Filter factors Buyers’ guide Pre-visualising the final result is key to
successful scenic images – and on-camera filters are vital accessories that can help you achieve what is in your mind’s eye
the care you would need for a multi- coated front lens element. If you use software to control contrast, there are limits to what can be achieved with the exposure, highlight and shadow controls before you start getting grainy shadows and grey veiled highlights. Shooting using a neutral density (ND) graduate filter over the brightest areas of a scene – usually the sky – gives you greater control over the strongest highlights. OK... so hopefully you appreciate that filters are very much a good thing and worth having in the kit bag. But what’s the next step? Almost every lens has a filter or accessory thread – there are exceptions, such as fisheye lenses. So, all you need to do is invest in filters of a suitable size. Essentially, there are two styles of filter. Round ones in a mount, that screw directly into the accessory thread of a lens. Then there are filter systems, where they are slipped into a holder, which fits onto the lens via an adapter ring. This then screws into the filter thread.
THE IMMENSE POWER of editing softwares and what they can achieve mean that on-camera filters are not essential. With a few clicks of the mouse, very realistic effects are produced – all without having to faff around with filters when you are out there shooting. Well, that’s partly true. It is the process of ‘faffing’ that gives filters their special allure. What’s more, there are some effects that can’t be realised in software and you have to do them in-camera. For example, software can’t truly recreate the effect of polarisers; the same applies to long exposure ND filters. However, photographers enjoy the potential of camera filters, even when they know how to achieve similar effects in software. It’s all part and parcel of the craft of photography. Filters are not just about effects and they have practical benefits, too. Skylight, ultraviolet and protection filters on the front of your lens can protect it from dust, water, sand and your own fingers. Should the filter get dusty or wet, you can clean it without
There are pros and cons to each. Much depends on how you work, your budget and the filters you want to use. The one filter which suits systems better than round filters is the grad. This is because the grad's position can be adjusted up and down in the holder to suit the composition. Standard grad filters are densest at the top, and clear at the bottom. They are available in different strengths and gradation styles. The most popular densities are 0.6 (2EV) and 0.9 (3EV), usually coming in soft, medium and
hard. This references the area where the grad filter changes from toned to clear. Hard means a more abrupt transition and soft is more gradual – with medium a happy compromise. If you are new to grads, the best starter filter is a 0.6 soft or medium ND grad. Another grad to check out is the reverse ND grad. Here, the densest part is just over the middle line, then gets weaker towards the top. If you enjoy sunset photography, this is for you. There is plenty of choice with filters – in price and specification. Generally,
TONE THAT SKY Neutral density graduate filters can be incredibly useful for scenic photography
adding anything to the front of the lens has the potential to be detrimental to quality – in sharpness, flare or colour balance. The adage ‘you get what you pay for’ comes to mind. If you have splashed out on a top-end, fast aperture prime lens, don’t stick a £5 filter on it. So, buy the best you can and, especially with filter systems, go for a brand that offers a wide range, to cover your needs – and handles in a way that suits you.
Lee Filters › leefiltersdirect.com Lee is one of the biggest names in the world of filters with products for cinematographers, architects, lighting designers and, of course, photographers. Here, its 100mm LEE100 system is the best known and loved by landscapers everywhere, and it has solutions for smaller and larger lenses,
Formatt Hitech › formatt-hitech.com Formatt Hitech offers 85mm and 100mm filters to suit smaller and larger camera systems, so invest in the one that best suits you. In both cases, the holders are made from aluminium, and filters are available in resin and glass – specifically Firecrest, Firecrest Pro and Firecrest Ultra. These water-resistant, bonded filters give a colour neutral performance, with minimal impact on quality. For the 85mm system, Formatt Hitech has Onyx – surface-coated filters constructed from toughened mineral glass, to make them more resistant to damage. Onyx filters are also blessed with an anti-reflection coating to reduce glare. A wide range of filter kits – subject-based or compiled by award-winning
holder, four step-up rings and a luxury storage pouch. Take the subject-based route and you could go for the Seascape Kit Onyx 85mm kit for £345. This has a holder, polariser, two grads and a 6EV 1.8 ND filter.
photographers – make selection easier. For example, the Onyx 85mm Pro Essential kit by Patrick Di Fruscia costs £255, and includes two Onyx NDs, a 77mm Firecrest circular polariser, Firecrest 85mm
in different densities, as well as transition styles – soft, medium and hard – to suit all occasions. While its Stopper series – Little, Big and Super – undoubtedly Lee products are available via stockists or through its retail website, Lee Direct. As a guide, a LEE100 holder is £92.40, adapter rings from helped popularise long exposure photography. £27.60, and grads from £116.40. Or you can take the subject-led kit route – the Landscaper Kit is £192 and the Long Exposure Kit is £394.80.
too. The SW150 is for ultra- wide lenses, and a range of custom adapters are available for many of the most popular lenses. Last year, Lee introduced the smaller LEE85 system. So, regardless of what kit you own, Lee can help you out. The hand-dipped resin graduate filters are very popular. They are available
FILTERS LIGHT The LEE85 system is a solution for smaller cameras, and kits are available for convenience
32 Photography News | Issue 93
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