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Multiple exposure

Multiple exposure is a photographic and cinematographic technique in which two or more separate exposures are superimposed onto a single frame or image sensor to produce a composite result, blending elements from multiple scenes, subjects, or moments into one cohesive artwork.^[1] This method often yields surreal, ethereal, or abstract visuals by overlapping translucent layers, where the opacity of each exposure influences the final interplay of light, color, and form.^[2] Originating as an experimental process in analog film photography, multiple exposure has evolved into a versatile tool for creative expression, applicable in fine art, portraiture, fashion, and motion picture effects.^[3] The practice traces its roots to the mid-19th century, when pioneering photographers began experimenting with multiple exposures on glass plates or early film to capture motion or create illusions.^[4] In the Victorian era, it gained notoriety through spirit photography, where practitioners like William Mumler superimposed ethereal figures onto portraits to simulate ghostly apparitions, sparking both fascination and controversy over photographic authenticity.^[4]^[5] By the early 20th century, avant-garde artists such as Man Ray and László Moholy-Nagy advanced the technique within surrealist and modernist movements, using it to distort reality and explore themes of perception and abstraction—exemplified in works like Man Ray's photograms and Moholy-Nagy's light paintings.^[4] Mid-century photographers, including Harry Callahan, further refined multiple exposures for urban and natural studies, layering human figures against cityscapes or landscapes to evoke transience and multiplicity.^[2] Traditionally executed in-camera on film by rewinding or not advancing the medium between shots—risking overexposure without precise metering—multiple exposure required careful planning to balance densities and avoid muddled results.^[1] Darkroom techniques, such as sandwiching negatives during enlargement, offered post-capture control for analog practitioners.^[2]^[6] In the digital age, the process has become more accessible and precise through software like Adobe Photoshop, where photographers layer images, adjust opacity and blending modes (e.g., lighten or screen), and apply masks to refine composites without physical limitations.^[3] Contemporary cameras from brands like Nikon and Fujifilm include built-in multiple exposure functions, automatically merging shots with customizable overlay parameters, while video applications extend the technique to time-lapse composites in editing tools like Adobe After Effects.^[7]^[8]^[9] This evolution has democratized the art form, enabling endless experimentation while preserving its core appeal in evoking dreamlike narratives.^[3]

Fundamentals

Definition and Principles

Multiple exposure is a photographic technique that superimposes two or more exposures onto a single frame or image, creating composite effects through blended, translucent, or additive visuals.^[10] This process intentionally overlaps images to produce layered compositions, where each subsequent exposure modifies the overall visual density without erasing prior ones.^[11] In analog photography using film, multiple exposure relies on the chemical principles of light accumulation within the emulsion layer, a gelatinous coating containing silver halide crystals. When light strikes the emulsion, photons trigger a latent image formation by reducing silver ions to metallic silver specks in exposed areas.^[12] Multiple exposures superimpose additional light on the same emulsion, resulting in cumulative density in overlapping areas upon development.^[13] In digital photography, the principles differ, involving pixel value processing on the camera's sensor, typically a charge-coupled device (CCD) or complementary metal-oxide-semiconductor (CMOS) array. Photodiodes in the sensor convert incoming photons into electrical charge during each exposure, which is then quantized into digital values; multiple exposures are combined according to the camera's selected mode, such as additive (summing values) or average (normalizing by the number of exposures), to produce blended results.^[10]^[14] This method allows for real-time compositing in-camera or post-processing. Key effects unique to intentional multiple exposures include ghosting, where translucent overlays create spectral or phantom-like figures; silhouettes, formed by high-contrast subjects masking underlying details; and ethereal blending, yielding dreamlike merges of forms that emphasize transparency and interpenetration.^[11] These outcomes arise from the partial opacity of layered elements, enhancing artistic depth without requiring external editing in traditional setups.^[10] While realized differently in analog and digital formats, the core superposition principle unifies the technique across mediums.^[10]

