AddendumDocument 9 of 21From the GFX 100S II field guide

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GFX 100S II · C5 Architecture · Field Addendum

Focus Stacking —
Architectural Detail

A companion to the C1 Focus Stacking Addendum. The geometry is different. Architectural detail stacking is not a depth-of-field problem across a near-to-infinity range — it is a resolution problem across a flat plane at close range. The distinction changes the aperture choice, the step size, the frame count, and the post-processing approach.

The C1 Focus Stacking Addendum establishes the complete practice for landscape work — diffraction physics, aperture maps, and field execution from foreground stone to distant ridge. This document does not repeat that foundation. It identifies the specific ways that architectural detail stacking diverges: flat subject planes instead of depth ranges, near-macro distances instead of landscape scales, material texture rather than tonal separation as the primary output criterion. Read the C1 addendum first. Then use the C5 Focus Stacking Field Checklist for on-location sequence control.

How to use this document

Use this when field conditions require specialist technique or failure-mode handling.

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Master indexSettings overviewLightroom companionC5 walkthrough
Chapter I

The Geometry Difference

Focus stacking in the landscape context solves a near-to-far depth challenge: the foreground subject is at 0.5 metres, the midground at 10, the background at infinity. The stack bridges the unbridgeable — no single aperture resolves all three planes without diffraction degrading the sensor's maximum resolution potential.

Focus stacking for architectural detail solves a different problem. The subject is at one distance — 0.5 metres for a carved voussoir, 1.2 metres for a stone joint pattern, 0.8 metres for a material texture detail. The plane is near-flat. The depth challenge is small — a few centimetres of relief depth at most. What the stack solves is not depth-of-field across distance ranges. It solves per-pixel sharpness across a large, texture-rich surface at close range.

C5 Architecture · This Document
Flat-plane stack
Subject at one distance (0.3–3m). All subject features within a few centimetres of depth. The goal is maximum resolution across the entire surface — zero diffraction, full pixel sharpness from edge to edge. The stack achieves what f/11 cannot: full-frame sharpness at f/8 aperture, where the GFX 102 MP sensor performs at its maximum optical resolution. The frame count needed is small — typically 3–10 frames. The step size is small — just enough to shift the focus plane by the subject's actual relief depth.
Small steps · Small frame counts · Flat plane
C1 Landscape · C1 Addendum
Near-to-infinity stack
Subject near at 0.5m, subject far at infinity. DOF challenge spans orders of magnitude of distance. The stack bridges what no single frame can resolve without diffraction damage at the pixel scale. Frame count is higher — 8 to 20 frames depending on lens and distances. Step size is larger — enough to advance the focus plane through multiple metres of depth. The software alignment task is more complex due to perspective shift between near and far frames. Covered in full in the C1 Focus Stacking Addendum.
Large steps · Large frame counts · Distance range
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The overlap ratio must be higher for flat-plane stacking. In landscape stacking, a generous step size still produces focus-plane overlap because small DOF increments across large distances produce generous coverage. For flat-plane close-range subjects, small physical depth means the focus-plane steps must be very fine to avoid gaps. An aggressive landscape step size applied to an architectural detail subject produces out-of-focus bands across the combined output.

Chapter II

When Architectural Stacking Is Justified

Not all architectural detail work requires focus stacking. The question is whether the subject distance, print size, and relief depth combine to produce a diffraction constraint that stacking resolves more cleanly than a single optimised frame.

