BG (0 u h PHOTO 0 h 0 I FILTERS o. The secret modular filter holder might be the solu- signed for a specific lens, quite often tion. This filter holder has lens threads your selection will be limited. ingredient on one side and a rectangular filter slot on the opposite side. The advantage to BASIC FILTERS to many a this system is that you can buy several holders to accommodate your lens di- Every filter manufacturer has a dif- dynamite photo ameters, then use the same filters for ferent way of grouping filters, which by Jack and Sue Drafahl each. You can quickly change filters by makes your filter selection even more sliding one out and the next one in. difficult. We think that filters should be Many holders have two slots, making it grouped as basic filters, advanced filters, hen we first started in pho- easy to use a combination of filters. The and special-effects filters. The basic tography, a photographer modular-system filters are square or rec- group includes filters that most photog- W could fit almost every type tangular in shape, and are made of plas- raphers would have in their camera bags, of photographic filter in a small camera tic, glass and acetate gel. regardless of whether they were just be- bag. Today that is almost impossible, as Special lenses such as fisheye and su- ginning or well advanced. The basic fil- there are hundreds of filters on the mar- per telephotos may require the third type ters include a polarizer, UV filter, and a ket, with new ones constantly being in- of filter. These lenses have a small filter series of light-balancing filters. troduced. Photographers can no longer drawer in the middle or rear of the lens. The polarizer is one of the most just go out and buy one Since these filters are de- popular filters since it performs a of each and have variety of functions. It can re- things covered. Instead duce reflections from glass they must analyze and water, make the sky their shooting style much darker, or increase and buy specific fil- the color saturation ters to fit their photo- of an image. graphic needs. The older linear polariz- FILTER TYPES ers were fine until the newer Before you decide what cameras with filters to buy, you first need built-in TTL metering to decide on how you want to and/or autofocusing sys- attach the filters to your cam- tems which partially polarize light. With era. There are three basic filter Three types of filters: The such cameras, you must use a circular systems for your camera. Screw-in plastic system filter (such as the polarizer, which is more expensive than filters are most common, and are de- Cokin shown at left), which is attached the linear polarizer. lenses of various diameters via a filter signed to screw into the finely machined holder and adapter ring; the screw-in fil- The polarizer comes in a rotating threads on the front of your camera lens. ter (front left), which screws into the mount. While viewing through the cam- You will need to buy a different-diame- lens's front threads; and the gelatin fil- era lens, rotate the filter until you see ter version of each filter you use if you ter (right), which have different diameter lenses. You can is attached to the buy step-up and step-down adapters to lens via a holder keep filter duplication to a minimum. To and adapter ring. avoid image cutoff, use the step-up adapters (which allow you to use a larg- A polarizing filter er-diameter filter on a smaller-diameter can darken a lens). Image cutoff can possibly occur blue sky so that with the step-down adapter (which at- white clouds will taches a smaller-diameter filter to a larg- really stand out. er-diameter lens), so make sure you use In black-and- the depth-of-field preview at the small- white photogra- est f-stop to check for cutoff. You may phy, you can use still need to purchase several different a red filter to darken the sky, filter sizes if you own large-diameter su- too; but obvious- perwide-angle or long telephoto lenses. ly the red filter If you plan on using several different won't suffice for filters on a variety of lenses, then the color work.
