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Winter Escape in Sarasota
Sarasota is a coastal city in Southwest Florida on the Gulf of Mexico. The horizon opens to the west, the afternoon light settles low across the water, and shallow tides draw long arcs along the coast. North is the Tampa Bay area, while to the south the beaches open into clear water and soft light.
It is a place that opens fully only in a wide view, and the panoramas from those days capture a completeness that no simple photograph can match.
A panorama brings the whole scene into the picture instead of only the view in front of you.
- Art Ovation Hotel
- The Jumping Fish
- Gulfstream Park
- Marina Drive
- War Memorial
- Five Points Roundabout
- Siesta Key Beach
- Bayfront Park
- Milan Art Gallery
- Katy's Cat Cafe
- Farmers Market
- Ringling Museum of Art
- Coquina Beach
- Lido Beach
Art Ovation Hotel
An evening with a clear sky and a full moon above the rooftop pool marked the beginning of a winter escape in Sarasota, a quiet moment that shaped the days ahead.
Interactive Panorama Rooftop Pool
1/10s f/5,6 ISO 2500/35° f=7,5mm
The Jumping Fish
A morning view with The Jumping Fish sculpture in the first sunlight, a small piece of Sarasota art set in the roundabout near our hotel.
Interactive Panorama The Jumping Fish
1/800s f/5,6 ISO 100/21° f=7,5mm
Afternoon streetview approaching The Jumping Fish roundabout.
1/500s f/8 ISO 250/25° 16-50mm f/2,8 VR f=16mm/24mm
Gulfstream Park
Gulfstream Park sits between the waterfront and downtown, a small strip of green that links the marina area with the city streets. The pond in the center gives the park its quiet character, with a few paths and patches of shade that slow the pace for a moment. It is a simple space, but it fits naturally into Sarasota's mix of water, traffic, and public art.
Interactive Panorama Gulfstream Park
1/800s f/5,6 ISO 100/21° f=7,5mm
Marina Drive
Marina Drive runs just behind Gulfstream Park and borders the marina itself. It is a short stretch where boats, water, and the edge of downtown meet. Palm trees everywhere.
1/500s f/8 ISO 100/21° f=17mm/18mm
1/400s f/7,1 ISO 100/21° f=21mm
Interactive Panorama Marina Drive
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War Memorial
The War Memorial stands at the edge of J.D. Hamel Park, marking Sarasota's tribute to residents who served in World War I and the conflicts that followed. The bronze Doughboy figure adds a direct link to the era, reproduced from a 1920 design and placed here after a later restoration. It is a small but steady presence on the bayfront, easy to pass but worth a quiet look.
Interactive Panorama War Memorial
1/800s f/5,6 ISO 100/21° f=7,5mm
Five Points Roundabout
The Five Points Roundabout sits at the center of downtown and pulls several streets into one compact junction. Traffic moves steadily around it, framed by shops, cafés, and a bit of midday noise. It is one of those places where you notice how close the city, the bayfront, and the quieter neighborhoods actually are.
Interactive Panorama Five Points Roundabout
1/1000s f/5,6 ISO 100/21° f=7,5mm
Next to the roundabout is Selby Five Points Park.
A Christmas market is missing here with all the good things: air that smells like roasted almonds and gingerbread, and you are mysteriously holding a Bratwurst in one hand and a paper cone of roasted chestnuts in the other.
Once in France I came across a Christmas market that kept going well into February.1/40s f/2,8 ISO 1250/32° 16-50mm f/2,8 VR f=16mm/24mm
Half a block further you arrive at the Opera House of Sarasota. It has a sign, it has a door, and yet at first glance you could be forgiven for thinking you are entering a well behaved municipal building. If you pause for a moment, a faint aria seems to rise through the stairwell, as if the building is politely reminding you of its true purpose.
1/640s f/5,6 ISO 100/21° f=7,5mm
Siesta Key Beach
Siesta Key1 Beach is all about light sand, a wide beach, and a clear horizon. Even on busy days, the shoreline still feels open, with shallow waves and long stretches to walk. It is the quiet blend of sun, breeze, and open space that makes Siesta Key stand out on Sarasota's coast.
Interactive Panorama Siesta Key Beach 1
1/1250s f/5,6 ISO 100/21° f=7,5mm
Siesta Key Desert Planet
Exploration of perception for the Worldwide Panoramas event.
Perception is shaped not only by what is visible, but also by the position from which it is experienced.
Just off the beach but not out in the water, that in-between place changes the way the scene reads. At the edge, everything is in motion, and you are between two worlds, seeing both at once.
There are no footprints to hide here, but the moving waves bring their own challenges. Masks guide the transitions between frames and help maintain alignment where the surface never stays still.
