Helicon Focus provides two methods of focus stacking, and also has controls that can adjust the performance of the stacking algorithms and both Method A and Method B are typically displayed. While Helicon Focus seems to do a better job overall of combining focus slices into a composite image, there are some instances where Photoshop was able to process an image that was impossible to complete in Helicon Focus. In addition to subjects photographed outdoors, I conducted experiments indoors to eliminate some of the variables normally experienced in the outdoors moving subjects and changing light. Helicon Focus does not performance well unless the camera is held steady (on a tripod), the focus steps are roughly equal, and the brightness is consistent in the set of images to be combined. The comparison images are presented without editing of any sort with the exception of resizing and occasionally cropping an image so that the Photoshop and Helicon Focus images match. A few images may have a small increase in brightness for ease of viewing detail. Additional images may be presented which are obviously cropped to illustrate some detail. The image comparisons below are presented in the order they were photographed. This image consists of 6 slices of focus at f/13. All three algorithms adequately combined the focus slices of the orchid and delivering a soft background without aberrations. The first image is a single exposure taken at f/22. It does not capture the entire orchid in focus, and results in quite a bit of definition in the background. This image meets the guidelines that Helicon Focus relies on camera and subject fixed, and little variation in brightness and color. Helicon Focus Method A does slightly better at avoiding halo effects with a minor amount along the top edge of the left septal that can be addressed in additional editing. This was the first set extensive set of focus slices on a subject, 13 slices at f/8 taken with the Canon 5D Mark II and Sigma 150mm, f/2.8 macro lens.
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