How to Shoot Panoramas with Sony A7R IV & Canon RF 15-35mm f/2.8L IS USM

Why This Camera & Lens Are Great for Panoramas

The Sony A7R IV and the Canon RF 15–35mm f/2.8L IS USM are both top-tier tools for high-resolution panoramic work. The A7R IV’s 61MP full-frame sensor (approx. 35.7 × 23.8 mm, ~3.76 µm pixel pitch) delivers exceptional detail and flexible cropping for gigapixel stitches, with roughly 14.5–15 stops of dynamic range at base ISO. That means cleaner shadows, better highlight recovery, and robust files that survive heavy stitching and exposure blending. The Canon RF 15–35mm is a pro-grade, rectilinear ultra-wide zoom with excellent edge-to-edge sharpness by f/5.6–f/8, reliable flare resistance for sunsets/night shots, and well-controlled coma—great when point light sources appear in the frame. Its stabilized optics (IS) help if you must shoot handheld or on a pole in bright light.

Important compatibility note: Canon RF lenses are not natively compatible with Sony E-mount, and as of writing there is no widely available RF-to-E adapter that provides full electronic control (focus/aperture). For a seamless workflow you should either:

– Use the RF 15–35mm on a Canon RF-mount camera, or

– Use an equivalent ultra-wide on the A7R IV, such as the Sony FE 16–35mm, Sigma 14–24mm, or an adapted Canon EF 16–35mm via EF–E adapter.

For readers who specifically own this RF lens but shoot Sony, this guide explains the panoramic process tailored to a full-frame 15–35mm rectilinear at 15–24mm focal lengths. The shooting and stitching techniques are the same; just confirm lens control/compatibility before heading out.

Quick Setup Overview

• Camera: Sony A7R IV — Full-frame, 61MP Exmor R sensor (~3.76 µm pixels), excellent base ISO dynamic range.
• Lens: Canon RF 15–35mm f/2.8L IS USM — rectilinear ultra-wide zoom; best sharpness at f/5.6–f/8; mild vignetting and mustache distortion at 15mm (correct in post). IS is helpful off-tripod; switch off on tripod.
• Estimated shots & overlap (full spherical 360×180) on full-frame at 15–24mm:
  • 15mm: 8 shots around at 0°, 8 at +40°, 8 at −40°, plus 1 zenith and 1–3 nadirs (26–28 total). ~30% overlap.
  • 20–24mm: 10–12 around per row at 0°, +40°, −40°, plus zenith/nadir (32–38 total). ~30–35% overlap.
  • 35mm: Not recommended for speed—expect 14–16 per row × 3 rows + zenith/nadir (45–50+ total).
• Difficulty: Intermediate — requires nodal point alignment and multi-row shooting for full 360°.

Planning & On-Site Preparation

Evaluate Shooting Environment

Walk your shooting path to ensure you can rotate freely without bumping into obstacles. Check light direction and cloud movement if outdoors; moving shadows and fast-changing skies can complicate stitching. In interiors, note reflective surfaces (glass, polished floors, mirrors)—shoot at a slight angle to glass to minimize flare and ghost reflections, and place the camera as far from glass as possible (ideally >50 cm). For neon or mixed lighting, plan on manual white balance and consider HDR bracketing to control highlights.

Match Gear to Scene Goals

The A7R IV’s 61MP files give you huge equirectangulars and detailed crops for virtual tours. Its dynamic range helps at sunrise/sunset and in interiors with bright windows. Stick to ISO 100–400 (up to ISO 800 when needed) for a clean stitch. With a 15–35mm rectilinear, you’ll shoot more frames than with a fisheye but preserve straight lines—ideal for real estate and architecture. If you must work fast (events, wind), zoom closer to 15–18mm, increase overlap, and consider shooting a single-row cylindrical if a full spherical isn’t required.

Pre-shoot Checklist

• Charge batteries; bring spares and high-speed, high-capacity cards.
• Clean lens front/rear and sensor; dust spots are obvious in skies/walls.
• Level your tripod and pre-calibrate the panoramic head for this lens/focal length.
• Safety: on rooftops or poles, use tethers; monitor wind; keep clear of edges and overhead lines. In crowds, guard your tripod legs.
• Backup plan: capture a second safety round or an extra nadir—saves time in post.

