Filters 91

) atagraphs taken in shadaw, which are

by predaminantly blue skylight, will shaw a Filters for black and white
J less a suitable filter is used. Generally, it is
~iminate taa much rather than taa little blue; Filter Exposure
, colars tend to. be mare acceptable. type increase Effect
,Iar negative film, which permits carrectian af Yellayv 1-11/2 Lightens yellaw; darkens blue: Increases sky cantrast for
I e during printihg, yau have anly ane problem staps more pronounced cloud effects. Removes slight haze by
absarbing ultravialet light. Improves shadaw contrast and
alared print fram a colar negative expased texture af snow scenes.
tixed
1 sten and daylight.
lighting. It isnat passible to. make a
Orange 2-3 staps Lightens red, arange and yellow: darkens blue and green.
Lightens the tane of waad, making the dark areas of grain
stand out. Penetrates heavy haze and turns blue sky almost
black. Subdues skin blemishes and freckles. Enhances
~prblack and ,white
surface texture af brick and stanewark.
j white phatagraphy, filters are used either to.
Red 21/2-31/2
ures that mare accurately record the tonal Lightens red and yellaw; darkens blue and green. Used far
staps dramatic sky effects - blue sky records as black,
~e ar to. emphasize particularly when the C(lmera is pointed away from the
'fect.ariginal sceneprinciple
The guiding tane
is that calars far
similar •
e filter will be rendered as lighter tanes and sun. Cuts thraugh heavy haze. Excellent for buildings
1 ry, 0.1' appasite, calars as darker tanes. A against the sky.
ill darken blue sky and green faliage, far
I t lighten red-colared brickwark. The aver-
)f black and white film to. blue light presents Filters for black and white or color
:Icommanest phatagraphic prablems - blue
e averexpased and record as white, making Palarizing 11/2 staps Use to. eliminate unwanted reOections from glass and
:Jst invisible an the final print. Yellaw, arange many polished surfaces. Water can be darkened ar
ers, in that '2I-der,-absarb increasing amaunts
t praducing a darker tane to. represent blue
lightened by rotating the filter. It has gaad UV absarptian
and so.penetrates haze,
print so. clauds are light in contrast. Neutral Nane
1-31/2
staps A range af filters in different strengths used to reduce light
haze
(gray)
density intensity without affecting' tones or colars. Enables
UVand exposures to. be made at wider apertures 0.1' slawer
Ictors
shutter speeds. Good UV absarption.
Helps prevent slight blue cast an color film with aut
:Ire graded accarding to. the amaunt af light
,kck, and the 'filter factaI" indicates the amaunt affecting athel" colars in distant scenes, mauntain pictures
and snawscapes. These filters anly absarb UV light, leaving
·e increase required to. ensure that a picture
ather tones and colors unaffected.
carrectly. To. take an example, a filter mal'ked
. factaI' af X 2 will require twice the expasure, Skylight None Stronger action than haze filters. Remaves blue cast in
tra stap. Or. if yau prefer. yau can divide the situatians as described abave and adds a slight warm colar
j by the filter factaI' and set the metel' to. slides,
~ But remember that cameras with thraugh-
etering autamatically allaw far the necessary ,
Conversion filters for slide film
)sure. If yau can completely caver the cell af
'fhed meter with the filter. a similar
ian will be made. Filter Exposure
aad shauld always be used with filters. It will
name increase Function
Je light flaring aff the filter surface. Wratten 2 stops Use with daylight film balanced for 5,500K expased in
80A 3,200K tungsten light.

Wratten 1713 stops . Use with daylight film balanced for 5,500K expased in
80B 3,400K tungsten light.
Effe~ts filters
Wratten 1/3 stap Use with tungsten film balanced for 3,200K exposed in
Lse is the large range af special effects filters. 81A 3,400K tungsten light. Used with daylight film it will
this type include starburst patterns, parallel
correct slight blue cast in apen shade or an an avercast
J'jages,rainbaw effects, saft facus and dual-
day. caused by clauds filtering aut warmer calars. Also
us. Of mare practical applicatian is the
absarbs excess blue light from electronic flash.
filter, which can be used with black and white
i1ms, It will darken a blue sky, far example, Wratten 1/3 stap Use with tungsten film balanced far 3,400K tungsten light
82A expased in 3,200 tungsten light.
-ecting ather parts af the picture and will
eOectians fram many different types af Wratten 85 713 stap Use with tungsten film balanced for 3,400K expased in
, useful feature available fram same filter
daylight.
-~rs is the universal filter halder, which fits all
nera lenses. Once in place an yaur lens, all yau Wratten 713 stop Use with tungsten film balanced for 3,200K expased in
,
; slat the effect filter af yaur chaice into. the
85B daylight.
 Controlling exposur

