Skip to main content

Fundamentals of Photography

Lesson 54 of 107

Focus Stacking

John Greengo

Fundamentals of Photography

John Greengo

most popular

Starting under

$13/month

Get access to this class +2000 more taught by the world's top experts

  • 24/7 access via desktop, mobile, or TV
  • New classes added every month
  • Download lessons for offline viewing
  • Exclusive content for subscribers

Lesson Info

54. Focus Stacking

Lessons

Class Trailer
1 Class Introduction 23:32 2 Photographic Characteristics 06:46 3 Camera Types 03:03 4 Viewing System 22:09 5 Lens System 24:38 6 Shutter System 12:56 7 Shutter Speed Basics 10:16 8 Shutter Speed Effects 31:57
9 Camera & Lens Stabilization 11:06 10 Quiz: Shutter Speeds 07:55 11 Camera Settings Overview 16:12 12 Drive Mode & Buffer 04:24 13 Camera Settings - Details 10:21 14 Sensor Size: Basics 18:26 15 Sensor Sizes: Compared 24:52 16 The Sensor - Pixels 22:49 17 Sensor Size - ISO 26:59 18 Focal Length 11:36 19 Angle of View 31:29 20 Practicing Angle of View 04:59 21 Quiz: Focal Length 08:15 22 Fisheye Lens 12:32 23 Tilt & Shift Lens 20:37 24 Subject Zone 13:16 25 Lens Speed 09:03 26 Aperture 08:25 27 Depth of Field (DOF) 21:46 28 Quiz: Apertures 08:22 29 Lens Quality 07:06 30 Light Meter Basics 09:04 31 Histogram 11:48 32 Quiz: Histogram 09:07 33 Dynamic Range 07:25 34 Exposure Modes 35:15 35 Sunny 16 Rule 04:31 36 Exposure Bracketing 08:08 37 Exposure Values 20:01 38 Quiz: Exposure 20:44 39 Focusing Basics 13:08 40 Auto Focus (AF) 24:39 41 Focus Points 17:18 42 Focus Tracking 19:26 43 Focusing Q&A 06:40 44 Manual Focus 07:14 45 Digital Focus Assistance 07:35 46 Shutter Speeds & Depth of Field (DOF) 05:18 47 Quiz: Depth of Field 15:54 48 DOF Preview & Focusing Screens 04:55 49 Lens Sharpness 11:08 50 Camera Movement 11:29 51 Advanced Techniques 15:15 52 Quiz: Hyperfocal Distance 07:14 53 Auto Focus Calibration 05:15 54 Focus Stacking 07:58 55 Quiz: Focus Problems 18:54 56 Camera Accessories 32:41 57 Lens Accessories 29:24 58 Lens Adaptors & Cleaning 13:14 59 Macro 13:02 60 Flash & Lighting 04:47 61 Tripods 14:13 62 Cases 06:07 63 Being a Photographer 11:29 64 Natural Light: Direct Sunlight 28:37 65 Natural Light: Indirect Sunlight 15:57 66 Natural Light: Mixed 04:20 67 Twilight: Sunrise & Sunset Light 22:21 68 Cloud & Color Pop: Sunrise & Sunset Light 06:40 69 Silhouette & Starburst: Sunrise & Sunset Light 07:28 70 Golden Hour: Sunrise & Sunset Light 07:52 71 Quiz: Lighting 05:02 72 Light Management 10:46 73 Flash Fundamentals 12:06 74 Speedlights 04:12 75 Built-In & Add-On Flash 10:47 76 Off-Camera Flash 25:48 77 Off-Camera Flash For Portraits 15:36 78 Advanced Flash Techniques 08:22 79 Editing Assessments & Goals 08:57 80 Editing Set-Up 06:59 81 Importing Images 03:59 82 Organizing Your Images 32:41 83 Culling Images 13:57 84 Categories of Development 30:59 85 Adjusting Exposure 08:03 86 Remove Distractions 04:02 87 Cropping Your Images 09:53 88 Composition Basics 26:36 89 Point of View 28:56 90 Angle of View 14:35 91 Subject Placement 23:22 92 Framing Your Shot 07:27 93 Foreground & Background & Scale 03:51 94 Rule of Odds 05:00 95 Bad Composition 07:31 96 Multi-Shot Techniques 19:08 97 Pixel Shift, Time Lapse, Selective Cloning & Noise Reduction 12:24 98 Human Vision vs The Camera 23:32 99 Visual Perception 10:43 100 Quiz: Visual Balance 14:05 101 Visual Drama 16:45 102 Elements of Design 09:24 103 Texture & Negative Space 03:57 104 Black & White & Color 10:33 105 The Photographic Process 09:08 106 Working the Shot 25:29 107 What Makes a Great Photograph? 07:01

