What's your favorite/desired tripod head manual or motorized for Panoramas?

We're in a revolution where the even the digicam can yield awesome prints of magnificent size and grandeur. Yes, with "one click" smart programs like AUTOPANOPRO can take care of most roll, tillt and other positional incongruity. Still, a Panorama head allows slow shutter speed , so the optimal native ISO settings and minimal noise can be exploited. Thus, even a $300 camera can stand up fairly well to the best MF camera.

I'm very interested in the tools we use to leverage the software revolution.

Asher

Hi Asher
I don't think that you can state

even a $300 camera can stand up fairly well to the best MF camera.

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Maybe for the size of a print, but certainly not for the IQ, quality of smotth gradients, details caught, dynamic range, etc.

Saying so, you plunge into the camp of pixels counters, for the quantity, not the quality.

This does not take anything from APP capabilities, it is an extraordinary program that can give many pleasure to pros using MF or high end dslrs and amateur with a 300$ camera.

But please don't compare!

To answer your question, I use an RSS ballhead, with the Sinar Hy6 and the Canon 1Ds3 as well… a very customizable system that I got to know thanks to OPF and Bart!

RRS website

Nicolas Claris said:

..To answer your question, I use an RSS ballhead, with the Sinar Hy6 and the Canon 1Ds3 as well… a very customizable system that I got to know thanks to OPF and Bart!

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Yes, I concur. I have played a bit with Bart's RRS pano head but took no pictures with it, yet. It seems to be very solid and well crafted. The only nitpick I have is the obligatory L bracket one has to buy for each and every camera body, and also one for the body and another one for the battery grip plus body. I wouldn't mind if it was cheap, but it isn't unfortunately. So I am saving for that day when I can afford a set ;-).

Cheers,

I've been stitching for about 6 years now, both at home and at work. I stitch for 1 of 3 reasons (in no particular order).

1. More resolution. I don't don't stitch for this reason very often anymore, since my now 1Ds2 now has enough resolution to print what I need. For this, I usually use whatever tripod head i have with me. This can obviously be done with any camera.

2. Thinner DOF. Stand as far away as you need to, to get your desired perspective with whatever lens you like the framing of, then pick out a longer lens (preferably f2.8 or faster, and twice the focal length, or more, more the better) then shoot a grid of images wide open, and you'll get much thinner DOF, has somewhat of a large format feel. For this goal, it works pretty good, though heavily out of focus areas need to be blended/stitched by hand. For this, I usually use a regular 3-way head. This is best done with a camera/lens that has a fast aperture, smaller dig-cams would probably not work very well for this, their effect would be similar, but not as pronounced because they (usually?) have smaller chips, and slower apertures at longer (effective) focal lengths.

3. 360 (or 180) panorama HDR environment maps (no, not tone-maps), I do this at work when we need to place a CG object into live footage, ahving the 360 degree map for lighting data and reflections is the goal. For this I'll usually use a panorama head, whatever I can get my hands on. Although with my 1Ds2, alot of panorama setups are just not strong enough to hold the camera steady, and lighter/smaller cameras aren't fast enough (well, maybe now they are) or have enough bracketing capability to replace the 1Ds2 for this task. A 180 degree fisheye is used when high resolution is not needed (it's faster!) an 18mm is used when high resolution is needed, and if super high resolution is need, then something along 35mm would be used, but very data intensive (3 to 7 exposures for each 'section' of the panorama, when needed)


Since my #2 reason is not a very common (or known) reason for stitching, I'll post an example.

Here's a shot with an 85mm f1.2 lens (at f1.2), followed by a stitched grid with a 300mm f2.8 lens (at f2.8) taken from the same position without moving the tripod back. Even though the original lens is an f1.2, the stitched 300mm at f2.8 yields a thinner DOF. The result is even more dramatic when your starting lens is a slower lens, the 85/1.2 is already a very fast lens. THe differences are even more noticeable in larger versions/prints. As you can see, no change in perspective (since they were taken from the same tripod position) but the DOF is thinner (and an added bonus of having more resolution)

85/1.2

300/2.8 stitched

Hmmm very interesting!
Reason 2 is amazing! thanks for sharing!

