{"slug":"beyond-wideangle-panorama","title":"超越广角 - 全景接片的魅力","author":"Thomas看看世界","date":"2017-02-12","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247485070&idx=1&sn=9f10ee696637aa49f6d3526248dcb59b&chksm=eb81f8eadcf671fc5f8d4b1de8c9b8ff45c5220863cc60eedeb6edad5e43c1bc847684be76f3&scene=21#wechat_redirect","blocks":[{"t":"p","x":"当我们遇到壮阔的风景，即使超广角镜头也无法一次性拍全。或者我们看到特别震撼的景致，想获得大尺幅的照片来展示细节。接片（全景拼接）技术就十分有用了。","b":false,"xe":"When we encounter a magnificent landscape, even an ultra-wide lens can't capture it all in one frame. Or when we see a truly breathtaking scene, we want a large-format image to show off its details. That's when stitching (panoramas) becomes invaluable."},{"t":"p","x":"本文将详细讲解全景拍摄时需要注意的地方，以及如何使用Lightroom/ACR工具快速拼接照片。","b":false,"xe":"This article explains in detail what to watch for when shooting panoramas, and how to stitch photos quickly with Lightroom/ACR."},{"t":"img","f":"img-02","w":1000,"h":389},{"t":"p","x":"摄影师：Thomas看看世界，thomaskksj.tuchong.com","b":false,"xe":"Photographer: Thomas Chu Photo, thomaskksj.tuchong.com"},{"t":"h","x":"1","xe":"1"},{"t":"h","x":"前期注意事项","xe":"Field Considerations"},{"t":"p","x":"接片的拍摄看似很简单，只需要转动相机拍摄场景里的不同区域就可以了。但如果拍摄时不注意一些细节的话，照片很有可能在后期无法拼合起来。","b":false,"xe":"Shooting for a stitch looks simple — just rotate the camera across the scene. But overlook a few details, and your photos may well fail to merge in post."},{"t":"p","x":"首先是照片的重合度。相邻的照片之间应该有33%-66%的重合部分，这样后期软件才能正确的把两张照片合并起来。一般来说长焦镜头需要的重合度较小，一般33%就够了。超广角焦段的接片（比如银河拱桥接片），则需要50%左右的重合度。","b":false,"xe":"First is overlap. Adjacent frames should overlap by 33%–66% so the software can merge them correctly. Telephoto lenses generally need less overlap — about 33% is enough. Ultra-wide stitches (like a Milky Way arch) need around 50%."},{"t":"p","x":"当然重合度也不是越高越好，过高的重合度（超过66%）反而会造成软件难以识别两张图片的差别，造成融合失败。","b":false,"xe":"Of course, more overlap isn't always better: too much (over 66%) can actually make it hard for the software to tell the two images apart, causing the blend to fail."},{"t":"img","f":"img-03","w":1000,"h":426},{"t":"p","x":"两张照片的重叠处，最好不要有运动的物体如车、人、云等等，或者变形非常明显的物体比如畸变的建筑，以免后期拼接困难。","b":false,"xe":"Ideally, the overlapping area of two frames should contain no moving objects — cars, people, clouds — and no strongly distorted subjects like warped buildings, to keep the stitch manageable."},{"t":"p","x":"第二个需要注意的问题叫做视差（parallax）。视差是很多全景接片融合失败的罪魁祸首。","b":false,"xe":"The second issue is parallax. Parallax is the culprit behind many failed panorama merges."},{"t":"p","x":"大家可以做一个很简单的实验。只睁开一只眼睛，然后伸出你的一根手指，让手指正好遮住远处的一个物体，比如下图中的茶壶。转动脖子，你会发现原来和手指在一条垂直线上的茶壶，竟然发生了偏移，也就是物体间的相对位置发生了变化，这种现象就叫做视差。","b":false,"xe":"Here's a simple experiment. Open only one eye, hold up a finger, and align it with a distant object, like the teapot in the image below. Now turn your head: the teapot that was lined up with your finger shifts — the relative positions of objects have changed. That phenomenon is parallax."},{"t":"img","f":"img-04","w":1000,"h":1047},{"t":"p","x":"（图片来源：http://t.cn/RJ6ntvw）","b":false,"xe":"(Image source: http://t.cn/RJ6ntvw)"},{"t":"p","x":"视差对后期接片会产生破坏性的效果，造成物体合成错位甚至无法拼接的情况，因此需要通过两种办法来消除或者减弱。","b":false,"xe":"Parallax has a destructive effect on stitching, causing misaligned blends or outright merge failures, so we need two ways to eliminate or minimize it."