Suggested exposures for difficult subjects

Film speed (ASAIISO)
Subject 64-100 400-800 1000-1500

Candle-lit scenes 1/4 f2.8 1/30 f2.8 1130 f 4

Indoor Christmas lights • I f4 1/30 f2 1130 n.8

Brightly-lit city streets· 1/30 n 1/60 f 4 1/60 f 5.6

Neon signs 1/30 f 4 1/125 f 5.6 1/125f8

Shop windows 1/30 n.8 1/60 f 5.6 1/125 f 5.6

Floodlit buildings, monuments, etc. I f4 1/30 n 1/30 f2.8

Skyline at night 4 n.8 I f4 I f 5.6

Skyline at dusk 1/60 f 4 1/125 f 8 1/125f II

Moving traffic (streaked headlights) .20 f 16 10 f 32 ;: 5 f32

Fairgrounds, amusement parks 1/15 n 1/60 f 2.8 1/1,25f2.8

Firevyorks (hold shutter op~~ on B for a few bursts) f8' fl6 f22-

Lightning (hold shutter open on B for a few streaks) f8 f II f 16

Campfires 1/30 f2,8 1/60 f 5.6 1/125 f 5.6

Outdoor night sport, athletics 1/30 f2,8 1/250 f 2.8 1/250 f 4

Moonlit landscapes 30 n 4 f2 4f2.8

Moonlit snowsc.apes 15 f2.8 4 f4 4 f 5.6

Indoor sport 1/30 f2 1/125 f2.8 1/250f2.8

Galleries, museums, etc. . 1/8 n 1/30 n.8 1/60 n.8

Stage performances 1/4 n 1130 f 2.8 1/60 f2.8

Hospital delivery rooms 1/30 n 1/60 f4 1/60 f 5.6

Star trails (hold shutter open on B for at least 5 minutes) f4 f 5.6 f8

'.

High contrast
It is important 10 lec
recognize IIglJtllli' 51
(ho( could prove "0
In tilC P'CtwC far Ic'
InllCI eni conti eN !"

(ace t:'J~
gill's bloc/-.
costume makcs ,.'.,
dCiO//ed ("CiIifC d'lI
111Jpo,sl/J/e. 111(lit' "
silOn~ IVlndo\\' 11.~"1
pools of Intcnse !.~
COli/J /lot bl' OCt,")
IVlt/iOlii slIclificu',:,
,lJddowJewil

ensul'e that the unrepeatable shot is not missed. To
bracket with slide film, determine what you think is
correct exposure and then make an additional exposure
half a stop overexposed and half a stop underexposed. If,
despite the increased latitude of negative film, you are in
doubt about correct exposure, then make youl- addition-
al shots at one full f stop above and below the one
determined to be correct
Exposureguides
The printed exposure guides that come with the film can
be used successfully for the limited range of conditions
desuibed. and it is useful to keep the one for your film
with you in case the meter fails to work. One method for
determining the exposure for a frontally lit subject in
average sunlight is to set the apertul-e to f 16 and the
shutter speed to the ASNISO numbel-. A film of
ASNISO 64, for example, would require an exposure of
1/60 see at f 16. In hazy sunlight op.en up half to one full f
stop. and if the sky is overcast open up three full f stops.
Obviously exposure guides cannot take into account
minor fluctuation in brightness, but they do form a good
basis for bracketing.
In low light conditions the light meter, if it will register
at all, cannot be trusted. In such circumstances you will
have to rely on your own experience,' although tables of
recommended exposure settings are helpful.
 FITTING THE FILM TO THE OCCASION POLARIZED