Essential Gear & Setup

Core Gear

• Panoramic head: Allows you to align the lens’s entrance pupil (nodal point) with the rotation axis to prevent parallax. Without this, foreground and background won’t align cleanly in post.
• Stable tripod with leveling base: A leveling base speeds up setup and keeps rows consistent, especially for multi-row 360s.
• Remote trigger or camera app: Use a wired/cordless remote or Sony Imaging Edge Mobile to avoid touching the camera and to automate brackets.

Optional Add-ons

• Pole or car mount: For elevated or moving shots, use safety tethers and consider vibration dampers. Wind loads rise quickly with height—keep exposures fast and rotation slower for stability.
• Lighting aids: Small LED panels for dim interiors; keep color temperature consistent to avoid WB mismatches.
• Weather protection: Rain covers, lens hoods, and microfiber cloths. Salt spray and drizzle can ruin a set mid-rotation.

Compatibility note & workarounds

Because Canon RF lenses don’t have a widely available electronic adapter for Sony E-mount at this time, confirm your control over aperture and focus before planning a critical shoot. If you can’t achieve reliable control, use an equivalent Sony FE/Sigma lens on the A7R IV, or shoot the RF 15–35mm on a Canon RF body—the pano workflow below remains identical for a 15–24mm rectilinear on full frame.

Step-by-Step Shooting Guide

Standard Static Scenes

1. Level and align: Level your tripod, then set the panoramic head so the lens’s entrance pupil sits over the rotation axis. Use a foreground object (e.g., a light stand) and a distant object: rotate left/right—if their relative position shifts, adjust fore-aft until parallax disappears.
2. Exposure and WB: Switch to manual mode. Set a test exposure for the mid-tones (e.g., f/8, ISO 100–200, shutter to taste). Lock white balance (Daylight or a fixed Kelvin). Turn off auto-ISO; keep exposure fixed across the set.
3. Focus: Use manual focus. At 15mm, f/8, hyperfocal distance is roughly ~1 m; focus there to keep everything sharp from ~0.5 m to infinity.
4. Capture pattern: For full spherical at 15mm, shoot three rows: +40°, 0°, −40°, with 8 images around each row (45° yaw increments), then shoot 1 zenith (tilt up 90°) and 1–3 nadirs (tilt down 90° with slight yaw offsets for tripod removal). Use a lens hood to reduce flare.

HDR / High Dynamic Range Interiors

1. Brackets: Use ±2 EV (3-frame) or ±2 EV (5-frame) if windows are extremely bright. Keep WB locked and drive mode on continuous bracket to maintain timing.
2. Tripod stability: Turn off IBIS/IS on tripod to avoid micro-blur. Use a 2 s timer or remote. Verify bracket timing to minimize moving subject differences.
3. Consistency: Do not change exposure per frame; bracket the entire sphere uniformly for a smooth stitch and tone map consistently in PTGui or your HDR tool.

Low-Light / Night Scenes

1. Exposure discipline: Start at ISO 100–200; lengthen shutter rather than pushing ISO. If needed, ISO 400–800 on the A7R IV is still very clean for stitching.
2. Stability: Use a solid tripod, remote release, and wind block. Turn off IBIS and lens IS. Consider f/4–f/5.6 to keep shutter practical; shoot extra overlap if stars or clouds move.

Crowded Events

1. Two passes: First, shoot quickly for coverage; second, repeat key angles when gaps appear. You’ll mask people in post.
2. Fast shutter: 1/200s+ at f/5.6–f/8, ISO 400–800. Ask nearby subjects to pause a moment if possible; be polite and brief.
3. Higher overlap: Use 35–40% overlap to give yourself more freedom to blend moving elements.

Special Setups (Pole / Car / Drone)

1. Pole: Use a carbon-fiber pole and tether. Keep shutter speeds high (1/250–1/500) and use faster apertures if needed. Avoid strong winds; rotate slowly and take multiple passes.
2. Car-mounted: Secure a suction rig with safety lines. Pre-plan your rotation stops; watch for vibrations and road seams. Keep exposures short.
3. Drone: If using a drone for sky plates or elevated shots, match focal length and WB so the sky stitches seamlessly with the ground-based set.

