As a tribute to my father, who passed away in 1999, we vacationed this year in his (and my) favorite region of Maine; Boothbay Harbor.
Before leaving, I offloaded all the images from all three digital camera’s SD cards and reformatted them, so it would be a simple task to offload only the vacation images upon return.
When it came time to transfer them to my Mac, I put them all together in one folder with no regard as to which camera they came from, and simply sorted them by date. This will be the first time I brought together all three digital cameras, and one film camera, using them interchangeably.
On several occasions, I had both my N80 35mm film body and my D90 APS-C digital body dangling from my neck. Aside from the fact that each time I exposed a frame of film on the N80 I would glance down at the absent LCD, the experience was pretty much seamless. The times that I took along only the N80, I felt unique and empowered. It was a good feeling. The shooting experience with the N80 is smooth and refined. Near silent. Not at all like one would expect shooting with film to be. At one point, I had the Lensbaby mounted to the N80 in manual mode, and used the N80 to determine the correct exposure.
So the playing field is sort of leveled. Yes, it’s fun to shoot digital, but shooting with film is special. So, it could go either way.
I returned from the top of Pemaquid Light, to a crowd of tourists waiting to ascend. I openly said, “I had to come down eventually, after all, I just ran out of film”. It was funny to see people’s reaction, chuckling as they acknowledged my humor. Only I wasn’t joking. “No really, I actually did run out of film” I said, and to the amazement of the crowd, opened my camera back to remove the spent cartridge of film. It was as if I was an alien from another world. It’s actually a good ice breaker, because people start to ask you all sorts of questions, and you have the opportunity to set them straight.
News, Muse and Reviews for Aspiring Lensmen.
Sunday, July 31, 2011
Thursday, July 28, 2011
Choosing a Camera
There are so many cameras out there, that which one to choose can be a daunting task. If you are serious about photography, this task may be aided by the purchase of several cameras for different purposes, but even then the choices are seemingly endless. Here’s a brief guide to point out some of the important criteria to be aware of.
Entry level, prosumer or professional?
There’s an old saying out there that if something is labeled “professional”, it really isn’t.
Professional equipment doesn’t need to be labeled as such as it’s readily recognized by professionals who learn of such equipment by speaking with other professionals and keeping up to date with the industry on a regular basis.
But for quite some time now there has been healthy competition between what is considered “consumer” equipment and what’s considered “pro”, and it’s not specific to the photo industry. Technology has given us such remarkable consumer equipment that many professionals take advantage of the cost savings by using it instead of purchasing professional equipment. On the other hand, consumers with gobs of disposable income often purchase pro equipment in order to look professional, so it also works the other way around. Today, the greatest reason to choose pro over consumer is to take advantage of its ruggedness, and user friendliness is a compelling reason to choose consumer over pro.
The Viewfinder
Whether it’s the ground glass of a view camera or the LCD of a point-and-shoot, the method of composing the image is the first thing you should consider.
The DSLR is by far the best performer in this regard as it offers the most complete and accurate solution, albeit at the cost of size and weight. The optical viewfinder of an SLR sees exactly what the taking lens sees, right down to its depth of field. It also provides detailed shooting information so you never have to remove your eye from the viewfinder while you shoot. Depth of field preview, and the ability to compose via the LCD (aka “Live View”) are two important features to look for. SLRs, the film counterpart of the DSLR, also offer outstanding viewfinders, but of course no LCD.
Bridge and Mirrorless EVIL Cameras use the LCD as the primary means of image composition, but also include a viewfinder, either in the form of an optical with zoom capability or an electronic display. The optical zoom is not as accurate in terms of cropping and subject to parallax error, but is very comfortable and natural to use. The electronic viewfinder is very accurate as technically it also sees exactly what the lens sees. However its “drive by wire” effect governed by resolution and refresh rate leaves you feeling detached from your subject, and takes some getting used to. Go for the optical if you can.
Film cameras such as the autofocus 35mm, Holga 120, disposables, and fixed-focus of old use a simple optical viewfinder as their primary means of composition.
View cameras and TLRs employ a “ground glass” which is an acquired taste. The view camera is the most accurate, but upside down, while the TLRs waist-level finder is subject to parallax and flipped left to right. Working with these cameras requires devotion, but rewards with excellence.
Digital Cameras which only employ the LCD as a means of composing the image are last in the running. However for the snap-shooter, or proamateur seeking a backup camera, they can be indispensable with their ability to slip into a shirt pocket. Using the LCD as a viewfinder keeps cost down, and provides a 100%, TTL view (optical viewfinders typically crop the image slightly). But their use under bright conditions is challenging, and the need to hold the camera at arm’s length tends to reduce sharpness. Some however, also include zoom viewfinders.
The Interchangeable Lens
The ability to use different lenses offers both an upgrade path, and a means to customize the optics for a given situation.
Again, the DSLR reigns high with its ability to both swap out lenses and preview through them with utmost accuracy.
EVILs offer the advantages of a DSLR in a compact package without the luxury of a “real image” viewfinder. This is often a good compromise. These cameras are often considered to be the digital replacement for the rangefinder.
Finderless, Mirrorless Digital Cameras offer the quality and convenience of a rangefinder, with the viewfinder as a second thought. Some employ optional electronic and optical viewfinders which slide into the hot shoe, rangefinder-style. The EVF can accommodate zoom lenses, while the optical viewfinders work with prime lenses. These cameras feature high quality with the ability to trim off the fat if necessary so they are very flexible.
The view camera comes in second if you overlook the inverted image, nothing is more accurate. The mirroless EVIL trails behind
The Sensor
Unlike film, resolution isn’t dependent on the dimensions of the sensor, at least in theory. What this means is that you could have two sensors of the same physical size with vastly different pixel resolutions. Often a sensor with a lower photosite density will outperform one with a higher density. Many cameras have downgraded from 12 MP to 10 MP in order to improve low light performance.