},{"t":"p","x":"视差的成因是我们的转动轴和所谓的“节点”（无视差点）不在同一直线上。比如上面的那个实验，我们的节点是眼睛，但是我们的转轴却是脖子。眼睛和脖子之间的小小距离，就造成了我们看到的视差。","b":false,"xe":"Parallax arises because our axis of rotation and the so-called \"nodal point\" (the no-parallax point) are not aligned. In the experiment above, the nodal point is the eye, but the axis of rotation is the neck. The small distance between eye and neck creates the parallax we see."},{"t":"p","x":"照相机的节点一般在镜头中间的某个地方，我们可以通过专门的全景吊臂来让转轴和节点重合，感兴趣的朋友可以上网查询相关的产品和知识，大部分拍摄并不需要如此精确。","b":false,"xe":"A camera's nodal point usually sits somewhere inside the lens. Dedicated panoramic heads can align the rotation axis with the nodal point — look them up online if you're interested — but most shooting doesn't require that level of precision."},{"t":"img","f":"img-05","w":1000,"h":1000},{"t":"p","x":"把相机放在三脚架和云台上，明显视差会比手持要小。如果手持拍摄，可以尝试打开相机背屏，然后把相机放在一只手上，以那只手为转轴转动。而不是举着相机，用身体为转轴来转动。","b":false,"xe":"Putting the camera on a tripod and head noticeably reduces parallax compared to hand-holding. If you must shoot handheld, try opening the rear screen, resting the camera on one hand, and rotating around that hand — rather than holding the camera up and rotating your whole body."},{"t":"p","x":"除了节点外，视差还跟景物的远近有关。越近的物体，其视差效应会越明显，而中景和远景，视差几乎可以忽略。因此拍摄时注意保持和前景物体的距离十分关键。像下面这样单张广角拍摄中，离前景半米不到抵近拍摄的手法，在全景拍摄中几乎都会造成难以弥补的视差。","b":false,"xe":"Beyond the nodal point, parallax also depends on subject distance: the closer the object, the more pronounced the parallax; for mid-ground and distant subjects it's nearly negligible. So keeping your distance from foreground objects is critical. The ultra-close foreground technique used in the single wide-angle shot below — within half a meter — almost always creates unfixable parallax in a panorama."},{"t":"img","f":"img-06","w":1000,"h":665},{"t":"p","x":"摄影师：Thomas看看世界，thomaskksj.tuchong.com","b":false,"xe":"Photographer: Thomas Chu Photo, thomaskksj.tuchong.com"},{"t":"p","x":"第三个需要注意的是镜头畸变和透视形变。超广角镜头会带来大量的边缘畸变和透视形变，造成两张照片难以拼合，或者拼出来的图像变形严重。因此全景接片优先使用中长焦镜头拍摄。","b":false,"xe":"The third consideration is lens distortion and perspective deformation. Ultra-wide lenses introduce heavy edge distortion and perspective stretch, making frames hard to merge or producing severely warped results. For panoramas, prefer medium-to-long focal lengths."},{"t":"img","f":"img-07","w":1000,"h":540},{"t":"p","x":"摄影师：Max Rive，maxrive.tuchong.com","b":false,"xe":"Photographer: Max Rive, maxrive.tuchong.com"},{"t":"p","x":"当然，我们也可以让前景是水面，草地，泥土，云雾等等特征不太明显的物体，比如下面的照片，由于前景是草地，很难发现其中的变形。","b":false,"xe":"We can also choose foregrounds of water, grass, dirt, or clouds — subjects with indistinct features. In the photo below, for instance, the grassy foreground makes any deformation nearly impossible to spot."},{"t":"img","f":"img-08","w":1000,"h":416},{"t":"p","x":"摄影师：Thomas看看世界，thomaskksj.tuchong.com","b":false,"xe":"Photographer: Thomas Chu Photo, thomaskksj.tuchong.com"},{"t":"p","x":"当然变形并不一定是坏事，有时也可以被我们利用。 岩石、枯树、流水等前景物体的变形，经常能产生夸张的效果。","b":false,"xe":"And deformation isn't necessarily a bad thing — sometimes we can exploit it. Warped rocks, dead trees, and flowing water in the foreground often produce dramatic, exaggerated effects."