Type of film" Brand examples' :"\~" Best use's "; REFLECTIONS

VERYFINE GRAIN KODACHROME25 Static or slow-moving subjects, and when Reflections from windows often limit the view
DAYLIGHTISO 25--50 AGFACHROME50RS . . detail is important, eg architecture, inside, and reducing them is a common use of a
FUJICHROME50 landscape, stilljife, studio subjects. polarizing filter. The pair of pictures below
FUJICHROMEVELVIA show the difference.
FINE GRAIN DAYLIGHT
KODACHROME.64,·"~ General use: the standard films, forall except;
ISO 64-100 '''. FUJICHROME:100" 'J!;'fa'st 'action and dimly lit subjects:'" , : '.
EKTACHROME·.100··· . ')
AGFACHROME'100

MEDIUM-FAST DAYLIGHT EKTACHROME200 Compromise,film, giving better grain than the

ISO 200 . AGFACHROMECT200 fast films but a speed advantage over
KODACHROME200 standard films. Good for some candid street
photography.
, .
FAST DAYLIGHTISO 400 EKTACHROME400 . For low light and fast action, eg at dusk, in
SCOTCHCOLOUR fluorescent-lit interiors (with fl filter,)
- I ~.. sports.
SLIDE400·,
FU~ICHROME'400
SUPER-FASTDAYLIGHT· EKTACHROMEP800/ For extremes of low-lighting and fast action .
ISO 80D-1600 1600 . P800/1600 is variable in speed from ISO 400
FUJICHROME1600 to 1600 and is becoming the standard fast
SCOTCH1000 film for many professionals.

FINE GRAIN TUNGSTEN- KODACHROME40 Fo( static interior (tungsten-I itl'and studio
BALANCED ISO 4D-50 EKTACHROME50 . subjects. '
AGFACHROME50L

..MEDIUM-FAST TUNGSTEN- EKTACHROME160 Moving indoor (tungsten-lit) subjects,

BALANCED ISO 160 especially if lit with photographic lamps. In
television studios and on movie sets.

FAST TUNGSTEN- SCOTCH640T , ' Candid photography in tungsten-lit interiors.!

BALANCED ISO 640 Alternative: super-fast daylight film with 80B
. filter.

RE-PACKAGEDMOVIE EASTMAN 5247 Transparencies and negatives from same film

STOCK EASTMAN 5293 stock. Colour balance unimportant. Good for
, uncertain conditions.

INSTANT FILM POLACHROMECS For testing or when slide is needed

immediately.

greys and whites very neutral in hue. Generally, though, the Gharacteristics of films remain

relatively constant across film families: the colour balance of Ektachrome 400 be~Jr? a
fami Iy resemblance to Ektachrpme 1DO, but not to Kodachrome.
Choice of film depends, as with colour negatives, on personal choice, and on the job in
hand. Ultimately, the only answer is to experiment and pick out the film that has the most

personal appeal. Having selected one emulsion, though, it is prudent to use this one film
whenever appropriate, and get to know its characteristics as well as possible. Constant
changing from brand to brand simply produces inconSistent results.

Used for their intended purposes, filters form an important control for the photographer
using Il]onochrome film, and make it possible to alter, adjust and manipulate the repro-
duction of colours for corrective or creative purposes.

CON T R 0 L LI N G H A Z E AND R E FL'E C T ION

All film is sensitive to invisible ultraviolet radiation, but the two lower layers of film,

sensitive to green and red light. are protected by a yellow layer that absorbs UV and blue
 GENERAL TECHNIQUES
There are certain techniques common to all available light situations. To begin with, there

is nearly always less light than you would really like and this reduces your flexibility
between film, lenses, use of depth of field and shutter speed. In many cases you will have
to make some compromises, sacrificing some picture quallity such as resolution or view-

point in order to be able to take an acceptable picture. For this reason many available
Jighting techniques are concerned with getting enough light to the film.
To begin with, the film you choose is important - good fast films are available in black-
and-white with speeds up to ISO 3200 and in, colour to ISO 1600 and available film speeds
are increasing all the time.
As tungsten balanced films are slower than their equivalent daylight-balanced emul-
sions, you may find it easier to use a daylight
resulting speeds are similar).
film with appropriate
Once again decide to what degree you want to correct the
conversion filters (the
Z
GJ
lighting: an 80B filter will balance a daylight film .10(3400° Kelvin lighting; an 80A filter
gives stronger correction for 3200° Kelvin lighting; and 80A and 82C filters combined will
render most domestic tungsten lighting to the equivalent of daylight.

