How to Shoot Panoramas with Pentax K-1 II & Sony FE 12-24mm f/4 G

Why This Camera & Lens Are Great for Panoramas

The Pentax K-1 II is a rugged, full-frame DSLR with outstanding image quality, while the Sony FE 12–24mm f/4 G is a sharp, ultra‑wide rectilinear zoom that captures huge fields of view with minimal distortion. Together, they describe the ideal technical envelope for capturing high‑resolution 360° panoramas: a 36.4MP sensor with strong dynamic range paired with a 12–24mm rectilinear lens that lets you cover the full sphere in multi-row sequences with fewer shots than a standard prime.

Important mount note for trust and clarity: the Sony FE 12–24mm f/4 G is a Sony E‑mount lens. It cannot be physically mounted to the Pentax K‑1 II’s K‑mount at infinity focus due to flange distance differences. If your intent is strictly “how to shoot panorama with Pentax K-1 II & Sony FE 12-24mm f/4 G,” you have two practical paths:

• Use the Sony FE 12–24mm f/4 G on a Sony full-frame E‑mount body (e.g., A7 series) and follow the lens-based shooting advice below (shot counts, overlap, nodal alignment apply directly).
• Or, keep the Pentax K‑1 II and substitute an equivalent ultra‑wide rectilinear K‑mount lens (Laowa 12mm f/2.8 Zero‑D, Irix 11mm f/4, HD D FA 15–30mm f/2.8). All panorama techniques herein remain valid for a 12mm full‑frame rectilinear field of view.

Either way, the following guide covers the exact workflow, settings, and professional tips you need to create clean, high‑res 360° images with a full‑frame body and a 12–24mm rectilinear zoom.

Quick Setup Overview

• Camera: Pentax K‑1 II — Full Frame 36.4MP (7360×4912), pixel pitch ≈ 4.9µm, excellent DR (~14 stops at base ISO), 5‑axis IBIS (disable on tripod).
• Lens: Sony FE 12–24mm f/4 G — Ultra‑wide rectilinear zoom; sharpest around f/5.6–f/8; moderate barrel distortion at 12mm (well corrected in post), low CA for the class.
• Estimated shots & overlap (full‑sphere, rectilinear):
  • At 12mm FF: 3 rows × 6 shots around (≈60° yaw step) + zenith + nadir = ~20 frames total (≈35–45% overlap).
  • At 16mm FF: 3 rows × 6–8 shots around + zenith + nadir = 20–26 frames total.
  • At 24mm FF: 5 rows × 7–8 shots around + zenith + nadir = 37–42 frames total.
• Difficulty: Intermediate (requires nodal/entrance‑pupil alignment and careful exposure control).

Planning & On-Site Preparation

Evaluate Shooting Environment

Survey light direction, moving elements (people, cars, trees), and reflective surfaces (glass, polished floors). If shooting through glass, keep the front element close (within a few centimeters) to minimize reflections and ghosting; use a black cloth or flare blocker if needed. For sunset scenes, anticipate rapid light changes — prioritize capturing the brightest areas first or use HDR bracketing.

Match Gear to Scene Goals

The Pentax K‑1 II’s 36.4MP sensor provides generous resolution for immersive viewing and virtual tours. It offers strong dynamic range at base ISO (≈14EV), and remains very clean through ISO 800–1600 for low‑light interiors when tripod mounted. The Sony FE 12–24mm f/4 G (or a K‑mount 12mm equivalent) minimizes the total shot count for a full sphere compared to longer focal lengths, while keeping straight lines straight (rectilinear). The trade‑off: you’ll likely shoot three rows for full vertical coverage, and edge sharpness/field curvature at 12mm requires stopping down to f/8 for best results.

Pre-shoot Checklist

• Battery charged, spare battery packed; dual cards or ample storage for brackets.
• Clean lens front/rear elements and the sensor (dust shows up in skies and walls).
• Tripod leveled; panoramic head calibrated to the lens’s entrance pupil.
• Safety: test all clamps; tether on rooftops or pole rigs; monitor wind gusts; never overhang public walkways without permits.
• Backup workflow: shoot a second full pass; if doing HDR, capture an extra central exposure per view for insurance.

Essential Gear & Setup

Core Gear

• Panoramic head: Enables rotation around the lens’s entrance pupil (nodal point), eliminating parallax that ruins stitching. A two‑axis head with fore‑aft and lateral sliders is ideal.
• Stable tripod with a leveling base: Level at the base so yaw rotations keep horizon level; fast to set and verify.
• Remote trigger or app: Use a cable release or Wi‑Fi app (Pentax Image Sync) to avoid vibrations. Enable 2‑sec timer if you lack a remote.

Optional Add-ons

• Pole or car mount: Great for overhead views or moving platforms. Use safety tethers, avoid high winds, and reduce speed/rotation to limit blur.
• LED panels or off‑camera flash: Balance bright windows with interior shadows; keep lighting consistent for all frames.
• Weather protection: Rain cover for sudden showers; microfiber cloth to wipe spray or mist.

