On Wed, 20 Jun 2001 14:45:20 +0100, Steve wrote:
>i honestly don't think that it can be done. The problem is, is that although
>you may mount the camera on a panning tripod, use the same exposure etc, the
>light entering the camera will be at a different angle each time you pan and
>will show up mostly in the exposure of the sky.
>
I have had reasonable success with an OM with a lens of 85mm or
longer. Steve alludes to the problem of apparently differing
exposures that can very noticeable at the "joins". The longer the
focal length, and smaller the panning increments, the less this effect
will be. Another factor worth considering is that there will *always*
be some slight variation across the frame due to shutter slit width
compensation not being "spot on"; totally unimportant in individual
frames but noticeable when you stitch. I suggest that you use the
camera vertically so that the focal plane shutter runs vertically
(especially for exposures of more than 1/60 sec) and, obviously, use
only manual exposure.
I also use a Bronica ETRSi with leaf shutter, where this slight
variation across the frame is noticeable by its absence, so to speak.
Assuming you make enlargements to form the panorama, it is crucial
that the enlarger is *perfectly* aligned: negative stage, lens and
baseboard and that the illumination is perfectly even. The exposure
times and processing of the individual prints must be *absolutely*
identical too. Again, none of these variations would matter unless you
are creating a panorama. It is also evident from the above that the
illumination of the original scene over the whole "sweep", coupled
with the contrast of the paper, must be such that all the elements of
the panorama can be "contained" tonally with equal exposure and
processing of all of them.
Regards
John Gruffydd (Mold, Wales, UK)
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