But resolution isn’t the only factor when considering sensor size. Larger sensors yield sharper images at smaller apertures, and are compatible with a wider variety of lenses. Some typical sensor sizes are:
Medium format sensors like the Kodak KAF 3900 at 50.7mm x 39mm, are available on larger DSLRs and rangefinders. This larger size makes it possible to use apertures smaller than f/16 for superior sharpness.
Full-frame sensors used in professional DSLRs are the same size as 35mm film, but can be very expensive. However, they remain 100% compatible with legacy lenses, offer high ISO performance, and images remain sharp with used with apertures f/16 and larger.
APS-C sensors used in consumer and prosumer DSLRs are quite affordable, and compatible with both legacy lenses (with a 1.5x crop factor), and the new generation of “DX” lenses which offer superior quality at a lower price. Quality often rivals that of a full-frame sensor, but sharpness drops off at aperture of f/16 and smaller.
Four-Thirds and Micro Four Thirds sensors have approximately one quarter the area of a full-frame sensor, and are available on compact, full-featured cameras with interchangeable lenses. Unlike the sensors above, they use the 4:3 aspect ratio of standard video. Images remain sharp at f/11.
1/1.7" sensors are used in full-featured bridge cameras and also have a 4:3 aspect ratio. These cameras typically use fixed zoom lenses. Because of their small physical size, the effects of diffraction become a factor, so their minimum apertures are limited to about f/5.6.
1/2.5" sensors are used in compact “pocket” cameras of the “point and shoot” variety. Typically these cameras have limited features and full automatic and/or programmed auto exposure. Again, the effects of diffraction limit the minimum aperture.
Entry level, prosumer or professional?
There’s an old saying out there that if something is labeled “professional”, it really isn’t.
Professional equipment doesn’t need to be labeled as such as it’s readily recognized by professionals who learn of such equipment by speaking with other professionals and keeping up to date with the industry on a regular basis.
But for quite some time now there has been healthy competition between what is considered “consumer” equipment and what’s considered “pro”, and it’s not specific to the photo industry. Technology has given us such remarkable consumer equipment that many professionals take advantage of the cost savings by using it instead of purchasing professional equipment. On the other hand, consumers with gobs of disposable income often purchase pro equipment in order to look professional, so it also works the other way around. Today, the greatest reason to choose pro over consumer is to take advantage of its ruggedness, and user friendliness is a compelling reason to choose consumer over pro.
The Viewfinder
Whether it’s the ground glass of a view camera or the LCD of a point-and-shoot, the method of composing the image is the first thing you should consider.
The DSLR is by far the best performer in this regard as it offers the most complete and accurate solution, albeit at the cost of size and weight. The optical viewfinder of an SLR sees exactly what the taking lens sees, right down to its depth of field. It also provides detailed shooting information so you never have to remove your eye from the viewfinder while you shoot. Depth of field preview, and the ability to compose via the LCD (aka “Live View”) are two important features to look for. SLRs, the film counterpart of the DSLR, also offer outstanding viewfinders, but of course no LCD.
Bridge and Mirrorless EVIL Cameras use the LCD as the primary means of image composition, but also include a viewfinder, either in the form of an optical with zoom capability or an electronic display. The optical zoom is not as accurate in terms of cropping and subject to parallax error, but is very comfortable and natural to use. The electronic viewfinder is very accurate as technically it also sees exactly what the lens sees. However its “drive by wire” effect governed by resolution and refresh rate leaves you feeling detached from your subject, and takes some getting used to. Go for the optical if you can.
Film cameras such as the autofocus 35mm, Holga 120, disposables, and fixed-focus of old use a simple optical viewfinder as their primary means of composition.
View cameras and TLRs employ a “ground glass” which is an acquired taste. The view camera is the most accurate, but upside down, while the TLRs waist-level finder is subject to parallax and flipped left to right. Working with these cameras requires devotion, but rewards with excellence.
Digital Cameras which only employ the LCD as a means of composing the image are last in the running. However for the snap-shooter, or proamateur seeking a backup camera, they can be indispensable with their ability to slip into a shirt pocket. Using the LCD as a viewfinder keeps cost down, and provides a 100%, TTL view (optical viewfinders typically crop the image slightly). But their use under bright conditions is challenging, and the need to hold the camera at arm’s length tends to reduce sharpness. Some however, also include zoom viewfinders.
The Interchangeable Lens
The ability to use different lenses offers both an upgrade path, and a means to customize the optics for a given situation.
Again, the DSLR reigns high with its ability to both swap out lenses and preview through them with utmost accuracy.
EVILs offer the advantages of a DSLR in a compact package without the luxury of a “real image” viewfinder. This is often a good compromise. These cameras are often considered to be the digital replacement for the rangefinder.
Finderless, Mirrorless Digital Cameras offer the quality and convenience of a rangefinder, with the viewfinder as a second thought. Some employ optional electronic and optical viewfinders which slide into the hot shoe, rangefinder-style. The EVF can accommodate zoom lenses, while the optical viewfinders work with prime lenses. These cameras feature high quality with the ability to trim off the fat if necessary so they are very flexible.
The view camera comes in second if you overlook the inverted image, nothing is more accurate. The mirroless EVIL trails behind
The Sensor
Unlike film, resolution isn’t dependent on the dimensions of the sensor, at least in theory. What this means is that you could have two sensors of the same physical size with vastly different pixel resolutions. Often a sensor with a lower photosite density will outperform one with a higher density. Many cameras have downgraded from 12 MP to 10 MP in order to improve low light performance.
But resolution isn’t the only factor when considering sensor size. Larger sensors yield sharper images at smaller apertures, and are compatible with a wider variety of lenses. Some typical sensor sizes are:
Medium format sensors like the Kodak KAF 3900 at 50.7mm x 39mm, are available on larger DSLRs and rangefinders. This larger size makes it possible to use apertures smaller than f/16 for superior sharpness.
Full-frame sensors used in professional DSLRs are the same size as 35mm film, but can be very expensive. However, they remain 100% compatible with legacy lenses, offer high ISO performance, and images remain sharp with used with apertures f/16 and larger.