Nicolas Claris said:

Hmmm very interesting!
Reason 2 is amazing! thanks for sharing!

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Yes, Daniel's stitching example is a good one.

DOF is related to shooting position (and focal length).

Bart

Daniel,

I too like the effect you have in building the card from stitched subimages using a longer lens.

Now if you wanted to have a better pano head, what would you ask for?

I think speed is important if one is going at work at sunset or a large group of people, like an orchestra with over 100 musicians.

Easy stepping through the rows with no fumbling once it's set up. So I'd like an automatic system.

The shutter should be tripped reliably.

One system I'm interested in is from gigapan. The unit is promising in that it seems simple to set the upper left and lower right of the planned field of interest. I believe one can allow time at each stop so that bracketing is possible. I wonder whether one could use it with a laptop and after Gigapan has moved to a new position have the laptop fire the shutter and bracjet if one wants.

Anyone have any insights I'd appreciate hearing more on smart panoheads for stitching.

Asher

Daniel,

I too like the effect you have in building the card from stitched subimages using a longer lens.

Now if you wanted to have a better pano head, what would you ask for?

I think speed is important if one is going at work at sunset or a large group of people, like an orchestra with over 100 musicians.

Easy stepping through the rows with no fumbling once it's set up. So I'd like an automatic system.

The shutter should be tripped reliably.

One system I'm interested in is from gigapan. The unit is promising in that it seems simple to set the upper left and lower right of the planned field of interest. I believe one can allow time at each stop so that bracketing is possible. I wonder whether one could use it with a laptop and after Gigapan has moved to a new position have the laptop fire the shutter and bracjet if one wants.

Anyone have any insights I'd appreciate hearing more on smart panoheads for stitching.

Asher

Hi Asher,

My favorite Pano head is the RRS "Ultimate-Pro Omni-Pivot Package" on a BH-55 ballhead.
This is what it it looks like:

Image © RRS

It costs a bundle but it also allows to work fast (time is money), and accurate at the same time. It is also relatively lightweight, which is useful when you have to carry it along for some distance. It is easy to take apart if you have to travel, and it stores in a compact package.

It can be used as is, directly mounted to a tripod without head, but it works even faster when used on a Ballhead.

The RRS system is exactly that, a system. The components of the package can be used individually in other configurations as well.

Im interested in an automated system, but it would become bulky to accomodate a heavy camera and lens. Again, the time saving must also justify it's price.

Bart

Hi Bart,

I already have a lot of RRS adapters and I'm pleased with them. Is there much wobble and sag in your system? These are issues with a lot of Panoheads.

In thinking of an automatic system, one has to look at cost, convenience to setup, breakdown and pack for travel as well as the reliability to fire the shutter and move through the same center for all shots.

I'm asking for ideas and concerns, since I'm in notice of a shipping advisory that my Gigapan Epic will be here shortly. So I'm wondering if you have any questions I should put to it in putting it through it's paces?

Asher

Asher Kelman said:

Hi Bart,

I already have a lot of RRS adapters and I'm pleased with them. Is there much wobble and sag in your system? These are issues with a lot of Panoheads.

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Neither sag, nor wobble. The bars are made to be both light and rigid. I use the package on the relatively low profile BH-55 ballhead equipped with the PCL-1 clamp, with a 1Ds3 + T/S lens which weighs quite a bit.

Only when I pair the camera with a heavy 135mm f/2.0 lens, then I need to be more careful to add some time (>2sec) between exposures, otherwise there might be some residual vibration which the longer focal length can pick up. Other camera/lens combinations may have a different center of gravity when the setup is corrected for the entrance pupil, so other longer focal length lenses or zooms may have a different balance. The tripod may make a difference as well.

In thinking of an automatic system, one has to look at cost, convenience to setup, breakdown and pack for travel as well as the reliability to fire the shutter and move through the same center for all shots.

I'm asking for ideas and concerns, since I'm in notice of a shipping advisory that my Gigapan Epic will be here shortly. So I'm wondering if you have any questions I should put to it in putting it through it's paces?

Click to expand...

