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Winter 2004-5

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Winter 2004-5 INDEX B+W filters . .4 Billingham . .77 Body adaptors . .10 Crumpler . .76–77 FILTERS / LENSES Canon filters . .10 Domke . .74, 78 Canon lenses . .11 Kata . .75, 105 Canon lenshoods . .14 Lowepro . .73-80 Cokin filters . .5–7 Peli . .74–75 Cosina lenses . .11 Bellows units . .42 Silvestri . .75 CAMERA ACCESSORIES Filter storage . .10 Close-up lenses . .41 Zing . .72 Hoya filters . .2-3 Copy tables & stand . .44–45 Kenko converters . .13 Extension tubes . .42 Lee filters . .8–9 Macro brackets . .43 Lenshoods . .14 Macro flash . .45 CAMERA SUPPORTS Minolta filters . .10 Novoflex macro . .41–44 Nikon filters . .10 Nikon lenshoods . .14 Nikon lenses . .12 Sigma lenses . .12 Canon flash . .50 Albums and mounts . .90-92 CLOSE-UP & MACRO Tamron lenses . .13 Flash accessories, general . .46 Braun projectors . .81 Voigtlander lenses . .13 Flash X-tender . .46 Guillotines . .89 Metz . .47–49 Leica projectors . .82 Minolta flash . .50 Light boxes, viewers . .84 Nikon flash . .51 Magnifiers . .83 Pentax flash . .51 Photo holders etc . .88 CAMERA FLASH Beattie screens . .15 PocketWizard . .58 Portfolios . .89 Bean bag . .22 Quantum batteries . .57 Print finishing . .88 Bronica accessories . .20 Vivitar . .47 Rollei projectors . .82 Cable and air releases . .22 Sigma . .48 Slide copier . .83 Canon accessories . .16–17 Sto-fen Omnibounce . .46 Slide and neg filing . .86–87 Cleaning and maintenance . .23 STUDIO LIGHTING Stroboframe . .52-53 Slide projection accessories . .82 Flarebuster . .22 Sunpak . .47 Slide magazines . .86 Lens and body caps . .15 Wein slaves . .58 Slide mounters and storage . .85 Lens cases . .15 Mamiya accessories . .20 Minolta accessories . .17 BAGS Nikon accessories . .18–19 Op/tech straps . .21 Pentax accessories . .19 Interfit tungsten . .58–59 Spirit levels . .22 Batteries and chargers . .98 Interfit flash . .60–61 Enlargers . .93 Elinchrom flash . .61–63 Enlarging accessories . .93–94 SLIDE / FILING Elinchrom halogen . .59 Film accessories . .97 Gossen meters . .70–71 Materials . .96–97 Benbo tripods . .34 Interfit lighting accessories . .64/66 Processing equipment . .94–95 Clamps, mini tripods . .24-25 Lastolite backgrounds . .68–69 Cullmann tripod . .34 Light meters . .70–71 Ergorest . .25 DARKROOM ETC. Lastolite reflectors, umbrellas etc .63–65 FLM ballheads . .26 Lighting stands, accessories . .66–67 Giottos tripod and heads . .35 Minolta meters . .70–71 Gitzo tripods . .40–41 Prolinca flash . .61 IFF studio stand . .34 Sekonic meters . .70–71 Manfrotto . .32, 36–39 Card readers . .107 BOOKS Monopods . .30–31 CD storage . .108 Novoflex heads . .27 Digital accessories . .105 Quick releases . .28-29 Inkjet materials . .106-107 Slik tripods . .35 Media storage . .109 Tiltall tripod . .34 Printers . .104–105 DIGITAL Tripod accessories . .33 Scanners . .104 Velbon tripods . .32–33 Storage devices . .109 Speed Graphic 1 FILTERS Square v. round filters Hoya If you’re planning on just using a few filters, say UV, polarising, and the odd warm-up Hoya is the world’s largest optical glass or b+w contrast filter, choose round glass filters. They’re durable and take up a small manufacturer, supplying many leading amount of space in a bag or pocket. If you have several lenses, you can use stepping Hoya Product Codes camera and lens manufacturers with their rings (p10) to adapt different sizes. Standard: HY followed by size and suffix raw glass. There are two good reasons for However, if you like the idea of using lots of filters, and in particular graduated HMC: HYH followed by size and suffix choosing Hoya (and why we do not sell types, a square filter system makes a lot of sense. They are mostly made from optical Pro-1: HYP followed by size and suffix ‘anybrand’ filters like your local dealer): resin rather than glass - no difference in image quality, but more difficult to handle e.g. 52mm HMC red is ‘HYH52R’ and rather more prone to scratches - but usually less expensive. ៅ Hoya filters are made only by Hoya, and there is strict batch to batch consistency – General purpose filters unlike other names, who may source from UV and Skylight Essential protection, so buy one for each lens. The difference is small several manufacturers. but significant. UV filters are colourless, improve contrast and reduce blue casts OUR PRICES SAVE UP ៅ Apart from graduated and Softeners, caused by