Lesson Info

Focus Stacking

A relatively new feature now being included in some cameras is focus stacking. What happens here is that the camera will take multiple photos, adjusting the focus slightly after each photo so that you end up with a series of photos that are each focused on something slightly different. And this is a different way of getting great depth of field. Now you're going to need to use some sort of enhancement program or photo software, manipulation software to take all these images and run it through a program and collect all the sharpest bits of all of them so that you get one compressed image, essentially, of all of these taking the sharpest bits of all of these. So as an example of what we're doing here, if you shoot with shallow depth of field you're obviously not going to get the background in focus with something in the foreground. Now you can stop the lens down to f/ and you're still not going to be the background in focus in some cases and if you watch the previous section in this clas...

s you'll say John you didn't focus in the right spot you're focused on the nearest subject, you should focus on the subject in the middle, alright? Well even if you focus on the subject in the middle, f/22 still does not give you sharp focus from foreground to background in some situations where you're just running the limits of what you can get in focus. So, using the focus stacking currently it is in some of the Olympus cameras and in at least one of the Nikon cameras at the time we filmed this, you're going to shoot a bunch of pictures and now you can shoot at your prime aperture and I don't want to shoot at f/ because of the diffraction that you get. I like to shoot at f/8, f/ and I want to get a little more depth of field. I'll shoot at f/11. I've shot 50 images, and I know these are really small on screen and you can't see them, but they are all different. And I've done a focus step width of 1. Now what is a step width? A step width is Nikon's definition of a little bit. There's step width 2 which is a little bit more. It is how much overlap do you want on these images because at f/11 there's going to be bit of depth of field and the next one will be next to it and it's going to have a little bit of a overlap there than the next one, than the next one, than the next one, and you want to make sure there's some overlap. It's going to depend on how much you need because I could have shot this series with 500 shots. That's gonna bog my computer down. I could have shot it with 5 shots and it might not have been enough. So there is kind of a sweet spot on how many images to shoot and it depends on what you're trying to do, alright? So if you want to take a look at what these images look like, the first image is the image with the subject closest to the camera in focus. That's where I start the process and then the camera moves it a little bit with each photo for each of the 50s until it gets to the last one where in this case it's focused either on the background or possibly even slightly behind the background. So when I run it through a program and now I get one sharp image from front to back and if we compare items in the foreground versus items in the background, you'll see that we're getting some very nice sharpness. Now some of you may have noticed on the doll head there there's a little bit of unusual fuzziness around the edge. There are some options for getting into the programs and playing with the exact parameters and how it masks things. And so that's one of the things that you're going to get when you have a computer manipulate a whole bunch of photographs and come up with one composite of it. But in general you're going to get really good results from this, much better than you can ever get in a single shot at f/22. I typically don't do this out in the field, but if I come across a situation that really needs it and let me give you an example this is down in California this is near Monterey, I forget the name of the park down there, but there's these trees covered with this orange lichen and it extends all up, it's very three dimensional and focused stacking was use to get this shot. Now what I did was I focused and I didn't have a camera that did focus stacking. You don't need a camera that has that feature built in. You can just do it manually, got to be very careful, got to be on a tripod and so I take the first, the second, the third, the fourth, I forget, I think I took about ten shots. Just as many shots it took me to get through this to get to the very back end of this scene and then I got one final sharp image and if you're wondering, is he just being a little bit picky? Is this really necessary? Let's take a look at a close-up cause I also shot one at f/ just to see how much difference it would make. And so here you can see there's a great deal of sharpness difference between just stopping down to f/ and doing the focus stacking. So focus stacking will give you sharper results. It can help out in other ways as well. So here I'm just focusing on a little flower at f/2. and I kind of like this because it blows the background out you can't see anything going on, but the front edge and the back edge and the stem are no longer sharp. They're blurry because of the extreme shallow depth of field. Now if I just stop this down to f/32, the background well it becomes something different that I didn't really like. What I could do is focus stack on just the flower but not go all the way to the background and so it's stacking just those images of the flower so I get a sharp picture of the flower, the leaves and the stem, but the background is still blurry. And so you can end up with the results that I was originally intending for when I was shooting at f/2.8. It's just that 2.8 wasn't right. It was a good solution for this situation. And so if you're in a situation where stopping down to f/22 is not giving you the depth of field that you're wanting you can try focus stacking on your own or if your camera has it, shooting multiple photos, moving the lens just a little bit from the foreground to the background so that you get everything in focus. So a few more examples of where I've used focus stacking. Usually using an aperture of around f/11, that's a good number for focus stacking in my mind. And there are multiple programs out there that will allow you to do this and I used Helicon Focus which is at Heliconsoft and they seem to have pretty easy to work software. I haven't explored every nook and cranny of it, but I just kind of like dump em in, process, hey that looks pretty good. Few little adjustments in there. But it's a pretty simple program and works well for anyone who has great needs for depth of field. Landscape photographers, architectural photographers, and we talked a little bit about tilt shift lenses. Sometimes this will do things that you can't do with tilt shift lenses. Tilt shift lenses only solve certain amount of problems this solves a different set of problems. So some tips for focus stacking. I find it best to stay in the manual exposure mode cause all of these photos are going to become one they need to have all the same setting on them. This is for non-moving subjects. It should be obvious, you're shooting multiple photos there. Camera on a tripod, 8 or 11 on your aperture setting and then if you are doing it manually you have to be just very careful about adjusting that lens without bumping the camera so things move. The program will actually align images that have been moved slightly because when you do focus, one of the things that you may have noticed as we focus through all those different pictures, is that the magnification changed slightly and that happens with camera lenses. It's called focus breathing, it's not usually a big issue, and that's where there's a slightly different magnification as you focus back and forth. And the cameras will, or the processing software it's going to crop into the tightest of those images. So it's better to shoot a little bit wide if you think you may need the extra space around the edges.