114 1998 PHorographic Buyer's Guide BG the desired effect. Reflections are quite color correction. Many of the larger for- lights, these filters may not provide per- •0 unpredictable, so trial and error is the mat films will have a suggested CC cor- fect color rendition. Testing ahead of I name of the game. You can obtain the rection for each box of film. This time is important if you want to get a 0 darkest skies with the polarizer when ensures that a product will have the same critical color balance. If the tests show H you point your camera at a 90° angle to color balance when photographed with you are close, you can finish the correc- 0 the sun. one box of film to the next. tion with one of the color-compensating In the past a UV filter came standard Photographers who find themselves (CC) filters. If you don't have an FL fil- when you bought a new lens. With im- shooting under fluorescent light will ter, a CC30 magenta filter can get you in H provement in lens glass, and as the spec- need the assistance of a special fluores- the ballpark. m 71 tral response of film keeps improving, cent filter. The two basic types are the Neutral-density filters reduce the V) this filter's job has changed to just pro- FL-D for use with daylight film and the amount of light coming through the lens tecting the front lens element. If you do FL-B for use with tungsten film. Since and onto the film. When you use this fil- a lot of outside work that is near mud or there are over 60 types of fluorescent ter, there is no visible color shift, and water, then this filter may save you the overall image quality is not degrad- some grief. ed. Neutral-density filters allow you to If you have ever seen pictures taken capture blurred action and use slow shut- indoors without a flash they probably ter speeds in full daylight. Exposure cor- turned out quite yellow. Right? Well that "If you plan rection is calculated at one stop for each is because the photographer didn't use .30 rating of the filter. (.90 = 3 stops). A the correct film to match the light on using polarizing filter can also be substituted source. Conversion filters are designed as a neutral-density filter. to help you balance the light source to several Contrast-control filters are seldom the film you are using. The 80 series of used in still photography (professional conversion filters will correct tungsten different movie cameramen like them) and may to daylight so your pictures will not have never see the inside of your camera bag. that yellowish cast. If you need to shoot filters on The low-contrast filter works by catch- tungsten-balanced film in daylight, the ing light from the highlight and adding 85 series of conversion filters corrects a variety it to he shadow areas. One variation of the color balance. this filter is called a soft-contrast filter, If you want to warm the color tem- which causes a slight amount of flaring perature, then the 81 series of filters of lenses, or halation around the highlights. would be your choice. Each filter has a letter behind it and increases in warmth then the SPECIAL-EFFECTS FILTERS as the letters go up. You don't have to get the whole series, as each filter is on- modular It seems that today's movie ratings are ly slightly different than the next. We based on the caliber of the special ef- recommend the 81A and the 81C for filter holder fects. This explosion of special effects starters. If you take pictures using day- has found its way into the world of still light film in deep shade with blue skies might be photography, too. Special-effects filters above, then you may want to go to the are constantly being improved, and new 81Dor81EF. the solution" effects seem to come out every month. Black-and-white photographers would have a different assortment of ba- sic filters. The polarizer would still be of great help, but a whole different set of color filters are used to increase the overall contrast in the scene. The red No. 25 filter gives very dark skies, the green No. 58 improves the density of flesh tones and lightens foliage, and yel- low filters give strong cloud contrast in landscape photography.
ADVANCED FILTERS
As a photographers improve and ad- vance to the status of serious amateur or pro, they will undoubtedly add more so- phisticated filters to help fine-tune their results. When an exact color balance is required in a scene, the smart photogra- pher reaches for a series of color-com- pensating (CC) filters. These come in the additive primary colors (red, green, blue) and the subtractive primaries (cyan, ma- genta, and yellow), with values of 05, 10, 20, 30, 40, and 50. They filters come A graduated filter can be used to bring out detail in a sky that is too bright to record in both glass and gel form and allow fine with detail when you expose for the dark foreground.
