough to still look really blurry when the pano is scaled down to reasonable size. So I learned that you need to be close enough to the subject to get a strongly blurred background.

My second attempt I managed to defocus the lens early on, so that nothing is in focus. Oops. So I learned that I am an idiot, and also not to rush.

Third attempt a little better:



I'm still a little too far from the focus point, so that at this small size the background doesn't look all that blurred, but there is at least some of the effect.

Fourth attempt less effective:



Even though I'm closer to the focus point, I think the reasons the effect doesn't quite come across (at this scale; works a little better when larger) are that I didn't include enough blurry foreground, and the subject (the sculpture) isn't isolated enough to stand out.

So, next time I attempt this, I'll look for a subject that is isolated from its immediate surroundings, well lit to help it stand out, get fairly close to it, and include plenty of foreground as well as background.

Also, I think it's important to choose a subject whose scale is easily discerned. That's one reason people work well for these. But also why Rob's park bench and lawn mower and J Mac's horse work well.
09-02-2012, 08:53 AM   #21
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Two more from this morning. Did six sets; got two worth sharing. Main problem with the other four was leaving gaps, especially in the foreground.


Great Blue Heron and Barnacle Geese, bokeh panorama
SMC Pentax-DA* 200 @ f/2.8



Charlotte Brodie Garden, bokeh panorama
Vivitar Series I 90/2.5 @ f/2.5
09-03-2012, 10:21 AM   #22
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More experimenting in my back garden with the FA77:



100x 2MP shots



37x 2MP shots
09-03-2012, 10:42 AM   #23
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QuoteOriginally posted by rob1234 Quote
37x 2MP shots
That one is very effective reproduced at this size. I imagine the larger one (100 shots!) would also be effective at the same scale, i.e. a much larger size. That's the problem with displaying these things on the web.

09-03-2012, 01:53 PM   #24
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QuoteOriginally posted by baro-nite Quote
That one is very effective reproduced at this size. I imagine the larger one (100 shots!) would also be effective at the same scale, i.e. a much larger size. That's the problem with displaying these things on the web.
Of my recent ones above, the first (which I consider the best, and the only one that didn't have gaps) is composed of 88 2MP shots and the total result is 40MP.

I think for the future, to ensure full coverage, the trick is to take all the shots, being very careful, and then take a second set of just as many shots in order to use them to fill any gaps in the first bunch. The problem is starting in the centre to make sure you get focus right. The second set should be left to right, top to bottom, with less worrying about the main subject, which won't have any gaps anyway.
09-22-2012, 03:59 PM   #25
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20 shots with the M50/1.4

09-22-2012, 11:53 PM   #26
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Looks pretty good, although a little under-exposed, it definitely has that wide angle but shallow DoF look. Exposure is tricky as you need to expose for the whole area you're going to shoot. I usually shoot jpeg-only for these shots too (for speed) so adjustments aftwerwards are not viable because I have no RAW file.
09-23-2012, 04:13 AM   #27
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QuoteOriginally posted by Jonathan Mac Quote
a little under-exposed
You're right -- I was exposing to keep the sky from blowing out too much, but there's very little sky once I've done the stitch and crop. Here's a brighter version with mild vignette:

09-23-2012, 02:45 PM   #28
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I expose primarily for the subject and if the sky gets blown out a bit then so be it, that's digital. How many shots is this made up of? I assume the lens was wide open?
09-23-2012, 03:50 PM   #29
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Yes, wide open. 20 exposures, although with my haphazard handheld technique there is a lot left on the cutting-room floor. Re exposure, I generally shoot raw so in most cases prefer to preserve highlight detail, then bring up the shadows if needed.
11-02-2012, 04:49 PM   #30
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This is stitched from around 60 2MP jpegs taken with the M85 f/2 wide open. For once I managed to avoid leaving any holes. I loaded the jpeg into Paintshop Pro X4 for cropping, fixing the considerable barrel distortion caused by the wide angle view from a telephoto lens and I played with the Nik Colour Efex plug-in a little too.


Last edited by Jonathan Mac; 06-15-2013 at 01:01 AM.
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