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A few years back, I managed to find a beater of a Hasselblad XPan for a song. I've tried to find a shooting style that would help me stand out from the crowd, and the panoramic format appealed to me. I didn't realize it at the time, but this purchase sent me down a rather obsessive path, trying to find the best panoramic cameras for news and editorial work.

To be honest, it's been a bit of a trip down the rabbit hole. While the XPan is probably the most famous body (and rightly so), it's far from the only panoramic camera useful in this role. In fact, there are a few instances where it's less than ideal.

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XPans have a few things going for them that make them the best choice in most circumstances. First, the quality of the lenses is top notch. The optics rate up there with some of the highest quality lenses of the era: they're sharp, contrasty, and with almost no chromatic aberration or unwanted flare, even without a lens hood. Second, unlike other dedicated 35mm panoramic cameras, the XPan is a rangefinder body, which allows for far more precise focusing. Third, the camera allows for aperture priority shooting, which allows you to concentrate on composing your image rather than figuring out your exposure values. In a newsgathering environment, these are all extremely valuable features. You want to be able to work in a hurry, after all.

Hasselblad and Fuji only released three lenses for the XPan body: a 30mm, a 45mm, and a 90mm. I own the last two, but the 30mm is rather expensive and outside my current budget. For wide angle work, I've turned to two different bodies: my Widelux FV and a handful of Horizon-series cameras. Both the Widelux and the Horizon feature lenses that rotate on a central axis, with an end result that is similar to an XPan, but also very different in a few key ways. First, the XPan exposes to a flat surface, whereas the Horizon and Widelux have a curved film plane. This makes for interesting wide-angle images, but it can also distort your image, particularly if you don't take the time to properly compose your shot or if you're too close to your subject. They also lack any sort of automation: no light meters, no automatic exposure. The Widelux has a far better lens, though the FP is an earlier model and can be difficult to service. The Horizon is far cheaper (and still available brand new!) but is a product of Soviet-era engineering. Most modern examples are fine, but the quality control for earlier models was all over the place.

I tend to bring the Widelux when there's not a physical danger to the camera itself and when I want to put an emphasis on image quality. As I said, the camera is 60-plus years old and is difficult to service. Bob Watkins at DAG Camera Repair has serviced mine over the years and does amazing work, but he's part of a rapidly shrinking group of technicians capable of repairing or CLAing these bodies. If there's a chance of physical damage (while covering, for example, protests or anything else where there's a chance for physical impacts or environmental damage), I'll bring one of my Horizon cameras. They're relatively rugged, and it's more cost-effective to replace them if things go pear shaped.

There are other options I've explored as well. Noblex makes a series of rotating lens cameras, both in 35mm and medium format which are supposed to be amazing. Lomography released a panoramic Holga a few years back, which is surprisingly impressive and which I'll bring out with me every now and then when the mood strikes me. If you shoot large format, there's a number of 6x12 through 6x17 adapters, but these are bulky and aren't generally suited to the kind of work I do. You can also find any number of panoramic 35mm adapters for medium format cameras, but they run into the same issues as the large format ones: they're difficult to change out in the field or when you're in a rush. They're great for landscape or certain editorial work where you have plenty of time to fiddle with them, but if you're in the middle of a press briefing, big protest, or you're hanging out the back of an aircraft in flight, they're just too much work for me.

To say that news and editorial work is difficult would be a massive understatement. It's deeply competitive, and there's a lot of underemployed shooters out there. You have to keep looking for ways to stand out from the crowd. My panoramic work will never replace my digital cameras for day-to-day shooting, but there's always going to be at least one in my camera bag at all times. You never know when it will be useful.

The Mamiya is an excellent choice, but sadly one I haven't had the chance to play with. I do have a panoramic kit for my Pentax 67, but haven't had a chance to bring it on assignment yet. I've also played with custom laser-cut masks for some of my medium format cameras, but the effort hasn't been worth the results, yet.