Recommended Settings & Pro Tips

Exposure & Focus

Critical Tips

• Manual focus: Use magnification to confirm infinity and then back off to the hyperfocal. At 15mm, f/8, focus ~1 m for front-to-back sharpness.
• Nodal alignment: Place a near object and a far object in line; pan left/right. Adjust the fore-aft rail until they stay aligned to remove parallax.
• White balance lock: Mixed lighting can vary per angle—fix WB to a Kelvin value to ensure uniform color across the pano.
• RAW capture: Gives you headroom for highlight recovery and WB adjustments. The A7R IV’s files handle aggressive stitching well.
• Stabilization: Turn off both in-body (IBIS) and in-lens IS when on tripod. Re-enable IS if shooting handheld or on a pole/car rig.

Field-tested shot counts for 15–35mm on full frame

• 15mm: 3 rows × 8 shots + zenith + 1–3 nadirs = 26–28 images. Excellent for architecture with straight lines.
• 18–20mm: 3 rows × 10 shots + zenith + 1–3 nadirs = 32–34 images. More margin for stitching.
• 24mm: 3 rows × 12 shots + zenith + 1–3 nadirs = 38–40 images. Maximum detail; slower workflow.

Stitching & Post-Processing

Import RAWs into your editor to apply uniform lens corrections (distortion, vignetting), WB, and exposure tweaks before stitching. Then export to a 16-bit format (TIFF) for your stitcher. PTGui is a favorite for speed and control; Hugin is a capable open-source alternative. With rectilinear ultra-wides, aim for 25–35% overlap. If your scene has many close objects, increase overlap to help control point matching and reduce stitching errors.

PTGui/Hugin allow you to define your lens type as “rectilinear” with precise focal length. Use control point cleanup and mask moving people or cars when needed. For HDR sets, you can either merge brackets first (consistent look) or let PTGui blend exposure stacks internally.

• Nadir cleanup: Export a layered panorama and patch the tripod using a separate handheld nadir frame or content-aware tools.
• Color and noise: Match color across rows; apply light noise reduction for high-ISO night shots.
• Level horizon: Use verticals/horizon tool to correct pitch/roll. Lock a reference line if available.
• Export: Save equirectangular at 2:1 aspect for 360 players (e.g., 12000×6000 or higher). Keep a master TIFF for revisions.

For an in-depth look at pro-level stitching in PTGui, see this review and workflow breakdown. PTGui: Fstoppers review

Useful Tools & Resources

Software

• PTGui panorama stitching — fast, robust control points, masking, HDR.
• Hugin (open source) — excellent control with a learning curve.
• Lightroom / Photoshop — RAW prep, blending, retouching.
• AI tripod removal tools — speed up nadir patches.

Hardware

• Panoramic heads: Nodal Ninja, Leofoto, or similar multi-row heads.
• Carbon fiber tripods: strong yet portable; add a leveling base.
• Wireless remote shutters: reduce vibrations and speed up brackets.
• Pole extensions / car mounts: always use safety tethers and check load ratings.

Want a primer on panoramic heads and alignment? This tutorial is a solid start. Panoramic head tutorial (360 Rumors)

Disclaimer: software/hardware names provided for search reference; check official sites for details.

For VR export and platform-specific tips, Meta’s DSLR pano guide is also helpful. Using a DSLR/mirrorless to shoot and stitch a 360 photo

Common Mistakes & How to Avoid Them

• Parallax error → Always align the entrance pupil with a proper pano head and test with near/far objects.
• Exposure flicker → Use manual exposure and a fixed white balance across the entire set.
• Tripod in the frame → Shoot a clean nadir and plan a patch; keep tripod legs tight to the center.
• Ghosting from moving subjects → Shoot two passes and mask in your stitcher or Photoshop.
• Noise at night → Favor longer shutter over high ISO (keep ISO ≤800 if possible) and use a sturdy support.
• Rushing the rotation → Pause after each shot to let vibrations settle (especially on poles or windy rooftops).