FLUORESCENT LIGHTING
Although potentially better for photography than mercury-vapour because the phosphors in
GOLDSMITHS' HAll, LONDON This ornate hall
the tube add a continuous background spectrum, fluorescent lighting is still the bane of (above) was lit solely by chandeliers fitted with
available lighting assignments. Its ubiquity and unpredictability make it very important to tungsten lamps and the contrast range was
test before shooting. The apparent colour temperature of fluorescent tubes varies with inevitably high. Tungsten-balanced Mm was
used for a 'normal' effect.
make and age, with no standardization among manufacturers or type classification. High
Nikon, 20mm, Ektachrome (tungsten), Yoo sec,
efficiency tubes have a high output but are very,deficien~ in red, while de-luxe tubes more
f3-5 .
._ ,_ closely-approach 'normal'. It is usually impossible to predict the correct filtration merely by

EXPOSURE SETTINGS FOR DIFFICULT AVAILABLE

LIGHT CONDITIONS
, '"
Y125
Y1
30
T% see
sec
25sec
lsec
f4
f5·6
f8
f2·8
\(125see
%0 f2·8
Y125secf2·8
Y15see
815
. .:Y60 sec
see
sec sec
sec
f2'8,' 12·8
f4
f16
f2·8f5·6
.12·8
f2·8
f2·8
15,6
.12·8f2·8
f8
f2·8· 'T
Tf2 secuse
' f2sec f2·8 ;"'2 200 <.c' '' ~/'
2·8 ,', 400'
Y30
%0
Yoo
Y2
Y125
Y250
Y4
Y60
YJo
Ya
These are approximate
4 sec
T
\/ao
YJo:30
J sec
Y15'secf2'8,
f4'
sec
S(JCf2·8
sec ,fll
f5'6
guides
f2·8 25
Y15
.Y4
f2·8 15
to sec
f2·8f2·8
as min f2·8
>. ". ~' ~i;'" ~<:"';j
,
slow
increase
to make.
for thethe
If the
subject,
development.
. shutter
use
speed
a faster
still film
seems
or too
%0
21 sec sec
Ya,secf2·8
min f5'6 '. Y30 sec .12.8":~o~"sec f2·8 '
f2·8
f2·8
Candlelit
Very close-up
Moonbrightly
in clear
Lighting· sky (full or.
Iitnight, Y15 sec f2.8

THE STRIP, LAS VEGAS In an overall night scene,

Fairground Y4 see f2·8 Ya see f2·8· Y15secri8 " Y30'se~ f2·8 Y60 see f2·8 particularly'with display lighting, mixed
illumination is rarely a problem. No one light
BoxinQ ring Y15sec 12·8 YJo sec f2·8 %0 sec f2·8 Y125sec f2·8 %50see f2·8
source covers the whole scene, and although
Theatre stage, fully lit 'Ya see f2·8·, Yl~sec f2·8 YJo see f2·8 \/aD secf2·8 Y125sec f2·8
there is a large colour difference between the
"Reciprocity failure is the chief problem here, and that varies with the emulsion. For some colour reddish tungsten and greenish fluorescent
film more exposure may be needed. Try to use a fast lens rather than long exposure times, lamps, it is not objectionable.
**If the neon sign is a changing display, us~ an exposure time long enough for a full cycle. Nikon. 400mm, Kodachrome, Va sec, (5·6.
121
 THE BASIC SOURCE of illumination for most photography is either sunlight or artificia)
light. The sun furnishes a virtually endless variety of lighting conditions - from the hard
COLOU'R TEMPERATURE
direct 1ight of the overhead sun to the shadowless enveloping light of thick fog. Even
From candlelight at this end to the reflected
moonlight is a reflected version of sunlight.
light from a blue sky at the other end, this scale
By contrast, artificial light has many different sources. For practical purposes, the photo-
covers the range of colour temperatures most
grapher differentiates between that over which he normally has no control, such as street- likely to be met in photography. The lower GJ
lights, and that which he intentionally provides, such as studio lighting. colour temperatures are associated with longer, I
The quality of light from all these sources varies enormously. The tonal differences are redder wavelengths; the higher ones with
I
shorter wavelengths that contain more blue.
immediately obvious to the eye - compare the smoothly graduated tones under,an overcast