Stack — justified
Carved stone ornament, close range
Capital carving, decorative frieze, sculptural relief at 0.3–1.5m. The relief depth may be 2–8cm. At f/8 and close range, the DOF is narrower than the relief depth. A stack at f/8 captures full surface resolution without diffraction. The print will resolve texture that a single f/11 frame cannot.
Stack — justified
Material texture at macro-adjacent range
Stone coursework texture, brick face detail, timber grain — at 0.4–1m. The goal is full corner-to-corner sharpness across the frame. At f/8 and this distance, diffraction is absent but DOF depth across the tile may be insufficient for a gently non-planar surface. A short stack resolves this cleanly.
Stack — justified
Joint detail with recession
Mortar joint profile, recessed brick setting, stone ashlar joint — where the joint recession is 1–3cm and the camera is at 0.5–1m. The recession depth is the DOF challenge. A 3–6 frame stack at f/8 covers the recession depth cleanly without closing to f/16 and degrading surface resolution.
Single frame — adequate
Full facade at medium-to-far range
When the camera distance is 10m+ and the subject is a whole facade or room, diffraction at f/11 is not the constraint — atmospheric haze, flat light quality, and composition are. A single optimised frame at f/8–f/11 is sufficient. Stacking adds no resolution benefit at these distances.
Single frame — adequate
Architectural abstract, graphic intent
When the image is about graphic pattern — repetitive structure, shadow play, geometric composition — absolute per-pixel sharpness is not the criterion. A single frame at f/8 or f/11 delivers the image. Reserve the stacking workflow for subjects where 100%-scale resolution matters.
Single frame — adequate
Interior architecture without close-range detail
Interior room photography at typical interior distances (3–15m). Even with HDR bracketing, focus stacking adds nothing at these distances. The session workflow remains single-frame with AE bracket sequences as documented in the C5 walkthrough.
Chapter III

Aperture Map for Flat-Plane Subjects

The aperture discipline for architectural detail stacking is the same principle as landscape stacking, but the practical concern is different. In landscape stacking, the risk is diffraction damage at f/16+ eroding the resolution gained by stacking. In architectural stacking, the risk is using too small an aperture at close range — trading resolution for DOF when stacking could provide both.

Aperture Resolution at 0.5–2m DOF at 0.5m (approx.) Stacking need Verdict
f/5.6 Peak resolution. Full 102 MP resolving power active. ~2cm Required for any subject with >2cm relief Use for macro-adjacent, high-relief
f/8 Maximum effective resolution. Use this as the default. ~4cm Required for subjects with >4cm relief depth Primary stacking aperture
f/11 Mild diffraction beginning. Visible at 100% on screen. ~8cm May suffice for low-relief subjects; stacking at f/8 better Use only when stacking is not possible
f/16+ Diffraction active. Net resolution degraded below f/8 single frame. ~16cm Stacking at f/8 is usually the stronger starting point Avoid — stacking beats this
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The GF 20–35mm F4 at 20mm exhibits some field curvature at very close range. For flat-plane subjects filled from edge to edge of the frame, check the corner sharpness on the test frame before committing to the stack. If corners are soft at f/8 due to field curvature rather than DOF, use the centre portion of the frame or move slightly further from the subject.

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The GF 100-200mm F5.6 belongs in C5 when architectural detail is distant, not close. Use it for upper-storey ornament, façade details across a canal or plaza, roofline compression, or remote material studies that still feel too loose at 100mm. It is not the default flat-plane stacking lens at 0.5–2m, but it is the prudent long-reach option when access determines the working distance. Confirm barrel OIS OFF and camera IS MODE OFF before every tripod stack.

Chapter IV

C5 Bank Configuration for Stacking

The C5 base configuration documented in the walkthrough is already correct for architectural stacking in all fundamental settings: M mode, ISO 80, Mechanical Shutter, IS MODE OFF, fixed aperture. Three settings must be specifically set before engaging Focus BKT. If an OIS zoom is mounted — GF 45-100mm F4 or GF 100-200mm F5.6 — also confirm the barrel OIS switch is physically OFF.