},{"t":"img","f":"img-09","w":1000,"h":682},{"t":"img","f":"img-10","w":1000,"h":517},{"t":"p","x":"摄影师：Max Rive，maxrive.tuchong.com","b":false,"xe":"Photographer: Max Rive, maxrive.tuchong.com"},{"t":"p","x":"在接片拍摄时，我们应该尽量固定相机的曝光（光圈、快门、ISO）、对焦点以及白平衡。虽然很多后期软件已经可以自动调节并合成曝光、白平衡不一样的照片。但前期的统一更能保证后期拼接时的万无一失。","b":false,"xe":"When shooting a stitch, lock down the camera's exposure (aperture, shutter, ISO), focus point, and white balance. Many stitching tools can now automatically reconcile frames with different exposures and white balances, but consistency in the field guarantees a trouble-free merge."},{"t":"p","x":"锁定白平衡很简单，只需要把白平衡模式从自动调成其他的比如“阴影”、“白天”等等。锁定对焦，只需要先对焦完成后，把镜头或者相机的对焦转盘，转到M手动对焦模式。锁定曝光，则是在测光完成后，调至M模式并调整光圈快门到相应参数。如果光比过大，可以使用包围曝光拍摄。（后期时先合成HDR，再全景合成。）","b":false,"xe":"Locking white balance is easy: switch from Auto to a preset like \"Shade\" or \"Daylight.\" To lock focus, focus first, then switch the lens or camera to M (manual focus). To lock exposure, meter the scene, switch to M mode, and dial in the aperture and shutter. If the contrast range is too great, shoot bracketed exposures (merge to HDR first in post, then stitch the panorama)."},{"t":"p","x":"后期拼接图片，边缘经常会出现空白，需要裁剪或者变形填充，因此我们前期可以有意的拍入多余场景。比如本来60mm焦段看起来正好的时候，我们可以用50mm焦段来拍摄接片。本来转动80度就拍完想要的景色了，实际时我们转动90度。这些多出来的画面在后期裁剪时再去掉。","b":false,"xe":"Stitched images often have blank edges that need cropping or warp-filling, so deliberately capture extra scene in the field. If 60mm looks just right, shoot the stitch at 50mm; if an 80-degree sweep covers the vista, rotate 90 degrees. The extra frame area gets trimmed away in post."},{"t":"img","f":"img-11","w":1000,"h":494},{"t":"p","x":"横向转动拍摄时，保持相机水平很重要，否则会出现地面歪斜，波浪状天际线，或者拼接后需要裁掉大量像素的情况出现。全景云台或者带有水平仪的云台非常有用。如果是普通云台或者手持拍摄的话，可以打开相机的内置水平线，或者以天际线海平面等为参考，在转动时不断调整水平状态。","b":false,"xe":"When panning horizontally, keeping the camera level is crucial — otherwise you'll get a tilted horizon, a wavy skyline, or heavy pixel loss in cropping. A panoramic head or a head with a bubble level helps enormously. With a regular head or handheld, turn on the camera's built-in level, or use the horizon or sea surface as a reference, adjusting as you rotate."},{"t":"p","x":"接片不仅可以横向接片，还可以纵向接片，甚至多排接片。比如下图中为人像拍摄的Brenizer方法。用4排共32张长焦照片，拼接出一幅广角浅景深的人像作品。对这个方法感兴趣的同学可以阅读 https://digital-photography-school.com/5-steps-to-rock-the-brenizer-method/","b":false,"xe":"Stitching works not only horizontally but vertically, and even in multiple rows. The image below shows the Brenizer Method for portraiture: 32 telephoto frames in 4 rows stitched into a wide-angle, shallow-depth-of-field portrait. If you're curious, read https://digital-photography-school.com/5-steps-to-rock-the-brenizer-method/"},{"t":"img","f":"img-12","w":1000,"h":420},{"t":"img","f":"img-13","w":1000,"h":420},{"t":"p","x":"图片来源：http://t.cn/RJ6n9oF","b":false,"xe":"Image source: http://t.cn/RJ6n9oF"},{"t":"p","x":"横向接片时，特别在中广角端，相机保持竖直比水平拍摄更好，L形快装板是个神器。全景拍摄时，也要慎用偏振镜。","b":false,"xe":"For horizontal stitches — especially at medium-wide focal lengths — holding the camera vertically beats shooting landscape orientation; an L-bracket is a fantastic tool. And use polarizers with caution when shooting panoramas."