I'm wondering how much displacement one has at ones disposal to correct to an entrance pupil centric setup with longer focal lengths on larger bodies. It seems mostly an impressive piece of gear for small cameras. How easy is it to get optimal entrance pupil alignment?

Bart

Bart_van_der_Wolf said:

Neither sag, nor wobble. The bars are made to be both light and rigid. I use the package on the relatively low profile BH-55 ballhead equipped with the PCL-1 clamp, with a 1Ds3 + T/S lens which weighs quite a bit.

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I'll check out that ball head. I guess it's from RRS. I suppose there are spirit levels on it? Are there clcik stops for the rotations or is it approximate?

Bart_van_der_Wolf said:

Only when I pair the camera with a heavy 135mm f/2.0 lens, then I need to be more careful to add some time (>2sec) between exposures, otherwise there might be some residual vibration which the longer focal length can pick up.

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So do you use a 70-200 ever? and what about a counterwieght?

Bart_van_der_Wolf said:

I'm wondering how much displacement one has at ones disposal to correct to an entrance pupil centric setup with longer focal lengths on larger bodies. It seems mostly an impressive piece of gear for small cameras. How easy is it to get optimal entrance pupil alignment?

Click to expand...

Good point. The Gigapan epic is for small digicams like the G10 and smaller. The is going to be an epic 100 which will cover heavier digicams like those with an integral DSLR like kit zoom lens.

The next Gigapan iteration will be the DSLR version. That, for sure will have the needed adjustments and hopefully will trigger the shutter by USB-2 and not by a mechanical finger", "LOL!

I'll describe wverything as soon as I get it unpacked!

Asher

Asher Kelman said:

I'll check out that ball head. I guess it's from RRS. I suppose there are spirit levels on it? Are there clcik stops for the rotations or is it approximate?

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Yes, the BH-55 is from RSS. Here's the one I got :

Image © RRS

It's the version without clamp, because the bottom clamp of the pano package mounts directly on it (I told you that it's a system and everything can be combined). I recommended the BH-55 to Nicolas Claris as well, and he loves it. There are no clickstops, but for Pano leveling that's not necessary.

My regiular routine for shooting is, unfold the tripod and adjust the leg length. Level the ballhead with the PCL-1 as clamp (spirit levels are on the tripod, and the clamp, but the clamp is the important one). Put the Pano rig in the clamp, the horizontal rotation plane is already level, so no need to check it again. Put the camera in the top clamp. Adjust the sideways displacement for landscape or portrait orientation. Adjust the fore/aft displacement according to the lens used. Ready for shooting at any angle.

So do you use a 70-200 ever? and what about a counterwieght?

Click to expand...

Haven't tried it, because at such long focal lengths the entrance point displacement is relatively unimportant, so I could probably shoot directly from the tripod/ballhead. In addition, shooting with a zoom would require to keep a lot of notes about the offsets at various focal lengths. I'd rather shoot panoramas with fixed focus lenses. I might give my 200 f/2.8 a try and see what I can come up with.

Bart

Bart_van_der_Wolf said:

I recommended the BH-55 to Nicolas Claris as well, and he loves it.

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Yes I can confirm this! And the guys from RSS are very helpfull.

One can see the BH-55 in action, in the making of of a yacht interior shoot, here.

And the resulting pics shown in OPF here

Bart_van_der_Wolf said:

..Haven't tried it, because at such long focal lengths the entrance point displacement is relatively unimportant, so I could probably shoot directly from the tripod/ballhead. In addition, shooting with a zoom would require to keep a lot of notes about the offsets at various focal lengths. I'd rather shoot panoramas with fixed focus lenses. I might give my 200 f/2.8 a try and see what I can come up with...

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Hi Bart,

Just an idea, but couldn't you use any zoom lens at its two extremes (e.g. @ 70mm and @ 200mm for the 70-200mm)?

Cheers,

Cem_Usakligil said:

Just an idea, but couldn't you use any zoom lens at its two extremes (e.g. @ 70mm and @ 200mm for the 70-200mm)?

