One morning earlier this year, after shooting a sunrise and seeing a fog bank in the distance, I headed in that direction in hopes of finding some more photos before the sun burned off the fog. Heading toward a small bridge over a marshy area, I found the sun showing through the fog and reflecting in the still waters, but really struggled as to how to frame the scene. A wide-angle zoom set toward the normal view of 35mm still showed too much blank sky and wasted half of the sensor’s pixels, so a normal 50mm was tried, and that also seemed inadequate. It was my own indecision about what to put in the frame that caused the indecision on what lens to use. After trying in camera 3:2 and 5:4 crops with the 50mm, the framed options still did not appear pleasingly balanced, so out came the 70-200mm. There were no other lens options left in the bag, and after still not being satisfied with any single framing, the only other tool left was a panorama. The image at the top encompassed the entire scene including on the right hand side, part of the railing of the bridge from which it was taken, which was eliminated with a slight crop on the right side. The idea was to record everything the scene had to offer and make cropping decisions afterward when all the panorama panels were stitched together and post processing was completed. So the camera was placed vertically on the tripod and the panels recorded.