A series of overlapping photos that span the entire scene can automatically be stitched together to produce one big, beautiful, contiguous image with no trace of seams. But there a few tips to keep in mind. Here they are:

First, make sure that the images overlap each other by about 25% or so. The software does its magic by matching up image elements in the scene, so lots of overlap will tend to produce better results. I’ve noticed I tend to use maybe a little bit more than is necessary. But I’m very happy with the results I’ve been able to achieve.

Second, a tripod will help you align the images properly. Without the tripod, you may have too much vertical offset between images. This will ultimately reduce the size of the final image since non-overlapping areas will get cropped away near the end of this process.  But I have been able to get great results handheld.

Third, using a consistent exposure will make it easier for the software to smoothly blend the component images into a single image. This will be easier if your scene has an even tone. With larger tonal shifts, this will get trickier to control. Photoshop will perform a tonal blend as well as image element alignment between neighboring images. And you don’t want depth-of-field differences among the photos. If you feed Photoshop higher-quality images, it will be happier.

Once you have 3-5 overlapping images, fire up Photoshop and select File – Automate – Photomerge. You can then import the images to be blended. Next choose one of the blending algorithms Photoshop will use to make your panorama. I’m usually amazed at how well ‘auto’ works, but you can also choose ‘perspective’, ‘cyclindrical’, ‘spherical’, etc….. Experiment until you find one that you like best. Your image will be generated quickly and each component photo will now be on a separate layer. At this point, I usually flatten the image, crop away the unwanted areas around the perimeter, and then start playing with levels, curves, saturation, sharpening, etc…..  (If you have CS5, the “content-aware fill” will produce amazing results).

Here’s an example using some photos I took 9-19-10. This first image shows the four component images all placed next to each other. You can tell that each image overlaps its neighbor by at least 25%. The sky was darker in the left image but the tone in the areas of overlap in neighboring photos was pretty consistent.

The second images shows these same four photos overlappped “manually”. That is, I merely dragged each photo into place based on my perception of lining up image elements. You can now see clearly the amount of overlap between neighboring images. You can also now get a sense of what the final panorama will look like.

And now…. the moment you’ve been waiting for. Here is the result of using Photoshop’s Photomerge command:

With a little planning and keeping a couple simple tips in mind, big, beautiful panoramic images are possible. Don’t forget to try capturing a number of images in portrait mode too to get more sky and/or foreground in your panorama. Hope this helps you get the images you want. Happy shooting.

Fine art reproduction requires a number of steps to be done properly. The first step is the scan. High resolution flatbed scanning is one way to digitize original artwork. The first ‘trick’ is to use high enough resolution so that you’re feeding enough information to Photoshop in the retouching stage and ultimately to the printer in the printing stage. Typically, scans at 300 – 360ppi (pixels per inch) at the full dimensions should suffice. Higher resolution will be required if the artist would like prints larger than the original. The second ‘trick’ is to use the RGB color mode. If you use any other color mode, then the printer will make a conversion that may introduce color shifts. The third ‘trick’, if you’re really meticulous, is to use 16bit color instead of 8bit. This will give very fine gradations in color that may be required for some pieces. The downside is that this results in 2x larger digital file sizes.

The fourth ‘trick’ is to include a grayscale taget within the margin of the scan. This is a small 12-step grayscale piece that allows you to adjust the white point, black point, and neutral gray once you move the image into Photoshop. This step is critical.

Once in Photoshop, the “levels” command makes the white, black,and grayscale adjustments a breeze. As with any fine tuning done to the image, make sure to use adjustment layers. This allows you to tweak the adjustment, change its blending mode and opacity, or delete it without altering the original file…. very handy. These adjustment layers may include things like saturation, hue, levels, curves, etc. If you’re looking at your image on a calibrated monitor (you are calibrating your monitor, aren’t you?) then these adjustments will help you to tweak the digital file so that ultimately the print looks like what you see on your monitor.

ICC profiles for your printer, ink, media, & print resolution are also required to get great results. You may be able to download generic profiles but the best option for high-quality fine art reproduction is to create your own. There are a number of hardware/software systems available. A final step in the retouching process is usually adding a small amount of sharpening. Don’t overdo it.

Now it’s time to print a proof. Usually a small print on the intended media will suffice. This will allow you to check the tone, color accuracy, color saturation, etc. At this point, it’s important to compare your proof to the original under proper lighting. A sneaky, sinister thing called metamerism is lurking in the darkness, waiting to trip you up. Metamerism refers to the fact that a color may look different under different types of lighting. The original and the proof may ‘match’ under the (ugh) flourescent lights in your office but they may be way off under natural sunlight or in the gallery. If you don’t have a 5000K light booth, then just take your prints outside in the natural daylight. At this point, you may need to adjust the saturation, tone, etc. to get a better match.

I recently completed a very successful fine art reproduction job for a local watercolor painter, Dr. William Robinson. Bill is a very talented, self-taught portrait artist. His most recent work was a very cute portrait of his granddaugher, Miranda. All of the steps outlined above were followed in order to translate his original watercolor painting into a digital file that could be printed quickly and accurately onto Epson Somerset Velvet Fine Art Paper using an Epson 9600 inkjet printer. This printer uses the Epson 7-color UltraChrome inkset which will resist fading for many decades. Various sizes were printed according to the client’s wishes. See Bill’s website for more examples of his beautiful work.