Photographed in winter, the scene carries a tropical atmosphere. That quiet inversion becomes part of the viewer's perception.
Interactive Panorama Siesta Key Beach 2
1/1250s f/5,6 ISO 100/21° f=7,5mm
With my camera in hand, I noticed a seagull staring and inspecting me. Surely one panorama should be acceptable, right? It watched calmly like a tiny director and never blinked.
1/50s f/2,8 ISO 100/21° 16-50mm f/2,8 VR f=50mm/75mm
Driving away from the beach, the palm trees lined the street in a clean row, like they were guiding the way.
1/1546s f/1,9 ISO 47 f=5mm/25mm
Bayfront Park
Bayfront Park sits right on the water between the marina and the bay. A few paths, some shade, and benches facing the boats make it an easy stop on the way along the waterfront.
Equirectangular Projection
Mercator Projection
1/640s f/5,6 ISO 100/21° f=7,5mm
Interactive Panorama Bayfront Park 1
1/1000s f/5,6 ISO 100/21° f=7,5mm
Interactive Panorama Bayfront Park 2
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Interactive Panorama Bayfront Park 3
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Interactive Panorama Bayfront Park 4
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The four bronze dolphins by sculptor Steve Dickey rise in a clean upward arc. The figures stand a little over three and a half meters tall within a circular basin of about twelve meters. In the bright light the moment feels like a paused film frame, held just before the scene continues.
1/4000s f/2,8 ISO 100/21° 16-50mm f/2,8 VR f=37mm/55mm
We arrived by plane, not by boat.
1/500s f/8 ISO 100/21° 16-50mm f/2,8 VR f=28mm/42mm
Milan Art Gallery
Visited the Milan Art Gallery for the opening of the Mini Masterpieces Collection exhibition. It featured original works from a variety of artists. The paintings were striking, with a level of detail and character that kept drawing us back for a second look. It was part of Art Walk, a recurring evening that brings the local art scene together, and one of the highlights of the night.
Interactive Panorama Milan Art Gallery 1
1/80s f/5,6 ISO 500/28° f=7,5mm
Interactive Panorama Milan Art Gallery 2
1/80s f/5,6 ISO 500/28° f=7,5mm
Katy's Cat Cafe
Parsley checks the minimum focus distance.
1/500s f/2,8 ISO 6400/39° 16-50mm f/2,8 VR f=30mm/45mm
Audrey poses with the confidence of a professional model.
1/25s f/2,8 ISO 400/27° 16-50mm f/2,8 VR f=35mm/52mm
1/30s f/1,9 ISO 314/26° f=5mm/25mm
Farmers Market
Not many farmers, but lots of stitching errors. Handheld usually works fine; here it refused.
Interactive Panorama Farmers Market
1/320s f/5,6 ISO 500/28° f=7,5mm
Ringling Museum of Art
Panoramas from the Ringling Museum of Art, with views from galleries to courtyard.
Coquina Beach
Soft light, almost no wind, and water that barely moved. Dark clouds moved in from the gulf, and the brightness faded. Minutes later, the storm closed in around the bay.
Interactive Panorama Coquina Beach
1/1000s f/5,6 ISO 100/21° f=7,5mm
Lido Beach
The last light of the day settled in as the sky dimmed, the colors softened, and the shoreline eased quietly toward evening.
1/4000s f/8 ISO 100/21° 16-50mm f/2,8 VR f=50mm/75mm
Interactive Panorama Lido Beach
1/800s f/5,6 ISO 100/21° f=7,5mm
A winter escape at 25°C, with days shaped more by place than by schedule. The coast offered space, the water stayed calm, and the light guided the course of the trip. It became a quiet record of a season lived differently.
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The word Key is derived from the Spanish cayo, meaning a small, low-lying island formed from coral or sand. Early Spanish explorers used the term across the region, and the English name Key developed from this usage. Many coastal islands in Florida, including Siesta Key, still carry this inherited name. â©
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Ringling Museum of Art, Sarasota
Established in 1927, the John and Mable Ringling Museum of Art was completed in 1928 and welcomed its first visitors in 1930.
1/3745s f/1,6 ISO 50/18° f=5mm/26mm
1/1316s f/1,9 ISO 45 f=5mm/25mm
1/2755s f/1,6 ISO 50/18° f=5mm/26mm
Started as a circus, now a museum by the bay.
Ringling turned seasons on the road into an art collection in Sarasota, and these panoramas take the long view in wide frames.
1/10s f/5,6 ISO 500/28° f=7,5mm
In case you get lost in the art, here is the official map. The place is big.
As tripods were not permitted, all panoramas were captured handheld, increasing the risk of stitching errors from parallax and alignment sensitivity in an environment where precise alignment is most important.