APS-C sensors used in consumer and prosumer DSLRs are quite affordable, and compatible with both legacy lenses (with a 1.5x crop factor), and the new generation of “DX” lenses which offer superior quality at a lower price. Quality often rivals that of a full-frame sensor, but sharpness drops off at aperture of f/16 and smaller.
Four-Thirds and Micro Four Thirds sensors have approximately one quarter the area of a full-frame sensor, and are available on compact, full-featured cameras with interchangeable lenses. Unlike the sensors above, they use the 4:3 aspect ratio of standard video. Images remain sharp at f/11.
1/1.7" sensors are used in full-featured bridge cameras and also have a 4:3 aspect ratio. These cameras typically use fixed zoom lenses. Because of their small physical size, the effects of diffraction become a factor, so their minimum apertures are limited to about f/5.6.
1/2.5" sensors are used in compact “pocket” cameras of the “point and shoot” variety. Typically these cameras have limited features and full automatic and/or programmed auto exposure. Again, the effects of diffraction limit the minimum aperture.
Monday, July 25, 2011
Film’s New Niche
So, since I stupidly have not been stocking up on film, I went on a pilgrammage yesterday for something to load into my N80. What I can’t seem to understand is why, if Fuji has practically put Kodak out of the film business, why is it so hard to come by?
Wednesday, July 20, 2011
Traveling (Not So) Light
Well, since space is the issue, I decided to work around that. Since the partitions in my Tamrac backpack are not really well suited to DSLRs, I unearthed an old camera bag I bought at K-Mart when I was in my late teens. It has to be the most versatile bag I’ve ever owned. In it, I was able to fit four cameras, six lenses, plus miscellaneous crap. Here’s the whole arsenal:
Nikon N80 with Loreo Lens in a Cap mounted
Nikon D90 with Voigtländer Color-Skopar 20mm f/3.5 mounted
Nikon Coolpix P5100 (In Lowepro Rezo 50 case)
Canon PowerShot SD780 IS (in Case Logic case)
Nikon AF-S DX 35mm f/1.8
Nikon AF-S 50mm f/1.4
Lensbaby Composer with Double Glass Optic installed
Lensbaby Pinhole/Zone Plate optic
Lensbaby .42x Super Wide Angle Converter
Lensbaby Soft Focus Aperture Disk kit
Lensbaby 37-52mm Step Up Ring/Lens Shade
Holga HL-N Lens
Holga .5X Wide Angle Adapter
Holga CLS-1 Close Up Lens Set
Holga MLS-1 Macro Lens Set
Cokin P-Series Filter Holder
Cokin P-Series Stacking Lens Hoods (2)
Cokin P-Series 67mm Adapter Ring
Cokin Yellow/Blue Varicolor Polarizer
Hoya 52mm Pro1 Digital UV(0) Filter
Hoya 58mm Pro1 Digital UV(0) Filter
Hoya 52mm Pro1 Digital NC Protector Filter
Nikon 67mm Circular Polarizer II
Hoya 67mm RM72 Infrared Filter
Hoya 67mm Didymium Intensifier Filter
Hoya 67mm ND4 Filter
Hoay 67mm ND8 Filter
Hoya 67mm Pro1 Digital Softon-A Filter
Hoya 67mm Duto Filter
Hoya 67mm Adjustable Rubber Lens Shade
Fotodiox 52-67mm Step-Up Ring
Fotodiox 58-67mm Step-Up Ring
B+W 67mm 041 Orange Filter
Gorillapod Flexible Mini Tripod
Manfrotto 709B Tabletop Tripod
Gossen DigiSix Light Meter
Nikon Locking Cable Release
Nikon Ml-L3 Wireless IR Shutter Release
Nikon Lens Cleaning Kit
Janco Pop-Up flash Diffuser
Spare Nikon EN-EL3e battery
Canon CB-2LV Li-ion Battery Charger
Nikon MH-61 Li-ion Battery Charger & Cord
...All in a bag measuring 18" x 10" x 8". I'm never throwing this thing out.
The two bodies sit on the top with lenses mounted facing one another. There are four compartments in between at the bottom for lenses, and a compartment under each body. It also has two side pockets, and a full-length front pocket which makes it possible to pack a Lowepro lens wallet.
I never realized how much room zooms take up. If I had packed my two zooms, it would have been hard to fit everything in without it crashing together.
Nikon N80 with Loreo Lens in a Cap mounted
Nikon D90 with Voigtländer Color-Skopar 20mm f/3.5 mounted
Nikon Coolpix P5100 (In Lowepro Rezo 50 case)
Canon PowerShot SD780 IS (in Case Logic case)
Nikon AF-S DX 35mm f/1.8
Nikon AF-S 50mm f/1.4
Lensbaby Composer with Double Glass Optic installed
Lensbaby Pinhole/Zone Plate optic
Lensbaby .42x Super Wide Angle Converter
Lensbaby Soft Focus Aperture Disk kit
Lensbaby 37-52mm Step Up Ring/Lens Shade
Holga HL-N Lens
Holga .5X Wide Angle Adapter
Holga CLS-1 Close Up Lens Set
Holga MLS-1 Macro Lens Set
Cokin P-Series Filter Holder
Cokin P-Series Stacking Lens Hoods (2)
Cokin P-Series 67mm Adapter Ring
Cokin Yellow/Blue Varicolor Polarizer
Hoya 52mm Pro1 Digital UV(0) Filter
Hoya 58mm Pro1 Digital UV(0) Filter
Hoya 52mm Pro1 Digital NC Protector Filter
Nikon 67mm Circular Polarizer II
Hoya 67mm RM72 Infrared Filter
Hoya 67mm Didymium Intensifier Filter
Hoya 67mm ND4 Filter
Hoay 67mm ND8 Filter
Hoya 67mm Pro1 Digital Softon-A Filter
Hoya 67mm Duto Filter
Hoya 67mm Adjustable Rubber Lens Shade
Fotodiox 52-67mm Step-Up Ring
Fotodiox 58-67mm Step-Up Ring
B+W 67mm 041 Orange Filter
Gorillapod Flexible Mini Tripod
Manfrotto 709B Tabletop Tripod
Gossen DigiSix Light Meter
Nikon Locking Cable Release
Nikon Ml-L3 Wireless IR Shutter Release
Nikon Lens Cleaning Kit
Janco Pop-Up flash Diffuser
Spare Nikon EN-EL3e battery
Canon CB-2LV Li-ion Battery Charger
Nikon MH-61 Li-ion Battery Charger & Cord
...All in a bag measuring 18" x 10" x 8". I'm never throwing this thing out.
