Horizontal Pano Stitcher

It merges a single row of overlapping photos into one wide image. All frames are scaled to the height of the first one and placed in list order. For each pair, the tool compares small grayscale copies to find how much the frames overlap and whether the next one sits slightly higher or lower, then blends the overlap with a soft gradient. It aligns by shifting only, so it does not correct lens distortion, rotation or perspective.

Overlap each frame with the next by roughly 20 to 30 percent; the tool searches for overlaps between 5 and 70 percent of a frame's width. Use a tripod, keep the camera level, and lock exposure, white balance and focus so every frame matches. Because the stitcher only shifts frames, normal and short telephoto focal lengths line up better than ultra-wide ones, and rotating around the lens's nodal point reduces parallax. Shooting in vertical orientation gives you more height.

Stitching several frames gives you more pixels than a single exposure, which helps when you want large prints with plenty of detail. Ultra-wide lenses also stretch the edges of the frame and make distant subjects look small and far away, while a row of frames shot at a longer focal length keeps a more natural perspective. Stitching also lets you cover a wider field of view than your widest lens can capture in one shot.

Use it when a scene is much wider than your lens can take in: mountain ranges, city skylines, coastlines, or wide interiors where you cannot step back far enough. It is also useful when you want more resolution for a large print than one frame provides. Avoid it for scenes with fast movement, such as sports or busy streets, because people and cars move between frames and can appear cut off or duplicated at the seams.

Ghosting happens when something moves between frames, such as people, cars or branches, so the blended overlap shows it twice or half transparent. Visible seams usually come from exposure or white balance changes between shots; the tool feathers each overlap but does not match brightness or color, so lock your settings before you shoot. Misalignment comes from parallax or a tilted camera, because the stitcher corrects horizontal and small vertical offsets, not rotation or perspective.

Horizontal stitching joins a single row of frames shot side by side, giving a wide, letterbox shape suited to landscapes. Vertical stitching joins a column of frames for tall subjects such as waterfalls, towers or trees. Grid stitching combines several rows and columns for very large, detailed images. This tool handles the horizontal case only: one row of frames, ordered left to right, with each frame overlapping the next.

You can add any image your browser can open, which in practice means JPEG, PNG and WebP; TIFF opens in some browsers only, and camera raw files are not supported. Apply the same color and exposure corrections to every frame before stitching, so the blend is even. The finished panorama is shown on the page and saved as a JPEG at 95 percent quality when you click Download Panorama.

When the tool cannot find a clear match between two frames, it places them edge to edge instead, so you see a hard join and repeated content. Common causes are too little overlap (under 5 percent) or too much (over 70 percent), featureless areas such as clear sky or still water, a tilted or rotated camera, and frames in the wrong order. Check the numbered list and use the arrow buttons to put the frames in left-to-right order.

This stitcher does not apply a cylindrical or spherical projection, so it does not bend the horizon itself. A horizon that slopes or steps from frame to frame comes from a camera that was not level, since the tool shifts frames but does not rotate them. Straighten and crop the result in your photo editor, and next time level the tripod with a bubble level before you shoot the sequence.

Yes. When frames sit slightly higher or lower than one another, the tool trims the top and bottom so the panorama is a clean rectangle covering only the area every frame shares. There is no option to keep the uneven edges. The width is the combined width of all frames minus their overlaps, at the height of the first frame, so keeping the camera level preserves the most height in the result.