{"id":18023,"date":"2011-01-30T16:26:00","date_gmt":"2011-01-30T16:26:00","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/uncategorized\/masterclass-with-tom-mackie-yorkshire-dales-18023"},"modified":"2014-09-02T15:50:41","modified_gmt":"2014-09-02T14:50:41","slug":"masterclass-with-tom-mackie-yorkshire-dales","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/masterclass-with-tom-mackie-yorkshire-dales\/","title":{"rendered":"Masterclass with Tom Mackie – Yorkshire Dales"},"content":{"rendered":"

When photographing the landscape, it can be tricky fitting everything into the frame. Even using your widest focal length there are situations in which it is impossible tosa capture the scale of a place in a single shot. As frustrating as this can be, there is a solution: to shoot a sequence of frames and stitch them together in Photoshop to create a panoramic image. In this month’s Masterclass, Tom Mackie and three AP readers trek to the Yorkshire Dales to try their hand at shooting and stitching panoramic images.\n<\/p>\n

\n<\/img>The sweeping landscape of Aysgarth Falls provided the ideal location for shooting panoramics<\/em><\/p>\n

Tom met the readers the night before and discussed the plan for the following day over dinner. \u2018Depending on the weather, we’ll attempt a dawn panorama over the village of Askrigg and then visit Aysgarth Falls in Wensleydale, North Yorkshire, and photograph the Upper, Middle and Lower Falls,’ says Tom. \u2018We’ll then drive to West Burton Falls, a short distance away, and finally, if we have time, travel to Hardraw Force, England’s largest single drop waterfall, which is great for vertical panoramas’.<\/p>\n

The following morning, as the rain lashed down, a dawn shoot was out of the question, but the readers, huddled under umbrellas and undeterred, set out to capture some of North Yorkshire’s most majestic waterfalls.<\/p>\n

<\/img><\/p>\n

They had brought their own cameras, lenses, tripods and cable releases with them, and Tom was on hand to help them set up their tripods and cameras, and share his in-depth knowledge throughout the day. \u2018While you don’t need a tripod with an expensive panoramic head to create sweeping panoramas, a good-quality tripod, preferably with a ball head and spirit level on the tripod neck, is useful,’ says Tom. \u2018You may want to use an ND grad filter, but avoid using a polariser when shooting the sky as the polarisation will vary. You could use a polariser for the waterfalls [if there’s not much sky in the frame] to reduce the shutter speed and blur the water. This will also reduce the glare on the water. Try using a 2-3sec exposure and see if you can create interesting swirls and patterns using the foam on the surface of the water. Think creatively and try to previsualise your shots.’<\/p>\n

Tom advised the readers to use manual focus as they rotated the camera across the scene. One approach is to manually focus on a point in the middle distance, making sure there is enough depth of field.<\/p>\n

The readers shot horizontal and vertical panoramas (where they used the camera in portrait format) in each of the locations. \u2018I’ll typically shoot five to seven frames for a 6x17cm image,’ says Tom, \u2018although how many pictures you shoot is up to you.’<\/p>\n

Your AP Master…<\/strong><\/p>\n

<\/img>Tom Mackie<\/em>
\nA former contributor to AP’s Photo Insight series , Tom Mackie, is one of the world’s leading photographers. He has spent many years as an architecutural, industrial and landscape photographer and has a penchant for panoramic photography. Tom has published several books and written numerous articles for photography magazines. He also lectures on photography and regularly holds workshops in the UK and abroad. www.tommackie.com<\/p>\n

The AP Readers…<\/strong><\/p>\n

<\/img>Kim Benson<\/em>
\nKim, 48, lives in Oxfordshire and works in medical publishing. While she likes to photograph most subjects, Kim especially enjoys detail shots of flowers and abstracts. Kim uses a Canon EOS 400D with an 18-250mm and 500mm mirror lens. \u2018I had a great time today,’ says Kim. \u2018It was an enjoyable, enlightening experience.’<\/p>\n