Video: Panoramic Head Basics

If you’re new to nodal alignment, this walkthrough complements the steps below:

For a deeper dive on head setup and theory, see this panoramic head tutorial at the end of this section. Panoramic head setup and nodal alignment guide

Step-by-Step Shooting Guide

Standard Static Scenes

1. Level and align: Level the tripod using the leveling base. Mount your panoramic head and camera. Slide the camera so the lens’s entrance pupil sits directly over the rotation axis. Verify by framing two vertical objects (near and far) and rotating the rig; adjust sliders until their relative position no longer shifts.
2. Set manual exposure and lock white balance: Meter a midtone in the scene; set manual exposure so highlights are safe (ETTR if you know your post workflow). Lock white balance (e.g., Daylight for outdoors, custom WB for interiors) to prevent color shifts between frames.
3. Focus: Switch to manual focus and set near the hyperfocal distance (at 12mm and f/8 on full‑frame, focus around 1–1.2m for front‑to‑back sharpness). Turn off IBIS (Shake Reduction) on the K‑1 II when on a tripod.
4. Capture sequence:
   • At 12mm: Shoot three rows — +45°, 0°, −45° — taking 6 shots per row (every 60° yaw). Then capture a dedicated zenith (tilt up) and a nadir (tilt down) for patching.
   • Overlap: Aim for 35–45% horizontal and at least 30% vertical overlap.
5. Nadir frame and tripod removal: Take a clean nadir with the camera offset or after lifting the tripod slightly to get a patchable ground plate.

HDR / High Dynamic Range Interiors

1. Bracket exposures: Use ±2EV (3 to 5 frames). The K‑1 II’s 14‑bit RAW files blend well and retain highlight detail around windows.
2. Keep everything locked: Maintain the same manual exposure baseline, white balance, and focus across the entire panorama. Don’t change lighting mid‑sequence.
3. Shoot consistently: Complete all brackets for a view before rotating to the next position to avoid time‑of‑day shifts between frames.
4. Disable Pixel Shift: It’s superb for static single frames, but a poor match for 360° sequences due to the time and alignment complexity.

Low-Light / Night Scenes

1. Long exposure approach: Shoot at f/4–f/5.6, ISO 100–800 (push to 1600 if needed), and lengthen shutter speed. Use 2‑sec timer or remote to prevent shake.
2. Noise control: Expose to protect highlights (city lights, signs), then lift shadows in RAW. The K‑1 II stays clean through ISO 800–1600 when properly exposed.
3. Wind strategy: Weight the tripod; keep the center column down. If it’s gusty, wait for lulls or increase ISO one stop to shorten shutter time.

Crowded Events

1. Two-pass method: First pass quickly to lock base coverage; second pass wait for gaps and capture clean plates to blend later.
2. High shutter speeds: Use 1/200s+ and f/5.6–f/8, ISO 400–800 as needed to freeze motion and maintain sharpness edge‑to‑edge.
3. Masking in post: Plan overlaps where people movement is easiest to blend (plain floors, textured but repetitive patterns).

Special Setups (Pole / Car / Drone)

1. Pole capture: Balance and tether your rig. Keep rotations slow, and choose 12–14mm to minimize the shot count at height.
2. Car-mounted: Soft mounts transmit vibration; consider higher shutter speed (1/250–1/500s), lower row count, and extra overlap. Never block driver visibility or violate local laws.
3. Drone note: This body-lens combo isn’t drone‑viable; if you fly, use a platform designed for aerial panos and follow flight regulations.

Recommended Settings & Pro Tips

Exposure & Focus

Critical Tips

• Manual focus at hyperfocal: At 12mm and f/8, set around 1–1.2m; confirm using live view zoom.
• Nodal point calibration: Start with the camera slid back so the front element is slightly in front of the rotation axis; fine‑tune using near/far line tests until parallax disappears. Mark your rails for repeatability.
• White balance lock: Avoid auto WB in mixed lighting; shoot a custom WB card and lock that value.
• RAW first: 14‑bit RAW maximizes dynamic range and color headroom for stitching and grading.
• IBIS behavior: On tripod, disable Shake Reduction (SR). Handheld panos? Leave SR on, but keep shutter fast and overlap generous.
• Astrotracer off: The K‑1 II’s Astrotracer is great for stars, but not for panoramas — it introduces frame-to-frame misalignment.

Case Studies

• Indoor real estate: 12mm, f/8, ISO 100–200, bracket ±2EV. Three rows × 6 around + Z/N. Keep lights consistent, close curtains with harsh spot reflections.
• Outdoor sunset: Meter for sky highlights, shoot quickly (light changes). Consider a short HDR bracket only for the sun side; keep WB fixed.
• Rooftop pole: 12–14mm, 6 around per row (two rows may suffice for horizon‑centric views). Safety tether and lower shutter to 1/250s to counter sway.