Real-World Case Studies & Pro Advice

Indoor real estate

Shoot at 15–18mm for straight lines and roomy coverage. Use f/8, ISO 100–200, HDR brackets ±2 EV for windows. Put the camera mid-room to minimize parallax with nearby furniture. Turn off ceiling fans. If you see reflections in glass, step forward/back by a few centimeters and tilt slightly to dodge your own reflection.

Outdoor sunset

Arrive 20 minutes before golden hour to set nodal alignment. Use f/8, ISO 100–200; meter highlights and add a shadow bracket if needed. Shoot an extra sky-only pass at +1 EV as a backup in case clouds move during your first pass. The A7R IV’s DR helps blend the glowing sky with dark foregrounds.

Crowded event

Go wider (15–18mm) and increase overlap to 35–40%. Use 1/200–1/400s to limit motion blur and shoot two rotations—mask subjects cleanly later. Place the tripod over a ground mark and ask security/staff for a 10-second courtesy pause if possible.

Rooftop or pole shooting

Wind is your enemy. Use a heavier tripod or sandbag, shorten the pole, and reduce shutter time. Consider shooting a single-row cylindrical if conditions are unsafe. Safety tethers are mandatory near edges. Do not lean over parapets with your rig.

Car-mounted capture

Use high shutter speeds and a rigid mount rated above your camera’s weight. Scout smooth roads to avoid micro-vibrations. Expect to manually mask moving vehicles and repeated patterns in post.

Frequently Asked Questions

• Can I shoot handheld panoramas with the Sony A7R IV?

  Yes for casual cylindrical/partial panos, using high shutter speeds (1/200s+), IS/IBIS on, and 40–50% overlap. For full 360×180 with close foregrounds, use a tripod and panoramic head to avoid parallax.

• Is the Canon RF 15–35mm f/2.8L wide enough for a single-row 360?

  Not for full spherical coverage on full frame. At 15mm rectilinear you’ll need multiple rows to cover zenith and nadir cleanly. A fisheye would reduce shot count but bend lines; rectilinear preserves straight architecture.

• Do I need HDR for interiors with bright windows?

  Usually yes. Bracket ±2 EV (3 or 5 frames) to retain detail outside the windows and in interior shadows. Keep WB fixed and merge consistently across the entire pano.

• How do I avoid parallax issues?

  Use a calibrated panoramic head and rotate around the lens’s entrance pupil. Align near/far objects and adjust the fore-aft rail until they don’t shift during rotation. Avoid moving the tripod between rows.

• What ISO range is safe on the A7R IV in low light?

  ISO 100–400 is ideal; ISO 800 is still very usable for panos. Prefer longer shutter and a sturdy tripod over pushing ISO further to maintain maximum detail.

• Can I store pano settings in Custom Modes?

  Yes. Save a “Pano-HDR” mode (manual exposure, fixed WB, bracketed shooting, MF on, IS/IBIS off) and a “Pano-Daylight” mode with single exposures. This speeds up on-site setup.

• Which tripod head should I choose for this setup?

  A multi-row panoramic head with fore-aft and vertical rails (e.g., Nodal Ninja, Leofoto) is ideal. It lets you set the entrance pupil precisely at 15–24mm and capture the zenith without moving the tripod.

• Any learning resources for multi-row techniques?

  Yes—this panoramic head primer is a great overview, and the PTGui review covers advanced stitching considerations. Panoramic head primer and PTGui overview

Safety, Limitations & Trustworthy Workflow

Because RF-to-Sony E electronic adapters are not broadly available, verify your lens control before committing to a job. If you cannot guarantee aperture/focus control, choose an E-mount lens or a Canon RF body. Always secure gear, especially on rooftops and poles; use tethers and check weather. Protect your files: duplicate cards if your camera supports it, and backup raws immediately after the shoot. Keep a consistent naming scheme and save a master 16-bit stitched file for future edits.

Finally, industry best practice is to rehearse the full capture-to-stitch pipeline before your first client job. If you’re new to panoramic heads, this step-by-step article from Oculus Creator offers a solid workflow overview. Set up a panoramic head for high-end 360 photos