Tiffen 5285B 52mm 85B Filter

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Kodachrome 40 is an A type film: ie it is balanced for 3400K Photofloods and an 85 is the correct filter. Ektachrome '52 and '44 (Super 8) are also quoted as being type A. That's why you can't correct reversal film so well at a later stage. If the mid tones are corrected the highlights tend to turn orange. This effect was deliberately used the other way round to give blue skies were there were none for a wartime film made in a lifeboat somewhere up North (the name escapes me). Color filters that incorporate rare dye materials. Used to alter the color wavelength of light. Filter No.

Each one is made with a patented shape that uses their little teeth on the side to "bite" onto the inside of the camera lens' standard filter thread. If need be you can press or screw them in a little for a little more compact fit. To remove, you pull the little tab onto which the filter type and exposure factor are printed. There are two types of fluorescent filters available to photographers. The FLD filter is designed for daylight film. The FLB filter is produced for tungsten film. While both absorb light, it has been my experience that an extra half-stop of exposure is required beyond what the camera suggests. As a general rule, a contrast filter will lighten its own color and darken its complementary color. Refer to the chart below to see how the main contrast filters affect various tonalities in a scene. Contrast Filter

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The filtered one used an 85B and a FLD filter to achieve its effect. Don’t let your creativity be impeded by rules as to how a filter should be used. Contrast Filters: Not only that but If I'm not wrong isn't an 85B the proper correction for 3200(deg)? There's 200(deg) thrown right out the window at the get go... The darken of the sky is caused by a yellow filter, which balances its exposure between the darker and lighter parts of the sky. Furthermore, by blotting out clouds, they create a more interesting sky. This type of filter produces warm, natural, pleasing flesh tones, similar to those produced by an orange filter, but at a slower pace.

Before we discuss the categories of filters, it’s important for us to understand why a photographer would choose to use filters in the first place. Some photographers believe that a scene should be shot without being altered in any way. Other photographers feel there are valid reasons for using filters. Photography has too many rules. Leading lines, rule of thirds, portraits require bokeh, avoid this, enhance that; so demanding! Okay, these guidelines can help beginners get started in the craft, especially early in the journey to finding their own creative vision. So learn the rules, yes. But remember that rules are meant to be broken. The Ektachrome films were always rated for 3200K, only Kodachrome is 3400K.My guess here is that EK felt 3400K lamps would give less magenta in skintones, in home movies and slides. Also some 3400K lamps are designed to with envelopes to reduce UV transmission. The following was translated from a little known parchment relating to a discussion between Rembrandt and one of his many patrons:Sorry to bring up a stale topic but I have just received a reply from the Kodak Gurus (Geoff Whittier, John Pytlak, Steve Powell, Fred Knauf and Ron Lorenzo) about the filter question. I shot all images on a cloudy afternoon at the Engesohde cemetery, one of the oldest cemeteries in Hannover. I especially like the statues from the late 19th / early 20th century. These angels radiate dignity and sadness. It’s a special kind of pathos that got lost in the contemporary cemetery architecture. ( Dave English reported on similar statutes at the Melaten cemetery in Cologne.) A single filter can’t adapt to that many conditions. There are some films that perform better under fluorescent lighting than others. Fuji’s Reala, a print film, is one of the better ones. (For another way of handling fluorescent lighting, try a CC40M.) Color Compensating Filters: Linear and circular polarizing filters are two types of polarizing filters. A linear polarizer is not suitable for DSLR cameras because it can result in metering errors. Because of the construction of circular polarizers, they have no negative consequences for metering. You will most likely end up with an overexposed subject if you take a photo at 1/250 of a second with a flash on a sunny day. It is possible to apply neutral density filters in a circular or rectangular manner. Because a rectangular neutral density filter will not benefit you, it is best to avoid purchasing one. Because filter holders can be used with wide-angle lenses with focal lengths below 35mm, you should exercise caution when using them. Patron: "Yeah, what's with that foreshortening stuff? I paid for everything in this room and I want it all to look BIG!!!"

The most commonly used 81 series filter is the 81B; it’s a good one to have if you want only one in this series. The 81 series is an essential filter for landscape photographers. I don’t care for the rule of thirds, as I like to center my subjects. Sometimes, I go against the rules of normal framing and strive for unique angles. I like contextual portraits. I break the “rules” to conform to my style and that’s the way it should work for any photographer.As a documentary guy usually working wide open in low light conditions, I have a tendency to use a #82 filter. You don't lose anywhere near as much light as with a #85, and it gives a better look than using nothing at all and correcting exclusively in printing. It was always tungsten balanced film similar to CineStill 800 T. The lights we used were mainly tungsten 3200*K. The reason for tungsten balanced film was because when we filmed under lights we needed a good film speed ( ASA ). When we went outside into daylight we sometimes had too much film speed considering the shutter speeds for cine filming were usually around 1/50 to 1/60 depending on the final use. Ah... Isn't Rembrandt the one who MADE UP his own additional light sources to suit his own needs? Can't you see the man setting up his own little oil Tweenie off in the far corner of Night Watch? -- "Hang on folks, just stay right where you are, just need this one last detail..." Each Adox gelatine filter is made using Cibachrome(R) dyes which are light stable and will not fade out. They are water repellent, so can be used if it's raining, but also you wipe them with a wet antistatic cloth to clean them. Green filters lighten dark green foliage and boost light green foliage. They have a more specific use and are not as commonly used as the other filters, but green filters are extremely useful for the nature photographer. Green filters may lighten the sky, so landscape photographers should take note of this when using it.

Maybe the 85 is suggested for historic reasons - it is the correct filter for Kodachrome 40A and that is all that really matters! One of the most common ways is using a filter to enhance a sunset or sunrise. There are special filters that will make a spectacular sunset out of a dull one. Consider the two images below. The one on the left was shot “as is.” World-class WRATTEN 2 Optical Filters are a must-have for photographers, cinematographers, engineers, and scientists who require analytical consistency for their realistic and creative effects/applications. Another way of determining how the tones of a scene will be affected by contrast filters is to use Maxwell’s Triangle. Please refer to the sketch below. Some people find this is an easier way to remember how contrast filters impact tones.

How do Filters work?

However, some of the most important rules can be hard to break. For example, when composing a photo, it can be difficult to stray from what the light meter is telling you, if you want your image properly exposed. The thing is, even these extremely important rules about exposure can be broken. I am impressed with the discussion on the use of 85 and 85-B filters. A little history lesson might be appropriate in light of the wave of post production and computer imaging currently riding the crest of popularity. There will be some differences in look when you shoot without the 85 and have the lab correct it in printing. Without proper filter correction, your blues get over-exposed (or denser on the negative) and the reds gets under-exposed (or less dense.) Visually, this will make your reds less saturated, meaning that fleshtones will lose some of their color saturation (although this can be more pleasing in some cases.) These filters balance light so the film records the scene the way your eye sees it. There are three main groups of filters in this category: the 81 series, the 82 series, and fluorescent filters. (Some companies may designate these filters differently. Colour conversion filters, available in tones A, B and C help to correct differences in colour temperature between film and the light source.