blue filters make shooting in fog stay foggy, as pan cromatic film tends to cut thru fog, reducing drama and mood in fog situations. also, blue filters can be used with daylight film under tungsten lighting to cut yellowness out of image when shooting color film indoors or outdoors at night. does not apply to digital, however.
This was incredibly helpful and educational. I've already shot two rolls of Ilford HP5 with a red filter, can't wait to see how it comes out. I now have a better idea of what to expect!
I'm glad to hear you found it helpful! As I learn more I realise there are things that should be included so I may make a part 2 in the future. HP5 with a yellow filter is my go-to, and I'd bet a red filter could be reeeeally nice!
This has to be the most comprehensive and accurate YT discussion of how colored filters work on B&W film and why they do so. One comment on how to adjust exposure for the effect of a filter, the "filter factor". As he notes, you can measure your exposure through the filter while reading your scene, or you can mathematically adjust exposure with the filter factor provided by the filter manufacturer. Generally, reading the scene without the filter, then calculating the filter density adjustment works a bit better. The reason for this distinction is that the light sensitive cells in meters (in-camera or hand-held) do not read all colors with the same sensitivity, meaning that their response to light colors is not linear. Meter makers usually add colored filters to the meter's light path to adjust for non-linearity, but some do better than others. Also, there are several different cell types used, which is another variable. So, one meter will probably give a different exposure recommendation than another when read through the filter, depending on the color of light being measured. All of these modest variables are eliminated by metering exposure without the filter, then dialing in the filter's exposure factor. This can be done by setting an exposure compensation on your camera meter (if available) or just changing the films ISO rating on the meter itself.
@@Shaka1277 While I do not recommend my personal decision method when shopping for filters, my rule as to round, threaded filters is to look at the filter ring. If it's plastic (and many are), pass. If it is aluminum, maybe. If brass, buy it if I can afford the price. My experience is that filters which camera makers had made for their own brand are always great. Ex.: When shopping for 30.5mm filters, I discovered that Minolta had "Minolta" branded filter made specifically for the CLE camera. Both optically and mechanically, I've never had a better set of filters (for my Rollei 35SE).
Thank you! It is so much more helpful to understand the how than to just memorize a what and when. I had speculated on using a color wheel but thought it would apply across the whole thing. Seeing the impact limited to that hourglass shaped zone is very helpful. Thanks again.
I'm glad you found it helpful! I recommend printing a colour wheel off and throwing it in the bottom of your camera bag because it really takes up no space and can be handy to have to hand.
Hello. A very helpful video here! I have a question, though. For your green filter, what make and # was it. Or (this will tell me basically the same thing) what was the recommended filter factor (x2, x4, etc.). Thanks!
Hey! There's a strong relation between Wratten number and the filter factor but it's not 1:1. My green filter is equivalent to a Green 58, but from another brand. I'm away from home for the weekend so I'm not absolutely sure what it is, but most of my filters are from Tiffen, Hoya, and Heliopan. It might be a Hoya G(X1).
@@Shaka1277 Well, the filter factor of a Wratten 58 is 5 (so 2 1/3 stops). Your Hoya has a filter factor of 2.5 (so 1 2/3 stops). I am traveling a great distance to the painted red desert country in AZ, and I have seen where people local to the area use a green filter to increase the value in the red rocks (many recommend the 58). Usually I use a red type, but I will lose contrast in those red rocks. I have a green B+W with a filter factor of 1 1/2 stops (so filter factor of 3), so I guess I am set. I would rather use a bit less filter correction than more--because I develop by inspection (pyro ABC) and so I can see the values as they begin to appear on the negative. Thanks much Shaka. You have been a big help! And, maybe this is some new information for you . . . Oh, one other thing to consider in filters. That is, the film you are using. Some films (like my sheet film Ilford FP 4 and FP 4+) are not particularly sensitive to the red spectrum, so you need to overcompensate with your filter density to get marked results.