Gallery 1
Rubens opens the walk with five towering canvases from his Triumph of the Eucharist series. Once made for royalty, now casually greeting anyone who steps inside.
Interactive Panorama Gallery 1
1/50s f/5,6 ISO 2000/34° f=7,5mm
Gallery 3
Late Gothic and Renaissance works from Northern Europe, including pieces by Cranach the Elder, Cornelis van Cleve, and Quinten Metsys. Sculptures, furniture, and smaller objects complete the atmosphere and give a good sense of the period.
Interactive Panorama Gallery 3
1/50s f/5,6 ISO 10000/41° f=7,5mm
Gallery 5
Renaissance life shows up in softer tones. A 16th century daybed and devotional pieces, including a gentle Della Robbia Madonna and a warm Ghirlandaio, set the mood.
Interactive Panorama Gallery 5
1/50s f/5,6 ISO 10000/41° f=7,5mm
Gallery 6
Sixteenth century Italy comes into focus with Veronese's large Rest on the Flight to Egypt. Palma and Fasolo add drama and family presence to the room.
Interactive Panorama Gallery 6
1/50s f/5,6 ISO 10000/41° f=7,5mm
Gallery 8
Drama finds its home here. Italian Baroque painters like Fede Galizia, Guercino, and Benedetto Gennari II pull the room into motion with sharp light, deep shadow, and stories that never quite sit still.
Interactive Panorama Gallery 8
1/50s f/5,6 ISO 6400/39° f=7,5mm
Gallery 15
This room dives into French Rococo with its lighthearted portraits and playful decoration. A highlight is the richly decorated harpsichord, almost 400 years old.
Interactive Panorama Gallery 15
1/50s f/5,6 ISO 5000/38° f=7,5mm
Gallery 19
Here the Astor Mansion lives on. Ringling saved these Gilded Age interiors from demolition in 1926 and gave them a new home in Sarasota, where they now sit in quiet comfort.
Interactive Panorama Gallery 19
To keep the camera and my reflection out of the mirror, I photographed the scene from below the line where the fireplace mantle touched the mirror and projected the frame back into the panorama. In the index, the first frame is the one captured from that low angle, the others were taken from the normal viewpoint. The approach avoided the need for editing altogether.
1/50s f/5,6 ISO 5000/38° f=7,5mm
Ancient Art at the Ringling
The Ancient Art galleries at the Ringling bring together a small group of Greek, Roman, and early Mediterranean pieces. Most works are modest in scale, but their materials and craftsmanship make the room an unexpectedly quiet stop in the museum.
1/50s f/5,6 ISO 2500/35° f=7,5mm
1/50s f/5,6 ISO 2500/35° f=7,5mm
Circus Museum
The Ringling story shows its roots here. Original wagons, trains, and gear capture the life on the road that started everything long before the art collection took shape.
1/50s f/5,6 ISO 12800/42° f=7,5mm
Contemporary Art
A different world entirely. The room abandons traditional paintings in favor of bold objects, sharp angles, and ideas that challenge more than they clarify. A concrete structure dominates the center as if making a statement only it fully understands, while a few quiet surprises wait in the corners. It is modern, very modern, and it certainly invites the ongoing question of what exactly we are looking at.
Interactive Panorama Contemporary Art
1/50s f/5,6 ISO 2000/34° f=7,5mm
Inner Courtyard, Skyspace
The atrium echoes the Pantheon in Rome through its square opening, offering a calm pause of light and air between the rooms.
Interactive Panorama Inner Courtyard
1/160s f/5,6 ISO 125/22° f=7,5mm
Exposure for the ceiling: 1/400s f/5,6 ISO 125/22° f=7,5mm
Grand Courtyard, Michelangelo's David
The 21 galleries surround a wide courtyard of fountains, sculptures, and a marble loggia. At its center stands a bronze replica of Michelangelo's David, looking out over the classical architecture.
Interactive Panorama Grand Courtyard, Michelangelo's David
1/800s f/5,6 ISO 100/21° f=7,5mm
Full-Frame Fisheye Projection
1/800s f/5,6 ISO 100/21° f=7,5mm
Equirectangular Projection
The Sarasota copy is nice, but here is the original.
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Seattle Art Museum
A cold, wet, and grey Sunday. Pacific Northwest in autumn is nature's way of saying, "Stay indoors."
So thats where we stay. In the Seattle Art Museum, of course.
