This building, in the heart of downtown Boston amidst very modern skyscrapers, was once the home of Chadwick Lead Works (obviously). Given that it was built in 1887 it was amazing (and rather charming) to see it standing in a modern downtown area.
This shot is a panoramic stitch of five frames taken from the sidewalk across the street. I would shoot one frame then move down the sidewalk a bit to take the next shot. Having been stitched from several frames you can zoom in and see quite a bit of detail (click the image to get to flickr where you can view the larger size).
This evening I photographed my youngest boys in the backyard with the goal of trying out something called the Brenizer Method, or bokeh panorama. I first heard of it in a post by Brandon Brasseaux. The goal of the Brenizer Method is to create an image with extremely shallow depth of field. If I were to take the shot above using a single frame I would either (1) use a very wide-angle lens or (2) use a “normal” lens and stand far back from the scene. In either case it would be difficult to get much bokeh in the image. I’ll let you consult a depth-of-field calculator for the exact details but suffice it to say that the wide-angle lens — even at an aperture of f/1.8 — doesn’t result in much bokeh when focused at any reasonable distance. A lens like I was using in this shot — a 50mm f/1.4 — would require such a long focus distance (i.e. I’d have to stand so far back) that the depth of field would large enough to eliminate a lot of bokeh. The Brenizer Method uses multiple frames to form the image — using a much shorter focus distance resulting in much shallower depth of field than if you shot one frame standing further from the subject.
The process goes as follows: Instead of standing far away, stand close (I roughly filled the frame with the two boys). I used an aperture of f/1.4 to get the shallowest depth of field and set a shutter speed in manual mode to keep the exposure consistent in all the frames (I also set the camera to daylight white balance). I prefocused on the boys and switched the lens to manual focus. The first frame I took was the one with the boys in it (took many tries to get something decent). I then let them run off and proceeded to shoot overlapping frames (with the camera in the same location) of the rest of the scene you see above. I used 14 straight-out-of-the-camera frames to stitch the panorama in Photoshop but in the end I cropped the image quite a bit. It took all of two minutes to shoot the frames, even with the boys’ goofing off. Since my goal was to try out the method itself, I didn’t stress about background, lens flare, etc.
After stitching I warmed the image a bit, added vignette, tweaked the exposure/clarity on the boys, and removed some of the color fringing on the branches so it wasn’t *so* prominent. Pretty simple stuff. I want to try more of these but next time I’ll find a prettier background. I believe I’ve given enough info for one to start playing with it but if not, an internet search will turn up a lot more information in a hurry.
Here’s a link to posts by the man behind it all: http://www.ryanbrenizer.com/category/brenizer-method/
This is a high-resolution panorama — stitched from 12 individual frames — of the Chisos Mountains in Big Bend National Park at sunset. The sharp V-shape on the left is called the Window as it is the only gap in the mountains which allows a view out when you’re in the mountain basin. It turned out that I had one chance to get this right before the mountains were in shadow. I put the camera in manual mode, metered the side of the mountains using partial metering, and quickly shot the frames at about 60% overlap. I’ve found the large overlap to be helpful in eliminating any distortion. You can get by with only 20% but I occasionally get burned by that. When I completed my first group of frames I double-checked my settings and prepared to shoot another set. I always do this until the light’s gone because (1) it’s insurance against having messed up the other images and (2) as the light changes I may end up liking the light at one point in time versus the other. Just as I was about to shoot my second set of frames a ranger showed up. He stopped to chat and then asked if I could take a couple of pictures of him standing in front of this view with his iPhone and point-and-shoot camera. I thought to myself, “People are more important than pictures”, and obliged. We chatted a minute more before he left and the mountains were in full shadow by that point. Fortunately, I’m quite happy with the pano I ended up with.
The brush in the foreground is annoying but this was as high as I could get unless I was in the bed of my truck. I’ve tried that before and the suspension moves around too much and the frames don’t turn out very sharp.
View the original size on flickr for some amazing detail. I didn’t sharpen the image with the large size in mind but it’s still pretty cool.