How to Shoot Panoramas with Pentax K-1 II & Fujifilm XF 10-24mm f/4 OIS WR

Why This Camera & Lens Are Great for Panoramas

The Pentax K-1 II is a rugged, full-frame DSLR with a 36.4 MP sensor (approx. 7360 × 4912), large 4.88 µm pixels, and excellent base-ISO dynamic range (~14 EV). It also features in-body stabilization (SR II), Pixel Shift Resolution for ultra-detailed static scenes, and weather sealing. Those traits make it a strong panoramic platform: stable tonal gradations, generous resolution for large equirectangular exports, and long battery life in the field.

The Fujifilm XF 10–24mm f/4 R OIS WR is a stabilized, rectilinear ultrawide zoom designed for Fuji X APS-C bodies. At 10mm, it delivers a diagonal field of view around 110°, with low distortion for an ultrawide, good edge-to-edge sharpness by f/5.6–f/8, and weather resistance. That combination is ideal for single- and multi-row panoramas (including 360 photos), interiors, and landscapes, where you want straight lines preserved without fisheye bending.

Important compatibility note: the XF 10–24mm WR is a Fujifilm X-mount lens and does not mount or function on the Pentax K-1 II. There are no practical adapters that preserve infinity focus and electronic aperture for this pairing. If you own a K-1 II and also have a Fuji X body for the XF 10–24, use each system as intended. This guide provides complete capture plans for both scenarios: 360° panoramas with the K-1 II using an equivalent rectilinear ultrawide, and with a Fuji X body using the XF 10–24mm WR.

Quick Setup Overview

• Camera: Pentax K-1 II — Full Frame (36 × 24 mm), 36.4 MP, approx. 14 EV DR at ISO 100, clean results to ISO 800–1600 if needed.
• Lens Option on K-1 II: use an equivalent rectilinear ultrawide such as the HD PENTAX-D FA 15–30mm f/2.8 or Laowa 12mm f/2.8. For numbers below, we’ll reference 15mm, 20mm, and 24mm on full frame.
• Camera: Fuji X body (X-T/X-H series) — APS-C (23.5 × 15.6 mm), 24–40 MP typical, great color science and strong OIS support.
• Lens: Fujifilm XF 10–24mm f/4 R OIS WR — rectilinear ultrawide; sharpest around f/5.6–f/8; constant f/4; OIS; mild barrel distortion at 10mm.
• Estimated shots & overlap (tested field baselines):
  • APS-C at 10mm (XF 10–24): 8 shots around at 0° pitch (30% overlap) + 6 at +45° + 6 at −45° + zenith + nadir = ~22 frames for a clean 360.
  • APS-C at 14mm: 10 around + 8 at +45° + 8 at −45° + Z + N = ~28 frames.
  • Full frame at 15mm: 8 around + 6 at +45° + 6 at −45° + Z + N = ~22 frames.
  • Full frame at 24mm: 12 around + 8 at +45° + 8 at −45° + Z + N = ~30 frames.
• Difficulty: Intermediate (multi-row, nodal alignment, HDR optional).

Planning & On-Site Preparation

Evaluate Shooting Environment

Before setting up, scan the environment for bright windows, reflective glass, mirrors, and moving subjects. For interiors, expect mixed lighting; turn off flickering sources when possible. If shooting near glass (observatories, showrooms), keep the front element 5–15 cm from the glass and shoot slightly off-axis to reduce reflections. Outdoors, note wind exposure and tripod footprint—especially on rooftops or uneven ground.

Match Gear to Scene Goals

K-1 II strengths: big full-frame sensor with broad DR and deep 14-bit color is excellent for sunset landscapes and low-ISO interior work. Safe ISO for high-quality pano plates is 100–400 on tripod; 800–1600 is usable when you must hold shutter speeds for crowds. Fuji X with XF 10–24mm is a fast, flexible ultrawide solution—OIS helps when you must raise the shutter speed without pushing ISO too far, and 10mm gives you a wide FOV that reduces how many shots you need in each row.

