![]() A few seconds later, the camera starts taking pictures, changing focus between each, until all the pictures are taken. Set up your composition and focus on the nearest object, go to the Focus Shift Shooting section of the menu, make your settings and select Start. You need to be in autofocus mode for this. In Nikon cameras it’s called Focus Shift Shooting. Some newer cameras come with a feature to automatically take a series of images focused at different points. This works quit well.įocus stacking has come a long way and today’s cameras make it even easier to do. Then move the spot for the next image, and so on. In the past I’ve either used the viewfinder and moved autofocus points or just focused manually for each image, or I’ve used live preview to zoom into a spot and autofocus. Then, in Photoshop or your preferred image editing software, you assemble these images into one image that’s focused from front to back. Focus stacking made it possible to get a sharp image front to back.įocus stacking is a technique where you create a series of images identical in all ways except for the place where the lens is focused. Plus you don’t have to do any math or focus your camera at a vague space in, well…space and then place your camera at half the distance of that focus point, chant strange chants, spin three times… This helps if you have a foreground that’s susceptible to the wind. And to top it off, you can do this at wider apertures, which means faster shutter speeds than you’d normally need for shots taken at f/22. These were the trade-offs we lived with in film days.īut now, with digital cameras and advances in image editing software, you can get that foreground you wanted and have the background in sharp focus. ![]() And for second option, you run a very good chance that objects in the background will now be out of focus. The trade-offs are that for the first option, you don’t get the composition you had envisioned. Change your composition to place your foreground far enough away or change your focus to ensure that the foreground object will be in focus. People would look at these and ask what 4×5 or medium format camera I was using, the images were that sharp.īut what happens when you want a dynamic composition with a foreground much closer than the hyperfocal math will allow? Or you’re using a longer lens and the hyperfocal math won’t work out at all in a given situation. I would have prints up to 16 x 24 and 20 x 30 made from these slides and display them at art fairs. Back in the film days I was shooting 35mm Velvia 50 slide film and used this technique a lot. This can work quite well depending on the quality of the lens and the quality of your technique. But if you’ve never done it before, it can sometimes be hard to wrap your head around it. I’ve done this thousands of times so using hyperfocal focusing is something that doesn’t freak me out. That means you focus the lens at three feet and place your camera so that the focal plane of the camera is no closer than about 18 inches from the nearest object in the frame. That “half that point” distance determines how far away you must place your camera’s focal plane from the nearest object you want to have in focus.Īs an example, the hyperfocal point for a 24mm lens at f/22 on a full-frame camera is about three feet. ![]() Using a high f-stop number like f/16 or f/22, focus at a specific point (determined by a number of factors including focal length, f-stop, and sensor size) and the depth of field for an acceptably sharp image extends from half that point to infinity. ![]() ![]() I’ve written about hyperfocal focusing before, here and here.īriefly, hyperfocal focusing is a technique used in wide angle landscape photography to maximize the apparent focus from the closest object in the foreground to the most distant. Upper North Falls, Silver Falls State Park, OR. ![]()
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