Actually, I've been creating these pictures for the past couple of years and I'm now working on a book. I normally start with a package of well over 80 pictures (10Mg each), shot hand-held from roughly the same center-of-rotation, sometimes shot on different days or at different hours of the day. The angle-of-view can exceed 180-degrees in all directions. I feed these pictures to a stitching program and remove individual pictures one-by-one until I get an image that is the best representation of the mood of the scene I wanted to capture.
This can be a pretty lengthy process, with a lot of back-and-forth, and the sequence for removing individual components is not neutral to the look of the final image. In fact, you need to have a pretty good ex-ante view of what the final image will look like to keep you on track. It's a bit like when you're burning and dodging in the darkroom... I never use a tripod because I want to build a certain amount of softness and/or continuity-breaks in the final image.
Much of this work is urban landscape and I've posted some occasionnally on the PF gallery. I also work with small groups of people and the process can lead to very intimate group scenes since the pictures are shot over a period of time. This provides a lot more visual material to combine into a single group image than 1/4000th second with flash... -:)
Regards,
Guy
2008/6/28 <PhotoRoy6@xxxxxxx>:
In a message dated 6/28/2008 11:28:14 A.M. Eastern Daylight Time, pinimage@xxxxxxxxxxxxxxxx writes:Guy Glorieux - Inside Monopoli Gallery (Montreal)
Very interesting ! Please tell us how you did it ?16 pictures stitched together. I assume the pipes are really straight so it is the distortion produced by rotating the camera on the tripod for the different frames that produce the curve?Roy
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Khalil Gibran