Where architecture curves into art â captured in a fisheye projection1/200s f/5,6 ISO 200/24° f=7,5mm
Interactive Panorama Seattle Art Museum 1
1/200s f/5,6 ISO 200/24° f=7,5mm
Interactive Panorama Seattle Art Museum 2
1/200s f/5,6 ISO 200/24° f=7,5mm
FriendsWithYou: Little Cloud Sky
Location: Brotman Forum (Main Foyer)
1/50s f/5,6 ISO 640/29° f=7,5mm
1/30s f/5,6 ISO 250/25° f=7,5mm
1/40s f/5,6 ISO 1000/31° f=7,5mm
1/30s f/5,6 ISO 2000/34° f=7,5mm
American Art: The Stories We Carry
This exhibition includes several works by Andy Warhol, highlighting his iconic Pop Art style.
1/40s f/5,6 ISO 2000/34° f=7,5mm
1/40s f/5,6 ISO 2500/35° f=7,5mm
1/40s f/5,6 ISO 6400/39° f=7,5mm
1/50s f/5,6 ISO 3200/36° f=7,5mm
1/50s f/5,6 ISO 3200/36° f=7,5mm
Interactive Panorama American Art: The Stories We Carry
1/40s f/5,6 ISO 2500/35° f=7,5mm
1/50s f/5,6 ISO 1000/31° f=7,5mm
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1/50s f/5,6 ISO 1600/33° f=7,5mm
1/50s f/5,6 ISO 1600/33° f=7,5m
1/80s f/5,6 ISO 5000/38° f=7,5mm
Only Connect: The Art of Devotion
1/50s f/5,6 ISO 16000/43° f=7,5mm
SAM Stories, The Visitation, 1643, Philippe de Champaigne
1/50s f/5,6 ISO 8000/40° f=7,5mm
Interactive Panorama Only Connect: The Art of Devotion
1/50s f/5,6 ISO 16000/43° f=7,5mm
A Goya worth reversing entropy for, but today I let time flow forward through my lens. Tenet.
SAM Stories1/50s f/5,6 ISO 6400/39° f=7,5mm
Art and Life Along the Northwest Coast
1/50s f/5,6 ISO 4000/37° f=7,5mm
1/50s f/5,6 ISO 4000/37° f=7,5mm
1/50s f/5,6 ISO 5000/38° f=7,5mm
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Chronicles of a Global East
1/80s f/5,6 ISO 16000/43° f=7,5mm
Roman Art: The Diversity of an Empire
1/50s f/5,6 ISO 4000/37° f=7,5mm
1/50s f/5,6 ISO 4000/37° f=7,5mm
Impressionisms: The Global 19th Century
1/50s f/5,6 ISO 6400/39° f=7,5mm
Winter Landscape on the Bank of the Seine, Henri Matisse
SAM Stories and SAM's collection
1/50s f/5,6 ISO 6400/39° f=7,5mm
Porcelain Room
1/50s f/5,6 ISO 8000/40° f=7,5mm
The Italian Room
SAM Stories and SAM's collection
1/50s f/5,6 ISO 8000/40° f=7,5mm
Interactive Panorama The Italian Room
Noise reduction was not applied to retain details; the images were only graded3.
There was no time for multiple exposures for HDR, and of course no tripod because we were in a museum. I only had a brief moment when the room was empty to capture a 360°Ă180° panorama.1/50s f/5,6 ISO 8000/40° f=7,5mm
It was really dark in this room. Here are the ungraded raw images:
1/50s f/5,6 ISO 8000/40° f=7,5mm
From Galleries to Sidewalks
When we left the museum, it was only partly cloudy with a hint of sunshine. The Pacific Northwest's quiet way of saying thanks for staying.
1/400s f/5,6 ISO 100/21° f=7,5mm
From the calm of the galleries to the vibrant pulse of Pike Place Market
1/125s f/5,6 ISO 2500/35° f=7,5mm
1/125s f/5,6 ISO 100/21° f=7,5mm
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List of Exhibitions for 2025:
âą FriendsWithYou: Little Cloud Sky â Jun 27, 2025 â ongoing
âą Ash-Glazed Ceramics from Korea and Japan â Jul 9, 2025 â Jul 12, 2027
âą Diego Cibelli: Fiori dei Miei Habiti / La Montagne EnchantĂ©e â May 31, 2024 â May 10, 2026
âą Yirrkala: Art from Australia's Top End â May 10, 2024 â ongoing
âą Lessons from the Institute of Empathy â Mar 31, 2018 â ongoing
âą Impressionisms: The Global Nineteenth Century â Mar 27, 2024 â ongoing
âą American Art: The Stories We Carry â Oct 20, 2022 â ongoing
âą Chronicles of a Global East â Oct 20, 2022 â ongoing
âą Pacific Species â Dec 22, 2022 â ongoing
âą Cosmic Beings in Mesoamerican and Andean Art â Nov 10, 2018 â ongoing
âą Art and Life Along the Northwest Coast â Nov 26, 2014 â ongoing
âą Only Connect: The Art of Devotion â Apr 29, 2011 â ongoing
âą Porcelain Room â May 5, 2007 â ongoing
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In this context, graded refers to applying tone curve adjustments to brighten dark areas and make details more visible. â©
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Bellevue Connector Bridge
Die Bellevue Connector Bridge â Licht, Schatten und der perfekte Moment
Die Bellevue Connector Bridge ist Teil eines stĂ€dtebaulichen Konzepts, das FuĂgĂ€nger und Radfahrer besser mit dem Stadtzentrum verbindet. Sie steht exemplarisch fĂŒr moderne Infrastruktur, die nicht nur funktional, sondern auch Ă€sthetisch ansprechend gestaltet ist.
