Focus Stacking in Landscape Photography: When, Why and How to Use It
- Gary Holpin
- 4 hours ago
- 9 min read
Recently I made it out with the camera to one of my favourite Dartmoor waterfalls - the beautiful Venford Falls, hidden in a lush green hollow on the Venford Brook as it tumbles downhill from the Venford Reservoir to the River Dart. It's quite a compact space, with both interesting foreground near the camera, and interesting middle ground detail further away (the waterfall!) so I used a manual focus stacking technique to ensure sharp focus front to back. As I don't think I've covered focus stacking before, I thought I would cover it in this blog - although it's probably more suitable for the improving photographers amongst you, rather than the beginners.
Focus stacking in landscape photography – when, why and how
If you’ve ever tried to photograph a cracking foreground just inches from the lens, with a sweeping view behind, you’ll know the problem: whatever you focus on, something ends up soft. You can stop down your aperture, or if you're really keen, try and use hyperfocal distance, but sometimes physics simply won’t give you everything sharp in a single frame. That’s where focus stacking comes in. Focus stacking means taking several photos of exactly the same composition, each one focused at a different distance, then blending the sharp parts together into one final image. It’s a simple idea, and if you’re already comfortable with tripods, raw files and basic editing, it’s not too tricky to get great results. In this article we’ll look at when you might want to use focus stacking, why it’s worth the effort, and a straightforward way to do it in the field and then blend the files using Lightroom and Photoshop. Some cameras also offer an automatic focus stacking or focus shift mode, and in some cases in‑camera stacking, but because the options and behaviour vary so much between models, we won’t cover those here – it’s worth checking your camera manual to see what’s available on your specific body.
What is focus stacking?
Focus stacking is a way of extending depth of field beyond what’s possible in a single exposure. Instead of relying on one shot at, say, f/16 to try to get everything sharp, you stay at a more comfortable aperture (often around f/8–f/11) and shoot a short series of images with the same composition:
One frame focused on the foreground.
One on the mid‑ground.
One on the background.
Later, you combine those frames so that the final image is sharp from front to back. It’s worth saying that this is different from exposure blending or HDR. Exposure blending deals with dynamic range – combining dark and bright exposures. Focus stacking deals with depth of field – combining different focus distances.
When should you use focus stacking?
You definitely don’t need focus stacking for every landscape. Used sparingly, it’s at its most effective. As an improver, think of it as something you reach for when the composition clearly demands it.
1. When you have a classic near–far composition
If you like getting in close to foreground rocks, flowers, or grasses, while still including mountains or coastline in the distance, then focus stacking is ideal. When the nearest element is only a few inches from the lens, even a wide‑angle lens at a small aperture will struggle to keep both foreground and infinity acceptably sharp. A short focus stack of a few frames solves that neatly.
2. When image quality really matters
Every lens has a “sweet spot” where it’s at its sharpest, often around f/8–f/11. If you stop right down to f/16 or f/22 to squeeze out more depth of field, you start to lose overall sharpness to diffraction. By focus stacking, you can stick to that sweet‑spot aperture, maintain maximum image quality, and still get sharpness from front to back. This is especially useful if you plan to print large, or crop in heavily.
3. When the scene is reasonably static
Focus stacking works best when the scene isn’t changing much between frames. It’s far easier when:
The wind is light.
There are no big crashing waves.
The light isn’t flickering wildly.
That doesn’t mean everything must be completely still, but gentle movement is much easier to deal with in post than wild, gusty motion.
4. When you probably don’t need it
It’s just as useful to know when to leave focus stacking alone:
There’s no strong foreground and everything is at mid‑distance or beyond.
You’re hand‑holding, working quickly, or the light is changing fast.
You’re happy to accept a little softness in the extreme foreground rather than complicate your workflow.
Sometimes the best choice is to get one solid frame and enjoy the moment, rather than fuss with multiple shots and blending.
Why bother with focus stacking?
