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Like the pano before, this one is uploaded because of it's documentary value, rather than it's beauty. It is taken against a low standing sun, so I would like to try again an early sommer morning, with the sun in my back. But until then...
The view stretches from Nyborg (central eastern Fyn) over Romsø island and Hindsholm peninsula (north eastern Fyn) to Æbelø island (north western Fyn). In between some large industrial features and a long hilly area west of Odense. The farthest away features are a transmission tower 63 km away, and the highest hilltop on Fyn 66 km away. The mast is a steel framework construction, so it's thin, and the lens is at it's limit here.
Pano made from 31 pictures (RAW) handheld, 300 mm, f/10, 1/400 sec, iso-200, developed in DPP, stitched with Hugin, spotremoving in GIMP, and a little colour correction, scaling and sharpening in IrfanView.
Pedrotti Alberto, Jörg Braukmann, Hans-Jörg Bäuerle, Gerhard Eidenberger, Jörg Engelhardt, Christian Hönig, Heinz Höra, Geir Anders Langangen, Wilfried Malz, Giuseppe Marzulli, Stephan Messner, Barcud Revnik, Danko Rihter, Walter Schmidt, Christoph Seger, Robert Viehl, Jens Vischer, Augustin Werner
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Comments
Liebe Grüsse
Gerhard.
LG & behüt Dich Gott,
Christian
LG Jörg
Zum Motiv und der Auflösung: Das anscheinend einfache Motiv lebt von der feinen Auflösung. Was ist das denn für ein 300er Objektiv? Doch nicht so eine Scherbe wie das 28-80 von der EOS 50 E, das ich auch noch habe.
Ohne Stativ ist das eine sehr gute Leistung. Hast Du mit Autofocus gearbeitet? Nur jeweils 1 Bild pro Motiv gemacht?
Dann hattest Du offenbar beste Sichtbedingungen. Zum Vergleich habe ich mir Aufnahmen, die ich mit dem EF 70-300 IS @ 300 mm (1/640 Sek., f/9, 100ISO) von Usedom, das 30 bis 45 km von Göhren/Rügen entfernt ist, angeschaut. Die sind beileibe nicht so gut, obwohl ich damals beste Sicht zu haben glaubte.
Jan, entschuldige, daß ich in Deutsch geschrieben habe. Wenn Du etwas nicht recht verstehen solltest, dann versuche ich es, das in Englisch zu formulieren.
My lens is a Canon EF 300 mm f/4 1:4 L IS. You can read about here:
http://www.photozone.de/Reviews/172-canon-ef-300mm-f4-usm-l-is-test-report--review
I bought it back in 1998. Soon afterwards I bought a 1,4 x converter. This combination has been very popular with birdphotographers, because the performance is so good also with the converter (see my Glockner-pano on ap.de #18193), and with a little saving + an ascetic lifestyle it was within reach of the determined amateaur. As you can see it is still holding up pretty good.
When I shoot handheld, for panos, I use the focus-points to aim: I go from left to right, and I try to note where the right point is, then panning so the left point is at the same spot. This method sometimes gives an overlap of 2 pictures. In Hugin I then remove the controlpoints on the second picture, so only one pair of photos has controlpoints. I NEVER use auto-focus! All these years of birdphotographing has learned me, that autofocus isn't 100% sharp. The little beep-noise is a good help, but I prefer the careful examination with my left eye!
All the pictures were shot with the exif-dates listed above. By development in DPP I first checked the highlight alert. Only a thin line in the sea, where the sun is reflected, was marked. Then it got a little complicated, because I tried severel things, including stitching, and it was put to rest. I was not satisfied with the contrast, and it was often too blue. I ended up doing this: In DPP all pictures marked. Then I chose "Daylight" white-balance, and "Neutral" picture style. Then I took "highlights" as much down as I could (-5), and added sharpness (+1). Then exif TIFF 8-bit development.
Then it was stitched with Hugin in a normal way, with exposure correction, low dynamic range. Then it could have been uploaded, but I was still not satisfied completely, because the faraway mast and hills west of Odense was a bit hard to see (and still is). So I tried extra colour and contrast in Irfanview, and it was almost there, but I ended up simply pressing "auto adjust colours" in IrfanView on the original. This made the sea a little darker (and the ship), but it was the best way to show the mast and hills, I think. Most important difference from the original is, that I think it got a little more contrast. So no HDR at all. I would guess the large overlaps is why there are no transsitions.
LG Jan.
As well as you are admiring alpine panoramas, I have to admire your seaside work presented here. Not only the HIGH quality of the picture series, the flawless stitch, and the well balanced colors are admirable but also the answer you gave to Heinz. It gives a deep insight into your very well considered workflow. Thank you for sharing!
Herzlichst Christoph
Bei den Aufnahmen für ein Panorama benutze ich auch die AF-Felder in der von Dir beschriebenen Weise, um eine gute Überlappung zu haben und um möglichst gerade zu bleiben. Das ergibt aber höchstens im Hochformat "an overlap of 2 pictures". Die Kontrollpunkte zu diesen übernächsten Bildern eliminiere ich auch meistens. Wichtig ist, zu kontrollieren, ob es solche Kontrollpunkte gibt und bei Handaufnahmen auf alle Fälle die Punkte, die im Nahbereich angelegt wurden, zu löschen - das ist jetzt ein Hinweis ganz allgemein gewesen.
Interessant ist, daß Du auch DPP benutzt. Ich benutze DPP erst seit ca. 3 Jahren. Vorher habe ich mit Lightroom gearbeitet, nachdem der sehr gute RawShooter von Pixmantec nicht mehr weiterentwickelt wurde, weil die dänische (!) Firma von Adobe geschluckt wurde. Den "highlight alert" in DPP kannte ich noch nicht. Ich hatte nur nach Histogramm gearbeitet, fand das aber etwas ungenau. Die anderen Sachen mache ich ähnlich, aber darin stecken ja die Erfahrungen, die man sammelt oder auch nicht. Ich werde Dir noch extra antworten auf Deine Fragen zur Behandlung von Schnee-Landschaften, für deren bisherige karge Beantwortung ich mich entschuldigen möchte.
Zum Schluß muß ich aber noch meine Verwunderung darüber zum Ausdruck bringen, daß Dein Panorama Nr. 9681, bei dem Du das Kit-Objektiv der EOS 50 benutzt hast, eigentlich genau so scharf ist wie dieses hier.
Sei herzlich gegrüßt von Heinz
Jan, Du bist ein wirklicher Könner!
Gruss Walter
The Image Stabilizer is always in modus 1 (normal). Modus 2 is for moving objects. My tripod is usually equipped with a Leica-telescope (for birdwatching and astronomy). From time to time I will certainly use the tripod, but my pano-trips are usually a spur of the moment, when the weather clears up. And most of the time in winter one needs every minute, before it gets too dark. But I could certainly have used one on this day. I took severel series of the different motifs, because there is a risk of a shot being a little out of focus or shaken.
I use DPP most because I don't have any other developer, but so far I am satisfied. I guess Lightroom and Photoshop could be great to have, but right now my wife is studying, so I am single provider. For now, the free-ware has to do. You can find the highlight-alert if you click a picture and look under "view".
My old 28-80 mm kit lens is also from 1998. From 28-50 mm it is good, but from there the contrast and sharpness isn't quite so good. The pano isn't cropped so tight, that's why it looks OK. LG Jan.
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