You destroy your effective ISO (both on film and digital) because you're basically not exposing one colour of dye layer/pixel, and the effects are weird. I had good results with a yellow filter (not a warming filter) on tungsten balanced film; basically bichromic. www.flickr.com/photos/155307394@N06/51848382962/in/album-72157717002411657/
Great vid! With silver efex pro 2 I used the blue filter a lot for low light inside environmental portrait - logic, turns down the orange of tungsten light. Since the real thing is quite rare and expensive I've tried color gels on my big medium format lenses. I'd say red is overkill for portraits, turning every caucasian skin into a ghost from Ring. But green and blue are fine for my taste - though not as dramatic as my silver efex digital days... BTW have you seen a difference between a true orthochromatic film and the use of a blue filter on regular panchro ?
I definitely wouldn't go further than a yellow filter for portraits, and would probably stick with green! I haven't tried that comparison, but I will :)
@@Shaka1277 Sure, blue filter is neither for every situation nor for subtlety, but in specific lighting when you want something that's not your run-of-the-mill B&W rendering it does its job :) I am yet to try ortho films too !
![[LIVE] : ONE ลุมพินี 88 | คู่เอก "ป้อมเพชร vs อัสลามจอน"](http://i.ytimg.com/vi/1ZqTVVbMgbo/mqdefault.jpg)
The best examples and explanation, thank you
Thank you, very clearly explained. Now all I have to do, is remember which scenario/which filter.
Wonderful video....Well Done!
Well done, worth to mention specific properties of red filter (how it can false lightmeter reading)
Thank you for this brilliant video! It's very clear and well explained, exactly what I was looking for.
Excellent video. Thank you. RS. Canada
You can use them on a digital camera set to BW. Like the Canon Powershot G15.
blue filters make shooting in fog stay foggy, as pan cromatic film tends to cut thru fog, reducing drama and mood in fog situations. also, blue filters can be used with daylight film under tungsten lighting to cut yellowness out of image when shooting color film indoors or outdoors at night. does not apply to digital, however.
Excellent information. Thank you for posting. Nice production as well.
Thank you! I'm glad you enjoyed it. :)
Wonderful video. Keep it up. RS
Very helpful video…well done
That was so well explained! Thank you for this, you're doing great
Great video! Very helpful and easy to understand; I've also looked at your IG, great pictures!
Thank you!
Strong work. Very helpful!
Glad it was helpful! I have more filter video ideas in the pipeline.
This was incredibly helpful and educational. I've already shot two rolls of Ilford HP5 with a red filter, can't wait to see how it comes out. I now have a better idea of what to expect!
I'm glad to hear you found it helpful! As I learn more I realise there are things that should be included so I may make a part 2 in the future. HP5 with a yellow filter is my go-to, and I'd bet a red filter could be reeeeally nice!
@@Shaka1277 Thank you so much for a thoughtful reply. I'll be sure to pick up a yellow filter shortly!
I heard Delta, Tri-X and TMax have much finer grain than HP5?
Great info thank you.
This has to be the most comprehensive and accurate YT discussion of how colored filters work on B&W film and why they do so. One comment on how to adjust exposure for the effect of a filter, the "filter factor". As he notes, you can measure your exposure through the filter while reading your scene, or you can mathematically adjust exposure with the filter factor provided by the filter manufacturer. Generally, reading the scene without the filter, then calculating the filter density adjustment works a bit better. The reason for this distinction is that the light sensitive cells in meters (in-camera or hand-held) do not read all colors with the same sensitivity, meaning that their response to light colors is not linear. Meter makers usually add colored filters to the meter's light path to adjust for non-linearity, but some do better than others. Also, there are several different cell types used, which is another variable. So, one meter will probably give a different exposure recommendation than another when read through the filter, depending on the color of light being measured. All of these modest variables are eliminated by metering exposure without the filter, then dialing in the filter's exposure factor. This can be done by setting an exposure compensation on your camera meter (if available) or just changing the films ISO rating on the meter itself.
Totally fair. I've swapped out my cheap questionable filters for better filters with a specified filter factor, and use that nowadays.