Am Vormittag liegt die Seite der BrĂŒcke mit dem Mural4 im Schatten:
Erst am Nachmittag fĂ€llt Sonnenlicht direkt auf das Mural. Allerdings werfen dann auch die architektonischen Elemente der BrĂŒcke markante Schatten auf die Wand.
Kurz nach Mittag entsteht ein besonderer Moment: Die Sonne steht in einem Winkel, bei dem das Mural vollstĂ€ndig aus dem Schatten tritt, wĂ€hrend die BrĂŒckenarchitektur noch keine Schatten wirft. Ich habe diesen seltenen Lichtmoment genutzt, um das Panorama aufzunehmen. Fast so selten wie eine Sonnenfinsternis, nur ohne Schutzbrille und mit deutlich besserer Auflösung.
Die Nord-SĂŒd-Ausrichtung sorgt dafĂŒr, dass die Sonne einmal tĂ€glich exakt genug steht, um das Mural fĂŒr wenige Minuten wie eine BĂŒhne auszuleuchten. Ein Moment, in dem Architektur und Sonnenstand kurz in Konjunktion treten.
Interactive Panorama Bellevue Connector Bridge
1/800s f/5,6 ISO 100/21° f=7,5mm
Ein Blick hinter das GelÀnder
Und nebendran rauscht ein Zug vorbei. Vermutlich weil der LĂ€rmpegel noch nicht ganz bei 'GroĂstadt' war.
Mural als lineares Panorama:
1/320s f/6,3 ISO 100/21° 18-140mm f/3,5-6,3 VR f=18mm/27mm
Skaliert auf 7kĂ500 fĂŒr die Webansicht:
GröĂere Version mit 27kĂ2k, 13MB
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Ein Mural ist ein groĂflĂ€chiges WandgemĂ€lde, das direkt auf eine Wand oder andere architektonische OberflĂ€che gemalt oder aufgebracht wird.  â©
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Lineares Panorama
Lineares Panorama: Eine Alternative zur klassischen Drehung
Die klassische Panorama-Fotografie basiert auf der Drehung der Kamera um ihren Nodalpunkt. Diese Technik ermöglicht beeindruckende Rundumaufnahmen und funktioniert besonders gut bei Szenen mit groĂer Tiefenausdehnung. Doch was passiert, wenn das Motiv selbst langgestreckt ist, wie etwa ein WandgemĂ€lde oder eine HĂ€userfront, und sich nicht sinnvoll durch Rotation erfassen lĂ€sst?
In solchen FÀllen bietet das lineare Panorama eine gute Alternative: Statt die Kamera zu drehen, wird sie entlang einer geraden Linie bewegt. Diese Methode eröffnet neue gestalterische Möglichkeiten und stellt besondere Anforderungen an Projektion, Perspektive und Technik. Der folgende Beitrag beleuchtet die Unterschiede zwischen klassischen und linearen Panoramen und zeigt anhand eines konkreten Beispiels, wie ein lineares Panorama entsteht.
Projektionstypen in der Panorama-Fotografie
FĂŒr ein Bild mit einem Bildwinkel bis etwa 110° kann die rectilineare Abbildung verwendet werden1. Diese Projektion bewahrt gerade Linien und eignet sich besonders fĂŒr Architektur- oder Landschaftsaufnahmen mit moderatem Blickwinkel. Sobald der Bildwinkel diesen Bereich ĂŒberschreitet, treten bei der rectilinearen Projektion zunehmend starke Verzerrungen auf, insbesondere an den BildrĂ€ndern. Gerade Linien wirken dann ĂŒbermĂ€Ăig gedehnt, und das Bild verliert an natĂŒrlicher Wirkung.
FĂŒr gröĂere Blickwinkel sind daher die Ă€quirektangulare oder zylindrische Projektion besser geeignet. Sie verteilen die Verzerrung gleichmĂ€Ăiger und ermöglichen ein harmonischeres Gesamtbild, besonders bei Rundum-Panoramen oder Szenen mit einem Sichtfeld ĂŒber 180°.