The two bodies sit on the top with lenses mounted facing one another. There are four compartments in between at the bottom for lenses, and a compartment under each body. It also has two side pockets, and a full-length front pocket which makes it possible to pack a Lowepro lens wallet.
I never realized how much room zooms take up. If I had packed my two zooms, it would have been hard to fit everything in without it crashing together.
Tuesday, July 19, 2011
Decisions, Decisions…
This year, we’ll be vacationing in Maine, and the need to pack light brings with it some tough choices regarding the camera equipment I’ll be taking along.
One side of me wants to bring the D90 with the Voigtländer Color-Skopar 20mm in a Lowepro TLZ Mini. The other wants to fill my Tamrac backpack with as much gear as I can fit. Hmm, what to do.
I can’t help but think that this would be a great opportunity to shoot some 35mm film with the N80, and see how my primes look on film. At the very least I know I won’t be taking any grips, external flashes or wacky paraphernalia. Perhaps I’ll make my job easier by avoiding zooms altogether.
Then there’s the urge to bring along the P5100 and SD780, both of which I can easily fit in a side pocket, and take along for mere “sightseeing”, leaving the D90 and N80 for more serious work. This then is my morning project.
One side of me wants to bring the D90 with the Voigtländer Color-Skopar 20mm in a Lowepro TLZ Mini. The other wants to fill my Tamrac backpack with as much gear as I can fit. Hmm, what to do.
I can’t help but think that this would be a great opportunity to shoot some 35mm film with the N80, and see how my primes look on film. At the very least I know I won’t be taking any grips, external flashes or wacky paraphernalia. Perhaps I’ll make my job easier by avoiding zooms altogether.
Then there’s the urge to bring along the P5100 and SD780, both of which I can easily fit in a side pocket, and take along for mere “sightseeing”, leaving the D90 and N80 for more serious work. This then is my morning project.
Monday, July 11, 2011
Wednesday, July 6, 2011
Just What IS Normal, Anyway?
So, if the focal length of the lens doesn’t determine the perspective, but your position does, what focal length should you use? The same as your eyes? What is the focal length of our eyes? What really constitutes a “normal” focal length?
To find this out, I mounted a standard zoom lens to my APS-C digital camera, and did a little double-eye viewing. Indeed, it doesn’t matter what I set the focal length to, the perspective does not change. That is, the proportion of the background and the foreground remain the same. But of course what does change is the overall scale of things. So, I zoom back and forth concentrating both eyes on the scene before me, until the two line up perfectly. It was pretty easy to tell once I got it right, because my eyes now seemed perfectly relaxed and were no longer competing with one another. They were in a sort of harmony. And my lens read about 55mm. Factor in the 96% coverage of the finder, and it becomes a little over 57mm.
So, in order to take a photo that looks exactly like what I see before me, I need to use a 57mm lens. I also tested this will a full-frame camera, and the adjusted focal length is approximately 76mm.
So does this mean that on an APS-C camera a 57mm lens is normal, and on a full frame camera a 76mm lens is normal?
No. In fact, it doesn’t mean much of anything.
Our eyes see very differently than a camera. Our peripheral vision spans nearly 180°, and yet we see clearly only the small portion of the image we look at directly. When we look at a scene, we can both take it all in and scan it for individual details as we deem necessary. Sort of the equivalent of using a longer lens and making a composite image image of multiple frames, which is actually the whole premise behind the newer digital cameras that create panoramic images by “stitching” together individual ones captured during panning.
But when we make a photograph, we need to control what the viewer sees, which we do by “containing” it within the frame. It doesn’t matter whether we do this with lenses of varying focal lengths, or by cropping; the effect is the same.
As sensor resolution increases, the need for longer lenses decreases. Digital zooming is highly criticized, and yet if the native resolution of the sensor is high enough it no longer becomes an issue. cropping or zooming; it’s all the same.
So when choosing the focal length of a lens, keep these two facts in mind:
Moving in closer creates a sense of depth in your images, not using a wide-angle lens. The lens just allows you to fit more of the image before you into the frame.
Moving further away makes the image appear flatter and more shallow, not using a telephoto lens. The lens just allows you to fill the frame with your subject from a distance.
To find this out, I mounted a standard zoom lens to my APS-C digital camera, and did a little double-eye viewing. Indeed, it doesn’t matter what I set the focal length to, the perspective does not change. That is, the proportion of the background and the foreground remain the same. But of course what does change is the overall scale of things. So, I zoom back and forth concentrating both eyes on the scene before me, until the two line up perfectly. It was pretty easy to tell once I got it right, because my eyes now seemed perfectly relaxed and were no longer competing with one another. They were in a sort of harmony. And my lens read about 55mm. Factor in the 96% coverage of the finder, and it becomes a little over 57mm.
So, in order to take a photo that looks exactly like what I see before me, I need to use a 57mm lens. I also tested this will a full-frame camera, and the adjusted focal length is approximately 76mm.
So does this mean that on an APS-C camera a 57mm lens is normal, and on a full frame camera a 76mm lens is normal?
No. In fact, it doesn’t mean much of anything.
Our eyes see very differently than a camera. Our peripheral vision spans nearly 180°, and yet we see clearly only the small portion of the image we look at directly. When we look at a scene, we can both take it all in and scan it for individual details as we deem necessary. Sort of the equivalent of using a longer lens and making a composite image image of multiple frames, which is actually the whole premise behind the newer digital cameras that create panoramic images by “stitching” together individual ones captured during panning.
