will helicon focus work with eos m cameras

Will helicon focus work with eos m cameras software#

It would meter fine, but I had to focus and manipulate the aperture ring. An adapter fit it to either my Olympus DSLR or Panasonic mirrorless cameras. No that will take too long, I will sum up.įor years my macro lens was one I used with my 35mm film rig back in the day. Am I limited in what I can do with macro focus stacking because my camera doesn’t have the in-camera feature? I can’t imagine being able to slightly shift focus by so little that I can get 20 images in a half inch object, for example. Can you explain the difference?My Nikon D750 is ancient in that it doesn’t have in-camera focus bracketing or stacking. … 'manual macro lens” and “system lens” before. I had never taken time to check it out but I think it is a lot easier than it looks at first glance, and is a fantastic tool. And I’ll be trying the Zerene editing for the first time. It was a bit too breezy and there may not be much usable, but I’ll be having fun anyway. I shot several sequences yesterday and will be working them up today. (It would be hard to believe it wouldn’t, but I’m always the skeptic.) I had wondered if the plug-in would use develop adjustments when it created its TIFFs and I found an old bracket sequence where I had not deleted the source files and tested it – and yes, it does. I also finally installed the Zerene plug-in to LR, which saves some tedious steps. It’s wonderful because it will shoot a stack of 20 in about a second, which can help somewhat with slower subject movement.

Now I have recently discovered focus bracketing is a feature in my Canon R5.

Will helicon focus work with eos m cameras software#

I read somewhere that (at least with Zerene) not to use a rail, as the software can’t compensate for the size changes of the image with varying lens distance, but it will compensate for focus breathing, which is a change of size as the focus point shifts. Until recently I never had in-camera focus bracketing and have done a lot of it the hard way, by incrementing focus with the focus ring on the lens. That might be a pain to align and blend though. I suppose you could do a pure focus stack, then take an additional exposure not in the focus stack for the look of the water and manually blend it with masks. I usually have more probelm with wind moving the lily pads, that can create ghosting in a stack.īut generally focus stacking and moving water is not a good combination. Generally the water is calm is this case and focus stacking usually works fine. Think shooting lily pads in water with a telephoto from the shore of a pond. I generally do not use focus stacking for landscapes, unless I am using a long focal length (less inherent DOF), or if its impossible to align the plane of the sensor with the subject. Or I might vary the shutter speed to get the “best” look and texture in the waterfall, while still getting a good exposure in the land. With waterfalls, the water itself often requires a darker exposure than the land/rocks around it. Generally for landscapes I do this in a non-focus stacking situation, and do it primarily for two things, exposure and “look” in the water. Yes, for moving water I use multiple exposures, which I blend manually using layer masks in Photoshop. I look forward to learning more from can talk about the moving water blend better than I can since I’ve never done it, but I think he uses Photoshop to blend images with masking, not a real stacking program. Japanese Maple trees are the worst for this… I generally shoot stacks at f/11, f/16, and even f/22 to minimize the halos. The only real option in these cases is to close down to a smaller aperture. Most stacking software can’t deal with that. This is because at wider apertures the foreground objects become larger as they go out of focus, blocking some of the background.

Objects in the foreground can end up with blurry halos around them.

Moving water is also a challenge–this can be fixed in retouching.Wind is not you friend–hard to get a good stack.A couple of things I learned along the way: Much of the time I used focus stacking to ensure front to back sharpness. In the last 3 years I have spent a lot of time in our Portland Japanese Garden shooting with a 100-200mm lens.

Kris, thanks for posting this in the Discussion thread.