Beim klassischen Panorama wird die Kamera fĂŒr die einzelnen Bilder um ihren Nodalpunkt gedreht, um Parallaxfehler zu vermeiden.
Vergleich von Projektionstypen
Projektionstyp Typischer Bildwinkel Abbildungseigenschaften Ideale Einsatzbereiche Rectilinear < 110° Gerade Linien bleiben erhalten; starke Randstreckung ab 110° Architektur, Landschaften mit moderatem Sichtfeld Zylindrisch 90°â360° Nur vertikale Linien bleiben gerade Weite Panoramen, Rundum-Szenen, Stadtansichten, Naturvistas Ăquirektangular 180°â360° GleichmĂ€Ăige Abbildung in beiden Achsen; geeignet fĂŒr Kugelpanoramen 360°-Panoramen, virtuelle Touren, immersive Szenen WĂ€hrend die klassische Panorama-Technik bei weitwinkligen Szenen hervorragend funktioniert, stöĂt sie bei langgestreckten Motiven wie WandgemĂ€lden oder HĂ€userfronten entlang einer StraĂe an ihre Grenzen. Die Drehung um den Nodalpunkt fĂŒhrt hier zu perspektivischen Verzerrungen und einem unnatĂŒrlichen Bildaufbau, da sich die rĂ€umliche Tiefe des Motivs nicht gleichmĂ€Ăig erfassen lĂ€sst.
Hier setzt das lineare Panorama an: Statt die Kamera zu drehen, wird sie linear entlang des Motivs mit konstantem Abstand und paralleler Ausrichtung bewegt. Das Ergebnis ist ein visuelles Band, das die rĂ€umliche KontinuitĂ€t bewahrt und das Motiv in seiner gesamten LĂ€nge zeigt. Diese Technik eignet sich besonders fĂŒr Szenen mit geringer Tiefenausdehnung und groĂer horizontaler Ausdehnung, bei denen eine klassische Panoramaaufnahme zu perspektivischen BrĂŒchen fĂŒhren wĂŒrde.
Die lineare Methode bringt jedoch eigene technische und gestalterische Herausforderungen mit sich, die bei der Planung und Umsetzung berĂŒcksichtigt werden mĂŒssen:
- Parallaxfehler durch hervorstehende Objekte wie StĂŒhle, Autos oder
Personen, die sich bei der Bewegung der Kamera unterschiedlich
ĂŒberlagern
- Perspektivische Verzerrungen, da sich die Kamera seitlich bewegt und
dadurch die Fluchtlinien des Motivs beeinflusst werden
- Bewegte Elemente wie Autos oder FuĂgĂ€nger, die zu Stitchingfehlern
oder Geisterbildern fĂŒhren können
- LichtverÀnderungen entlang der Strecke, etwa durch Schattenwurf, unterschiedliche Beleuchtung oder wechselnde Wetterbedingungen
Lineares Panorama am Beispiel eines Murals
In diesem Projekt wird ein Mural2 dokumentiert, das seitlich im Inneren der Bellevue Connector Bridge angebracht ist und sich ĂŒber deren gesamte LĂ€nge erstreckt. Es zeigt eine zusammenhĂ€ngende Szene, die sich nur durch eine lineare Kamerabewegung vollstĂ€ndig und verzerrungsfrei erfassen lĂ€sst.
Denn das Wandbild passt nicht in ein einziges (Fisheye) Bild.
Und das GelĂ€nder passt nicht zur Idee fĂŒr mehr Abstand einfach mal eben drĂŒberzusteigen.
Interactive Panorama Bellevue Connector Bridge
Siehe Bellevue Connector BridgeUm das Mural abzubilden, wird die Kamera linear entlang des Motivs mit konstantem Abstand und paralleler Ausrichtung bewegt3.
Wie beim klassischen Panorama sind manuelle Einstellungen fĂŒr Belichtung, WeiĂabgleich und Fokus entscheidend fĂŒr konsistente Ergebnisse. Weiterhin ist zu beachten:
- Kamerabewegung: Linear entlang der StraĂe â z. B. auf einem Slider,
Fahrrad oder zu FuĂ mit Markierungen
- Konstanter Abstand: Möglichst gleichbleibend, z. B. 5 m zur
HĂ€userfront
- Horizontale Ausrichtung: Kamera bleibt parallel zum Motiv
- Ăberlappung: 20â50Â % zwischen den Bildern
Die Rectilinearprojektion fĂŒhrt zu Verzerrungen in den Randbereichen â Ă€hnlich wie bei einem Weitwinkelobjektiv.
Um ein lineares Panorama zu erstellen, wird eine (fast) orthogonale Projektion verwendet. Der resultierende kleine Bildwinkel minimiert Verzerrungen. Dadurch lassen sich Panoramen erstellen, die aufgrund des erforderlichen groĂen Blickwinkels sonst nicht abbildbar wĂ€ren.
