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06-03-2008, 07:09 AM   #16
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Filter Side Notes

I promised another member I'd stop posting while sober as I tend to write books--sorry in advance...

There are variations of color temperature expressed by different filters--both optical (lens) filters and digital filters. In my film days, I noticed that B+W filters warming series (81 A,B,C etc) have an amber color cast. Pentax warming filters labeled "cloudy" have a more rosey color somewhat like a darkened skylight filter color. I shot everything through the highly preferable Pentax cloudy filters. I've since compared Tiffen, Hoya, Kalt, B+W, Heliopan and Pentax warming filters, and they all have their own signature color cast.

Digital software from one company to another seems to have similar variation. Though I don't have the thorough comparison notes, nor the experience that I have with glass filters. Not everybody warms a scene the same way. So you'll probably want to compare exactly what different software does for you.

Note that the in-camera white balance does not set a fixed color temperature. I tested this thinking if I use the in-camera "cloudy" setting or "daylight" setting or whatever that the setting would produce a definite color cast determined by the processor and external filters affixed to the lens should have no impact---WRONG! When I add my beloved Pentax Cloudy filter to images shot at the daylight white balance setting, low and behold, there is a warming effect. Cloudy white balance with Cloudy filter and the warming effect is amplified quite noticeably above and beyond the in-camera warming alone. The double cloudy effect is not good and I'm struggling with this issue since every piece of glass I own, including Hasselblad Xpan lenses all are equipped with Pentax Cloudy filters.

I've just started playing with the 5000K white balance setting which is the theoretical "neutral" point. Last weekend I was trying to get accurate color rendering of light pink wild blueberry blossoms and the only white balance setting that retained the subtle variations in pink colors was the 5000K setting. Now that would theoretically eliminate the effect of external filter colors, but I haven't tested yet...

To wrap this book up...there are actually three different filtering methods--optical which are traditional glass or resin filters; in-camera both for white balance and for special effects; and post processed filtering. All have their place and just like the outdated "debate" of film vs digital, it just doesn't matter. Use what works for you!


Last edited by Ron Boggs; 06-03-2008 at 07:12 AM. Reason: wording
06-03-2008, 08:15 AM   #17
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QuoteOriginally posted by christinelandon Quote
I still use UV, grad ND and polarizer filters, as their effects are difficult-to-impossible to duplicate using software. In Photoshop, I use nik Software and Alien Skin photographic filters, in addition to those supplied by Adobe.
Oooh I forgot that on my list.

Unless you do exposure bracketing and blend images afterwards, yes, a grad ND can't be duplicated later.
06-03-2008, 08:25 AM   #18
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I'm another firm believer in the ND grad filter. I also use a straight 3 stop ND filter to slow down the exposures, an effect which cannot be replicated unless your camera goes down to on ISO of 12.

The effect of ND grads can be replicated in photoshop, but only by multiple exposure blending. To me, the single exposure is at the very heart of what photography is all about. I'm a photographer after all, not a cinematographer.

Shooting by the coast, the multple exposure route often won't work, particularly where the subject (the sea) is on the move. I also prefer to minimise my time spent in postprocess and many of my photographs are good to go, straight off the camera, with only minor RAW processing.

So it's filters for me.

As an example, here's my latest shot.

2 stacked ND grad filters. Three stop over sky and another 1 stop extending half way down down the frame. This shot required practically no post-process and the RAW was processed to JPG in under 30 secs.


Andy

Last edited by amcinroy; 06-03-2008 at 08:33 AM.
06-11-2008, 02:47 AM   #19
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QuoteOriginally posted by Entropy Quote
Neutral Density - Sometimes you want a long shutter speed with wide aperture in broad daylight. No other way to do this than an ND filter.
QuoteOriginally posted by amcinroy:
I also use a straight 3 stop ND filter to slow down the exposures, an effect which cannot be replicated unless your camera goes down to on ISO of 12.
I think the K10D's "Multi-Exposure" mode actually allows you do something very similar... if I understand correctly, it averages 2-9 exposures together into a single RAW. I'm not sure about the K20D, but I'd be surprised if it didn't have this feature.

Detailed discussion, with images and tips here (DPR forums), and a less detailed discussion closer to home.

06-13-2008, 02:45 AM   #20
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The only filter effects that cannot be done well or accurately in post processing regardless of your skill level are:

1. Polarising Filter, cannot recreate what isn't there, nothing beats the reflection killing

2. R72 or equivalent, the PP IR doesn't do it.

3. ND. Multi exposures even in camera only gains at most 3 stops.

4. ND Grad, when the sky blows out there is nothing you can do to get it back. HDR just doesn't cut it.
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