Like any technique, focus stacking is a tool, not a rule. Used in the right situations, it gives you some real advantages.
The benefits
Front‑to‑back sharpness in near–far compositions that simply can’t be covered by one frame.
Better overall image quality, because you can work at f/8–f/11 instead of pushing into diffraction‑soft territory.
More flexibility for printing, or cropping, where softness is much more obvious.
For many people, the first time they compare a stacked file to a single frame, the difference in crispness at both ends of the scene can be quite striking.
The downsides
It’s not all upside, of course. There are a few trade‑offs:
It takes more time in the field to set up, shoot several frames and check them.
It takes more time in post‑processing to blend the stack and tidy any problem areas.
Moving elements – grass, leaves, waves, clouds – can create ghosting and artefacts that need masking or compromise.
It adds workflow complexity. If you already struggle to keep up with editing, adding another layer of processing may not appeal.
My own approach is simple: I only reach for focus stacking when the composition clearly needs it – usually when I’m very close to the foreground and still care about every last bit of detail in the distance.
How to shoot a focus stack in the field
Hopefully you already know your way around a tripod, exposure settings and raw files, so this will feel familiar. The main difference is a bit more discipline about not changing anything between frames.
1. Lock down the camera
Set up a sturdy tripod and get your composition exactly how you want it.
Make sure the tripod is secure and the head is locked.
Turn off image stabilisation on the lens or camera when using a tripod.
The key is that nothing should move between frames apart from the point of focus.
2. Set your exposure
You want every frame in the stack to have the same exposure and look:
Use manual exposure if you’re comfortable with it, or aperture priority with exposure locked.
Choose an aperture around f/8–f/11.
Keep ISO as low as practical.
Use a remote release or 2‑second timer to avoid introducing movement.
Once this is set, don’t change it mid‑stack. If the light is changing quickly, it’s often better to accept a slightly imperfect stack than to chase the histogram and end up with mismatched files.
3. Take a simple focus series
Here’s a straightforward approach that works well:
Start by focusing on the nearest part of the scene you want sharp – usually the closest rock, flower or texture in the foreground.
Take the first frame.
Move the focus point a little further into the scene – either by nudging the focus ring slightly, or by moving the AF point to a point deeper in the frame – so that the new area of sharpness overlaps with the previous one.
Take the second frame.
Repeat this for the mid‑ground.
Finally, take a frame focused on the background or distant subject.
In many cases, you’ll only need three to five frames to comfortably cover the whole scene. You don’t need to obsess over the exact distances: as long as your zones of sharpness overlap, the blend will work.If your camera offers in‑camera focus bracketing or stacking, you can use that instead of manually refocusing.
4. Watch out for movement
Movement is the biggest challenge with focus stacking:
Grasses and flowers blowing in the wind.
Water flowing or waves crashing.
Clouds racing across the sky.
Some movement is fine, but be aware you may see ghosting when you blend. A good habit is to also shoot a “safety” single frame at, say, f/16. It might not be perfect, but it gives you something to fall back on if the stack doesn’t blend cleanly.
How to blend a focus stack with Lightroom and Photoshop
You don’t need any special software beyond the tools many improvers already use. Here’s a simple, repeatable workflow.
1. Prepare the files in Lightroom
Import the sequence into Lightroom as usual.
In the Library or Develop module, select all the frames from the stack.
In Develop, make your basic adjustments to one frame (lens profile, chromatic aberration, white balance, exposure, contrast, etc.).
Sync those settings across the rest of the stack so every image matches.
Keeping the files consistent at this stage makes blending much cleaner.
2. Send the stack to Photoshop as layers
With all the relevant frames still selected in Lightroom:
Right‑click on one of the thumbnails.
Choose “Edit In” → “Open as Layers in Photoshop”.
Lightroom will launch Photoshop (if it isn’t already open) and create a single Photoshop document with each frame on its own layer.
3. Align the layers in Photoshop
Even on a tripod, there can be tiny shifts between frames as the lens focuses, especially with some zooms. Aligning the layers avoids double edges. In Photoshop:
Select all the layers (click the top layer, then Shift‑click the bottom).
