Thank you all for the amazing photos - they have inspired me to try this myself.
This morning was a clear, calm day in the UK and I sent my Vision + up over my back garden to take a pano sequence.
The sun was coming up and was in and out of the clouds. The three shots I have where the sun is in the left, center and right of the frame are all "blown out" by the brightness. They are a very different tone from the other shots and the stitching software (Arcsoft Panorama Maker) can't find the corresponding features. So this pano is not a full 360.
A number of the Panos that you folks have taken show a very bright sun, and yet the foreground is still reasonably well lit. I could work on the "problem" images in Photoshop and selectively increase brightness in the foreground, but I wondered if you have any tips for the camera settings. I'm still very new to the Vision + and I haven't really explored camera settings yet.
Do you manually correct the exposure for shots with the sun in the frame?
Having the sun in the frame is just making things difficult for yourself and asking for trouble.
You don't have to shoot a full 360º. Indeed it's rare that a 360º pano looks better than just a segment would.
If you really want to shoot right round .. pick a time when the sun is high and you can keep it out of frame or shoot when it's obscured by cloud.
Thinking about sun angle and shadows is probably the most important aspect for getting good results like this.
I think it's the best I've come up with so far. It looks fabulous full screen on a big monitor - use the copy on my photo website for that.
Hi Meta4,
Very nice gallery, and I totally agree with you. The trick is here in the UK at this time of year, if you're lucky enough to get a sunny day then the sun tends to stay low in the sky all day. But the upside of that is that you have great "slanting light" for most of the pano that gives nice shadow detail. So now I don't feel so bad about not doing a 360!
I agree with you - the partial panos tend to look much better. I've taken a lot of them on the ground.
Both of these have the sun in-frame, but still manage to keep the exposure and tones under control. Very clever handling of the cameras and stitching process, I suspect.
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