sky with the extreme contrast in objects lit by a car's headlights. Less obvious are the
Noon sunlight. in the middle, is balanced. Z
Individually, any colour temperature within this GJ
differences in colour. This is partly because our vision accommodates small colour changes
scale may appear white to the eye, which can
in the overall light source so that we think we are seeing by white light when we are not. adjust to these differences, but in photography
the film and filters must be chosen to match.
COLOUR AND WAVELENGTH
-"-.~.';

The colour of any light source is determined by its. wavelength. However, most light
sources emit not just one single wavelength but many. They have what is called a 2000 Kelvins
continuous spectrum; if they radiate more energy at some wavelengths than at others, 500 Mireds Candlelight

then they have a definite colour. Some artificial light sources, on' the other hand, radiate
energy in just a few narrow lines of the spectrum. Sodium and mercury-vapour lamps are

Domestic
CO LOU ReO N V E R S ION· F I bY E R S tungsten

A wide range of filters are available to raise or
I lower the colour temperature of light reaching
the film. The table below shows which filters
you can use with which films to produce a
. normal lighting effect. Adding filters reduces
the effective film speed. The mired scale gives
the exposure increase you will need.
.Towork out your own filter requirements it is
easiest to work in mired shift values which are
a constant rating at any part of the scale of
colour temperature. The mired scale (below the
table) is calculated by multiplying the reciprocal
of the colour temperature by one million
(eg daylight at 55000K has a value of
1,000,000
5500 = 182). li0 convert any I'Ig ht source
to any colour temperature find the difference on
the mired scale and then select the filter, or
combinations of filters, which have that value.
For instance, the difference in the mired values' 3000-
between 50000K dayl ight (182) and 29000K 340
tungsten lighting (345) is 163. To raise the
colour temperature means lowering the mired
value, for which you would need, in this case,
Photoflood
an 80A filter (-131 mired shift value) and an
828 filter (-32 mired shift value) combined.

~
V3
-81
-67
-112
-24
-111
-10
-32
-45
-56
-18
2/3
Li'ght source '/3
.213
YJ
Y3
1/;1 81A
828
BOA
82A
.Shift
-131
2808
1
No
82C
80A
V3
Y3 858
No
29000K
34000K
+112
85filter
Shift
Filter
80C
+67
+111
1213
F137813
8013
80A
+37
+18
78C
82A
+53
+10
28000K
32000K
+24
BOA+
+35
78A
828
82C
+131
82
+81
800
'/3+42
2/1
Y3
Approx. ++filter
value
55000K. 82
(bluish)
Approx. B2C
82A
Value
B28 increase
increase
Daylight
Filter
Mean noon
daylight

6000
160

10000
100

20000
50
 Filter

shadow. Photographs taken in shadow, which are

illuminated by predominantly blue skylight, will .show a Filters for black and white
blue cast unless a suitable filter is used. Generally, it is
better to eliminate too much rather than too little blue: Filter Exposure
slightly warm colors tend to be more acceptable.
With color negative film, which permits correction of
.type
Yellow 1-11/2
.
increase Effect'

Lightens yellow; darkens blue. Increases sky contrast f(

color balance during printing, you have only one problem
-I, that of mixed lighting. It is not possible to make a
realistically colored print from a color negative exposed
to both tungsten and daylight.
Orange
Filters for black and white
In black and white photography, filters are used either to
Red
produce pictures that more accurately record the tonal
stops more pronounced cloud effects. Removes slight haze I
'absorbing ultraviolet light. Improves shadow contrast c
texture of snow scenes.
2-3 stops Lightens red, orange and yellow: darkens blue and gret
Lightens the tone of wood, making the dark areas of gr
stand out. Penetrates heavy haze and turns blue sky air
black. Subdues skin blemishes and freckles. Enhances
surface texture of brick and stonework.
2112-3 1/2 Lightens red and yellow: darkens blue and green. Used
•••••. r

