Ultra high resolution Images

This Tutorial shows you how to capture and stitch photographs exceeding the resolution of your camera. In the tutorial I am going to create a 73.2 Megapixel Image, but the Image Size is virtually unlimited (except by your computers capabilities). I will walk through the whole process including the most important part of taking the pictures. With this technique you can stitch Panoramas of any resolution.

Taking the Pictures

See what you should consider and how you should plan your image. This is a little bit more involved than a simple snapshot.

Preparing the Images before starting the stitching process. Things to consider for better results.
Stitching the Images, Software Answers.
What to do with that monster file?

Learn more about High Resolution Images.


cho minh tai phan mem nay ve nha

Great Tutorial

Nothing more to say! Really amazing tutorial!!! I found this site by reading one of your postings on heise.de ;-)

Thanks Martel, I hang out on

Thanks Martel,

I hang out on Heise quite a bit.


I stumbled over your side and I'm wondering what you are doing on heise ?!?



I am not following

Hello Haze,

I am on Heise sometimes reading technology news. I like the site, but I also like to check out the flame wars that start over there about anything and everything.
Telepolis isn't that bad either, but they are a bit too opinionated.
Why do you ask?

Answering some questions

Peter has asked some interesting questions over here that I would like to address.

Here are some answers:

Were you only using your 50mm lens for this like you described in your tutuorial?

No, I was using my 70-200mm lens at 200mm, because I had to zoom in quite close. The result is still a wideangle (large Field of View), because there are quite a few pictures stitched together. One of the problems you will face though is the compression in depth of field a telephoto lens will cause.

When you are taking the pictures do you ever overlap so there will be 3 pictures with the same stitch joint in it?

The pictures overlap by about 20% in either direction. This is necessary, otherwise you couldn't make sure you won't have holes (the images get slightly warped to fit) and since it would be impossible to line them up exactly, plus the software needs the overlap area to figure out how the images go together.

join them in autopano it makes it rather soft

All Autopano does is figure out the control points (where the images overlap). The actual blending is done by either Enblend or Smartblend.

In PTAssembler you should turn off Feather (marked red in this part of the tutorial) plus you might want to set the Interpolator to Sinc1024.

do you usually just use the picture right out of the program (cropped, ofcourse)

I use the pictures without any adjustments, but don't crop them either. You will just crop away the information Autopano and Enblend so desperately need.

finally, do you always force it in manual exposure or do you have success with joining files that are auto metere?. just because i would think sometimes the whole scene is too constrasy to keep all the detail in the dark sections but not blow it out in the lighter sections if you're using a constant exposure

I always do manual. In the end, you are still trying to put the entire dynamic range of the image into one combined image. Only when you rely on the camera automatic, your software has to adjust the dynamic range of each image. This means you will lose much more information then you could get with manual and RAW processing. I'd much rather try to increase the dynamic range with RAW processing. That will only work with smaller images.

Other way's to increase the dynamic range with larger images:

  1. You could convert three sets of RAW images. One with average adjustments, one for highlights and one for shadows. You then figure out the control points and do the calculations on the average converted images. Then you replace the source files with the ones processed for highlights and run again and then do the same for the shadows. Then combine them in Photoshop by layering and painting with a soft brush with large radius to have one or the other dominate.
  2. You could also bracket the exposure. This is possible for panoramics too. Autopano will find out the control points correctly (I think). You run autopano on the entire set. Then you remove all images but the underexposed and continue. Then you do the same for normal and over exposed and you should get 3 processed images that line up exactly.

In fact I have once used PTAssembler to stack 3 normal images I bracketed, when I didn't have a tripod. I could align all 3 images exactly and create an image with a high dynamic range without having a tripod.


i don't think interpolation is good way. its become blurred or much sharped. i'm working totally digitally. rendering. render time take a lot time but for example my default resolution is 108MP (12.000 x 9.000 pixel) and its just enough.
serdar camlica


Hello Sedar, please read all the articles above again and then read them one more time. This is not an interpolation technique but a stitching technique.

ultra high resolution for gamers


no sample for high

no sample for high resolution images at all why

I guess you didn't bother to

I guess you didn't bother to look at part 4?

selective use of aperture and/or shutter speed

What is the effective difference in choosing f/8, f/11 or f/13; similarly, for the smaller f-stops? Is it a matter of eyeballing it or just sensing the effect? If there is no practical/artistic difference, why not just go from f/3.5 to f/11 to f/18. Since there is a continuum then there is a reason for it but I need help in understanding how to make the choice. Thank you.

Generally speaking, if you

Generally speaking, if you want to maximize depth of field you need to chose a smaller aperture (f/22 or smaller). However, this will limit the resolution of your final image due to diffraction, so it is wise to chose an aperture wide enough to prevent diffraction and small enough to guarantee a suitable depth of field.
The long focal length that you need to shoot the tiles of the mosaic aggravates the problem and ultimately you will have to sacrifice depth of field.
Ideally your subject does not require a very large depth of field.
The way around the problem is to shoot two frames for each mosaic tile. One with a closer focus distance and one with a further focus distance. Then fuse the images together (tufuse plugin) and obtain a much larger depth of field.
This is cumbersome and I generally try to avoid it whenever I can. A limited depth often gives a photograph more realism and is not always a bad thing. I tend to concentrate on composition and a pleasing image instead.


graco duoglider

Ignoring diffraction in high res panoramas

Hey Andre, great site and shots. Quick question...With Nikon introducing the D800E with almost medium format resolution, if you're shooting panos and stiching a few of those monster files together, can you essentially stop down to F16 or F22 and still get excellent resolution? My point is that if you stop down a normal DSLR, the resolution is robbed by diffraction. But if you have more resolution than you need, can you essentially stop down and stitch a few shots together to get a high res pano with great depth of field? Thoughts much appreciated!

I'm guessing this content

I'm guessing this content was composed after a fair amount of background work.

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Andre Gunther Photography | Fine Art Travel Photography

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