Try this one, and its neighbouring pictures, where I intentionally twisted
the camera around the roll axis as I swept it across an arc:
http://www.flickr.com/photos/iantindale/6066091512/in/photostream/



On 21 November 2011 07:28, JohnPW <[email protected]> wrote:

> That's pretty fun.
> Notice how it tried to resolve the parallax problems. It locked onto
> the front surface of the the building pretty well, but had a hard time
> with distant objects "enclosed" by the building. The objects seen
> through the open door and objects reflected in the window glass appear
> partial and repeated rather than being sewn together.
> You can also see the width of the images it collects to make the
> panorama. They're pretty narrow.
>
> On Nov 18, 1:21 am, Ian Tindale <[email protected]> wrote:
> > As an experiment, I shot this by abusing the Sony Sweep Panorama feature:
> http://www.flickr.com/photos/iantindale/6241529419/— I held the camera
> > level and simply walked along in a straight line, pointing the camera
> > sideways, starting at one end of that room and ending at the other end.
> > Obviously I must’ve veered slightly towards it by the time I got to the
> > end, but it was only a quickie test to see if the technique could be
> > applied to shooting panomurals (as I’ve termed them).
> >
> > On 18 November 2011 06:34, kfj <[email protected]> wrote:
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > > On 18 Nov., 00:13, JohnPW <[email protected]> wrote:
> > > > On Nov 17, 4:13 pm, kfj <[email protected]> wrote:
> >
> > > > > This is why we now try and coerce 2D hardware to do a 1D job.
> >
> > > > I actually think using a 2D camera might be superior in many ways.
> > > > Besides ready availability of interchangeable equipment,  it would
> > > > also be more forgiving of camera movement while also allowing you to
> > > > readily remove moving object artifacts.
> >
> > > That's a point (or two, rather ;-)
> >
> > > And maybe trying to do stay 1D and even 2D is too limiting anyway -
> > > eventually, we'll embrace 3D scene reconstruction, and for that
> > > purpose parallax becomes an asset.
> >
> > > Kay
> >
> > > --
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> >
> > --
> > *Ian Tindale*
>
> --
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-- 
*Ian Tindale*

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