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Hi Cem,

Yes, one could do that, but given the choice, I'd prefer using my TS/E lenses (45mm and 90mm) because they also allow control over the Focus plane (and DOF). I'll try the 90mm with an Extender (1.4x and 2x) against the 135mm and the 200mm. When used at apertures of around f/5.6 - f/8, I wonder how much of a difference there is in practice. I also have an 85mm f/1.2 which has much nicer bokeh than any zoom, so it depends on the subject what I'll use if quality has to be top notch.

At the long end, I'd rather use my 200mm fixed focus because it's high quality, and it's a compact light lens design (with a hood made for 200mm).

Bart

Hello,

I think of interest, what we - a small European team - have created: Our brand-new MK PanoMachine - a new motorized VR Head!

Benefits:

High-Speed: Fast rotation starts at 4sec. / 360° continuous rotation
Time-Lapse: Up to 3600° steps / 360° rotation
Video-Mode
Panorama-Mode
Object-Movies with turntable possible

...



More informations - please look to our new website: MK Panorama Systeme

Best regards from Hamburg / Germany

Marc

Hi Marc,

I'd like to see the version of the description in English. I see that the motor rotates the panohead but what about the angle of the camera, the tilt?

Asher

I use an Arca Cube with an RRS sliding rail and clamp to get to the nodal pan point. The tilts on the Cube are already nearly nodal, or at least near enough that for the rare occasion I need to do multi-row captures, it's close enough. (If I did regular, spherical captures, I'd use a full nodal bracket.)

Here is a shot of my Cube leveled and RRS rail set for a nodal capture with my Mamiya/P45+:

Jack,

I guess your lens is pointing to the left! It's a great setup you have with the cube, but would you still buy it now or something else. IOW, is this a relic of you LF work or would you "need it" if it had just been introduced by Arca this year?

Asher

Asher Kelman said:

Jack,

I guess your lens is pointing to the left! It's a great setup you have with the cube, but would you still buy it now or something else. IOW, is this a relic of you LF work or would you "need it" if it had just been introduced by Arca this year?

Asher

Click to expand...

Oh yes, of course the lens runs parallel to the RRS sliding rail -- I should have mentioned that ;-)

I've owned the Cube for three or four years now I think, but it's hardly a relic! If that Cube broke tomorrow, I'd have another one coming overnight from B&H as soon as I could get online... Just ask anybody that owns one --- once you've used it for more than about 15 minutes, you cannot go back to anything else.

Hello Asher:

A description of the MK PanoMachine you´ll find here:

http://www.marc-kairies.de/english/mkpanomachine/index.html

Gladly we can send you a user book by mail - please send me an e-mail: info@marc-kairies.de

Vertical movement (tilt):

With our MK PanoHead II you can tilt up and down + / - 90° exactly in the nodal point (click-stops each 15°) by hand.

Suited to create cylindrical, full spherical and multi-row panoramas as well as high-res giga pixel panoramas (scaling all 5°).

Have a nice time,

Marc

Marc Kairies said:

Hello Asher:

A description of the MK PanoMachine you´ll find here:

http://www.marc-kairies.de/english/mkpanomachine/index.html

Gladly we can send you a user book by mail - please send me an e-mail: info@marc-kairies.de

Vertical movement (tilt):

With our MK PanoHead II you can tilt up and down + / - 90° exactly in the nodal point (click-stops each 15°) by hand.

Suited to create cylindrical, full spherical and multi-row panoramas as well as high-res giga pixel panoramas (scaling all 5°).

Have a nice time,

Marc

Click to expand...

It would be nice to have "English" or "French" or "Dutch" choice at the top of you German page. If it's there I didn't see it.

I couldnt tell what is what in the parts you name. Obviously there's the box rotating machine and then the arms above it. Could you label this diagram or provide others to show what the separate required parts are and the cost is? The names for the parts you sell are not clear to me to define what each is and isn't and what one really needs.



I see that setting the tilt of the camera is not motorized. That would mean one has to do this by hand. The Gigapan robot, however, does this well. The old version, The gigapan Epic, ran out of power easily and works only for light cameras. I will be getting the new Epic 100 next week with a new battery system to test. It has a much lower gear ratio so there's more torque. After that I'm testing the version for SLRs. These sell for $400-$500!

So what's special about yours is the rapid speed and apparent sturdy build. But can it rest between shots to stop vibrations of the rotation movement?

Asher