excess UV light. Skylight filters have a slight warming tint, useful for colour which are acrylic, all Hoya filters are TO 25% ON RRP slide photography where a blue cast can be caused by a dull day, electronic flash etc. glass! Many cheaper brands use CR39 Polarising Eliminates reflections off most surfaces, enriches colours, especially blue optical resin which damages more easily. skies (when used at right angles to the prevailing light). The two types have exactly the same effect. LINEAR suits most manual focus cameras (except a few which use a beam splitter for the metering system); CIRCULAR is the correct type for all autofocus cameras. Polarisers lose up to 3 stops of light, depending on the position selected, so you might need a tripod with slow films. Pro-1 super-multicoated Neutral density Help when stuck with a fast film in bright light, or where you deliber- Twelve layers of coating on the UV and Skylight filters enables an average light transmis- ately want a long exposure. Available in x2 (1 stop), x4 (2stops), and x8 (3 stops). sion to 99.7%. The mounts are just 3mm thick, enabling use without vignetting with the Filters for colour photography widest of wide-angle lenses. Pro-1 Circular Polarisers have 7 layers of coating on the rear Warm-up filters Available in varying strengths from 81A (the weakest), to 81EF. surfaces, are 5mm deep, and won’t vignette with an 18mm lens. Reduce blue casts caused by mid-day light, and add a pleasing warmth to many subjects. Try an 81B as a start point. Filter type Suffix 49 52 55 58 62 67 72 77 82 Interior photography As slide film is balanced for ‘middle of the day’ light (5500ºK), UV UV 20.50 22.20 23.70 25.30 28.40 32.30 36.30 40.30 45.80 tungsten interior light will give an excessively orange look. This is corrected by the Skylight 1B 1B 20.50 22.20 23.70 25.30 28.40 32.30 36.30 40.30 45.80 use of a deep blue 80A filter, or if using photoflood lamps, an 80B. Fluorescent lamps Circular Polarising CPOL 53.60 56.00 60.80 62.40 71.00 78.00 99.95 115.00 153.95 Some tips on buying filters give a green cast: an FL-W corrects white tubes, FL-D daylight type tubes. 85B for tungsten films used in daylight. All 85 series can be used to give a very warm effect where 81 types are not enough. HMC multicoated 82 series (also known as ‘morning and evening’) correct reddish tones when colour Four layers of coating on both sides improves light transmission to 97%. 5mm mount. temperature falls at the beginning or end of the day. Filter type Suffix 46 49 52 55 58 62 67 72 77 Black and white filters UV UV 11.20 12.30 13.20 14.80 17.80 19.00 24.20 29.40 36.00 Yellow Essential to give any contrast between clouds and sky. Skylight 1B 1B 11.20 12.30 13.20 14.80 17.80 19.00 24.20 29.40 36.00 Yellow-Green Theoretically perfect rendition of landscapes, correcting foliage and sky. Yellow K2 Y 18.00 17.60 19.00 21.50 23.90 24.50 30.00 39.95 49.00 Orange The recommended for UK skies. Cuts through haze and increases contrast. Yellow-Green XO YG 17.60 19.00 21.50 23.90 24.50 30.00 39.95 49.00 Subdues freckles on faces, but can render foliage too dark. Orange G O 18.00 17.60 19.00 21.50 23.90 24.50 30.00 39.95 49.00 Red Exaggerates cloudscapes. Dark blue skies become virtually black. Excellent for Red 25A R 18.00 17.60 19.00 21.50 23.90 24.50 30.00 39.95 49.00 cutting haze in distant shots. Good for rendering detail in brickwork. Anything green, Green X1 G 17.60 19.00 23.90 24.50 39.95 49.00 however, comes out very dark. 81A81A 18.00 17.60 19.00 21.50 23.90 24.50 30.00 39.95 49.00 Green Ideal for predominantly green landscapes. Adds a healthy tanned look to 81B81B 18.00 17.60 19.00 21.50 23.90 24.50 30.00 39.95 49.00 outdoor portraits. 81C81C 17.60 19.00 21.50 23.90 24.50 30.00 39.95 49.00 Light blue (82C or 38) Good for tungsten light ND2 ND2 18.00 17.60 19.00 21.50 23.90 24.50 30.00 39.95 49.00 portraits, and will also enhance any outdoor ND4 ND4 18.00 19.00 21.50 23.90 24.50 30.00 39.95 49.00 mist or haze. Infra-red b/w You will need at least a Red 25 (e.g. Hoya). Better still is the Red 29 from Filter type Suffix 27 28 30 37 43 Heliopan. These still allow a lot of the Video/digital Clear C 16.20 16.20 16.20 visible light spectrum through, so to get the series UV UV 16.20 16.20 16.20 classic ‘soot and whitewash’ look with such HMC coated (except Skylight 1B 1B 16.20 16.20 16.20 films as Kodak HIE you will need something like circular polarising).
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