I decided to spend Thanksgiving weekend learning how to use Photoshop to take scenic panorama photos. This is something I haven’t gotten around to before, and I figured it was time to get better at it.

After a bit of practice at home, I headed down to Lookout Point in Newport Beach and set up my tripod. Here’s a plain, full-frame shot taken at the 24mm setting, which provides an angle of view of 52° (horizontally). The advantage of this is that it’s easy and requires no special effort to keep everything straight and level. The disadvantage, obviously, is that it’s not really very panoramic.

Like most cameras (and smartphones) these days, mine can shoot a panoramic picture in-camera. The is a quick and easy way of getting a wide shot, but it has problems. First, it’s generally a low-resolution image, which may or may not be a problem depending on what you want to do with it. Second, it’s very narrow in the vertical direction. In this case that’s not too bad (the palm trees on the left are cut off), but in other cases it makes it difficult to capture an entire scene.

Next up, then, is to use Photoshop to produce a panorama. Put your camera on a tripod and then take a series of pictures while rotating from left to right. Then use the Photomerge feature to stitch them together. This works remarkably well, especially when there’s nothing too big in the foreground. On the other hand, our palm trees are still cut off.

Finally, you can do the same thing but with the camera turned vertically. This requires more pictures, of course, but that’s no real problem. Here’s the original shot after Photoshop has finished its merge.

In all these cases, the original picture will display a fisheye effect, but you can play around with Photoshop’s warp and distort filters to get what you want. In this case, I chose to make the horizon line as level as possible, which means that the palm trees and the clouds are distorted a bit. Alternatively, you can retain the fisheye effect for the horizon, which keeps the rest of the picture less distorted. In this case, I don’t think the distortion would really be noticeable if I hadn’t pointed it out.

Not bad! This is probably an angle of view of 120º or so, and it looks pretty good. This works best with a tripod, but Photoshop is pretty forgiving even if you shoot handheld and then stitch everything together. I shall keep you all posted as I produce ever more panoramic shots.

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WE'LL BE BLUNT

It is astonishingly hard keeping a newsroom afloat these days, and we need to raise $253,000 in online donations quickly, by October 7.

The short of it: Last year, we had to cut $1 million from our budget so we could have any chance of breaking even by the time our fiscal year ended in June. And despite a huge rally from so many of you leading up to the deadline, we still came up a bit short on the whole. We can’t let that happen again. We have no wiggle room to begin with, and now we have a hole to dig out of.

Readers also told us to just give it to you straight when we need to ask for your support, and seeing how matter-of-factly explaining our inner workings, our challenges and finances, can bring more of you in has been a real silver lining. So our online membership lead, Brian, lays it all out for you in his personal, insider account (that literally puts his skin in the game!) of how urgent things are right now.

The upshot: Being able to rally $253,000 in donations over these next few weeks is vitally important simply because it is the number that keeps us right on track, helping make sure we don't end up with a bigger gap than can be filled again, helping us avoid any significant (and knowable) cash-flow crunches for now. We used to be more nonchalant about coming up short this time of year, thinking we can make it by the time June rolls around. Not anymore.

Because the in-depth journalism on underreported beats and unique perspectives on the daily news you turn to Mother Jones for is only possible because readers fund us. Corporations and powerful people with deep pockets will never sustain the type of journalism we exist to do. The only investors who won’t let independent, investigative journalism down are the people who actually care about its future—you.

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Getting just 10 percent of the people who care enough about our work to be reading this blurb to part with a few bucks would be utterly transformative for us, and that's very much what we need to keep charging hard in this financially uncertain, high-stakes year.

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