Go to “Edit” → “Auto‑Align Layers”.
Choose “Auto” and click OK.
Photoshop will line the images up as best it can. When it’s finished, you might see some slightly uneven edges around the frame; you can crop these off later.
4. Blend the layers for focus
With the layers still selected:
Go to “Edit” → “Auto‑Blend Layers”.
Choose “Stack Images”.
Make sure “Seamless Tones and Colours” is ticked.
Leave “Content Aware Fill Transparent Areas” unticked unless you know you need it.
Click OK and let Photoshop work.
Photoshop will analyse each layer, create masks, and try to keep only the sharpest parts of each frame visible. When it’s done, you’ll have a blended result with a layer stack full of black‑and‑white masks.
5. Check and tidy the result
Zoom in and pan around the image, paying particular attention to:
Edges where the foreground meets the sky.
Tree lines and branches.
Areas with movement, such as grass or water.
If you spot halos, double edges or odd patches, you can:
Identify which layer is causing the problem by toggling individual layers on and off.
Select the relevant layer mask and paint gently with a soft black or white brush to hide or reveal areas from that layer.
You don’t need to get too precious here; small imperfections often won’t be visible at normal viewing sizes. Focus on fixing anything that jumps out.
6. Save and return to Lightroom
Once you’re happy:
Flatten the image if you like (Layer → Flatten Image), or leave the layers intact if you want to keep it editable and don’t mind larger files.
Go to “File” → “Save” (not “Save As”).
Photoshop will save the blended file (usually as a TIFF or PSD, depending on your Lightroom preferences) and it will appear back in Lightroom alongside the original raws, ready for any final tweaks – contrast, colour grading, local dodging and burning, sharpening and so on.
Common mistakes to avoid
Here are a few specific focus‑stacking pitfalls to watch for:
Too few frames: if you leave gaps in your focus distances, you can end up with soft “bands” in the final image.
Bumping the tripod or changing zoom between shots: even Photoshop will struggle to align badly shifted frames.
Changing aperture, exposure or white balance mid‑stack.
Over‑doing it: stacking simple scenes where a single frame at a sensible aperture would have been absolutely fine.
Final thoughts
Focus stacking is not something you need on every outing, but it’s a powerful tool to have in your landscape toolkit. Used in the right conditions – strong foreground, important distant detail, and a fairly static scene – it lets you produce images that are both technically sharp and visually satisfying. The best way to learn it is to practise on a local scene you can revisit easily: pick a rock or patch of flowers in the foreground, line it up with a distant view, and run through the whole process from field to Photoshop. Once you’ve done that a couple of times, it becomes just another comfortable part of your workflow rather than something mysterious.
Want help learning how to focus stack?
If you’d like to put focus stacking — along with other sharpness and depth‑of‑field techniques — into practice on location, I cover all of this and more on my 1‑2‑1 and residential photography workshops here in Devon. These are relaxed, practical days where we work through real‑world landscapes together, from choosing a composition to shooting and blending a focus stack with your own camera and laptop, whatever your current level.
About Gary Holpin Photography
As a professional photographer based in Devon, my journey began along the stunning South West Coast Path. Disappointed with my initial attempts to capture its beauty, I embarked on a second 630-mile journey, this time dedicated to mastering photography. Today, I'm a nationally acclaimed photographer with award-winning landscape photos.
I specialize in providing top-notch property photography, business photography, and drone photography services to businesses across the South West. Additionally, I offer comprehensive photography training courses tailored for both businesses and individuals. Whether you're looking to enhance your corporate image or improve your personal photography skills, my training programs are designed to help you capture stunning images.
As an award-winning and widely published photographer, I frequently share my passion for photography and Devon through engaging talks at local camera clubs and community groups. My expertise spans the entire South West region, ensuring that clients from Devon, Dorset & Somerset benefit from high-quality photography services and training.
