It is exceedingly important to minimize the field shift of the camera between successive focus depth shots when asking CombineZM or ZP to stack them to render a very sharp focus from macro-close to the far backdrop several feet away. What I mean is, you have to teach yourself to look for identifiable items at the corners of the screen or view-finder, anything just visible, and then line up that same view after you have set your focus depth and are ready to trip the shutter. You don't have to be even 98% accurate between shots, but as your error goes between each image, CZP/M must do more integration and ends up discarding more 'trash' all around the image it can manage to sharpen...and it is like a weird picture frame that must be cropped. That's for a tripod. Look closely at your selected view, note the placement of a couple of items, remember the view, tilt the camera and take your depth, half-depress the shutter release, re-aim, lock, and trip the shutter. A timer should be used so that you don't impart a shake when you depress the button. Repeat for as many shots as you think you'll need to get a sharp view all the way through the viewed diorama. Can't use a tripod practically? Now the tricky part...no tripod use is possible because you have to set the camera down close to the layout's surface to get the human-level view you want. And that view is well inside the fascia anyway, and hard to reach. What I have done is to fashion a platform onto which I can slide the camera tight against immovable, not easily movable, smooth abutments, one behind and one on the far side of the camera. In my case, I use the smooth aluminum jig for turnouts that come from Fast Tracks. Hey, multi-use is the name of the game in this hobby!! I prop up the jig, smooth side up, with bits of cork roadbed, wedges of wooden door jam shims...whatever will hold it steady (no rocking!). I also have the points filing jigs for a straight #8 turnout and a #6 double-slip. These are heavy machined steel blocks. I place their smooth sides facing the camera spot, and back them with real railroad spikes, also quite heavy. The idea for no-tripod use is to take up the camera, find something else close to your desired focal distance, half-depress, then fully depress and the timer will start. I always use 10 seconds. That gives you time to restore the camera to its accurately aligned aiming point slowly and deliberately, just as you would walking away from a lit fuse. Because I use halogens in two separated and parallel tracks, I cast shadows if I don't also back up and squat. This all takes time, folks, and I usually have to position the camera far back and high enough that I have to climb a three-step stool. More time. So use 10 seconds. I hope this is easy to understand. The platform must not budge, but neither can the aligning back and side-stops you use, whatever they may be. The best way to accomplish the re-positioning is by sliding the camera against them using a side-slip so that it nests against both precisely the same way each time you place it. Wait for the beeps and shutter to go, climb over and retrieve, pick your next target depth, set the auto focus, trip the shutter, and on to exposure # whatever. That's it. It is indeed tedious, but surely the results are evident. You do get quicker, as in everything you must master. It is to the point now where I can stage a shot, set up the platform, take a test image, adjust platform for optimal field, change camera exposure time, etc, and have a full shot and process by CZP inside of 30 minutes. Adding all the steam and stuff using Sagelight takes me another hour at least.