Class Description

Short on time? This class is available HERE as a Fast Class, exclusively for Creator Pass subscribers.

As a photographer, you will need to master the technical basics of the camera and form an understanding of the kind of equipment you need. The Fundamentals of Digital Photography will also teach something even more important (and crucial for success) - how to bring your creative vision to fruition.

Taught by seasoned photographer John Greengo, the Fundamentals of Digital Photography places emphasis on quality visuals and experiential learning. In this course, you’ll learn:

  • How to bring together the elements of manual mode to create an evocative image: shutter speed, aperture, and image composition.
  • How to choose the right gear, and develop efficient workflow.
  • How to recognize and take advantage of beautiful natural light.

John will teach you to step back from your images and think critically about your motivations, process, and ultimate goals for your photography project. You’ll learn to analyze your vision and identify areas for growth. John will also explore the difference between the world seen by the human eye and the world seen by the camera sensor. By forming an awareness of the gap between the two, you will be able to use your equipment to its greatest potential.

Reviews

a Creativelive Student
 

Love love all John Greengo classes! Wish to have had him decades ago with this info, but no internet then!! John is the greatest photography teacher I have seen out there, and I watch a lot of Creative Live classes and folks on YouTube too. John is so detailed and there are a ton of ah ha moments for me and I know lots of others. I think I own 4 John Greengo classes so far and want to add this one and Travel Photography!! I just drop everything to watch John on Creative Live. I wish sometime soon he would teach a Lightroom class and his knowledge on photography post editing.!!! That would probably take a LOT OF TIME but I know John would explain it soooooo good, like he does all his Photography classes!! Thank you Creative Live for having such a wonderful instructor with John Greengo!! Make more classes John, for just love them and soak it up! There is soooo much to learn and sometimes just so overwhelming. Is there anyway you might do a Motivation class!!?? Like do this button for this day, and try this technique for a week, or post this subject for this week, etc. Motivation and inspiration, and playing around with what you teach, needed so much and would be so fun.!! Just saying??? Awaiting gadgets class now, while waiting for lunch break to be over. All the filters and gadgets, oh my. Thank you thank you for all you teach John, You are truly a wonderful wonderful instructor and I would highly recommend folks listening and buying your classes.

Eve
 

I don't think that adjectives like beautiful, fantastic or excellent can describe the course and classes with John Greengo well enough. I've just bought my first camera and I am a total amateur but I fell in love with photography while watching the classes with John. It is fun, clear, understandable, entertaining, informative and and and. He is not only a fabulous photographer but a great teacher as well. Easy to follow, clear explanations and fantastic visuals. The only disadvantage I can list here that he is sooooo good that keeps me from going out to shoot as I am just glued to the screen. :-) Don't miss it and well worth the money invested! Thank you John!

JUAN SOL
 

Dear John, thanks for this outstanding classes. You are not only a great photographer and instructor, but your classes are pleasant, they are not boring, with a good sense of humor, they go straight to the point and have a good time listening to you. Please, keep teaching what you like most, and I will continue to look for your classes. And thanks for using a plain English, that it's important for people who has another language as native language. Thanks again, Juan