Exposure Compensation Basics

In multiple exposure photography, the total exposure on the film or sensor is the sum of the light from each individual exposure, necessitating adjustments to prevent overexposure when superimposing images. To maintain an equivalent total exposure to a single normal shot, each exposure must be reduced by a factor of 1/n, where n is the number of exposures. Since exposure stops (EV) are defined logarithmically as powers of 2 in light intensity, the required compensation is -log₂(n) stops per exposure.^[14] For example, in a double exposure (n=2), apply -1 EV compensation to each shot, halving the light intake per exposure so the combined total matches a standard single exposure. For a triple exposure (n=3), use approximately -1.6 EV (log₂(3) ≈ 1.58), though photographers often round to -1.5 EV for practicality.^[15] This logarithmic adjustment ensures balanced density without excessive brightness buildup. Practical rules for implementing compensation begin with metering the base exposure for the scene using the camera's light meter in the intended mode (e.g., aperture priority for depth control). Set the compensation manually via the camera's EV dial or by adjusting ISO equivalently (e.g., doubling ISO simulates +1 EV, so halving effective speed simulates -1 EV). Bracketing around the compensated value—taking test shots at ±0.5 EV—helps verify results, especially in varying light. In film photography, account for reciprocity failure during long exposures (>1 second), where effective sensitivity drops; correct using the formula T_c = T_m^p, with p as the film-specific factor (e.g., p=1.31 for Ilford HP5+), potentially increasing each exposure time beyond the compensated value.^[16]^[17] Common pitfalls include overcompensation leading to underexposure, resulting in low-contrast, muddy images with reduced detail in shadows. For uneven overlaps—where subjects cover only portions of the frame—calculate compensation based on the maximum overlap density rather than full-frame n; for instance, if two subjects overlap in 50% of the area, treat as partial addition and reduce by approximately -0.5 to -1 EV to avoid localized overexposure while preserving highlight detail. Always reset compensation after shooting to prevent errors in subsequent frames.^[17]

History

Early Developments in Chronophotography

The pioneering work in chronophotography during the late 19th century emerged from scientific efforts to analyze motion, particularly animal locomotion, using photographic techniques that captured multiple images in quick succession. Eadweard Muybridge's sequential photography in the 1870s laid crucial groundwork by employing a battery of up to 24 cameras triggered by tripwires to produce series of still images depicting stages of movement, such as a trotting horse named Occident in 1878, which demonstrated that all four hooves leave the ground simultaneously during a gallop.^[18] This approach, while not superimposing images on a single plate, influenced subsequent experiments by highlighting the potential of photography to dissect time into discrete frames, paving the way for more compact single-plate methods.^[19] Building directly on Muybridge's findings, French physiologist Étienne-Jules Marey developed the chronophotographic gun in 1882, a portable device resembling a rifle that captured 12 successive exposures per second on a single rotating glass plate coated with photosensitive emulsion.^[20] Marey's invention aimed to study the fluid dynamics of motion without the spatial separation of Muybridge's grids, producing superimposed silhouettes that revealed the continuous phases of animal movement, including detailed analyses of horse gallops and bird flights to quantify stride lengths and wing beats.^[21] These experiments, conducted at Marey's Station Physiologique in Paris, emphasized physiological insights over artistic representation, marking a shift toward integrated multiple exposures as a tool for scientific visualization.^[22] In the Victorian era, multiple exposure techniques on photographic plates also found application in less rigorous contexts, including scientific hoaxes and early illusions that foreshadowed cinema. By the 1880s, practitioners exploited double exposures and superimpositions—exposing the same plate to multiple subjects or scenes—to fabricate spirit photographs purporting to capture ghosts or ethereal presences, as seen in the works of photographers like William Mumler, whose 1860s methods persisted into the decade despite exposés by figures such as P.T. Barnum for their manipulative darkroom tricks. These plate-based deceptions, often involving re-exposing sensitized plates to blend living sitters with fabricated apparitions, blurred the line between empirical study and spectacle, contributing to public fascination with motion and superposition while underscoring the era's ethical challenges in photographic authenticity.^[23]

