Stitching

Technique

Why Your Panoramas Look Wrong (And How to Fix Them Before You Leave the Field)

There’s a ridge above Steens Mountain in southeastern Oregon where the scene simply will not fit in a frame. I’ve stood there with a 14mm lens pointed at a sky that feels three times wider than the horizon deserves, and I’ve watched photographers next to me throw up their hands and shoot anyway, knowing they’re settling. The image they’ll take home is a cropped apology for what they actually saw.

October 9, 2026

Techniques & Workflow

Why Your Panoramas Look Wrong (And How to Fix Them Before You Leave the Tripod)

There’s a particular kind of frustration that comes from driving three hours into the Oregon high desert before dawn, setting up in the dark with cold fingers, watching a perfect 180-degree scene unfold at golden hour, and then getting home to discover your panorama has a bowling-alley curve warping straight across the horizon. I’ve felt it enough times that I eventually stopped blaming the software. The problem almost always starts at the tripod, not the screen.

September 30, 2026

Technique

Why Your Panoramas Look Wrong (And How to Fix Them Before You Leave the Location)

There’s a ridgeline I return to every few years above the Three Sisters wilderness area. The scene demands a panorama. The peaks spread across roughly 180 degrees of sky, and no single frame, even at 16mm, does justice to the spatial weight of standing up there in early light. The first time I shot it, I came home with eight beautifully exposed frames that stitched into a warped, horizon-bending disaster. The peaks looked like they were melting toward each other.

September 10, 2026

Technique

Why Your Panoramas Look Wrong (And How I Fixed Mine After Years of Doing It Badly)

There’s a ridgeline outside of Bend that faces east, and on clear mornings in October the light comes in so low and golden that the juniper trees throw shadows fifty feet long. The scene is too wide for any single frame. Even my 14mm lens can’t hold it. The first time I shot a panorama there, I came home, loaded the files into Lightroom, and watched the software choke on a set of images that almost, but not quite, lined up.

August 27, 2026

Technique

The Art of the Panorama: How to Stitch Together a Scene That Actually Holds Together

There’s a ridge I know above the Cascades where the view runs maybe 180 degrees on a clear morning. The first time I set up there, I tried to capture it in a single frame. I had a 14mm lens on my Sony A7R IV. I shot it, got home, and opened the file. Technically correct. Completely lifeless. The scene had been compressed into something small and forgettable, robbed of the very scale that made standing there feel like something.

August 20, 2026

Technique

Why Your Panoramas Feel Flat (And the Overlap System That Fixed Mine)

There’s a ridgeline outside Bend I’ve been shooting for years. On a clear morning in October, it catches the first alpenglow in a way that makes the whole sky feel like it’s been lit from underneath. The scene is about 180 degrees wide. A single frame, even with my widest rectilinear lens, kills it. The compression flattens the drama, shrinks the peaks, and turns something enormous into something merely pretty. The only answer is a panorama, and for most photographers, that’s where the frustration starts.

June 2, 2026

Technique

Panoramic Photography: Stitching Multi-Row Panoramas

Single-row panoramas stitch a horizontal sweep into a wide image. Multi-row panoramas go further — stitching a grid of images that covers both horizontal and vertical space. The result is an image with massive resolution, full coverage of the scene, and creative possibilities that single exposures can’t match. Why Multi-Row Panoramas Resolution A single frame from a 45-megapixel camera gives you 45 megapixels. A 4x6 grid of overlapping frames from the same camera, stitched together, can produce an image exceeding 500 megapixels.

February 28, 2026