Fabulous shots.I will be shooting some single row, and possibly multiple row panoramas in a couple of months during a 3 day visit to the South Rim of the Grand Canyon. I am looking ahead as to what lenses I might use for this. Has anyone used the 100mm f/2.8L macro or the 135mm f/2L for stitched panoramas, and if so how well did they work for that? Thanks.
The 135L is great for panoramics, as long as the subject isn't too close, which it is unlikely to be when using this lens; certainly not the Grand Canyon. I'm attaching two 'double stacked' panoramics both shot on the 135L. Of all my panoramics these have a quality and brightness to them that I imagine I can see, others probably can't unless it is pointed out. As usual we are splitting hairs, but the use of longer focal lengths allow more volume of light to make the picture. This is one of the main advantages of a larger format system, the focal lengths used are longer, and they pass more volume of light for a given aperture. ( Not to be confused with light density - aka exposure). It is also one of the issues with cramming more pixels into a given format size. Pixels are only one part of the resolution; you must have light as well. Once you have enough pixels to define a subject accurately ( along with all the others factors needed to do this), then adding more pixels is very much a law of diminishing returns, so I have no desire to own a 50 mp FF sensor sized camera. Panoramic stitches on the other hand are larger format. The original picture of Beverley Minster for example was about 175 mp with a format size of about 147mm x 73, so not far off a large 5x4 format film camera.
Same thing goes for the 100L. Very low distortion = good, far out nodal point = bad. If you are shooting subjects closer to you, then the less distortion and the shorter the nodal point of the lens the better. You can easily see this for yourself if you have a short prime and a standard zoom. With say a 40 pancake, which has both very low distortion and a short nodal point, stand in the corner of a room and then, keeping the camera level, sweep around the room looking through the viewfinder, watching the wall joint to the ceiling. Now put on a standard zoom and set it to 40mm. Most standard zooms at 40 have very low distortion. Do the same thing and watch how the edges of the frame twist and bend as you sweep round. This is parallax, and your stitching software will have to try and deal with this.
As I said at the beginning, not an issue with the 135L as the subject will be well away from you.