stops dramatic sky effects - blue sky records as black, :

values in the original scene or to emphasize tone for
dramatic effect. The guiding principle is that colors similar
to that of the filter will be rendered as lighter tones and
complementary, or opposite, colors as darker tones. A '
red filter will darken blue sky and green foliage, for
example, but lighten red-colored brickwork. The over-
sensitivity of black and white film to blue light presents
one of the commonest photographic problems - blue
skies will be overexposed and record as white, making
clouds almost invisible on the final -print. Yellow, orange
and red filters, in that order, absorb increasing amounts
of blue light, producing a darker tone to represent blue
on the final print so clouds are light in contrast.
(gray)
haze
density
Filter factors
particularly when the camera is pointed away from the
sun. Cuts through heavy haze. Excellent for buildings
against the sky.
Filters for black and white or color
Use to eliminate unwanted reflections from glass and
Polarizing JI/2 stops
many polished surfaces. Wa~er can be darkened or
lightened by rotating the filter. It has good UV absorptic
and so penetrates haze.
Neutral None
1-31/2
stops. A range of filters in different strengths used to reduce Ii:
intensity without affecting tones or colors. Enables
UVand exposures to be made at wider apertures or slower
shutter speeds. Good UV absorption.

Helps prevent slight blL)e cast on color film without

All filters are graded according to the amount of light
they hold back, and the 'filter factor' indicates the amount affecting other colors in distant scenes, mountain picturE
and snowscapes. These filters only absorb UV light. leav
of exposure increase required to ensure that a picture
other tones and colors unaffected.
is exposed correctly. To take an example, a filter marked
with·a filter factor of x 2 will require twice the exposur'e, Skylight None Stronger action than haze filters. Removes blue cast in
or one extra stop. Or. if you prefer; you can divide the situations as described above and adds a slight warm col
film speed by the filter factor and set the meter- to slides.
accordingly. But remember that cameras with thmugh-
the-lens metering automatically allow for the necessary
Conversion filters for slide film
extra exposure. If you can completely cover the cell of
an unattached meter with the filte/;' a similar"
Filter Exposure
compensation will be made.
name increase Function
A lens hood should always be used with filters. It will
prevent side light flaring off the filter surface. Wratten 2 stops Use with daylight film balanced for 5,500K exposed in
80A 3,200K tungsten light.

Wratten 1713 stops . Use with daylight film balanced for 5,500K exposed in
Special effects filters 80B 3,400K tungsten light.

Wratten Y3 stop Use with tungsten film balanced for 3.200K exposed in
Of limited use is the large range of special effects filters. 81A 3,400K tungsten light. Used with daylight film it will
Filters of this type include starburst patterns, parallel
correct slight blue cast in open shade or on an overcast
multiple images. rainbow effects, soft 'focus and dual- day. caused by Clouds filtering out wamlercolors. Also
color filters. Of more practical application is the absorbs excess blue light from electronic flash.
polarizing filter, which can be used with black and white
and color films. It will darken a blue -sky, for example, Wratten Y3 stop Use with tungsten film balanced for 3.400K tungsten ligl-
82A exposed in 3,200 tungsten light.
without affecting other parts of the picture and will
eliminate reflections from many different types of Wratten 85 713 stop Use with tungsten film balanced for 3,400K exposed in
surface. A useful feature available from some filter
daylight.
manufacturers is the universal filter holder, which fits all
35 mm camera lenses. Once in place on your lens, all you W~atten '/3 stop Use~V;ith tungsten film balanced for 3.200K exposed in
85B daylight.
need do is slot the effect filter of your choice into .the
holder. '
 Filter's

