The slightest movement could reduce detail and make aligning the images more difficult. We can choose to use electronic shutter to avoid any shake caused by the shutter between frames. The camera fire-off all the required shots in one go, shifting the focus distance between frames. Once the parameters are set a press of the shutter button triggers the sequence. As we can replace the effect of the depth of field we’d get from a smaller aperture with more frames from a wider and sharper one, we should do that. When you close an aperture much smaller than this sharpness drops off a little due to diffraction. You’ll find these apertures in the middle of the range, and they will be f/5.6 and f/8. This mode sends all the extended depth of field behind the initial focus point.Īperture – When shooting for focus stacking it makes sense to use the best apertures your lens has to offer rather than going for those that deliver the most extensive depth of field but which also reduce image sharpness. This mode brackets around the selected/main focus area, allowing us to collect images that can be used to extend the depth of field forward and behind this point.If you use the 0/+ option you should focus on the closest part of the subject that you want sharp, as the system will shoot focus points gradually further away from the camera. A fourth picture will be focused even closer than the second shot, and a fifth further away than the third shot – and so on. When we select the first option the camera’s first picture will be at the focus point we selected, and then it will pull the focus closer for the next shot and then push it further away for the third. Sequence – By default the sequence is set to 0/-/+, but we can chose 0/+ if we prefer. Fortunately Panasonic has a function in its newer models that is a great help in creating the images needed to feed into focus stacking software – it’s focus bracketing. Computers tend to have greater processing power than cameras, and so can deal with much more complex and intensive tasks so we can choose to shoot in Raw or JPEG formats as we prefer. The downside for some of the in-camera mode is that it produces only a JPEG that has limited manipulation possibilities after the event, and that the system finds it hard to cope with extreme situations.Īn alternative to using the in-camera stacking mode is to shoot a series of images with different focus positions which are then loaded into focus stacking software. It is a useful feature, and with the JPEG colour and contrast controls Lumix cameras offer, it is highly flexible if you take the time to make the most of your settings so that post-capture manipulation can be minimised – or avoided. This feature is accessed via the Post Focus mode, and comes in 4K and/or 6K varieties according to the camera you are using. Helicon Focus Pro 7.6.All current Lumix G models offer an in-camera focus stacking mode that is easy to use and which avoids the need for post-capture software when we want to extend or control our depth-of-field. All the data manipulations are managed with modern processor instructions (SSE, SSE2, AVX, FMA3). Helicon Focus Pro 7 automatically detects the processor type and all available features of modern processors. Watch the tutorials, read the articles and impress your colleagues and friends with your new photo achievements! But it does not matter what you shoot – landscapes or flowers, animals or still-life – It will make your images stand out. Nowadays micro photography, close-ups, jewelry and product photography became truly dependent on focus stacking. Adjust settings, hold down the shutter button to shoot a stack and process it in Helicon Focus to achieve a perfectly sharp image. Mounted on the camera as a conventional extension tube, Helicon FB Tube automates focus bracketing in single shot and continuous shooting modes. Take several shots at different focus distances instead of just one, and it will quickly and smartly combine the stack into a fully focused image. Helicon Focus Pro – with this focus stacking software you can make your usual camera render results that could not be achieved even with a classic tilt-shift lens.
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