},{"t":"h","x":"2","xe":"2"},{"t":"h","x":"适合接片的场景和构图","xe":"Scenes and Compositions That Suit Stitching"},{"t":"p","x":"首先并不是任何场景都适合拍摄全景。比如下面这张全景接片，就有多个缺点。","b":false,"xe":"First of all, not every scene suits a panorama. The stitch below, for example, has several flaws."},{"t":"p","x":"1）由于是在平地接片，因此前中后景的层次并不鲜明，没有凸显出大场景的震撼。","b":false,"xe":"1) Stitched from flat ground, so the foreground/mid-ground/background layering is weak and the grandeur of the vast scene never comes through."},{"t":"p","x":"2）前景占比太大又过于杂乱，一大堆乱石毫无美感。","b":false,"xe":"2) The foreground takes up too much of the frame and is too cluttered — a pile of chaotic rocks with no aesthetic appeal."},{"t":"p","x":"3）由于是大中午拍摄的接片，照片光影平淡，整张照片没有一个突出的视觉中心。","b":false,"xe":"3) Shot at high noon, so the light is flat and the photo lacks a compelling visual anchor."},{"t":"p","x":"4）接片中会取入大量的景物，如果这些景物之间没有关联和呼应，接片的范围越广，照片只会显得越发的杂乱。","b":false,"xe":"4) A stitch takes in a huge amount of scenery; if those elements don't relate to or echo one another, the wider the stitch, the messier the photo."},{"t":"img","f":"img-14","w":1000,"h":428},{"t":"p","x":"下面再来欣赏一下国际顶尖的全景拍摄大师 - Max Rive的一些作品，或许我们能够获得一些启发。","b":false,"xe":"Now let's enjoy some work by Max Rive, one of the world's top panorama masters — perhaps we'll find some inspiration."},{"t":"img","f":"img-15","w":1000,"h":503},{"t":"p","x":"摄影师：Max Rive，maxrive.tuchong.com","b":false,"xe":"Photographer: Max Rive, maxrive.tuchong.com"},{"t":"p","x":"上面这张照片和开头的反面例子比起来，一是拍摄于日落时分，照片的明暗光影更加丰富，照片中的明亮和高反差区域，形成了照片中的视觉中心。二是前景是泥土和小草，更加简洁美观。","b":false,"xe":"Compared with the counterexample at the start, this photo was, first, shot at sunset, so its tonal range is far richer, and the bright, high-contrast areas form a visual anchor. Second, the foreground is dirt and small plants — cleaner and more pleasing."},{"t":"img","f":"img-16","w":1000,"h":687},{"t":"p","x":"摄影师：Max Rive，maxrive.tuchong.com","b":false,"xe":"Photographer: Max Rive, maxrive.tuchong.com"},{"t":"p","x":"上面这张全景照片，前景是较为平整的泥土，不会有杂乱的感觉。由于机位较高，照片的中景更加丰富。中景里的河流向远处蜿蜒流去，指向远景太阳，太阳的光芒又照射到前景的泥土上。这样照片中的各个物体产生了关联和呼应，让读者的视觉在照片中自然的移动。","b":false,"xe":"In this panorama, the foreground is fairly flat dirt that doesn't feel cluttered. The higher vantage point enriches the mid-ground, where a river winds into the distance toward the sun, whose light in turn falls on the foreground soil. Every element relates to the others, guiding the viewer's eye naturally through the frame."},{"t":"img","f":"img-17","w":1000,"h":507},{"t":"p","x":"摄影师：Max Rive，maxrive.tuchong.com","b":false,"xe":"Photographer: Max Rive, maxrive.tuchong.com"},{"t":"p","x":"这张照片更是经典之作，非常高的机位带来了两大好处，一是中景的峡谷风光展现的非常完整大气，二是前景可以只取入几块高耸的岩石，简单而美丽。左侧突起的岩石上，登山者手指远处太阳，太阳的光线又反过来照射在前景上，物体间的联系让全景接片不再是一堆杂物的堆砌。右边的巨岩更是大师之笔，一方面很好的平衡和封闭了构图，另一方面又用夸张的透视表现出了照片的三维关系。","b":false,"xe":"This one is a true classic. The very high vantage point brings two benefits: the canyon mid-ground is revealed in full grandeur, and the foreground needs only a few towering rocks — simple and beautiful. On the left, a climber atop a rock points toward the distant sun, whose light falls back onto the foreground — these relationships keep the panorama from being a heap of clutter. The giant rock on the right is a masterstroke: it balances and closes off the composition while conveying three-dimensional space through exaggerated perspective."