20th and 21st Century Advancements

In the early 20th century, multiple exposure techniques advanced through artistic experimentation within avant-garde movements, with artists such as Man Ray and László Moholy-Nagy employing the method to distort reality and explore perception—exemplified by Man Ray's double exposures and solarization in the 1920s, and Moholy-Nagy's photograms and light paintings.^[24] By the mid-20th century, the method gained prominence in surrealism and beyond, where artists like Man Ray continued to evoke dreamlike unions of reality and illusion, often through double exposures and solarization that distorted forms and challenged perceptions. Mid-century photographers, including Harry Callahan and Paul Rudolph, further refined multiple exposures for urban and natural studies, layering human figures against cityscapes or landscapes to evoke transience and multiplicity. This adoption extended to commercial advertising, where double exposures added mystique and visual intrigue to mid-century campaigns in fashion and product promotion, enhancing narrative appeal without relying on extensive post-production.^[25] Entering the 21st century, digital advancements integrated multiple exposure directly into camera hardware, with Nikon introducing the capability in DSLRs as early as 2003 with the D2H, and Canon's EOS-1D X in 2011 bringing it to their lineup, allowing up to nine layered exposures in models from the 2010s onward.^[26] The Canon EOS R7, released in 2022, features a multi-exposure mode supporting up to nine layers with real-time preview and blending options like additive or average, democratizing the technique for contemporary photographers.^[27] Parallel to these hardware developments, workflows shifted toward software-driven creation, with tools like Adobe Photoshop enabling precise digital compositing of multiple images via layer blending modes, offering greater control and accessibility beyond analog constraints.^[3]

Techniques

Analog Methods

Analog multiple exposure techniques rely on manual manipulation of film cameras to superimpose images on the same frame, requiring precise control to avoid misalignment or overexposure. These methods are inherent to film photography's physical constraints, where each exposure adds density to the emulsion, demanding careful metering and planning. Photographers often use cameras equipped with dedicated features or employ workaround techniques on standard models to achieve the effect without advancing the film. Suitable cameras include 35mm SLRs and medium-format models with built-in multiple exposure capabilities, such as the Pentax 67II, which features a dedicated lever to prevent film advance between shots.^[28] Other examples are the Nikon FE and Canon AE-1, both with double-exposure levers that allow repeated exposures on the same frame.^[29]^[30] For rangefinder cameras like the Leica M series, which lack such levers, manual wind-back knobs enable the process by releasing tension and rewinding the film slightly after the first exposure.^[31] The step-by-step process begins with loading film and metering the first scene, typically underexposing by one stop for two exposures or adjusting based on exposure compensation principles to account for cumulative light. After firing the shutter, engage the multiple exposure lever (if available) or hold the film advance lock while rewinding partially to realign the frame, then compose and expose the second image. For selective exposure in larger formats, masks or matte boxes can block portions of the frame during one exposure, preventing unintended overlap and allowing controlled compositing. Alignment is critical, often aided by marking the film leader or observing the rewind lever for slack.^[29]^[32]^[30] High-speed negative films, such as ISO 400 emulsions like Ilford HP5 Plus or Kodak Portra 400, are preferred due to their wide exposure latitude, which accommodates the density buildup from multiple exposures without losing detail in highlights or shadows. Black-and-white films excel in this context for their forgiving contrast handling. In the darkroom, printing adjustments for these negatives involve selective dodging and burning to balance uneven densities, or using contrast filters to enhance the superimposed elements.^[29]^[32]^[30]