But when we make a photograph, we need to control what the viewer sees, which we do by “containing” it within the frame. It doesn’t matter whether we do this with lenses of varying focal lengths, or by cropping; the effect is the same.
As sensor resolution increases, the need for longer lenses decreases. Digital zooming is highly criticized, and yet if the native resolution of the sensor is high enough it no longer becomes an issue. cropping or zooming; it’s all the same.
So when choosing the focal length of a lens, keep these two facts in mind:
Moving in closer creates a sense of depth in your images, not using a wide-angle lens. The lens just allows you to fit more of the image before you into the frame.
Moving further away makes the image appear flatter and more shallow, not using a telephoto lens. The lens just allows you to fill the frame with your subject from a distance.
Monday, July 4, 2011
Size Comparison of Popular Cameras
 |
| Canon Powershot SD780 IS 1/2.3" Digital Camera |
 |
| Fujifilm Finepix X100 APS-C Digital Camera |
 |
| Canon G12 1/1.7" Digital Camera |
 |
| Nikon Coolpix P5100 1/1.7" Digital Camera |
 |
| Nikon Coolpix P7000 1/1.7" Digital Camera |
 |
| Nikon D90 APS-C DSLR |
 |
| Nikon D3100 APS-C DSLR |
 |
| Nikon D7000 APS-C DSLR |
 |
| Samsung NX100 APS-C Digital Camera |
 |
| Sony Alpha NEX-C3 APS-C Digital Camera |
Saturday, July 2, 2011
Optical Filters
Many newcomers to photography are under the mistaken impression that filters have been made obsolete by digital technology. It’s true that many filters are less necessary in digital photography than they were with film, but many are still essential even in today’s digital world. This then is a guide to the filters you should be considering in your work.
The problem with filters is that anything you place in front of the lens is technically going to degrade your images, even though the filter’s goal is to enhance them. If the glass isn’t pure, the color and clarity will be affected. If the glass isn’t perfectly flat, distortion will occur. If the glass isn’t coated, less light will be transmitted and that which does will bounce back and forth between the lens and the filter causing flare and ghosts. So a filter is by necessity a precise optical device. While the surface is not curved like a lens, it must by perfectly flat, so it still requires lens-like precision in its manufacture.
That said, filters are often more expensive than they need to be, and it’s easy to get caught up in the filter game. Filters generally come in three grades; uncoated, single-coated and multi-coated, however some special filters like diffusers may not be available with any coatings, and ultra-high-end filters may have features above and beyond mere coatings. It’s easy to over-purchase, putting you well past the point of diminishing returns.
It’s easy to under-purchase as well. Many brands such as Cokin don’t specify whether their filters are uncoated or single-coated, although they generally indicate if they’re multi-coated with the designation “MC”.
Filters by Brand
One of the best values in filters today are the Hoya standard or single-coated filters. With the exception of diffusers and other special effects filters, all are single coated on both sides of the glass, and are very well constructed. Hoya’s multicoated filters are outstanding, and for a filter you use all the time, such as a UV, NC or Skylight, the added cost is well worth every penny. Hoya filters are made primarily in Japan, with some of the more common types made in the Philippines.
Tiffen’s standard line is by far the least expensive, but they’re not even single-coated, and constructed of laminated glass which is often criticised. Still they are indispensable for situations where frequent cleaning may be necessary. Tiffen also offers a high-end multicoated line, but nothing in between. Tiffen filters are made in the USA.
B+W and Heliopan filters from Germany use arguably better Schott glass, and their frames are constructed of brass, which may hold up better to repeated use. Like Hoya they offer single and multicoated versions of most filters. Without question they’re the best filters you can buy, but carry a premium price and may not offer you as high a return on investment as the Hoya and Tiffen. B+W’s F-Pro series use slightly thinner frames (approximately 1mm) than the Hoya, but etch the filter’s designation on the front rather than the side, making it impossible to read if mounted in at the bottom or middle of a stack—a minor quirk.
Cokin Filters are from France, and come in two designs; screw-in and frameless rectangular resin. With the exception of the multicoated UV and Skylight filters, the screw-in filters do not specify whether they are coated or not. The resin filters, although of high quality, are definitely uncoated and susceptible to scratching. They are however, inexpensive by design and great for less precise, creative applications. The Cokin creative system was designed from the ground up to be economical by offering four different sizes of rectangular filters and holders, and inexpensive adapter rings to adapt them to different sizes of lenses. Cokin also has a unique mounting solution for compact cameras without filter threads.
Avoid bargain or off-brand filters or filter sets which typically contain a polarizer, UV and ND filter with case for the price of a single premium filter. The filters included in these set are not the same as individual filters, and will do you no good if they degrade the image.
A popular trend in filters is to offer specialized lines such as “Digital Coatings” or “High Density Glass”. Just like in digital audio, digital coatings are simply a higher quality to meet exacting demands. Buy them for their quality and features, not because they’re labeled digital. High Density glass is designed to avoid breakage, so invest in these only if you plan on using them under adverse conditions.
Digital In-Camera Filters
Many cameras have digital filters built-in, such as yellow, orange, red and green for black and white images, and for color images custom white balance settings. However, these modify the light after it strikes the sensor and while achieving a similar effect, can never fully duplicate the effects of a good optical filter.
These are some things to consider:
Protection Filters (essential for digital or film)
Although you may store your lenses without filters, you should never use them without a filter to protect the lens from damage and reduce the need for cleaning. Each time you clean a lens, you take the chance of scratching it, and exposure to the elements will eventually take their toll. There are three types of protection filters, some which enhance the image and some which have little or no effect. A high quality, coated filter will produce little or no optical degradation, while a lesser quality, uncoated filter may introduce flare and ghosts.
Polarizers (essential for digital or film)
Color saturation and contrast can be greatly enhanced with a polarizer, which cancels out light rays in a given plane which is determined by the rotation of the filter. They can also reduce distracting reflections in water, glass and other surfaces.