shadow. Photographs taken in shadow, which are

illuminated by predominantly blue skylight. will show a Filters for black and white
blue cast unless a suitable filter is used. Generally, it is
better to eliminate too much rather than too little blue; Filter Exposure
slightly warm colors tend to be more acceptable. type increase Effect
With color negative film, which permits correction of Yellow I-I '12 ~ Lightens yellow; darkens blue. Increases sky contrast for'
col6r balance during printing, you have only one problem stops more pronounced cloud effects. Removes slight haze by
- that of mixed lighting. It is not possible to make a absorbing ultraviolet light. Improves shadow contrast ane
realistically colored print from a color negative exposed texture of snow scenes.
to both tungsten and daylight.
Orange 2-3 stops Lightens red, orange and yellow; darkens blue and green
Lightens the tone of wood, making the dark areas of grai
stand out. Penetrates heavy haze and turns blue sky alml
Filters for black and white black. Subdues skin blemishes and freckles. Enhances
surface texture of brick and stonework.
In black and white photography, filters are used either to
Red 21/2-31/2 lightens red and yellow; darkens blue and green. Used 1
produce pictures that more accurately record the tonal
values in the original scene or to emphasize tone for stops dramatic sky effects - blue sky records as black.
dramatic effect. The guiding principle. is that colors similar particularly when the camera is pointed away fror;n the
to that of the filter will be rendered as lighter tones and sun. Cuts through heavy haze. Excellent for buildings
complementary, or opposite, colors as darker tones. A against the sky.
red filter will darken blue sky and green foliage, for
example, but lighten red-colored brickwork. The over-
sensitivity of black and white film to blue light presents Filters for black and white or color
one of the commonest photographic problems - blue
skies will be overexposed and record as white, making Polarizing 11/2 stops Use to eliminate unwanted reOections from glass and
clouds almost invisible on the final print. Yellow, orange many polished surfaces. Water can be darkened or
and red .filters, in that order, absorb increasing amounts lightened by rotating the filter. It has good UV absorpti,
of blue light. producing a darker tone to represent blue and so penetrates haze.
on the final print so clouds are light in contrast.
Neutral 1-31/2 A range of filters in different strengths used to reduce I
density stops intensity without affecting tones or colors. Enables
(gray) exposures to be made at wider apertures or slower
Filter factors shutter speeds. Good UV absorption.
UVand None Helps prevent slight blue cast on color film without
All filters are graded according to the amount of light haze affecting other colors in distant scenes, mountain pictu
they hold back, and the 'filter factor' indicates the amount
of exposure increase required to ensure that a picture and snowscapes. These filters only absorb UV light. Ie;
other tones and colors unaffected.
is exposed correctly. To take an example. a filter marked
with a filter factor of X 2 will require twice the exposul'e, Skylight None Stronger action than haze filters. Removes blue cast in
or one extra stop. Or, if you prefer, you' can divide the situations as described above and adds a slight warm (
film speed by' the filter factor and set the meter to slides.
accordingly. But remember that cameras with through-
the-lens metering automatically allow for the necessary
Conversion filters for slide film
extra exposure. If you can completely cover the cell of
an unattached meter with the filte/; a similar
Filter Exposure
compensation will be made.
name increase Function
A lens hood should always be used with filters. It will
prevent side light flaring off the filter surface. Wratten 2 stops Use with daylight film balanced for 5,500K exposed i
80A 3,200K tungsten light.

Wratten 1213 stops . Use with daylight film balanced for 5,500K exposed
Special effects filters 80B 3,400K tungsten light.

Wratten '13
Of limited use is the large range of special effects filters.
81~ .,
Filters of this type include starburst patterns, parallel
multiple images, rainbow effects, soft focus and dual-
color filters. Of more practical application is the'
polarizing filter, which can be used with black and whi~e
and color films. It will darken a blue sky, for example, Wratten '13
82A
without affecting other parts of the picture and will
eliminate reOections from, many different types of Wratten 8.5 213 stop
surface. A useful feature available from some filter
manufacturers is the universal filter holder, which fits all
35 mm camera lenses. Once in place on your lens, all you Wratten 213
858
need do is slot the effect filter of you~ choice into the
holder.
stop Use with tungsten film balanced for 3,200K expose
3,400K tungsten light. Used with daylight film it will
. correct slight blue cast in open shade or on an ove/
day, caused, by clouds filtering out warmer colors. J
absorbs excess blue light from electronic flash.
stop Use with tungsten film balanced for 3.400K tungstc
exposed in 3,200 tungsten light.
Use with tungsten film balanced for 3.400K exposec
daylight. I
stop Use. with tungsten film balanced for 3,200K expose'
daylight.