1998 PHorographic Buyer's Guide 115 BG BLUE DIFFUSION For B&W films: Lightens STAR UJ For color films: A blue filter Produces a sharp primary magenta subjects (and slightly Star filters turn point-light h adds an overall blue cast to the image, overlaid by an unsharp lightens blue and red subjects) sources (such as bare bulbs) photo or "cancels out" an over- secondary image for a soft and darkens green subjects into spectacular starbursts all yellow color cast. A deep- effect. A good diffusion filter (and slightly darkens yellow with 2-16 points, depending 0 blue filter and slight underex- will maintain contrast. and cyan subjects). on the filter. h posure can be used in daytime 0 i to create a moonlit effect. Q. FLUORESCENT MULTIPLE-IMAGE SUNSET For B&W films: Lightens blue Helps correct for unpleasant Produces multiple images of Adds dramatic, vibrant color to subjects (and slightly lightens color casts caused by fluores- the subject on one piece of film a dull sunset scene. Most effec- cyan and magenta subjects) cent lights. Available for tung- with one exposure. Commonly tive when shooting silhouettes. and darkens yellow subjects sten or daylight films. In a pinch, creates a central image sur- (and slightly darkens green try a CC30M (magenta) filter rounded by secondary images and red subjects). with daylight-balanced films. or a primary image followed by TRI-COLOR a line of secondary images For color films: A special that imply "speed." effect based on three expo- COLOR COMPENSATING FOG sures on one piece of color CC filters are designed to com- Creates illusion of fog by pro- film—each through one of pensate for minute overall color ducing a soft effect and lower- NEUTRAL DENSITY these specialized red, green casts on color-slide (trans- ing contrast. Comes in differ- Neutral-density (ND) filters and blue filters with a tripod- parency) films. (Overall color ent strengths, as well as grad- reduce the amount of light that mounted camera. Moving casts on color-print film can be uated versions. reaches the film without affect- objects are depicted as corrected in the printing stage.) ing the color or tonal rendition. magenta, cyan, yellow, green, Used to produce slower shut- red or blue ghosts; stationary GRADUATED FILTERS ter speeds or wider apertures objects appear normal. CONVERSION FILTERS The "top" starts with a full filter than would otherwise be possi- Color films are usually balanced effect and gradually reduces to ble for the film in use. Often For B&W films: These spe- to either 5500 K (daylight) or no effect at the halfway point used to shoot waterfalls with cialized red, green and blue fil- 3200 K (tungsten) light—caus- of the filter. Available in neutral extremely slow shutter ters can be used to create ing scenes shot under these density, colors or fog. Helps speeds, to cause the water to color images with three sepa- precise color temperatures to reduce extreme exposure dif- record as an ethereal blur. rate black-and-white pictures. appear normal. These filters ference between a bright sky allow you to shoot daylight films and a dark landscape. under tungsten illumination (80 POLARIZER ULTRAVIOLET (UV) Series) or tungsten films in day- Polarizing filters allow light that Reduces the bluish cast of light (85 Series). GREEN is vibrating in one particular atmospheric haze by absorb- For color films: A green filter plane to pass through it, and ing ultraviolet light. It works adds an overall green cast to blocks or partially blocks other well at higher elevations COLOR CORRECTION the photo or "cancels out" an light rays. Used to reduce because UV is especially Similar to conversion filters, overall magenta color cast. A reflections on glass, water and prevalent. Will not reduce the but they correct for smaller ( /- weak green filter can be used to other nonmetallic objects; to effects of fog and smog. 100 K increments) color tem- enhance a green foliage scene. darken the sky on film in rela- perature changes. For B&W films: Lightens tion to the clouds; or to intensi- green subjects (and slightly fy rainbows in a scene. WARMING (81 SERIES) lightens cyan and yellow sub- Note: If you own a modem SLR, Corrects the blue cast caused CYAN jects) and darkens magenta you will probably need a circular by light that is "cooler" (higher- For B&W films: Lightens cyan subjects (and slightly darkens polarizer (rather than a linear number K or color tempera- subjects (and slightly lightens blue and red subjects). polarizer) to avoid problems with ture) than the film is designed green and blue subjects) and the AF and metering systems. for. Use in the open shade, on darkens red subjects (and overcast and rainy days or to slightly darkens magenta and HAZE add warmth to fleshtones. yellow subjects). See ultraviolet filters. RED Comes in strengths from A-EF. For B&W films: Lightens red subjects (and slightly lightens DIFFRACTION GRATING LOW-CONTRAST magenta and yellow subjects) YELLOW This filter distorts white light Reduces contrast without (in and darkens cyan subjects For color films: Can be used source, creating spectral col- theory) effecting image quality. (and slightly darkens blue and as a substitute for a warming ors. A standard diffraction grat- green subjects). filter (see above). ing turns white light sources into slashes of rainbow colors; MAGENTA For B&W films: Lightens yel- holographic diffraction filters For color films: A CC30M fil- SKYLIGHT low subjects (and slightly light- produce specialized patterns. ter helps corrects green casts See ultraviolet filters. ens green and red subjects) from fluorescent lighting and and darkens blue subjects the green tint from airplane (and slightly darkens magenta and train windows. and cyan subjects).