Neutral Density (essential for digital or film)
For times when you exceed the limits of your camera, the ND filter can provide the equivalent of a smaller aperture or lower ISO. This is necessary to achieve special effects, such as reduced depth of field or long exposure times in bright light. Graduated ND filters allow you to extend the dynamic range of your image by reducing exposure in selected areas of the image.
Special Effects (used for film, optional for digital)
This category includes diffusers, soft focus, soft spot, star filters and others. Many of these effects can be achieved in post-production, but often the optical effect is superior. Diffusers, Soft Focus and Duto filters are particularly useful for portraiture.
Color Conversion (used for film, unnecessary for digital)
The ability to adjust white balance digitally has made color conversion filters obsolete for digital cameras, although the 81 and 82 series may still be useful as warming or cooling filters.
B&W Conversion (used for film, optional for digital)
Many digital cameras have the ability to enhance black and white images directly in the camera using red, green and yellow digital filters, making optical filters unnecessary. However, these filters may also have other creative applications.
Didymium Filters (used for digital or film)
These filters do not use colored glass, but rather rare-earth minerals added during the manufacture of the glass to filter out certain colors in the visible spectrum.
Strategizing your purchases
Assembling a collection of useful filters for all your lenses can be a daunting and expensive task. Unless all your lenses are the same size, you may find yourself purchasing duplicates of the same filter in different sizes. You may restrict filters to certain lenses initially, only to find you need them for other lenses anyway.
A good approach is to buy a high quality UV filter for each of your lenses; if you have two lenses that are the same size, consider purchasing a skylight or NC filter for the second lens.
Then, of the lenses you will be using most often, determine the largest filter size, and purchase all of your additional filters in that size, using step up rings to adapt them to smaller lenses. For example, if you have 52mm, 58mm, 62mm, and 67mm lenses, and a 72mm lens that you don’t plan on using that often, purchase 67mm filters with the appropriate step-up rings. If the 72mm lens is a longer focal length, you might be able to use a 67mm filter with a step-down ring without vignetting.
Recommendations
Hoya Pro1 Digital MC UV(0)
I personally use one of these on each of my lenses for protection as standard equipment. Their coatings are excellent for both film and digital, they are completely neutral until needed, and their ring design makes them easier to remove if they get stuck. They are one of the only UV filters that’s actually effective in suppressing UV radiation as revealed in test reports and confirmed by my black light test.
Hoya UV(0) Japan
If you can still find them, this filter offers a level of UV suppression equivalent to the Hoya Pro1 Digital MC UV(0) at a much lower price. However, the latest multicoated version which is made in the Philippines does not offer the same level of performance, as confirmed by the black light test.
Nikon Circular Polarizer II
This multicoated filter is on a par with the Hoya Pro1 Digital series. It’s no thicker than a standard filter, but features a knurled design that makes it easy to install and remove. Most importantly, it transmits about one third-stop more light than a standard polarizer.
Tiffen Haze-2A
This uncoated filter offers industrial-strength UV filtering at a price; it imposes a very slight yellowish cast at all times, but has a degree of effectiveness even greater than the Hoya UV(0). Great for use at high altitudes or near the ocean, where UV suppression requirements are the greatest, and environmental conditions are harsh.
Tiffen Skylight 1-A
This was my first filter ever, and it’s never let me down. The most inexpensive, easiest to clean filter with mild warming capabilities.
Tiffen Warm Low Light Polarizer
A good compromise between a polarizer and a skylight filter. Milder polarization with only one stop of light loss, combined with the warming effect of a Tiffen 812 filter. Can be used as is, or as a neutral low light polarizer by performing a custom white balance through the filter. This filter is quite inexpensive and may prove to be a good “protection” filter for everyday use.
The problem with filters is that anything you place in front of the lens is technically going to degrade your images, even though the filter’s goal is to enhance them. If the glass isn’t pure, the color and clarity will be affected. If the glass isn’t perfectly flat, distortion will occur. If the glass isn’t coated, less light will be transmitted and that which does will bounce back and forth between the lens and the filter causing flare and ghosts. So a filter is by necessity a precise optical device. While the surface is not curved like a lens, it must by perfectly flat, so it still requires lens-like precision in its manufacture.
That said, filters are often more expensive than they need to be, and it’s easy to get caught up in the filter game. Filters generally come in three grades; uncoated, single-coated and multi-coated, however some special filters like diffusers may not be available with any coatings, and ultra-high-end filters may have features above and beyond mere coatings. It’s easy to over-purchase, putting you well past the point of diminishing returns.
It’s easy to under-purchase as well. Many brands such as Cokin don’t specify whether their filters are uncoated or single-coated, although they generally indicate if they’re multi-coated with the designation “MC”.
Filters by Brand
One of the best values in filters today are the Hoya standard or single-coated filters. With the exception of diffusers and other special effects filters, all are single coated on both sides of the glass, and are very well constructed. Hoya’s multicoated filters are outstanding, and for a filter you use all the time, such as a UV, NC or Skylight, the added cost is well worth every penny. Hoya filters are made primarily in Japan, with some of the more common types made in the Philippines.
Tiffen’s standard line is by far the least expensive, but they’re not even single-coated, and constructed of laminated glass which is often criticised. Still they are indispensable for situations where frequent cleaning may be necessary. Tiffen also offers a high-end multicoated line, but nothing in between. Tiffen filters are made in the USA.
B+W and Heliopan filters from Germany use arguably better Schott glass, and their frames are constructed of brass, which may hold up better to repeated use. Like Hoya they offer single and multicoated versions of most filters. Without question they’re the best filters you can buy, but carry a premium price and may not offer you as high a return on investment as the Hoya and Tiffen. B+W’s F-Pro series use slightly thinner frames (approximately 1mm) than the Hoya, but etch the filter’s designation on the front rather than the side, making it impossible to read if mounted in at the bottom or middle of a stack—a minor quirk.
