Thames Path Panoramas: Again in January 2013 I had photographed and brought half in a reasonably much less bloody re-enactment of the Epiphany bloody armed riot by Thomas Venner and fellow Fifth Monarchists towards the re-imposition of the monarchy in 1661 being carried out by Class Battle for movie director Suzy Gillett. I’d tried onerous to keep away from getting in the best way of the digital camera however do seem for a number of seconds because the riot made its option to seize St Paul’s Cathedral.
On Sunday fifth January, a yr much less a day later I and others concerned have been invited to a non-public afternoon screening of the movie on the Cinema Museum near the Elephant & Fortress. Because it was a positive day I went up some hours earlier to stroll and {photograph} somewhat close by part of the Thames Path.
I’d been making panoramic pictures for the reason that Nineteen Eighties, at first by reducing and mounting collectively a number of prints from black and white pictures. Again in 1991 I’d purchased my first panoramic digital camera, a Japanese Widelux F8 with a lens that swings round whereas making an image on 35mm movie, held in a curve in order that the centre of the lens stays at a relentless distance from the movie. Later I purchased a number of extra comparable however less expensive cameras made in Russia and a Chinese language beast taking 120 movie.
These cameras all produced a really huge angle of view – round 120 or 130 levels – however with a special perspective to “regular” cameras, with some attribute curvature of objects. The traditional rectilinear view stretches out objects on the edges of the body and is barely actually usable as much as round a 90 diploma angle of view. Later I did work with a Hassleblad X-Pan digital camera and with a 30mm lens which provides a 94 diploma horizontal view – across the most usable for a rectilinear view.
Digital strategies modified the sport. At first I used a movie scanner and software program that enabled me to merge a number of scanned pictures. Then issues turned even simpler once I shifted to a digital digital camera. For tasks similar to ‘The Secret Gardens of St John’s Wooden‘ I mixed as much as round 8 totally different 12.3Mp digital pictures kind a Nikon D300 to make very giant prints with huge angles of view.
However by 2014 I used to be working with a Nikon D800E and it had occurred to me that there was an easier answer with its 36.3Mp pictures. I might use the 16mm Nikon fisheye which provides 180 diploma diagonal protection filling the body after which convert these pictures digitally from their fisheye projection to the extra pleasant cylindrical projection of my panoramic cameras.
I might now make panoramas nearly as simply as taking every other pictures, capturing transferring in addition to static scenes with ease. For many panoramic pictures it is very important have the digital camera stage, and the D800E had good clear indicators that could possibly be displayed within the viewfinder to make sure this, and with an f2.8 lens tripods turned a factor of the previous.
For these pictures I used the extremely versatile PTGui software program, however later discovered the less complicated Fish-Eye Hemi plugin for Lightroom extra handy, although PTGui permits some fascinating choices. Sadly this plugin is not out there, although I hope it or an identical plugin shall be made out there once more. Utilizing it you rework the photographs with none lack of picture on the centres of each horizontal and vertical sides so you’ll be able to visualise what shall be in your ultimate picture when trying on the viewfinder whereas taking pictures.
Many extra photos at Thames Path Panoramas.
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London’s Industrial Heritage – London Images
All pictures on this web page are copyright © Peter Marshall.
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Tags: Battersea, Fish-Eye Hemi, fisheye lens, full-frame, London, London Images, Nikon D800, 9 Elms, panoramas, peter Marshall, PtGui, River Thames, Thames Path, Thames Path Panoramas, Vauxhall
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