Digital Methods

Digital multiple exposure techniques leverage computational power to enable non-destructive editing and precise control, contrasting with the irreversible processes of analog photography. Modern mirrorless cameras incorporate dedicated in-camera modes for creating multiple exposures directly during shooting, allowing photographers to blend several images without post-processing. For instance, Nikon's Z series cameras, such as the Z7 II and Z6 II, support recording two to ten NEF (RAW) exposures as a single overlaid photograph, with selectable overlay modes including Add, Average, Lighten, and Darken to control how the images combine.^[14] These modes facilitate creative effects like ghosting or silhouettes in real time, with the final composite saved as a high-resolution RAW file for further adjustment.^[33] Canon EOS R series cameras, including the R7, offer similar functionality through their Multiple Exposure shooting mode, which merges 2 to 9 exposures and provides real-time preview of the composite in Live View on the LCD or electronic viewfinder.^[34] This feature, enhanced in firmware updates through 2025, allows photographers to monitor blending effects on-site, such as additive merging for brighter results or average mode for balanced tones, ensuring accurate exposure control without trial-and-error.^[35] By 2025, the R7's implementation supports seamless integration with in-body image stabilization, enabling handheld multiple exposures up to 7 stops, which expands accessibility for dynamic scenes.^[36] In software environments, digital multiple exposure is achieved through layer-based editing, where individual images are stacked and blended non-destructively. Adobe Photoshop provides core tools like layer opacity adjustments and blend modes—such as Lighten, which retains only the brighter pixels from overlaid images to create ethereal silhouettes—for combining exposures with precision. Mobile applications extend this capability; Google's Snapseed includes a Double Exposure tool that layers multiple images with adjustable fade and brush masking for selective blending, ideal for quick edits on smartphones.^[37] Adobe Lightroom Mobile, while primarily focused on HDR and panorama merging, supports image stacking for exposure bracketing, allowing users to blend sequences via export to Photoshop for advanced multiple exposure effects like opacity-modulated overlays.^[38] Post-2020 advancements have integrated AI to automate complex aspects of multiple exposure creation, reducing manual effort in alignment and merging. Adobe Sensei, Adobe's AI and machine learning framework, powers features in Photoshop (version 2023 and later) such as Auto-Align Layers, which intelligently detects and corrects shifts between exposures using content-aware algorithms, and Auto-Blend Layers, which seamlessly merges them while preserving details and minimizing artifacts. These tools, enhanced by Sensei-powered neural networks, enable automatic exposure fusion for up to dozens of images, with options for stack mode blending that prioritizes high dynamic range or focus stacking. This AI assistance marks a shift toward efficient, scalable workflows, particularly for high-volume applications like event photography.

Applications

Artistic and Fine Art Uses

Multiple exposure techniques have played a significant role in artistic and fine art photography, enabling creators to transcend literal representation and delve into the realms of the subconscious, illusion, and personal introspection. In the Surrealist and Modernist movements of the 1920s, artists like Man Ray pioneered the use of double exposures— a foundational form of multiple exposure—to fuse disparate elements into haunting, otherworldly compositions that mirrored the irrationality of dreams.^[24] Ray's experiments, often involving overlaid figures and objects, challenged conventional photographic realism and became emblematic of Surrealism's emphasis on the unconscious, as seen in his contributions to publications like La Révolution Surréaliste.^[24] These works built on early 20th-century photographic innovations to prioritize evocative ambiguity over documentary accuracy.^[24] Extending these principles into spatial exploration, painter Ian Hornak adapted multiple exposure layering in the late 1970s to craft illusions of depth and transformation in his Hyperrealist landscapes. In Hanna Tillich’s Mirror: Rembrandt's Three Trees Transformed into the Expulsion from Eden (1978), an acrylic-on-canvas piece, Hornak superimposed photographic references of natural forms to distort perspective, evoking biblical narratives through translucent, multi-layered veils that simulate photographic overlays and create paradoxical spatial effects.^[39] This method allowed Hornak to blend historical art references with modern perceptual tricks, heightening the viewer's sense of illusory depth.^[39] In contemporary fine art, multiple exposures continue to facilitate introspective examinations of the human form, particularly in addressing aging, corporeality, and self-perception. Joan Semmel's Transitions series (2012) exemplifies this through large-scale oil paintings where she superimposes multiple digital photographs of her own nude body in varying poses and transparencies, resulting in fragmented, ethereal figures that convey bodily flux and impermanence.^[40] By overlaying views—such as profiles transitioning to backs—Semmel fragments the silhouette into disjointed limbs and torsos against muted backdrops, underscoring themes of identity dissolution and reconstruction amid time's passage.^[40] These compositions, rooted in photographic processes but rendered painterly, invite contemplation of the female body's evolving narrative.^[40] Within conceptual photography, multiple exposures often symbolize the multiplicity of self, layering images to evoke fragmented memories and fluid identities, as artists intentionally misalign elements for surreal, associative results that evoke psychological introspection rather than technical precision.^[40] This deliberate imperfection distinguishes artistic applications, fostering dreamlike ambiguity and emotional depth distinct from controlled commercial outcomes.^[24]

