I believe they are more or less the same.Īs you know DXO PL gives the tools to get the image how you want it at least remove the faults with the sensor, optics, environment, etc.Īffinity Photo i will sometimes use for its very forgiving in its stacking tolerances. I personally went for Helicon but i think the community may be better in Zerene. Next you will have to download the trial version of both Helicon Focus and Zerene stacker and make the call yourself. Note your camera will need to be able to tether to your computer to use these features. I do like Capture ones file management though for stacking. Other remote software i use is CaptureOne though for me using v12 will not compile the pixel shifted photos together so stick most of the time to Sony’s Remote and Viewer. Additionally can use Sony’s Viewer software which can automatically combine Sony’s Pixel shifted photos into one file for you. Here you can use Remote to stack remotely. Given i shoot with a Sony camera i can take advantage of their free software. Some software i use for stacking and personal highlights of each: and to emphasise the previous point, there is no one way to get this done i could take many routes it really comes down to personal preference, final use case, hard or software availability, etc. As a result i have a plethora of software and will use many in a workflow to get one final image. Personally, i have never found a single stacking software to be dynamic enough let alone be an ace at each feature. I stack A LOT as a hobby and use DXO PL as my primary ‘digital photo developing software’. Helicon is also a often used application for stacking. Garden fun in lockdown…Īs you can see Here SP holds not only focusstacking but also mutishot combining moving objects or deleting moving objects. I think i gona in combination with a tube extenders and flowers in the spring. Now i have a raw based, it’s workspace tiff i suspect, stacking in different way’s. Manual has more control but needs carefull processing. I tried to see if the camera did a good job in auto mode or that a more manual approach is resulting in a better outcome. Choose type of stacking hit execute done. ( first extract stills out the movieclip then proces those and export as tiff or jpeg load into combinezp. I used it to stack the 4k stacking clips my panasonic make for internal stacking ooc-jpegs. User interface is a bit “win 98” it’s origin i think. (full version is much more expensive.)Ĭombine zp is old stuff mostly used by astro photographers. Using Helicon Focus and focus stacking for the gre.Combine zp and now Silkypix v10 pro for panasonic. Using the Fuji X-E1 in place of my Hasselblad to p. īelt pouch for the Sony RX100 II with EVF finderĬonveying a feeling of fast paced urban life Even with full 16-bit depth it only took a few minutes for each of the sample shown here to be assembled.ĭoes Sony's A7R mean a D800x or D4x will be Nikon'.įirst hands on observations of the Sony A7 A7Rįirst look at the Fuji X-E2 and 23mm f/1.4 lens at.Īutumn at Walden Pond with the Fuji X-E1 and 35mm. Simply load the images you want to combine, press "run" to start the software, and sit back and watch it happen. The procedure in Helicon Focus is very simple. On the upper right is a list of the images being combined with the current one highlighted. Helicon Focus works buy stacking each focus layer with a series of layer masks like the one shown on the bottom of this screen capture. That is because the masking method Photoshop uses for combining its layers is not as specifically geared to isolating areas of sharp focus, as is the Helicon Focus software. The results will probably leave some out of focus areas that you will have to tweak manually. The blending technique is similar to Photoshop's automated panorama assembly process. After that step ends, go to Edit->Auto-Blend Layers. Then select all of them and go to Edit -> Auto-Align Layers. In Photoshop bring all of your images as new layers stacked on top of one another. With a much longer focal length lens I might have opted for f/8.įocus stacking in Photoshop is a simple process, but the outcome is not nearly as complete as it is using Helicon Focus. I was working with a 50mm macro lens for these still life images and used f/5.6. I find it best to choose an aperture that takes advantage of the sweet spot of the lens. Click here to download a high res version of this image. 6 with a Nikon D800 and combined with focus stacking in Helicon Focus. Heirloom tomatoes with basil, sea salt, and olive oil - a total of 18 separate exposures, each shot at f/5.
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