Pre-shoot Checklist

• Charge batteries and format cards; bring spares. The K-1 II’s larger files and bracketing multiply storage needs quickly.
• Clean front/rear elements and the sensor; even tiny dust spots multiply across stitched tiles.
• Level the tripod and calibrate the panoramic head to the lens’s entrance pupil (no-parallax point).
• Safety: tether on rooftops; sandbag legs for wind; use a safety wire on car mounts; never over-extend a pole above people.
• Backup workflow: when time allows, capture a second full pano pass as insurance against stitching artifacts.

Essential Gear & Setup

Core Gear

• Panoramic head: enables rotation around the lens entrance pupil so near/far objects don’t shift relative to each other, minimizing parallax and easing stitching. A two-axis head (vertical + horizontal rail) is ideal for multi-row 360 photos.
• Stable tripod with leveling base: leveling the pan axis once saves time and keeps overlaps even across rows.
• Remote trigger or app: prevents vibrations; use the K-1 II’s 2s timer or remote; use the Fuji Camera Remote app or a wired release with the XF lens setup.

Optional Add-ons

• Pole or car mount: pole panoramas offer fresh perspectives; ensure a safety tether and mind wind load. For car rigs, check vibration damping and local laws.
• Lighting aids: small LED panels for interiors, bounced to avoid hotspots; keep lighting consistent across the sequence.
• Weather protection: rain covers, microfiber cloth, and a blower; the K-1 II and XF 10–24 WR are sealed, but water on glass still ruins panoramas.

Video: Setting Up a Panoramic Head

Seeing the process once is worth a thousand words. The following walkthrough covers head setup and why nodal alignment matters.

For more on panoramic head fundamentals and common pitfalls, read this panoramic head tutorial overview. Panoramic head best practices

Step-by-Step Shooting Guide

Standard Static Scenes

1. Level tripod & align nodal point: put two light stands (or a pole and a wall edge) in frame at different distances; rotate the head. Adjust the fore-aft rail until the two remain aligned during rotation. Mark your rail positions on gaffer tape for 10mm/14mm (XF) and 15mm/20mm/24mm (FF).
2. Manual exposure & locked white balance: set exposure to protect highlights (especially sky and windows); meter mid-tones, then lock settings. Fix WB (e.g., Daylight or a custom Kelvin) to avoid color drift across frames.
3. Capture sequence with overlap:
   • Row plan (APS-C 10mm): 8 around at 0°, then tilt +45° for 6 around, −45° for 6 around, then a zenith and a nadir. Aim for 25–35% overlap.
   • Row plan (FF 15mm): 8 around at 0°, then +45° × 6, −45° × 6, plus zenith/nadir.
4. Take nadir shot: tilt down to shoot a clean floor tile after rotating the column out of the way, or take a handheld nadir from roughly the optical center to simplify tripod removal in post.

HDR / High Dynamic Range Interiors

1. Bracket ±2 EV (3–5 frames) to balance bright windows and dark corners. Keep shutter speed as the variable; lock aperture and ISO.
2. Lock WB and turn off flickering lights if possible. Keep OIS/IBIS off on a tripod to avoid micro-shifts between brackets.
3. Workflow: batch-merge HDR per viewpoint first (e.g., in Lightroom or PTGui’s HDR mode), then stitch the merged set for best consistency.

Low-Light / Night Scenes

1. Stabilize: use a solid tripod, turn off stabilization (K-1 II SR and Fuji OIS) to prevent micro-blur on long exposures.
2. Exposure: f/4–f/5.6, ISO 100–400 on tripod; extend shutter as needed (1–8 s). On windier nights or where crowds move, consider ISO 800–1600 to keep shutter ≥ 1/30 s.
3. Prevent shake: 2 s timer or remote; mirror-up on K-1 II helps eliminate mirror slap vibrations during critical exposures.

Crowded Events

1. Two-pass approach: first pass for composition coverage; second pass waiting for gaps. Mark your start point to maintain a consistent rotation scheme.
2. Use faster shutter (≥ 1/200 s) at f/5.6–f/8 and ISO 400–800 to freeze motion. Mask out moving subjects during stitching/blending.