Commercial and Scientific Applications

In commercial photography, multiple exposure techniques have been employed to create composite scenes efficiently, particularly in fashion advertising where ethereal or ghostly effects enhance visual appeal without requiring elaborate physical sets. For instance, photographers layer model silhouettes with abstract backgrounds to produce surreal, dreamlike images that evoke movement or otherworldliness, reducing production costs by simulating complex environments digitally or in-camera. This approach draws brief inspiration from fine art surrealism but prioritizes marketable illusions for promotional campaigns.^[41] A notable historical example includes magazine covers and portraits from the 1940s, where photographers like Philippe Halsman collaborating with Salvador Dalí utilized multiple exposures to craft innovative images featuring distorted figures and impossible compositions, captivating audiences.^[41] In product photography, multiple exposures enable the seamless integration of items into virtual scenes, eliminating the need for costly set builds while maintaining high visual fidelity for e-commerce catalogs.^[42] Today, such techniques are prevalent in stock photography libraries, where layered exposures generate versatile, royalty-free images for commercial use across industries, with platforms like Getty Images hosting tens of thousands of such assets.^[43] Multiple exposures have also played a role in debunking media hoaxes, particularly in 20th-century spirit photography frauds where practitioners like William Hope employed double exposures to fabricate ghostly apparitions in portraits, later exposed through scientific scrutiny and replication experiments.^[44] Investigations by skeptics, including Harry Price in the 1920s, demonstrated these manipulations by substituting pre-exposed plates, highlighting the technique's deceptive potential in pseudoscientific claims.^[45] In scientific applications, multiple exposure methods extend to astronomy for composing star trail images, where stacking numerous short exposures reduces noise compared to single long exposures, capturing Earth's rotation around Polaris with greater clarity and detail.^[46] In biology, the technique facilitates motion analysis of microorganisms; for example, stroboscopic multiple-exposure photography has been used to study the helical movements of spirochetes like Leptospira species, allowing precise measurement of cell shapes and velocities in viscous media.^[47] Beyond these, multiple exposures enable dynamic range expansion in imaging systems by combining differently exposed frames into high dynamic range (HDR) composites, improving detail in high-contrast scenes such as medical or environmental monitoring without specialized hardware.^[48] This method, formalized in estimation-theoretic frameworks, enhances signal-to-noise ratios while preserving tonal fidelity across exposures spanning several stops.^[49]

Multiple Exposure in Film Scanning

Multiple exposure in film scanning refers to a digitization technique that involves capturing the same film negative or slide at varying exposure levels during the scanning process, followed by software-based merging to expand the effective dynamic range of the resulting digital image. This method addresses the limitations of early flatbed and dedicated film scanners, which often struggled with film's inherent high contrast and density variations. By performing multiple passes—typically two, with one underexposed to preserve highlight details and another overexposed to reveal shadow information—the technique simulates high dynamic range (HDR) imaging, allowing for greater tonal fidelity without clipping in bright or dark areas.^[50]^[51] The practice emerged in the 1990s alongside the proliferation of consumer-grade flatbed scanners, such as those from Epson and Canon, which provided accessible digitization for analog film but were constrained by CCD sensor dynamic ranges of around 3.0 density units (D), insufficient for materials like high-contrast slides. Software solutions like SilverFast, developed by LaserSoft Imaging since the company's founding in 1986, introduced automated multi-exposure features in the mid-2000s to mitigate these issues, with patents granted in 2008 for the underlying algorithm that combines scans for optimal detail retention. Similarly, VueScan incorporated multi-exposure capabilities by the early 2000s, enabling compatible scanners to perform dual passes with adjustable exposure times. These tools automated the workflow, making it practical for photographers to recover details from film's limited latitude, particularly in workflows involving batch scanning of legacy archives.^[52]^[53]^[51] In practice, the process typically uses 2-3 exposures spaced at intervals of approximately ±1 stop to target different tonal regions; for instance, SilverFast's Multi-Exposure performs a standard scan followed by a second with doubled exposure time (equivalent to +1 stop) to enhance shadow recovery, then merges the data via proprietary algorithms to produce a single image with reduced noise and extended range. VueScan employs a comparable two-pass approach, selecting pixels from the longer exposure where shadows would otherwise block up, though it is optimized primarily for slide film rather than negatives. Benefits are most pronounced for high-contrast emulsions like Kodachrome slides, where traditional single-pass scanning often loses highlight or shadow detail due to the film's density exceeding 3.5 D; multi-exposure can boost effective dynamic range by up to 0.8 D (e.g., from 3.17 D to 3.98 D on a Canon CanoScan 9000F Mark II), enabling faithful reproduction of subtle gradients and colors without post-processing artifacts. This technique has become a standard in professional digitization, particularly for preserving vintage film stocks with limited exposure latitude.^[50]^[51]

