Basic Photography Course

Table 3-2.Recommended Filters for Use with Black-and-White Panchromatic Film in Daylight

Subject

Desired Effect

Filter to Use

Natural

Yellow

N o . 8

Darken

Deep yellow

No. 15

Blue Sky

Very dark

R e d

No. 25

Near black

Deep red

No. 29

Seascape when

Natural

Yellow

N o . 8

sky is blue

Dark water

Deep yellow No. 15

Sunset

Natural

None/yellow

N o . 8

Brilliance

Deep yellow

No. 15

R e d

No. 25

Added haze for

Blue

No. 47

distant effect

Landscapers

Natural

Yellow

N o . 8

Reduce haze

Deep yellow No. 15

(little)

Reduce haze (a lot)

R e d

No. 25

Deep red

No. 29

Green colors

Natural

Yellow

N o . 8

Light

Green

No. 58

Reddish colors

Lighter

Red

No. 25

Bluish colors

Lighter

Blue

No. 45

Wood, stone,

Natural

Yellow

N o . 8

sand, snow,

Render texture

Deep yellow

No. 15

fabrics, etc.

Red

No. 25

To obtain desired effects with the use of filters, refer

LIGHT BALANCING FILTERS

to table 3-2.

FILTERS FOR COLOR PHOTOGRAPHY

Problems associated with color materials are quite

different from those encountered with black-and-white
materials. In color photography, the main problem is
achieving correct color balance. The principal factor
involved is the color temperature of the light source
being used to illuminate the subject. This color
temperature provides a natural appearance to the final
product. Filters for color photography are classified as
light balancing, conversion, and color compensating.

Light balancing filters come in two series (not to he

confused with a series that indicate physical size): the
Series 81, yellowish filters, are used to lower the color
temperature of a light source; and the Series 82, bluish
filters, are used to raise the color temperature of light
from a light source. Both series are used when a tungsten
light source is used with color film.

These two series of filters permit minor adjust-

ments in the color quality of an exposing light to obtain
cooler (bluer) or warmer (more yellow) reproduction of
colors; for example, when the color temperature of a
tungsten light source is 3100 K and a color temperature
of 3200 K is desired for the exposing light, a Series 82

3-4

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DOFMaster for Windows On-line Depth of Field Calculator DOFMaster for Mobile Devices On-line Depth of Field Table Hyperfocal Distance Chart Articles FAQ Recommended Books Support Contact Links Home As an Amazon Associate I earn from qualifying purchases.	contents <- previous page next page -> Table 3-2.Recommended Filters for Use with Black-and-White Panchromatic Film in Daylight Subject Desired Effect Filter to Use Natural Yellow N o . 8 Darken Deep yellow No. 15 Blue Sky Very dark R e d No. 25 Near black Deep red No. 29 Seascape when Natural Yellow N o . 8 sky is blue Dark water Deep yellow No. 15 Sunset Natural None/yellow N o . 8 Brilliance Deep yellow No. 15 R e d No. 25 Added haze for Blue No. 47 distant effect Landscapers Natural Yellow N o . 8 Reduce haze Deep yellow No. 15 (little) Reduce haze (a lot) R e d No. 25 Deep red No. 29 Green colors Natural Yellow N o . 8 Light Green No. 58 Reddish colors Lighter Red No. 25 Bluish colors Lighter Blue No. 45 Wood, stone, Natural Yellow N o . 8 sand, snow, Render texture Deep yellow No. 15 fabrics, etc. Red No. 25 To obtain desired effects with the use of filters, refer LIGHT BALANCING FILTERS to table 3-2. FILTERS FOR COLOR PHOTOGRAPHY Problems associated with color materials are quite different from those encountered with black-and-white materials. In color photography, the main problem is achieving correct color balance. The principal factor involved is the color temperature of the light source being used to illuminate the subject. This color temperature provides a natural appearance to the final product. Filters for color photography are classified as light balancing, conversion, and color compensating. Light balancing filters come in two series (not to he confused with a series that indicate physical size): the Series 81, yellowish filters, are used to lower the color temperature of a light source; and the Series 82, bluish filters, are used to raise the color temperature of light from a light source. Both series are used when a tungsten light source is used with color film. These two series of filters permit minor adjust- ments in the color quality of an exposing light to obtain cooler (bluer) or warmer (more yellow) reproduction of colors; for example, when the color temperature of a tungsten light source is 3100 K and a color temperature of 3200 K is desired for the exposing light, a Series 82 3-4 contents Basic Photography Course <- previous page next page ->	As an Amazon Associate I earn from qualifying purchases.
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