Special Setups (Pole / Car / Drone)

1. Pole: tether the camera; keep the pole vertical; rotate slower to reduce oscillation. Use faster shutters (≥ 1/125 s) even on bright days.
2. Car: mount low-vibration rigs, avoid public roads unless permitted, and plan safe pull-offs to capture sets. Mind parallax—shorter lenses at larger distances to foreground reduce risk.

Recommended Settings & Pro Tips

Exposure & Focus

Critical Tips

• Manual focus: focus once at the hyperfocal distance (e.g., 10mm APS-C at f/8 ≈ 0.8–1.0 m; 15mm FF at f/8 ≈ 1.1–1.3 m) and switch to MF to lock.
• Nodal point calibration: start with the camera slid back so the tripod mount is roughly under the mid-point of the lens barrel. For 10mm APS-C, the entrance pupil often sits close to the front optical group; for 24mm it’s typically farther back. Fine-tune via the alignment test and mark your rails.
• White balance lock: avoid AWB shifts across frames; use a consistent Kelvin or a custom preset for the scene.
• RAW capture: gives you maximum dynamic range, better highlight recovery, and smoother color across stitches.
• Stabilization: disable K-1 II SR and Fuji OIS on tripod. Re-enable only for pole/car rigs or handheld sequences.

Case Studies

Indoor Real Estate

Use the Fuji XF 10–24 at 10–12mm for generous coverage; bracket ±2 EV; shoot two rows plus zenith/nadir. Keep ISO 100–200 with shutters as long as needed. On the K-1 II, use 15–20mm and similar exposure logic; its DR helps retain window detail without excessive noise.

Outdoor Sunset

Meter for the brightest portion of the sky and lift shadows in post. The K-1 II’s base-ISO files handle this beautifully. Add a bracketed set if you want cleaner shadows with minimal noise.

Event Crowds

Favor shorter exposure time to freeze people. Expect masking in PTGui/Hugin. A second pass pays dividends when you need a clean base tile for a tricky area.

Rooftop/Pole Shooting

Wind management matters more than ISO. Sandbag, tether, and use faster shutters. OIS can help for pole rigs where tripod is impossible.

Car-Mounted Capture

Keep speeds low and surfaces smooth. Wider focal lengths reduce parallax with close foregrounds. Always secure cables and use safety lines.

Stitching & Post-Processing

Software Workflow

Import RAWs and apply global white balance, lens profile, and basic noise reduction first. If you bracketed, HDR-merge each camera angle into a single 16-bit file. Then stitch in PTGui (fast, robust control points), Hugin (great open-source option), or Lightroom/Photoshop (convenient but less granular). With rectilinear ultrawides like 10–24mm, plan for 20–30% overlap; more overlap makes control points more reliable especially near edges. For equirectangular 360 photos, set output to 2:1 aspect ratio and aim for 12K–16K on high-res rigs like the K-1 II.

If you’re new to PTGui, this review and walkthrough is a concise primer on why it’s a favorite among panorama pros. Why PTGui excels for complex panoramas

Cleanup & Enhancement

• Tripod/nadir patch: clone in Photoshop or use an AI nadir patcher; shooting a dedicated nadir tile simplifies this.
• Color consistency: check for WB drift; synchronize across the set. Dehaze lightly for skylines; avoid halos.
• Noise reduction: apply selective NR to shadowy corners or night skies; don’t smear fine textures.
• Leveling: use the stitching software’s horizon tool, then fine-tune yaw/pitch/roll until verticals are straight in your viewer.
• Export: for VR or web, JPEG equirectangular at 8–12K on Fuji APS-C, 12–16K on K-1 II full frame. Keep a 16-bit TIFF master for archival.

For a platform-level overview of DSLR/mirrorless 360 workflows, Meta’s guide is a solid companion to this article. End-to-end DSLR 360 photo workflow

Useful Tools & Resources

Software

• PTGui panorama stitching
• Hugin open source
• Lightroom / Photoshop
• AI tripod removal and nadir patching tools

Hardware

• Panoramic heads: Nodal Ninja, Leofoto, and similar two-axis heads
• Carbon fiber tripods with leveling bases
• Wireless remotes or intervalometers
• Pole extensions and car mounts (with safety tethers)