116 1998 PHOiographic Buyer's Guide BG A straburst filter TJ turns point-light B+W FILTERS sources into stars. z 0 B+W filters by Schneider offer H starburst effect. screw-in glass filters in two formats: 0 These star or cross- economic standard filters with an screen filters have a anti-reflection coating and top-of- screen sandwiched the-line multi-coated filters made H in-between two with high-quality Schott glass. In m addition, a new "drop-in" single and 3 pieces of glass (or a to grid pattern etched double filter unit designed for medi- in the filter) which um format wedding and portrait results in star- photographers is available. The new shaped sparkles Pro-Speed filters can be changed emanating from all quickly while shooting. light sources. Dif- ferent screen con- figurations result in different star effects. CALUMET FILTERS This is a popular filter when photo- Calumet offers professionally ori- graphing candlelight. ented gelatin Calumet Pro, resin, The diffraction or rainbow filter is a and polyester filters. Color correc- new adaptation of the starburst effect fil- tion, conversion, neutral density and black and white film filters are available in all three materials. Kits "Probably are available. the most COKIN FILTERS popular The Cokin line includes three dis- tinct filter types: Optilight screw-in special- filters. Series A square filters (over 25 choices) and Series P rectangu- effects lar filters (over 50 choices). The Series A (for "amateur") and filters are Series P (for "professional") filters are designed to fit into the modular the color A and P system filter holders, with the P series being larger to accom- graduates." modate the larger professional Fog or mist filters produce a foggy, misty camera lenses. Optilight filters are effect, with a glow around light sources. available in economic theme kits, such as the Mountain Snow, Sky & Again the challenge is deciding which ter. Diffraction material is substituted for Ocean, Fashion, Black-and-White ones to purchase. the grid between two pieces of glass. The and Close-Up Kits. Probably the most popular special-ef- complexity of the material will determine fects filters are the color graduates. how many streaks there will be and the These filters are usually clear on the bot- intensity of each. As a bonus, the dif- CONTAX FILTERS tom and graduate to a color from the fraction streaks break white light sources center to the top. When the filter is down into their spectral components, re- The Contax line of screw-in filters placed over the lens, the color will grad- sulting in rainbow-colored streaks. are available in 49-86mm sizes, ually affect the upper portion of the im- Portrait and wedding photographers designed for Carl Zeiss T* lenses age. A typical example of its usage is a use a vast selection of soft-focus or dif- used on Contax cameras. Options scenic with a light-blue sky that would fusion filters to help add that creative include filters for both B&W and record as a deep-sepia sky us- color photography. ing the sepia gradated filter. There are dozens of these fil- ters, some with color varia- HARRISON tions, density changes, and & HARRISON even ones with additional special effects built into the Harrison & Harrison offers hun- color gradation. dreds of filters for artistic, as well One of the original spe- as scientific purposes. Screw-in cial-effects filters gives a and slip-on filters, filters for bayo- net-style holders and filters for Multi-image prism filters sur- light sources or windows are round a sharp central image among their offerings. of the subject with several unsharp ones.
1998 PHorographic Buyer's Guide 117 BG touch to their photos. Most filters HASSELBLAD FILTERS have a clear center and become soft- ui er toward the filter's edge. Some have h Victor Hasselblad Inc. offers its color at the edges, while others have own line of popular high-quality a sharp center spot, diffused center filters for the Hasselblad medium- spot, or even a different color in the format camera systems, which 0 l center. h shoot 2!/4x2 /i-inch images on 120 The fog and mist filters are anoth- 0 and 220 size (2!/»-inch wide) film. I er variation of the soft-focus filters. Q. These filters enhance a natural fog, or create fog where there is none. HOYA FILTERS They accomplish this effect by flar- With Hoya, choices include over ing the light source into a mist. Low- 85 different types of screw-in fil- contrast subjects recede into the fog, ters, each available in different while high-contrast subjects stand out sizes—many of which rotate for in the mist. exact control. Selections are Images created with multi-image geared for color, black-and-white prism filters are very obvious, as the and special-effects photography. center subject becomes 3, 5, 7, or 9 New introductions are the Super images. In most cases the center im- Circular Polarizer and Hoya HMC age is the sharpest, while the outside Super multicoating. The super multicoating uses 12 layers includ- ing an over-coat. The Circular Polarizer is 5mm thick, eliminat- "We were ing corner shading. Hoya also amazed at Speed filters blur half of the subject into offers a limited selection of slip-on speed streaks. and bayonet-style filters for old TLR cameras. the number that takes the testing and frustration out of creating sepia images. of new We were amazed at the number of KODAK/WRATTEN special- new special-effects filters we discovered Kodak Wratten makes precision while researching this article. There gelatin filters for professional were too many to list, so we sorted out photography and scientific appli- effects some of the most exotic ones to men- cations. They feature a thin tion. We found the Color Wheel 32, O.lmm thickness with excellent fitters we which has 32 rays coming from each optical qualities. Most are avail- light source, and the Soft Ring Diffuser, able in 3-, 4- and 6-inch squares, discovered which has a concentric ring design that plus 14x18-inch size. These filters