A · Shooting page 2/3 Focus BKT Settings · Required Before Stacking · A SHOOTING SETTING → FOCUS BKT SETTING, then DRIVE → sBracketing → Z FOCUS BKT 5 settings
#SettingValueAction
1Focus BKT ModeAUTO = camera chooses steps; MANUAL = you specifyA · Shooting page 2/3AUTOSet
2FramesFrame count for the sequenceCurrent bracketing menu8–16Set
3Step1 = minimum step; higher = larger DOF increment per frameCurrent bracketing menu1 or 2Set
4IntervalTime between framesA · Shooting page 2/30sSet
5Save Source ImagesKeep original frames alongside stack outputA · Shooting page 2/3ONSet
Menu AF Settings · Single Point, Subject-Plane Accuracy · AF/MF Menu 4 settings
#SettingValueAction
1AF ModeG · AF/MF page 1/3S (single)Set
2Focus Point SelectionSingle PointSet
3Focus Point PositionCentre of subject depthSet
4AF+MFFine-tune focus manually after AF acquisitionONSet
✕

IS MODE OFF is the cleanest tripod baseline for Focus BKT. Fujifilm recommends tripod use for focus bracketing, and C5 already saves IS MODE OFF as the stable default. If IS MODE was changed during handheld scouting, reset it before a stacked sequence so every frame starts from the most repeatable possible platform.

Chapter V

Step Sizes for Architectural Subjects

The step-size decision is different from landscape stacking. In landscape, the step advances the focus plane through tens of metres — a small numerical step value can cover substantial real-world distance. In close-range architectural stacking, the step moves the focus plane through centimetres. The same step value produces a much smaller physical DOF advance.

Camera distance Subject type Step setting Frame count Notes
0.3–0.6m
Macro-adjacent		 Carved relief, fine joint, gem-scale material texture 1 12–20 Minimum step, maximum frames. At MFD range, DOF per step is millimetre-scale. Err on more frames rather than fewer.
0.6–1.5m
Close-range detail		 Stone ornament, brick coursework, tile pattern 1–2 8–12 Standard architectural detail range. Step 1 for subjects with 3–5cm relief; Step 2 for subjects with 5–10cm relief.
1.5–3m
Medium detail range		 Architectural frieze, window reveal, door surround detail 2–3 5–8 At this range the DOF per step is wider. Fewer frames needed unless the relief is deep (projecting mouldings, deep reveals).
3–5m
Far detail range		 Upper-storey detail, parapet carving at distance 3 3–5 At this range, diffraction at f/11 is a greater concern than DOF. Consider whether single-frame at f/8 is adequate before committing to a stack.
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Always test-stack before committing to a full sequence. Take a 4-frame test at the chosen step, combine in Helicon Focus or Zerene Stacker, and confirm that consecutive frames show focus overlap with no gap. A gap appears as a band of softness in the combined output. If you see a gap, reduce the step to 1 and increase the frame count.

Chapter VI

Field Execution Control

The execution sequence is now maintained as a dedicated operational page: C5 Focus Stacking Field Checklist. Use this addendum for geometry, aperture, step logic, and failure diagnosis; use the checklist for on-location gate-by-gate control.

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Why split the documents: this addendum captures the enduring theory and decision logic; the checklist is intentionally short and procedural for field conditions. Keeping execution in one checklist avoids drift across multiple pages.

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Architecture-specific reminder before firing: if floor vibration is suspect (traffic/HVAC transmission), test for micro-oscillation at the tripod base before starting the sequence; when in doubt, wait for a quieter vibration window and re-run a short continuity test stack.

Chapter VII

Post-Processing for Flat-Plane Stacks

The stacking software workflow is the same as documented in the C1 Focus Stacking Addendum: Lightroom export to TIFF, stacking in Helicon Focus or Zerene Stacker, return to Lightroom. Two differences apply specifically to flat-plane architectural stacks.

Software method selection

For architectural flat-plane stacks where all frames have excellent alignment and no perspective shift, Helicon Focus Method A (Weighted Average) is the primary choice. Method A is gentler on texture — it averages multiple in-focus source frames rather than selecting the sharpest pixel. For a carved stone surface, this produces a more natural-looking texture rendering than Method C or aggressive Zerene PMax.