Stitching & Post-Processing

Software Workflow

Import RAWs and apply basic corrections uniformly (lens profile, chromatic aberration, vignetting). Export to 16‑bit TIFFs, then stitch in PTGui or Hugin. Rectilinear ultra‑wides typically stitch cleanly with 30–45% overlap; avoid mixing exposures unless they are bracket pairs. Fisheye lenses often need fewer frames but require defishing; rectilinear (like 12–24mm) uses more frames yet preserves straight architectural lines. For learning, PTGui’s optimizer and mask tools are the fastest path to pro results. PTGui workflow overview and review

Cleanup & Enhancement

• Nadir patch: Use PTGui Viewpoint Correction or clone in Photoshop. AI content‑aware tools can speed up tripod removal.
• Color and noise: Match white balance globally first; apply noise reduction only where needed (shadows). Keep sharpening modest; ultra‑wides can accentuate edge artifacts.
• Leveling: Use horizon/vertical constraints in the stitcher to remove roll/yaw/pitch errors.
• Export: Save an equirectangular 2:1 image (e.g., 16384×8192) for VR/virtual tour platforms. Follow platform guidelines on JPEG quality and max resolution. DSLR/mirrorless 360 photo guidance

Tip: If you’re optimizing shot counts vs. output resolution, this reference on spherical resolution is invaluable. Understanding spherical resolution with DSLRs

Disclaimer: verify each software’s latest documentation as interfaces and features evolve.

Useful Tools & Resources

Software

• PTGui panorama stitching
• Hugin (open source)
• Lightroom / Photoshop for RAW and finishing
• AI tripod removal tools (content-aware fill, generative fill)

Hardware

• Panoramic heads: Nodal Ninja, Leofoto, or equivalent two‑axis systems
• Carbon fiber tripods for rigidity
• Leveling bases and rail clamps
• Wireless or cabled remote shutters
• Pole extensions and vehicle mounts with safety tethers

Disclaimer: names are provided for research. Always check official product pages for compatibility and specs.

Common Mistakes & How to Avoid Them

• Parallax errors: Not rotating around the entrance pupil. Calibrate once and mark your rails.
• Exposure flicker: Auto exposure/WB between frames. Use manual exposure and locked WB.
• Tripod shadows or footprints: Capture a clean nadir and patch later.
• Ghosting from movement: Mask with control points or use clean plates captured during gaps in motion.
• High ISO noise: Prefer longer shutter on tripod; ISO 100–800 is the sweet spot for the K‑1 II.
• IBIS on tripod: Turn off SR; otherwise, micro‑jitters can blur long exposures.

Frequently Asked Questions

• Can I shoot handheld panoramas with the Pentax K‑1 II?

  Yes, for partial panos or single‑row images. Use fast shutter (1/250s+), high overlap (50%+), and IBIS on. For full 360×180 spheres, a tripod and pano head are strongly recommended for alignment and consistency.

• Is the Sony FE 12–24mm f/4 G wide enough for single‑row 360?

  No. At 12mm rectilinear, vertical FOV is ~90°, so a single row only covers from about +45° to −45°. Plan on three rows (±45° and 0°) plus zenith and nadir for full coverage.

• Do I need HDR for interiors with bright windows?

  Often yes. Bracket ±2EV (3–5 frames) to capture window highlights and interior shadows cleanly. Merge to HDR per view before stitching, or use PTGui’s exposure fusion.

• How do I avoid parallax issues?

  Rotate around the lens’s entrance pupil. Use a panoramic head with fore‑aft and lateral adjustments. Calibrate by aligning a near object and far object then rotating; adjust until their relative position stays fixed. For further reading, see this panoramic head tutorial. Nodal/entrance‑pupil alignment guide

• What ISO range is safe on the K‑1 II in low light?

  Use ISO 100–800 on tripod for best dynamic range and detail; 1600 is still very usable with careful exposure and noise reduction. If motion demands it, 3200 can work but expect more visible grain in large VR outputs.

• Can I save pano settings to a custom mode?

  Yes. Assign a Custom Mode with Manual exposure, WB preset, manual focus, IBIS off (tripod work), 2‑sec timer, and RAW. This speeds up field setup.

• How can I reduce flare at 12mm?

  Avoid strong light sources near the frame edge, shade the lens with your hand/flag, clean the front element, and slightly reframe to move sun reflections out of overlaps where possible.

• Wait — can I actually mount the Sony FE 12–24 on a Pentax K‑1 II?

  No. The mounts are incompatible; infinity focus is not achievable with a simple adapter. Use a Sony E‑mount body with that lens, or pick a K‑mount 12mm‑class rectilinear lens on the K‑1 II. The workflow in this guide remains the same.

Safety, Limitations & Trust Notes

Always verify mount compatibility before shooting. If you’re targeting “how to shoot panorama with Pentax K‑1 II & Sony FE 12‑24mm f/4 G,” know that this lens requires a Sony E‑mount body. On the K‑1 II, choose a K‑mount equivalent at 11–15mm. Secure all gear on rooftops and poles, avoid crowds below, and use tethers. For car-mounted work, drive slowly, use vibration‑damping mounts, and obey local laws. Maintain a redundant capture strategy: shoot a full second pass, and if HDR, capture an extra middle exposure per camera position.

Field Examples