retains contrast as the diffusion increas- are easily cut to fit any needed while es. Pop filters give surrealistic color ef- smaller size or shape, or can be fects to monochromatic subjects or used with a gel filter holder. researching subjects with distinct white coloring. Kodak Wratten gels are available The Prism Lens filter is a close-up lens in a wide variety of precise colors, this article" with an off-center clear spot, which as well as neutral-density filters gives the impression of a double expo- (from 0.10 to 1.00 in 0.10 incre- sure. The BIFO filter is very much like ments, plus 2.00, 3.00 and 4.00 images blur to the edges. If you use this a bifocal lens, with the close-up section densities) and color-compensating filter, do so sparingly, as viewers will tire at the bottom and normal viewing at the filters (in the six primary colors- of too many shots taken with this filter. top. The Double Exposure filter is not magenta, yellow, cyan, green, blue The speed or action filter is similar to really a filter, but a mask that allows you and red—in densities from .025 to the multi-image prism filter except that to shoot the subject in two different ar- .50). The neutral-density (and it has one angled surface instead of eas of a scene. The possibilities go on color-compensating) filters can be many. One half of the filter is flat, while and on. combined for added density. the other half is angled. The angled por- tion will streak or create the effect of FILTER FACTORS speed in the subject. LEE FILTERS Enhancing filters made of didymium Before autoexposure anyone who glass are used to saturate the warm col- used filters could tell you off the top of Lee Filters offers a wide range of ors of a scene. These filters is used by their head how much more exposure filters for motion picture, theatrical many landscape photographers to add a was needed for a specific filter. The au- and still photography. New from creative warmth to their scenics. toexposure systems today give you cor- Lee is a filter holder system that In past years photographers tried all rect exposures most of the time. Slide will allow any lens to use a 100mm combinations of filters and film to get a films may not always give correct re- filter using adapter rings. sepia color effect in their photos. Life sults because some of the metering cells just got a little easier, as mostfilte r man- in the autoexposure cameras do not read ufacturers now have a special sepia filter well through filters. The best way to
118 1998 PHorographic Buyer's Guide know for sure is to run some slide film effects you like, check to see if there is BG tests with each filter. Bracket your ex- an explanation of how the photo was •0 SINGH-RAY I posures, and look at the results. If the taken. Visit your local camera store to 0 exposure is off a little, make a note and see the selection they have to offer. Singh-Ray Corporation offers pre- H put the correction with the filter so you They may have books containing illus- cise color-balancing filters, as well 0 will remember next time you use the fil- trations that show you the effect a par- as four graduated neutral-density ter. If you are shooting color negative ticular filter will give. When you do filters (2- and 3-stop gradations in film, the exposure latitude will cover the decide on a specific filter, have fun an abrupt hard step or soft grada- H filter factor. m tion). These carry a high price tag, TO Manual exposure through a filter re- but offer truly neutral color to quires knowledge of the filter factor. (whereas many cheaper ND filters Once you have determined your basic "When you tend to be greenish). Singh-Ray exposure, use the filter factor to adjust also make custom filters. the exposure. A factor of 2X means that do decide you double the exposure or open the lens na one stop, 4X means to increase tyhe ex- TIFFEN posure four times (two stops), and 8X 9 means to increase the exposure by eight specific fitter, Tiffen offers screw-in, Bayonet 60, times (three stops). If you add two filters 3x3 squares, 4x4 squares, 4x5 rec- together, you multiply the factors to- havefun tangles and rear-mount glass fil- gether and make the necessary compen- ters. Their Hollywood/FX filters sation. Unfortunately not all filter with it include Pro-Mist (removes harsh manufacturers' methods for determining edge off sharpness without appear- filter factors are the same, so 2X may ing out-of-focus), as well as Black vary from filter to filter. The only true but don't Pro-Mist (for a subtle change of way to know is to run tests. contrast) and Warm Pro-Mist (for overuse if" Pro-Mist effects plus added WRAP-UP warmth), each in five densities. with, but don't overuse it. New photog- The Enhancing Filter (didymium We have shown you that there are raphers have a tendency to fill a full roll glass) produces more saturated lots of choices when deciding which fil- with multi-image pictures, or have stars reds, browns and oranges on ters should end up in your camera bag. bursting everywhere. Selectively pick film—excellent for autumn pho- So how do you know which ones to subjects that demand the use of a filter. tography. Pro movie cameramen purchase? Talk to your photo friends Most important, get out and enjoy the use many Tiffen filters. and see what they use. Look in maga- additional creative edge that filters give zines and books and if you see special you. Q
Bifo (split-field) filters consist of half a close-up lens mounted in a filter ring. Thus, you can simulta- neously focus sharply on both a nearby subject (through the close-up lens half of the filter) and a distant one (through the emp- ty half), even when using wide lens apertures. Both of these photographs were shot with the lens focused on the distant fountain. In the shot on the right, the split-field filter with its glass close-up lens half positioned over the right portion of the lens ren- ders the nearby tree sharply at this focus setting.
1998 PHOiographic Buyer's Guide 119