With a unique film tension system and panoramic perspective, the Sprocket Rocket is designed to expose 35 mm film perforations for an unapologetically analogue look. If you prefer a cleaner silhouette, simply add the sprocket cover frame for unperforated panoramics. However you choose to shoot, enjoy the photographic freedom of an easily portable camera promising unlimited multiple exposures, long exposures and flash photos with the hot shoe mount. The special scrolling knobs allow you to mix and match memories with multiple exposures on super-wide panoramic shots. Get ready for lift-off and enjoy the analogue journey!

As with the review I linked to, I found the minimum focusing distance to be quite long, My father was at least 6ft away, but he is still out of focus in from of the cash machines. The film did have some light leaks on it which can be seen in the photo. That could be due to the damage to the film spool side of the internal area which can be seen on the photos. Easily fixed with some tape. Other than that there is not much to say about this camera. A cheap plastic toy. It was fun, but not something I will put another film through. I prefer the digital camera if I am going to try panoramas again.

In Adobe Camera Raw 9.4 or later, you can merge your DNG image files shot in a panoramic sequence into a breathtaking panorama composite. You can see a quick preview of the panorama and make adjustments to it before you generate the merged image.

From Adobe Camera Raw 11.0 onwards, you can merge multiple exposure-bracketed images (with consistent exposure offsets) to create an HDR panorama - all in a single step. You can see a preview of the HDR panorama created and make adjustments to it before the final merged image is generated.

In the Panorama Merge Preview/HDR Panorama Merge Preview dialog box, you can choose a layout projection manually:

Spherical: Aligns and transforms the images as if they are mapped to the inside of a sphere. This projection mode is great for very wide or multirow panoramas.

Cylindrical: Projects the panorama as if it is mapped to the inside of a cylinder. This projection mode works really well for wide panoramas, but it also keeps vertical lines straight.

Perspective: Projects the panorama as if it is mapped to a flat surface. Since this mode keeps straight lines straight, it is great for architectural photography. Very wide panoramas may not work well with this mode due to excessive distortion near the edges of the resulting panorama.

While you preview the panorama, the Auto Crop setting is selected by default to remove any remaining transparency around the merged image. You can view the total number of merged images in the Panorama Merge Preview/HDR Panorama Merge Preview dialog box.

In the Merge Result dialog box, you can enter the location and File name and click Save. Alternatively, Alt-click Merge to save the panorama in the same folder as the source image with the default file name.

Hello all, I don't want to drop all my savings on an XPan but would like to mess around with panoramic shots. Does anyone here have a suggestion for a 35mm "panorama" camera that won't break the bank?

I wanted to share with you my satisfaction with the Sigma DP0 as a panoramic camera. For many, too many years, i've been using a Hasselblad XPan, which effectively shoots two 35mm film frames side by side, with an aspect ratio just a touch narrower than 3:1. The essential thing for me in photography is being able to frame what I'm shooting, so drastic reframing in post doesn't really work for me. Therefore I never really found a digital camera that gave me the same shooting experience as the XPan. Well, not until the DP0 with its 21:9 ratio. This is actually close to ideal, half way between the two "classic" 2:1 and 3:1 ratios. A little narrower than the XPan, which is a touch too wide for me anyway. And on top of that, that lens... the XPan lenses are very highly rated, but the Sigma 14mm is right up there with them. Add the viewfinder hood to the DP0 (which gives a coarse view, but good enough for composition), 21:9 programmed on C1, and we have a very promising package. Added to that I was already familiar with Foveon, owning a DP3M and DP2M.

Honestly I find the results fabulous. I'm not much into pixel peeping, but even if I look for this noise people speak of, I don't often find it. At ISO 100 it's on a par with my Olympus MFT cameras, if not better. And the colours and lucidity of the images are breathtaking. Again, I'm not terribly interested in "testing", but on my 27" calibrated Eizo screen I can't see anything which indicates the Quattro is "worse" than the Merrill. Indeed, I find the Quattro generally to be a slightly more forgiving sensor than the Merrill.

Very interesting user story: Coming from X Pan to DP0. I really like your pictures as well - great composition! You mentioned the SD Q as well: Currently there is no 14mm prime lens available for this camera, so I guess this is no option, unless you are happy to compromise for a 18mm one (18-35mm Art). There is an older 14mm EX lens, however, it quite likely will not match the quality you get from the 14mm lens on your DP0. 006ab0faaa