Die Optimierung ergab in diesem Beispiel eine effektive Brennweite von etwa 1400 mm, entsprechend einem Bildwinkel von etwa horizontal 8° und vertikal 1°.Dasselbe Verfahren findet auch beim Zusammensetzen von Scans Anwendung (Mosaik). Die dabei verwendete orthogonale Projektion ist der Grund, warum das mit Fisheye-Bildern nicht funktioniert. Sie kann nur auf rectilineare Bilder angewendet werden, genauso wenig wie ein gekrĂŒmmter Spiegel parallele Linien korrekt reflektieren kann.
Panorama-Erstellung in PTGui
Im ersten Schritt werden sÀmtliche Bilder in PTGui importiert, um mit der Panorama-Erstellung zu beginnen.
FĂŒr jedes Einzelbild werden horizontale (grĂŒn) und vertikale (rot) Kontrollpunkte gesetzt.
Zwischen den Bildern werden zusĂ€tzlich horizontale Kontrollpunkte (gelb) eingefĂŒgt, um eine gleichmĂ€Ăige Ausrichtung des Panoramas sicherzustellen. Auch zwischen dem ersten und letzten Bild werden horizontale Kontrollpunkte gesetzt, um die Gesamtgeometrie auszurichten.
FĂŒr jedes einzelne Bild werden horizontale Kontrollpunkte gesetzt.
ZusĂ€tzlich zu den normalen Kontrollpunkten zwischen den Bildern werden horizontale Kontrollpunkte eingefĂŒgt.
Die Projektion wird auf "Rectilinear" gesetzt. FĂŒr alle Bilder auĂer dem ersten Bild wird die individuelle Optimierung fĂŒr Objektiv und Verschiebung gesetzt.
ZunÀchst ohne Blickwinkel, Parameter 'b' und Verschiebung optimieren, um die Bilder grob auszurichten.
Dann wird mit Blickwinkel, Parameter 'b' und Verschiebung optimiert.
Ein kleiner horizontaler und vertikaler Bildwinkel reduziert Verzerrungen an den BildrĂ€ndern. Bei einer Optimierung mit der tatsĂ€chlichen Objektivbrennweite lĂ€ge der Blickwinkel ĂŒber 180 Grad und das Panorama lieĂe sich nicht korrekt erzeugen.
Das Ergebnis: Ein lineares Panorama in voller LĂ€nge
Aus 11 Einzelbildern entsteht ein durchgehendes Panorama mit 44135 Ă 3242 Bildpunkten (143,1 MP, 61,4 MB), das die gesamte Szene in hoher Detailtreue abbildet. Die Aufnahme wurde mit der Z50 II bei 18 mm Brennweite erstellt und anschlieĂend gemÀà der beschriebenen Schritte in PTGui zusammengesetzt.
1/320s f/6,3 ISO 100/21° 18-140mm f/3,5-6,3 VR f=18mm/27mm
Skaliert auf 7kĂ500 fĂŒr die Webansicht:
GröĂere Version mit 27kĂ2k, 13MB
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Ein 14mm-Objektiv an Vollformat liefert etwa 104° horizontalen Bildwinkel.â©
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Ein Mural ist ein groĂflĂ€chiges WandgemĂ€lde, das direkt auf eine Wand oder andere architektonische OberflĂ€che gemalt oder aufgebracht wird.â©
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Ein Abschnitt wurde mit verkĂŒrztem Wegabstand aufgenommen, da jedes Bild drei Segmente enthĂ€lt und die Gesamtanzahl der Segmente kein Vielfaches von drei ist.â©
Linear Panorama: An Alternative to Classical Rotation
Classical panoramic photography relies on rotating the camera around its nodal point. This technique enables impressive 360° captures and works especially well for scenes with significant depth. But what if the subject itself is elongated, like a mural or a row of buildings, and cannot be effectively captured through rotation?
In such cases, the linear panorama offers a compelling alternative: instead of rotating the camera, it is moved along a straight path. This method opens up new creative possibilities and introduces unique challenges in projection, perspective, and technique. The following article explores the differences between classical and linear panoramas and illustrates how a linear panorama is created using a real-world example.
Projection Types in Panoramic Photography
For images with a field of view up to approximately 110°, the rectilinear projection can be used1. This projection preserves straight lines and is ideal for architectural or landscape shots with moderate angles. Once the field of view exceeds this range, rectilinear projection introduces strong distortions, especially at the edges. Straight lines appear overly stretched, and the image loses its natural appearance.