<\/img>Lee Miles<\/em>
\nLee, 39, is a software developer and lives in Kent. He likes landscape and street photography and uses a Nikon D70 with 18-70mm and 70-300mm lenses. \u2018I really enjoyed the Masterclass,’ says Lee. \u2018It was a great opportunity to hear sound advice from Tom.’<\/p>\n

<\/img>Norman Robertson<\/em>
\nNorman, 64, is a member of Leeds Photographic Society and lives in Leeds. Now retired, his main interests are landscape and wildlife photography, as well as some sports and action photography. He uses a Canon EOS 5D Mark II with 17-40mm, 24-105mm and 100-400mm optics. \u2018The lessons from Tom about setting up the camera and tripod, and how to stitch the frames together afterwards, were invaluable,’ says Norman. \u2018I had a really good time.’<\/p>\n

Would you like to take part?<\/p>\n<\/h2>\n

<\/img><\/p>\n

Every month we invite three to five AP readers to join one of our experts on an assignment over the course of a day. If you would like to take part, visit www.amateurphotographer.co.uk\/masterclass<\/a> for details of how to apply. Please remember to state which Masterclass you would like to attend and make sure you include your name, address, email address and daytime telephone number in your application. Each participant will be able to use his or her own camera, lenses and other equipment. <\/p>\n

<\/p>\n

Shooting Panoramic Images<\/h2>\n

Shooting panoramic images requires a
\n little thought to achieve striking compositions. While you could, in
\ntheory, make any scene into a panoramic, to produce an image that is
\nengaging to look at you need to look and \u2018see’ in a panoramic format as
\nyou are composing your image. Most important is that there are
\ninteresting elements to keep the eye hooked from left to right. Decide a
\n beginning and end point for your panorama, and think about the balance
\nof subjects between these two points. Look for elements that complement
\nand support your main subject. You could place your subject on a third,
\nbut be careful not to include all the interesting material at one end –
\nyou want to compose your shot to retain the viewer’s attention across
\nthe whole image and ensure the eye glides seamlessly from one side to
\nthe other.<\/p>\n

\u00a0<\/img>Norman Robertson captures this dawn view over Wharfedale in the Yorkshire Dales<\/em>\n <\/p>\n

\u2018Think
\n about how you can use foliage and bracken to frame your shot,’ says
\nTom, \u2018and omit anything that doesn’t enhance the main subject or that is
\n obviously distracting to the eye. As you’re framing your shot, keep
\ncolour in mind and think about how you can balance different colours in
\nthe frame. Remember that you are composing for a 6x17cm frame and this
\nrequires a different compositional mindset. You may find it helpful to
\nhave a 6x17cm viewfinder card when looking at the scene to help you
\nenvisage your final composition.’<\/p>\n


\n <\/p>\n

Setting up the Tripod and Camera<\/img><\/h2>\n

Before
\n you start shooting, it is vital to set up the camera and tripod
\ncarefully otherwise you will run into difficulty at the stitching stage.
\n First, you need to make sure your tripod is level and that your camera
\nis level on the tripod. A tripod with an built-in spirit level is
\nuseful, as is a spirit level attached to the camera’s hotshoe. <\/p>\n

Once
\n your camera is set up and levelled, rotate the camera across the scene
\nto make sure everything is positioned where you want it in the frame.
\nWhen you come to take your sequence of shots, keep the camera level as
\nyou rotate it. \u2018The tripod head you use is important in keeping the
\nmovement smooth,’ says Tom. \u2018A tripod with a pan-and-tilt head is ideal,
\n but a ball-and-socket tripod will work fine, too.’ <\/p>\n

Shooting<\/h2>\n

Once
\n the readers had set up their cameras and tripods, they were ready to
\nstart shooting. Tom suggested they overlap each frame by a third to
\nensure sufficient overlap and shoot more frames than they needed. The
\nreaders tried shooting with their cameras horizontal and vertical. While
\n horizontal panoramics can look effective, they allow less room to
\ndevelop the composition from top to bottom and the final panoramic will
\nbe long and thin. Positioning the camera vertically on the tripod and
\ntaking a series of shots will instead give you a composition with more
\nheight, although you will most likely need to take more frames if you
\nuse this approach. <\/p>\n

