Panoramic Views

Creating a panoramic photograph without using modern mobile phone technology offering the result in a few seconds requires specialized equipment, the heavy-to-carry-for-distances type. The advantage is control over final results and quality of images for eventual printing. The disadvantage is that it doesn't work when subjects contain elements which are moving such as branches, boats and water, or my model's hair. The reason for this is that a panoramic image taken this way requires a number of images to be assembled, or 'sewn together' digitally with software. This means the images need to be captured in quick succession with manual hand movements turning the camera from left to right or vice versa.

The advantage is control over final results and quality of images for eventual printing. The disadvantage is that it doesn't work when things are moving …

These movements oblige time intervals which, no matter how small, see inevitable changes of details in motion. Imperfections caused by movement can be remedied, i.e. waves with irregularities but, more often than not, it's too difficult to create a natural feel. Grey skies are also difficult: the software isn't up to the task of pinpointing enough elements to build the result. Also, the lower sun in fresher months often compromises outcomes from the beginning by forcing an excess of white light into one side of a multi-shot image; selecting exposure before shooting becomes complicated since the result could easily be an over-exposed left side followed by a pitch-black right. With these difficulties in mind, the approach to panoramic photography becomes more specific, only done when conditions are right. The Cyclades islands are notoriously windy, limiting opportunities to just a few days per month, meaning that if during those few days there's an abundance of grey cloud, the chances of success are decidedly slim. That said, I've enjoyed many occasions with the panoramic gear - mostly on Ios where it all started - climbing vertically for several meters, getting stuck midway and having to grip onto thorns to reach a vantage point, or leapfrogging over a chain of spine-like boulders on the top of a mountain with steep descents on either side. When I decided to photograph only on foot averaging 20 km a day over complex terrains, it became impossible to carry so much equipment day after day, so I had to stop using this technique, unfortunately. However, I look forward including it as a style in a new project.