August 2, 2018
This is the fourth and final part of my series on creating stitched large format digital images.
Now that you’ve shot the individual parts of your scene, all that’s left is to stitch them together into one giant image. For this task you are of course free to use whatever software you’re comfortable with (and you may very well not need my help here), but for anyone who’s not familiar with panorama stitching I’m going to lay out the procedure I use with Hugin, an open source, cross platform panorama editor and stitcher.
As a disclaimer, I’m not by any means an expert on panorama stitching. However, I seem to have found a technique that more or less works for me, so I’m going to present it here in the hopes that it can help you.
July 15, 2018
This is the third part of my series on creating stitched large format digital images. Part IV is now available.
We’ve covered the basic theory now, as well as the mechanics of connecting a digital back (or mirrorless camera) to your large format studio camera. Now it’s time for the fun part: setting up, composing and shooting your scene.
July 6, 2018
This is the second part of my series on creating stitched large format digital images. Part III is now available.
Before I can get into the fun part, actually creating the photos, I want to cover some of the gritty physical details of actually connecting a medium format digital back to a large format studio camera. In particular I’ll be illustrating the use of a Leaf Credo digital back, because that’s the one I use. If you use a different brand of digital back, or a mirrorless camera, you will need to adapt these instructions to your own equipment.
July 1, 2018
This is the first part of my series on creating stitched large format digital images. Part II is now available.
Over the past few months, I’ve started working with a 4x5” view camera and using what I believe is a somewhat novel technique for digital imaging with it. There is, unfortunately, no commercially available digital back at the moment that comes anywhere near the size of 4x5 film, let alone 8x10 and larger. LargeSense may change that in the near future, but the single-capture large format cameras they’re developing are going to be very bulky and exorbitantly expensive (expected price for the upcoming release of the 8x10 version is $106,000 USD).
You can, however, mount a digital medium format back (or a mirrorless camera) to the rear standard of a view camera. Combined with rise, fall and shift on the rear standard, you can sample different portions of the image circle projected by a large format lens for static scenes. Those samples can then be stitched together digitally, producing a single very large image. Using this technique I’ve gotten up to an effective sensor size of around 3x4 inches, which is why I’ve taken to calling these photos “largeish format.”
January 20, 2014
Glass is one of the trickier materials to photograph, mostly because it’s both transparent and highly reflective. Its transparency can be perplexing–how are you to photograph something that you can see right through?–and its highly reflective nature confounding as unwanted reflections and glare mar your images. With a thorough understanding of those properties, however, you can manipulate them to get just the image you want. In this case, let’s take a look at the process I went through to make this image of a glass of tea.