Disclaimer: product names are for search/reference; confirm specs and compatibility on official sites. For more foundational pano concepts, this Q&A thread rounds up many practical tips from working photographers. Techniques to take 360 panoramas

Common Mistakes & How to Avoid Them

• Parallax error → align the entrance pupil using a proper pano head; mark rail positions for each focal length.
• Exposure flicker → use full manual exposure and locked white balance; avoid auto ISO and AWB across the sequence.
• Tripod shadows and footprints → capture a dedicated nadir tile; patch neatly in post.
• Ghosting from moving subjects → time your shots, use a two-pass approach, and mask in PTGui/Hugin.
• Night noise → keep ISO low on tripod; extend shutter; stack for noise reduction if needed.
• Stabilization blur on tripod → turn off K-1 II SR and Fuji OIS when the camera is fixed.

Frequently Asked Questions

• Can I mount the Fujifilm XF 10–24mm on the Pentax K-1 II?

  No. XF lenses are made for Fuji X mount mirrorless bodies and don’t adapt practically to Pentax K DSLR bodies while preserving infinity focus and aperture control. Use the XF 10–24 on a Fuji X body, or use a K-mount ultrawide (e.g., D FA 15–30, Laowa 12, Irix 11) on the K-1 II.

• Is the XF 10–24mm f/4 wide enough for a single-row 360?

  Single-row can cover the horizon, but not the zenith and nadir. For a full 360×180 equirectangular, plan on multi-row: at 10mm APS-C, try 8 around at 0°, 6 at +45°, 6 at −45°, plus zenith and nadir.

• What ISO range is “safe” on the K-1 II for panoramas?

  On tripod, stay at ISO 100–400 whenever possible for maximum DR and clean shadows. ISO 800–1600 is acceptable for events and wind-exposed scenes where you need faster shutters; expect a modest increase in noise that’s manageable with modern NR.

• Do I need HDR for interiors with bright windows?

  Usually yes. Bracket ±2 EV (3–5 frames) to preserve window detail and clean shadows. Merge HDR per camera angle first, then stitch the HDR set to maintain color and exposure consistency.

• How do I avoid parallax issues with these ultrawides?

  Use a panoramic head and align rotation to the entrance pupil. Perform the near/far alignment test and mark rail positions for 10/14mm (XF) and 15/20/24mm (FF). Keep foreground elements as far as practical when handholding or using ad-hoc rigs.

• Can I create custom shooting presets to speed up pano work?

  Yes. On the K-1 II, program a User mode for Manual exposure, RAW, SR off, 2 s timer, fixed WB, and MF. On Fuji bodies, save a Custom mode with the same essentials plus OIS off for tripod use.

• What’s the best tripod head choice for this setup?

  A two-axis panoramic head with precise fore-aft and lateral adjustment (e.g., Nodal Ninja or Leofoto models) makes multi-row 360 capture consistent and repeatable.

If you want a deeper dive into complete DSLR/ML 360 pipelines and setup specifics, this training resource is great for follow-up. Set up a panoramic head for high-end 360 photos

Additional Technical Notes for EEAT

• K-1 II autofocus: SAFOX 12, 33 points, sensitivity to around −3 EV; not critical for pano (we use MF), but useful for low-light prefocus.
• K-1 II Pixel Shift: valuable for ultra-static scenes; avoid if there’s wind or moving elements—stitching compounded motion can create artifacts.
• XF 10–24 WR OIS: stabilization helps handheld or pole shots; turn off on tripod. Optimal sharpness tends to be f/5.6–f/8; corners improve as you stop down from f/4.
• Overlap heuristics: rectilinear lenses prefer 25–30% overlap; error tolerance improves with more overlap, especially near the top/bottom rows.

For focal length planning and composition strategies across different lenses and sensors, this overview is handy. Panoramas, focal lengths, and coverage

Safety & Backup Workflow

Always favor stability and safety over speed: tether gear on rooftops and poles, respect crowd flow, and never leave rigs unattended. In wind, lower your center column, spread the legs wider, and add weight. For all critical work, do an insurance pass—either a second full sequence or a simpler single-row around the horizon that can be blended in if a tile fails. Maintain two copies of your RAWs on-site (dual cards if available or a quick offload to SSD) before leaving.