For wider fields of view, equirectangular or cylindrical projections are better suited. These distribute distortion more evenly and produce a more harmonious overall image, especially for full panoramas or scenes with a field of view over 180°.
In classical panoramas, the camera is rotated around its nodal point to avoid parallax errors.
Comparison of Projection Types
Projection type Typical image angle Mapping properties Ideal areas of application Rectilinear < 110° Straight lines are preserved; Strong edge stretching from 110° Architecture, landscapes with a moderate field of view Cylindrical 90°â360° Only vertical lines remain straight Wide panoramas, all-around scenes, cityscapes, nature vistas Equirectangular 180°â360° Uniform image in both axes; suitable for spherical panoramas 360° panoramas, virtual tours, immersive scenes While classical panorama techniques work well for wide-angle scenes, they struggle with elongated subjects like murals or building facades along a street. Rotating around the nodal point introduces perspective distortions and an unnatural composition, as the spatial depth of the subject cannot be evenly captured.
This is where the linear panorama comes in: instead of rotating the camera, it is moved linearly along the subject with constant distance and parallel alignment. The result is a visual ribbon that preserves spatial continuity and displays the subject in its full length. This technique is especially suitable for scenes with low depth and large horizontal extent, where classical panoramas would cause perspective breaks.
However, the linear method introduces its own technical and creative challenges:
- Parallax errors from protruding objects like chairs, cars, or people
that overlap differently during camera movement
- Perspective distortions due to lateral camera movement affecting
vanishing lines
- Moving elements like cars or pedestrians causing stitching errors or
ghosting
- Lighting changes along the path, such as shadows, varying illumination, or changing weather
Linear Panorama Example: A Mural
This project documents a mural2, spanning its entire length inside the Bellevue Connector Bridge. It depicts a continuous scene that can only be captured fully and distortion-free through linear camera movement.
The mural does not fit into a single (fisheye) image. And the railing is not suitable for simply stepping over to gain more distance.
Interactive Panorama Bellevue Connector Bridge
See Bellevue Connector BridgeTo capture the mural, the camera is moved linearly along the subject with constant distance and parallel alignment3.
As with classical panoramas, manual settings for exposure, white balance, and focus are crucial for consistent results. Additionally:
- Camera movement: Linear along the street â e.g., on a slider,
bicycle, or on foot with markers
- Constant distance: Ideally consistent, e.g., 5 m from the building
facade
- Horizontal alignment: Camera remains parallel to the subject
- Overlap: 20â50% between images
The rectilinear projection causes edge distortions, similar to a wide-angle lens.
To create a linear panorama, a (nearly) orthogonal projection is used. The resulting small field of view minimizes distortions. This allows panoramas to be created that would otherwise be impossible due to the required wide field of view.
In this example, optimization resulted in an effective focal length of approximately 1400 mm, corresponding to a field of view of about 8° horizontal and 1° vertical.
This same technique is used in scan stitching (mosaics). The orthogonal projection applied here is why fisheye images do not work. It can only be applied to rectilinear images, just as a curved mirror cannot reflect parallel lines correctly.
Panorama Creation in PTGui
The first step is importing all images into PTGui to begin panorama creation.
For each image, horizontal (green) and vertical (red) control points are set. Horizontal control points (yellow) are also added between images to ensure consistent alignment. Horizontal control points are also placed between the first and last image to align the overall geometry.
Each image receives horizontal control points.
In addition to regular control points between images, horizontal control points are added.
The projection is set to "Rectilinear." For all images except the first, individual optimization for lens and shift is applied.
First, optimize without field of view, parameter 'b', and shift to roughly align the images. Then optimize with field of view, parameter 'b', and shift.
A small horizontal and vertical field of view reduces edge distortions. If optimized using the actual lens focal length, the field of view would exceed 180°, making correct panorama creation impossible.
The Result: A Full-Length Linear Panorama
From 11 individual images, a continuous panorama of 44135Â ĂÂ 3242 pixels (143.1Â MP, 61.4 MB) is created, capturing the entire scene in high detail. The shot was taken with the Z50 II at 18Â mm focal length and stitched in PTGui as described.
1/320s f/6.3 ISO 100/21° 18-140mm f/3.5-6.3 VR f=18mm/27mm
Scaled to 7kĂ500 for web view:
Larger version with 27kĂ2k, 13MB
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A 14mm lens on full-frame delivers approximately 104° horizontal field of view.â©
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A mural is a large-scale wall painting applied directly to a wall or architectural surface.â©
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One section was captured with a shortened path distance, as each image contains three segments and the total number of segments is not a multiple of three.â©
- Parallaxfehler durch hervorstehende Objekte wie StĂŒhle, Autos oder
Personen, die sich bei der Bewegung der Kamera unterschiedlich
ĂŒberlagern
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