},{"t":"h","x":"3","xe":"3"},{"t":"h","x":"后期拼接","xe":"Stitching in Post"},{"t":"p","x":"后期拼接软件有很多，但其实95%的情况下，Lightroom或者ACR都是最好的选项。","b":false,"xe":"There are many stitching tools, but in 95% of cases Lightroom or ACR is the best choice."},{"t":"p","x":"Lightroom和ACR的全景拼接模块是一模一样的，其优点是非常方便快速。生成的是DNG数字底片，可以进一步的进行无损调整，挖掘raw文件的潜力。边界填充和自动裁剪功能也很方便。缺点是不能手动修改拼接区域。","b":false,"xe":"Lightroom and ACR share an identical panorama module. Its strengths: fast and convenient; the output is a DNG digital negative that supports further lossless adjustment to mine the raw files' potential; Boundary Warp and Auto Crop are handy too. Its weakness: you can't manually edit the stitch regions."},{"t":"p","x":"Photoshop在很早以前就有一个photomerge的接片系统，现在比较鸡肋。其优点是比ACR提供了更多的选项，并且合成结果是以图层+蒙版的形式显示，方便手动修改拼接结果和检查错位的接缝。缺点是计算非常的慢，生成的不是raw格式，而且功能又不如更专业的软件强大。","b":false,"xe":"Photoshop has long had the Photomerge stitching system, which is rather underwhelming these days. Its strengths: more options than ACR, and results delivered as layers plus masks, making it easy to manually fix the blend and inspect misaligned seams. Its weaknesses: very slow computation, non-raw output, and less power than dedicated software."},{"t":"p","x":"PTGui Pro，Autopano Giga是两款业界顶尖的专用拼图工具，提供了更加强大的功能，更精细的手动调整和更复杂的算法。许多在ACR和PS中会拼接失败的照片，也能在这两款中拼合成功。不过两款软件都价格昂贵，而且大多情况并不需要如此专业的工具。","b":false,"xe":"PTGui Pro and Autopano Giga are two top-tier dedicated stitching tools offering stronger features, finer manual control, and more sophisticated algorithms. Many photos that fail in ACR or PS merge successfully in these two. But both are expensive, and most situations don't call for such specialized tools."},{"t":"p","x":"下面我会讲讲如何在ACR中进行拼图（Lightroom中操作类似）。","b":false,"xe":"Next I'll show how to stitch in ACR (the steps are similar in Lightroom)."},{"t":"p","x":"首先把多张图片导入ACR。这步可以在Bridge中选择几张照片，然后鼠标右键，选择“在Camera Raw中打开”。","b":false,"xe":"First, import the images into ACR. You can select the photos in Bridge, right-click, and choose \"Open in Camera Raw.\""},{"t":"img","f":"img-18","w":1000,"h":688},{"t":"p","x":"不用Bridge的同学，可以在文件夹中选择多张照片，然后右键在Photoshop中打开。（或者把几张图片拖入PS软件中）","b":false,"xe":"If you don't use Bridge, select the photos in your file folder, right-click, and open them in Photoshop (or drag the images straight into PS)."},{"t":"img","f":"img-19","w":1000,"h":490},{"t":"p","x":"进入ACR之后，点击左侧的一个预览图，然后鼠标右键“全选”所有照片（或者使用快捷键Ctrl+A）。","b":false,"xe":"Once in ACR, click a thumbnail on the left, then right-click and Select All (or press Ctrl+A)."},{"t":"img","f":"img-20","w":1000,"h":731},{"t":"p","x":"我们记得先做一个镜头校正，勾上“删除色差”和“启用配置文件校正”。由于我们刚刚全选了所有照片，所以镜头校正会应用到每张照片上。","b":false,"xe":"Remember to apply lens corrections first: check \"Remove Chromatic Aberration\" and \"Enable Profile Corrections.\" Since we've selected all photos, the correction applies to every frame."},{"t":"p","x":"注意我们一般不在接片前再做其他的曝光、色彩等等调整，主要是因为ACR在拼接时，会放弃或者覆盖掉我们做的一些修改。","b":false,"xe":"Note that we generally don't make other exposure or color adjustments before stitching, because ACR discards or overwrites some of our edits during the merge."},{"t":"img","f":"img-21","w":1000,"h":944},{"t":"p","x":"鼠标右键点击任一一张已经选上的照片，然后选择“合并到全景图”。","b":false,"xe":"Right-click any selected photo and choose \"Merge to Panorama.