awfulsteelmelon
Patterns of the forest (b&w infrared)
The longer I do this, the more I appreciate going panoramic in un- typical or enclosed environments, not just the classic broad open vista compositions.
With a proper projection and some tweaking (I presume it depends on the basic configuration of the panorama head as well), the distortion can be held in check pretty good I'm willing to say. So it does not really look like a ultrawide fisheye thing or a panorama in general, does it?
Even though this one is not quite, but almost 360°! Yet it effects the image in a significant way, there is 'more' in there, more than just holding an ultra wide angle lens into the woods.
Not exactly sure what it is, but this kind of panorama invites (me) to dwell a bit and wonder over it and explore, and the bigger it is displayed the better. My best guess is that even though it is not heavily distorted, my brain very well recognizes that this type of view is not common, that it's unusual and weird and that this in fact makes me more attentive to it, cause it's strangely unfamiliar. And I think that's a good thing.
The late Milton Glaser when asked about 'fine art' said, that art at it's fullest capacity makes us attentive, allows us to reengage with reality once again, anew.
So it strips away our notions of what we thought it is, and that's why art, as a means to move us towards attentiveness, is terrible important for every culture (to survive).
With that, I'm not suggesting that I believe my photos are art, but should one, accidentally, accasionally fullfill this function I certainly won't be opposed to it.
Last pano of a long day, late afternoon, clouds had set in plus full coverage of the foliage led to extended shutter speeds. Taken from an almost 360° mercator projection (~278,8MP), cropped to 21132 x 9831px, ~208MP.
Nikon D90 (APS-C, fullspectrum mod)
Tamron 10-24mm f/3.5-4.5 Di ll VC HLD
Hoya R72 (720nm infrared pass-filter)
ISO200, 24mm, f/6.3, 13sec
tripod, panorama head, remote (ML-L3)
Patterns of the forest (b&w infrared)
The longer I do this, the more I appreciate going panoramic in un- typical or enclosed environments, not just the classic broad open vista compositions.
With a proper projection and some tweaking (I presume it depends on the basic configuration of the panorama head as well), the distortion can be held in check pretty good I'm willing to say. So it does not really look like a ultrawide fisheye thing or a panorama in general, does it?
Even though this one is not quite, but almost 360°! Yet it effects the image in a significant way, there is 'more' in there, more than just holding an ultra wide angle lens into the woods.
Not exactly sure what it is, but this kind of panorama invites (me) to dwell a bit and wonder over it and explore, and the bigger it is displayed the better. My best guess is that even though it is not heavily distorted, my brain very well recognizes that this type of view is not common, that it's unusual and weird and that this in fact makes me more attentive to it, cause it's strangely unfamiliar. And I think that's a good thing.
The late Milton Glaser when asked about 'fine art' said, that art at it's fullest capacity makes us attentive, allows us to reengage with reality once again, anew.
So it strips away our notions of what we thought it is, and that's why art, as a means to move us towards attentiveness, is terrible important for every culture (to survive).
With that, I'm not suggesting that I believe my photos are art, but should one, accidentally, accasionally fullfill this function I certainly won't be opposed to it.
Last pano of a long day, late afternoon, clouds had set in plus full coverage of the foliage led to extended shutter speeds. Taken from an almost 360° mercator projection (~278,8MP), cropped to 21132 x 9831px, ~208MP.
Nikon D90 (APS-C, fullspectrum mod)
Tamron 10-24mm f/3.5-4.5 Di ll VC HLD
Hoya R72 (720nm infrared pass-filter)
ISO200, 24mm, f/6.3, 13sec
tripod, panorama head, remote (ML-L3)