Connections to Long Exposures

Multiple exposure and long exposure are distinct photographic techniques, though they share some conceptual overlaps. A long exposure involves keeping the camera's shutter open for an extended period—often seconds to minutes—to capture the cumulative effect of light on the sensor or film, resulting in blurred motion such as light trails from moving vehicles or silky water flows.^[54] In contrast, multiple exposure superimposes two or more discrete images onto a single frame, either in-camera or via post-processing, allowing for creative compositing of separate scenes without continuous light accumulation.^[55] Hybrid approaches, such as intentional light leaks during analog long exposures, can mimic pseudo-multiple exposures by introducing unintended overlays of light streaks or flares, adding ethereal layers to the prolonged capture.^[56] Both techniques fundamentally rely on accumulating light over time to achieve effects beyond standard exposures, but they differ significantly in execution and control. Long exposures capture light continuously, which can introduce unwanted blur from camera movement or subject motion unless stabilized, limiting compositional flexibility during the shot.^[57] Multiple exposures, however, enable precise control by recording separate, intentional images that are then blended, avoiding the risks of prolonged sensor exposure like thermal noise or overexposure in highlights.^[55] This distinction allows multiple exposure to prioritize artistic layering, while long exposure emphasizes natural motion rendering. In modern digital workflows, particularly astrophotography since the early 2020s, hybrid methods blend the two by stacking multiple shorter exposures to simulate the depth and low-noise results of a single long exposure. This approach compounds signal from faint celestial objects while averaging out noise, effectively creating the equivalent of hours-long captures without sensor overheating— for instance, combining 60 three-minute shots to mimic a three-hour exposure.^[58] Tools like the open-source Sequator software facilitate this by aligning and averaging RAW files for Milky Way imaging, enhancing detail in night skies.^[58] Similarly, devices such as the 2023 Seestar S50 smart telescope incorporate live stacking during sessions, merging multiple exposures in real-time to produce star trail effects akin to traditional long exposures but with greater precision and reduced artifacts.^[59]

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Estimation-Theoretic Approach to Dynamic Range Enhancement ...
Aug 7, 2025 · This paper presents an approach for improving the effective dynamic range of cameras by using multiple photographs of the same scene taken with different ...
[49]
Multi-Exposure increases Dynamic Range for scanning - SilverFast
Multi-Exposure performs two differently exposured scans, that are combined to a single image with greatly increased dynamic range, very similar to an HDR image.Missing: improvement | Show results with:improvement
[50]
Input Tab | VueScan Manual
As the scanner head passes over the media it makes multiple exposures for each location. The results for all samples are averaged. This is a useful feature ...Missing: dynamic | Show results with:dynamic
[51]
LaserSoft Imaging: Company History, Backgrounds and Inventions
LaserSoft Imaging, founded in 1986 by Karl-Heinz Zahorsky, is a pioneer in scanner and digital imaging software, known for its SilverFast product.
[52]
[PDF] SilverFast 8 First Steps
Multi-Exposure combines an under-exposed scan of your image with a normally-exposed one. Most slides, negatives or Kodachrome images have a very high dynamic ...
[53]
When and How to use Long Exposure Photography
Jun 15, 2025 · When you use a longer than normal shutter speed to blur moving elements in a scene, the technique is referred to as long exposure photography.
[54]
How does my camera's multiple exposure feature differ from a single ...
May 24, 2016 · The difference is that you can take several completely different exposures all in the same frame. ... With a single long exposure ...
[55]
Time Traveling with Light Leaks and Double Exposures by avriljoy
Aug 10, 2021 · Light leaks are often a byproduct of accidents, especially when opening of the back of the camera with the unexposed film still loaded. However, ...
[56]
Image Stacking vs. Long Exposure - Jason Frels
Sep 22, 2018 · A person in a long exposure can leave a slight ghost trail but a multi exposure can remove the person completely if there's a separate photo ...
[57]
Astrophotography Image Stacking Software | Which One is Best?
Nov 1, 2025 · Sequator is a free, open-source software for stacking and processing astronomical images, it is designed to work with both deep-sky images and ...
[58]
https://astrobackyard.com/astrophotography-image-stacking-software/