Cokin Filters are from France, and come in two designs; screw-in and frameless rectangular resin. With the exception of the multicoated UV and Skylight filters, the screw-in filters do not specify whether they are coated or not. The resin filters, although of high quality, are definitely uncoated and susceptible to scratching. They are however, inexpensive by design and great for less precise, creative applications. The Cokin creative system was designed from the ground up to be economical by offering four different sizes of rectangular filters and holders, and inexpensive adapter rings to adapt them to different sizes of lenses. Cokin also has a unique mounting solution for compact cameras without filter threads.
Avoid bargain or off-brand filters or filter sets which typically contain a polarizer, UV and ND filter with case for the price of a single premium filter. The filters included in these set are not the same as individual filters, and will do you no good if they degrade the image.
A popular trend in filters is to offer specialized lines such as “Digital Coatings” or “High Density Glass”. Just like in digital audio, digital coatings are simply a higher quality to meet exacting demands. Buy them for their quality and features, not because they’re labeled digital. High Density glass is designed to avoid breakage, so invest in these only if you plan on using them under adverse conditions.
Digital In-Camera Filters
Many cameras have digital filters built-in, such as yellow, orange, red and green for black and white images, and for color images custom white balance settings. However, these modify the light after it strikes the sensor and while achieving a similar effect, can never fully duplicate the effects of a good optical filter.
These are some things to consider:
- Aluminum Anodized frames are the most common, and hold up well under normal use. Many come in thin or ultra-thin designs to avoid vignetting on wider lenses. The ultra-thin designs do away with the front threads so stacking filters on top of these is not possible.
- Brass Frames are the most durable, and harken back to the early days of photography where many camera components were made of brass.
- Laminated Glass or “Color Core” technology which is used in Tiffen filters uses two pieces of thin glass with a colored layer in between. It’s possible for separation between the layers to occur, and because of the core they cannot be heated to the temperatures required for coating. However, more precise color control during manufacture may be possible.
- Solid Glass has the color running all the way through, and can easily be single or multi-coated.
- High-Density Glass is a new technology that has approximately four times the tensile strength of regular glass. So, if you frequently drop your filters on concrete, they will be protected.
- Uncoated Glass is easy to clean and relatively scratch-free. It’s ideal for use near the seashore or under misty conditions.
- Single-Coated Glass transmits more light and suppresses flare and ghosts. Ideal for most filters, especially if using lenses with high-quality coatings. More difficult to clean, coatings are susceptible to scratching.
- Multi-Coated Glass virtually eliminates flare, ghosts and light loss. Great for everyday filters such as UV, Skylight or NC (clear), or for any application where you plan on shooting into the light, or using with an uncoated lens. Again, more difficult to clean and susceptible to scratching.
- Ultra-Hard Coatings are final coatings such as titanium which protect the optical coating and make cleaning easier.
Protection Filters (essential for digital or film)
Although you may store your lenses without filters, you should never use them without a filter to protect the lens from damage and reduce the need for cleaning. Each time you clean a lens, you take the chance of scratching it, and exposure to the elements will eventually take their toll. There are three types of protection filters, some which enhance the image and some which have little or no effect. A high quality, coated filter will produce little or no optical degradation, while a lesser quality, uncoated filter may introduce flare and ghosts.
- NC (Neutral Contrast) Filters are essentially clear filters for the sole purpose of protecting the lens without affecting image quality. However, lesser quality, uncoated filters may actually degrade the image.
- Skylight Filters are very subtle warming filters which help to counteract the bluish cast from UV rays present in skies and flash. It also helps to warm up fleshtones, although very subtly. It always imposes a color shift.
- UV Filters are actually bandpass filters which to some degree block the blue-colored Ultraviolet component of the spectrum. In theory, they only take effect if UV rays are present, so they remain neutral until needed. This is the best combination of the three, however many UV filters are simply not effective, so be sure to read test results first. There is a simple test you can perform yourself using a black light.
Polarizers (essential for digital or film)
Color saturation and contrast can be greatly enhanced with a polarizer, which cancels out light rays in a given plane which is determined by the rotation of the filter. They can also reduce distracting reflections in water, glass and other surfaces.
- Circular Polarizers are designed to work with both the newer autofocus and older manual focus cameras.
- Linear Polarizers are designed to work only with older manual focus cameras as they may interfere with the autofocus system.
- Warming Polarizers incorporate a warming filter to eliminate the need to use two filters together. (Not essential for digital, as the camera’s white balance can be used to warm the image when used with a polarizer).
- HRT Polarizers use a High Transmission Rate film to reduce the amount of light they block.
Neutral Density (essential for digital or film)
For times when you exceed the limits of your camera, the ND filter can provide the equivalent of a smaller aperture or lower ISO. This is necessary to achieve special effects, such as reduced depth of field or long exposure times in bright light. Graduated ND filters allow you to extend the dynamic range of your image by reducing exposure in selected areas of the image.
- Standard ND Filters come in different densities. An ND2 (filter factor .3) reduces the light 2x or one stop, an ND4 (filter factor .6) reduces the light 4x or 2 stops, an ND8 (filter factor .9) reduces the light 8x or 3 stops, and an ND16 (filter factor 1.2) reduces the light 16x or 4 stops. There’s also an ND400 which reduces the light by 9 stops for astronomical or time exposure applications.
- Graduated ND Filters are typically available as ND4 on one side, and clear on the other with varying degrees of transition in between.
Special Effects (used for film, optional for digital)
This category includes diffusers, soft focus, soft spot, star filters and others. Many of these effects can be achieved in post-production, but often the optical effect is superior. Diffusers, Soft Focus and Duto filters are particularly useful for portraiture.
- Diffuser/Soft Focus Filters use a coating to modify the surface of the glass, creating irregularities which create a softening or contrast-reducing effect.
- Duto Filters use a series of concentric circles etched into the surface of the glass to create a softer focus around the edge of the image, with a sharper area in the center.