\n<\/img>Rotating her camera vertically, Kim captures the drama of Aysgarth Falls<\/em><\/p>\n

Nodal Point and Parallax Error<\/h2>\n

When
\n panning the camera to shoot a series of frames, parallax error can
\nsometimes occur. This is due to the shifting relationship between near
\nand distant elements in the scene. One way to avoid this is to choose
\nscenes with no foreground detail, but if you do have foreground detail
\nin your shot you can solve the problem by rotating the camera around its
\n optical centre or \u2018nodal point’. A detachable bracket called a nodal
\nslide that fixes to your tripod allows you to position the camera in
\nrelation to the tripod head so it rotates from its optical centre.<\/p>\n

<\/p>\n

Exposure<\/h2>\n

<\/p>\n

Norman Robertson uses a slow shutter speed to record the motion in the water at West Burton Falls
\nOne
\n of the biggest considerations when shooting panoramic landscapes is how
\n to make sure your exposure is the same from frame to frame. It’s not a
\ngood idea to use autoexposure, as the darker and lighter areas of the
\nscene will affect the exposure as you rotate the camera. When you come
\nto stitch the images together, the join between individual frames will
\nbe visible and you’ll need to make adjustments, which can be time
\nconsuming and fiddly. Tom suggested exposing for the waterfall to ensure
\n the highlights aren’t lost. You can then either dial in the reading
\nmanually or work in aperture priority mode and use exposure
\ncompensation. Alternatively, you could meter for an average part of the
\nscene and use this as your exposure for each frame. An easy way to
\nensure that your exposure is even is to expose for an area that is
\nneither the darkest nor the lightest part of the scene, switch to manual
\n mode and dial in this exposure.<\/p>\n


\n <\/p>\n

<\/img>Lee Miles stayed in Askrigg for a couple of days after the Masterclass and was lucky enough to capture this superb sunrise<\/em><\/p>\n

Once
\n you are happy with the exposure, take a series of test shots across the
\n scene to check that the exposure is consistent and use this for each
\nframe. \u2018Photographing in bright overcast light is ideal to give an even
\nexposure,’ says Tom. \u2018You don’t want to shoot in bright sunshine as the
\nlight will be too contrasty and wreak havoc with your metering. Dialling
\n in your exposure manually is particularly useful if you are
\nphotographing a sweeping dawn shot where areas around the sun are much
\nlighter and cause variance in the scene. When photographing waterfalls
\nyou want just enough water to create a swill,’ he adds. \u2018If you have a
\nhuge deluge, the white areas will burn out.’<\/p>\n

<\/p>\n

<\/img>Photo by Kim Benson
\nIncluding a figure in the scene can help to create a sense of scale of your panorama <\/em> <\/p>\n

<\/p>\n

Tom
\n suggested using cloudy white balance to get an idea of how the image
\nwill look and to shoot in raw to allow maximum control over the file
\nduring the editing process. \u2018One thing to bear in mind when you’re
\nshooting panoramics is moving clouds or people moving through the
\nscene,’ says Tom. \u2018You may need to retouch your image afterwards to
\nclone out any duplicated objects.<\/p>\n

<\/p>\n

Lens and Focal Length<\/h2>\n

<\/p>\n

Tom
\nsuggested the readers use a standard or telephoto lens, and explained
\nwhy these lenses are more effective for panoramic images than a
\nwideangle lens. \u2018If you use a wideangle lens you will get what’s known
\nas a “bow-tie” effect in your final stitched image,’ says Tom. \u2018This is
\ncaused by the distortion that occurs with wideangle lenses. If you
\nchoose your focal length carefully and avoid using the widest focal
\nlength of your lens, the bow-tie effect should be reduced. I find
\n50-70mm the best focal length to use.’<\/p>\n

<\/p>\n

Black & White<\/h2>\n

<\/p>\n

<\/img>Lee Miles converts his image of the Ribblehead Viaduct to black & white, adding impact to the scene <\/em><\/p>\n