@@Shaka1277 While I do not recommend my personal decision method when shopping for filters, my rule as to round, threaded filters is to look at the filter ring. If it's plastic (and many are), pass. If it is aluminum, maybe. If brass, buy it if I can afford the price. My experience is that filters which camera makers had made for their own brand are always great. Ex.: When shopping for 30.5mm filters, I discovered that Minolta had "Minolta" branded filter made specifically for the CLE camera. Both optically and mechanically, I've never had a better set of filters (for my Rollei 35SE).
Thank you very much! The "Color Wheel" is very helpful.
It'll be making another appearance before the end of the year to explain a failed experiment that I should have realised wouldn't work 😅
was good, thanks
Thank you! It is so much more helpful to understand the how than to just memorize a what and when. I had speculated on using a color wheel but thought it would apply across the whole thing. Seeing the impact limited to that hourglass shaped zone is very helpful. Thanks again.
I'm glad you found it helpful! I recommend printing a colour wheel off and throwing it in the bottom of your camera bag because it really takes up no space and can be handy to have to hand.
@@Shaka1277 planning on finding a home for one in the filter case that will be arriving with the filters later this week.
Thankyou very informative
Great video.
Glad you enjoyed it
Hello. A very helpful video here! I have a question, though. For your green filter, what make and # was it. Or (this will tell me basically the same thing) what was the recommended filter factor (x2, x4, etc.). Thanks!
Hey! There's a strong relation between Wratten number and the filter factor but it's not 1:1. My green filter is equivalent to a Green 58, but from another brand. I'm away from home for the weekend so I'm not absolutely sure what it is, but most of my filters are from Tiffen, Hoya, and Heliopan. It might be a Hoya G(X1).
@@Shaka1277 Well, the filter factor of a Wratten 58 is 5 (so 2 1/3 stops). Your Hoya has a filter factor of 2.5 (so 1 2/3 stops). I am traveling a great distance to the painted red desert country in AZ, and I have seen where people local to the area use a green filter to increase the value in the red rocks (many recommend the 58). Usually I use a red type, but I will lose contrast in those red rocks. I have a green B+W with a filter factor of 1 1/2 stops (so filter factor of 3), so I guess I am set. I would rather use a bit less filter correction than more--because I develop by inspection (pyro ABC) and so I can see the values as they begin to appear on the negative. Thanks much Shaka. You have been a big help! And, maybe this is some new information for you . . . Oh, one other thing to consider in filters. That is, the film you are using. Some films (like my sheet film Ilford FP 4 and FP 4+) are not particularly sensitive to the red spectrum, so you need to overcompensate with your filter density to get marked results.
You're absolutely right about the filter factor varying depending on the film, and this plays into an upcoming video!
What about the effects of thèse filters if I shot in colour?
You destroy your effective ISO (both on film and digital) because you're basically not exposing one colour of dye layer/pixel, and the effects are weird. I had good results with a yellow filter (not a warming filter) on tungsten balanced film; basically bichromic.
www.flickr.com/photos/155307394@N06/51848382962/in/album-72157717002411657/
Great vid! With silver efex pro 2 I used the blue filter a lot for low light inside environmental portrait - logic, turns down the orange of tungsten light. Since the real thing is quite rare and expensive I've tried color gels on my big medium format lenses. I'd say red is overkill for portraits, turning every caucasian skin into a ghost from Ring. But green and blue are fine for my taste - though not as dramatic as my silver efex digital days... BTW have you seen a difference between a true orthochromatic film and the use of a blue filter on regular panchro ?
I definitely wouldn't go further than a yellow filter for portraits, and would probably stick with green!
I haven't tried that comparison, but I will :)
@@Shaka1277 Sure, blue filter is neither for every situation nor for subtlety, but in specific lighting when you want something that's not your run-of-the-mill B&W rendering it does its job :) I am yet to try ortho films too !
Is it smart to use for video or it’s pointless
Depends what you want to achieve :) I don't shoot B&W video, personally.
Great video. Thanks for posting. I learned a lot. It was pretty entertaining, but a few more jokes would have been a good thing. ;)
This video would have been better if you showed examples right from the beginning
Good point! I'll do that in future - just a couple to set the stage.