- Soft Spot Filters are diffusers or close-up lenses with clear centers to allow more pronounced softening of the edges with an even sharper center than a Duto.
- Star Filters use diagonal lines etched into the surface of the glass to create four, six or eight-pointed stars wherever a point of light occurs in the image.
- Multi-Image Filters use a series of prisms to create multiple images similar to a Kaleidoscope.
Color Conversion (used for film, unnecessary for digital)
The ability to adjust white balance digitally has made color conversion filters obsolete for digital cameras, although the 81 and 82 series may still be useful as warming or cooling filters.
- 80A, 80B, 80C Filters are used to convert daylight film to various tungsten lighting sources.
- 85A, 85B, 85C Filters are used to convert various types of tungsten balanced film to daylight.
- 82A, 82B, 82C Filters are cooling filters.
- 81A, 81B, 81C Filters are warming filters.
- FL-D, FL-B, FL-W Filters are used to balance daylight film to various fluorescent lighting sources.
B&W Conversion (used for film, optional for digital)
Many digital cameras have the ability to enhance black and white images directly in the camera using red, green and yellow digital filters, making optical filters unnecessary. However, these filters may also have other creative applications.
- Red (25A) deepens skies and enhances contrast. Also for use with infrared film.
- Orange (G) increases contrast between reds and yellows; in color photography can be used to enhance sunsets or simulate a redscale film effect.
- Yellow (K2) separates sky from clouds and foreground.
- Yellow-Green (X0) enhances skintone in outdoor portraits.
- Green (X1) enhances skintone in indoor portraits.
Didymium Filters (used for digital or film)
These filters do not use colored glass, but rather rare-earth minerals added during the manufacture of the glass to filter out certain colors in the visible spectrum.
- Intensifiers are a relatively strong filter used to enhance autumn foliage.
- Portrait Filters are a milder filter used to warm fleshtones without affecting other colors or creating color casts.
Infrared Tranmission (used for digital or film)
These filters suppress most or all visible light and allow only infrared rays to pass. They are used with digital or film to produce color or black and white infrared photographs. There are basically four classes of IR filter, listed in their order of sensitivity:
- #25, #29 (Red) are very popular filters used in black and white photography and are an excellent foray into infrared photography. When used with black and white film, effects similar to IR photography such as deep skies and high contrast in foliage can be achieved. When used with infrared films, true IR effects can be achieved. #25 suppresses wavelengths below 580nm and #29 below 600nm. B+W, Cokin, Formatt, Heliopan, Hoya and Tiffen all manufacture #25 filters, while #29 is available from B+W, Formatt and Tiffen.
- #70, #89B (Dark Red) is the second most usable filter in this class, as it suppresses most visible light, but allows a small portion of the upper red bandwidth to pass, beginning at about 650nm. This can be helpful for cameras which are less sensitive to IR, or to achieve different effects by allowing visible light to interact with infrared light. The B+W 092M is an excellent choice.
- #88A is the most usable filter in this class, as it suppresses all visible light, yet passes infrared radiation as low as 720nm, just beyond the visible range. This allows it to work with most digital cameras, even if they have not been converted. Newer cameras might require longer exposure times. The Hoya R72 and RM72 are coated glass versions, while the Singh-Ray I-Ray is a resin version.
- #87, #87C, #87B are ideal for use with cameras that are very sensitive to IR or that have been converted by removing their hot mirror filters. It begins to pass IR at 800nm, well into the infrared range, and peaks at around 900nm. Look for the Tiffen #87, B+W 093 and the Hoya RM90.
Strategizing your purchases
Assembling a collection of useful filters for all your lenses can be a daunting and expensive task. Unless all your lenses are the same size, you may find yourself purchasing duplicates of the same filter in different sizes. You may restrict filters to certain lenses initially, only to find you need them for other lenses anyway.
A good approach is to buy a high quality UV filter for each of your lenses; if you have two lenses that are the same size, consider purchasing a skylight or NC filter for the second lens.
Then, of the lenses you will be using most often, determine the largest filter size, and purchase all of your additional filters in that size, using step up rings to adapt them to smaller lenses. For example, if you have 52mm, 58mm, 62mm, and 67mm lenses, and a 72mm lens that you don’t plan on using that often, purchase 67mm filters with the appropriate step-up rings. If the 72mm lens is a longer focal length, you might be able to use a 67mm filter with a step-down ring without vignetting.
Recommendations
Hoya Pro1 Digital MC UV(0)
I personally use one of these on each of my lenses for protection as standard equipment. Their coatings are excellent for both film and digital, they are completely neutral until needed, and their ring design makes them easier to remove if they get stuck. They are one of the only UV filters that’s actually effective in suppressing UV radiation as revealed in test reports and confirmed by my black light test.
Hoya UV(0) Japan
If you can still find them, this filter offers a level of UV suppression equivalent to the Hoya Pro1 Digital MC UV(0) at a much lower price. However, the latest multicoated version which is made in the Philippines does not offer the same level of performance, as confirmed by the black light test.
Nikon Circular Polarizer II
This multicoated filter is on a par with the Hoya Pro1 Digital series. It’s no thicker than a standard filter, but features a knurled design that makes it easy to install and remove. Most importantly, it transmits about one third-stop more light than a standard polarizer.
Tiffen Haze-2A
This uncoated filter offers industrial-strength UV filtering at a price; it imposes a very slight yellowish cast at all times, but has a degree of effectiveness even greater than the Hoya UV(0). Great for use at high altitudes or near the ocean, where UV suppression requirements are the greatest, and environmental conditions are harsh.
Tiffen Skylight 1-A
This was my first filter ever, and it’s never let me down. The most inexpensive, easiest to clean filter with mild warming capabilities.
Tiffen Warm Low Light Polarizer
A good compromise between a polarizer and a skylight filter. Milder polarization with only one stop of light loss, combined with the warming effect of a Tiffen 812 filter. Can be used as is, or as a neutral low light polarizer by performing a custom white balance through the filter. This filter is quite inexpensive and may prove to be a good “protection” filter for everyday use.
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