\""},{"t":"img","f":"img-22","w":767,"h":1000},{"t":"p","x":"接着ACR就会自动对图片进行拼接。ACR中的拼接有三种投影方式，球面，圆柱和透视。ACR会根据图片特征自动选择一种投影方式，一般情况下是“圆柱”。","b":false,"xe":"ACR then stitches the images automatically. There are three projection modes: Spherical, Cylindrical, and Perspective. ACR picks one based on the images' characteristics — usually Cylindrical."},{"t":"img","f":"img-23","w":1000,"h":727},{"t":"p","x":"我们也可以点击预览并选择其他投影方式，球面一般适合有一定俯仰角的接片，比如银河接片。","b":false,"xe":"We can also click the preview to try other projections. Spherical generally suits stitches shot at a pitch angle, like Milky Way panoramas."},{"t":"img","f":"img-24","w":1000,"h":776},{"t":"p","x":"“透视”更适合长焦接片，中广角的照片使用透视投影一般会相当的夸张。","b":false,"xe":"Perspective suits telephoto stitches; used on medium-wide shots, it tends to look extremely exaggerated."},{"t":"img","f":"img-25","w":1000,"h":670},{"t":"p","x":"下面还有一个选项叫自动裁剪，选上后ACR会自动裁掉周围有空白的区域。裁剪会完全裁掉我们拍摄的周边像素，因此ACR还提供了另外一种办法。","b":false,"xe":"Below sits the Auto Crop option. Enable it, and ACR trims away the blank areas around the edges. Cropping discards the surrounding pixels we captured, so ACR offers another approach."},{"t":"img","f":"img-26","w":1000,"h":733},{"t":"p","x":"这就是“边界变形”。边界变形滑块默认是0，把这个滑块往右移。ACR会通过让照片边缘变形的方式，填充周围的空白像素。","b":false,"xe":"That approach is Boundary Warp. The slider defaults to 0; drag it right, and ACR fills the surrounding blank pixels by warping the edges of the photo."},{"t":"img","f":"img-27","w":1000,"h":714},{"t":"p","x":"滑块滑到最右边，所有周围的空白都会被变形填满。这样我们拍到的每一个像素，都被利用了起来。","b":false,"xe":"Push the slider all the way, and every blank edge gets warp-filled — every pixel we captured is put to use."},{"t":"img","f":"img-28","w":1000,"h":724},{"t":"p","x":"在使用“边界变形”时，一定要密切注意画面中明显的水平线以及突出物体的变化。否则明显的畸变效果会破坏我们的照片。","b":false,"xe":"When using Boundary Warp, watch prominent horizontal lines and salient objects closely, or visible warping artifacts will ruin the photo."},{"t":"img","f":"img-29","w":1000,"h":479},{"t":"p","x":"最后点击“合并”，就可以把接片以DNG格式保存在硬盘上了。","b":false,"xe":"Finally, click Merge to save the stitch to disk in DNG format."},{"t":"img","f":"img-30","w":1000,"h":635},{"t":"p","x":"保存后的照片任然是raw（DNG）格式，可以继续用ACR无损调整。","b":false,"xe":"The saved photo remains a raw (DNG) file, ready for further lossless adjustment in ACR."},{"t":"img","f":"img-31","w":1000,"h":696},{"t":"h","x":"总结","xe":"Summary"},{"t":"p","x":"1. 前期拍摄全景图像时，需要注意重合区域，视差，畸变，水平，统一的曝光、白平衡、对焦等等细节。","b":true,"xe":"1. When shooting panoramas, mind the overlap, parallax, distortion, levelness, and consistent exposure, white balance, and focus."},{"t":"h","x":"2. 一般来说高处、前景不杂乱、光线迷人、物体间有呼应的场景，更适合全景接片。","xe":"2. Generally, scenes shot from a high vantage point with clean foregrounds, enchanting light, and interrelated elements suit panoramas best."},{"t":"h","x":"3. Lightroom和ACR自带的接片功能，可以满足我们大部分的后期需要。","xe":"3. The built-in stitching in Lightroom and ACR covers most of our post-processing needs."},{"t":"p","x":"欢迎关注@Thomas看看世界，每个周日，学会一个摄影技能。","b":false,"xe":"Follow @Thomas Chu Photo, and learn one photography skill every Sunday."},{"t":"img","f":"img-32","w":640,"h":313}],"titleEn":"Beyond Wide Angle: The Magic of Panorama Stitching"}