Zerene Stacker PMax excels when the subject has micro-surface variation: rough stone texture, weathered metal, carved wood grain. PMax selects the maximum contrast pixel from all frames — it emphasises texture detail that Method A might soften. Use PMax when texture is the primary resolution criterion and when halos at high-contrast edges are acceptable (they usually are for texture subjects without hard geometric edges).

Helicon Focus Method B (Depth Map) is appropriate when the subject has moderate relief depth (carved capitals, projecting mouldings) and a clear foreground-to-background arrangement. Method B uses a depth map to select source frames — less prone to halo artefacts at edges than Method C, more spatially aware than Method A.

Alignment verification

Architectural stacking with a properly stabilised tripod should produce near-perfect alignment between all frames — no perspective shift, no magnification change. If the stacking software is reporting significant alignment correction between frames, vibration was present during the sequence. A misalignment that the software corrects in software is data that was corrupted during capture. The corrected stack will be inferior to a clean stack — reshoot if the misalignment is more than a few pixels between adjacent frames.

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The Lightroom Classic Editing Guide section on focus stacking post-processing applies in full. Return to the guide for the complete TIFF-to-Lightroom round-trip, output sharpening, and export settings for print.

Chapter VIII

Failure Modes

Misalignment bands in the combined output
Signature: Visible discontinuities in the stacked output where consecutive frames do not align perfectly — overlapping subject features, ghosted edges, or mismatched textures between regions. Cause: Vibration between frames during the sequence, typically from building-transmitted traffic vibration, HVAC, or tripod contact with an oscillating surface.
Fix: Identify and eliminate the vibration source. If elimination is not possible, hand-brace the camera against the building surface and use a faster shutter speed to reduce vibration integration time per frame.
Soft band (focus gap) across the combined output
Signature: A horizontal or vertical band of softness crossing the combined image, corresponding to a focus-plane gap between two consecutive stack frames. Cause: Step size too large for the subject distance and relief depth. The focus planes of adjacent frames did not overlap — the gap is the un-covered zone.
Fix: Reduce step size from 2 to 1, or from 1 to the minimum. Increase frame count. Reshoot and test-stack before committing to a full session sequence.
Halos at high-contrast architectural edges
Signature: Light halos adjacent to very high-contrast edges (dark mortar joint against light stone, cast shadow edge against sunlit surface) in the combined output. Cause: Software method selection. Method C in Helicon Focus and aggressive Zerene PMax both produce halos at extreme contrast edges.
Fix: Switch to Helicon Focus Method A for smooth-surface subjects with hard geometric edges. Use Zerene DMap as an alternative. The halos are a software artefact, not a capture problem — the fix requires only re-combining, not re-shooting.
Stacked output no sharper than single f/11 frame
Signature: The combined output shows no visible resolution improvement over the single reference frame taken at f/11. The stack appears to have been unnecessary. Cause: Usually means the single f/8 frame already captured the full subject depth within one DOF slice — the stack was not needed. Alternatively, IS MODE was left ON and the IBIS system introduced per-frame shift that the software treated as alignment error and partially averaged out.
Fix: For the first cause — accept the single frame and note that the subject did not require stacking. For the second — confirm IS MODE OFF, reshoot the stack, and compare outputs.
Changing light across frames (interior HDR + stacking conflict)
Signature: Visible tonal banding across the combined output — lighter regions in some frames, darker in others — from changing artificial light or cloud movement during an exterior sequence. Cause: Light level changed during the multi-frame sequence. Stacking software cannot correct for tonal inconsistency between frames, only for focus-plane selection.
Fix: For interior: fix the White Balance and confirm the artificial light source is stable before the sequence. For exterior: shoot in overcast conditions (stable diffuse light) rather than direct sun with moving clouds. Do not attempt to simultaneously HDR-bracket and focus-stack in a single pass — they are separate workflows requiring separate sessions.
Companion: C5 Walkthrough · C5 Field Checklist · C1 Focus Stacking Addendum · Lightroom Manual

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