<\/p>\n

Although
\n the readers concentrated on shooting in colour, Tom suggested they
\nmight like to try a few shots and convert their image to black &
\nwhite afterwards. Scenes that would work well include those with obvious
\n shapes and patterns. After the Masterclass Lee stayed for an extra day
\nand photographed the Ribblehead Viaduct in the Yorkshire Dales National
\nPark, which lends itself perfectly to a panoramic approach. The arches
\nlook especially dramatic in black & white as they cut through the
\nrolling landscape. In this shot, industry is juxtaposed with nature and
\nthis creates an interesting tension. <\/p>\n

<\/p>\n

Stitching the Images Together and Top Tips<\/h2>\n

<\/p>\n

<\/img><\/p>\n

<\/p>\n

\u00a0Top Tips
\n<\/h2>\n

<\/p>\n

    \n
  1. Make
    \n sure your tripod and camera are level before shooting. This will enable
    \n you to rotate the camera smoothly across the scene. After you have
    \nlevelled your tripod, mount your camera and use a hotshoe-mounted spirit
    \n level to check that the camera is level.\u2028<\/strong><\/li>\n
  2. Decide where your
    \npanoramic will start and finish, and pan across the scene, roughly
    \nplanning your overlaps and the number of frames.\u2028<\/strong><\/li>\n
  3. To calculate
    \nyour exposure, take a reading from an average part of the scene and,
    \nswitching to manual mode, dial in the exposure. Use this for each frame
    \nyou shoot, but watch out for changing light.\u2028<\/strong><\/li>\n
  4. Focus manually and
    \n start taking your shots. Move the camera to the right, making sure you
    \noverlap each frame by approximately a third. Continue this process until
    \n you have the desired number of frames.<\/strong><\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    In this Masterclass Tom Mackie shows three readers how to shoot and stitch fantastic panoramic images in the Yorkshire Dales. Gemma Padley joined them<\/p>\n","protected":false},"author":323,"featured_media":18024,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[36],"tags":[],"product-category":[],"class_list":["post-18023","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-technique"],"yoast_head":"\nMasterclass with Tom Mackie - Yorkshire Dales - Amateur Photographer<\/title>\n<meta name=\"description\" content=\"tom mackie\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/masterclass-with-tom-mackie-yorkshire-dales\/\" \/>\n<link rel=\"next\" href=\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/masterclass-with-tom-mackie-yorkshire-dales\/2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Masterclass with Tom Mackie - Yorkshire Dales\" \/>\n<meta property=\"og:description\" content=\"tom mackie\" \/>\n<meta property=\"og:url\" content=\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/masterclass-with-tom-mackie-yorkshire-dales\/\" \/>\n<meta property=\"og:site_name\" content=\"Amateur Photographer\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/Amateur.photographer.magazine\" \/>\n<meta property=\"article:published_time\" content=\"2011-01-30T16:26:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-09-02T14:50:41+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/sites\/16\/2011\/01\/Norman_Robertson_Dawn_over_Wharfedale.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"560\" \/>\n\t<meta property=\"og:image:height\" content=\"280\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Rosee Woodland\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@AP_Magazine\" \/>\n<meta name=\"twitter:site\" content=\"@AP_Magazine\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Rosee Woodland\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/masterclass-with-tom-mackie-yorkshire-dales\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/masterclass-with-tom-mackie-yorkshire-dales\/\"},\"author\":{\"name\":\"Rosee Woodland\",\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/#\/schema\/person\/f95a396031978ed0ea69236f11b520a5\"},\"headline\":\"Masterclass with Tom Mackie – Yorkshire Dales\",\"datePublished\":\"2011-01-30T16:26:00+00:00\",\"dateModified\":\"2014-09-02T14:50:41+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/masterclass-with-tom-mackie-yorkshire-dales\/\"},\"wordCount\":2229,\"commentCount\":1,\"image\":{\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/masterclass-with-tom-mackie-yorkshire-dales\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/sites\/16\/2011\/01\/Norman_Robertson_Dawn_over_Wharfedale.jpg\",\"articleSection\":[\"Technique\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/masterclass-with-tom-mackie-yorkshire-dales\/\",\"url\":\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/masterclass-with-tom-mackie-yorkshire-dales\/\",\"name\":\"Masterclass with Tom Mackie - 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