Which Filter & How Many

How Many Filters do I Need?

The answer to that question depends on what effect (s) you wish to create. If you only want to protect your lens from dust and pollution, the only filter you need is either a UV (ultraviolet) or skylight. These are general purpose filters that are used to shield a lens from possible harm (Note: A UV has no color temperature effect on the photo while skylight is a UV with warming characteristics and will add a certain amount of pink back into the scene).

Some people refer to UVs and skylights as “cheap insurance”. After all, if you break a UV filter, chances are you’ll be out a few bucks. However, if you break the front element of your lens, you’ll be back at your favorite camera store for a new lens.

After that, it’s purely up to you what you buy. A polarizer is always a good filter to add to your arsenal (Linear version for manual focus cameras and circular for auto focus – both types rotate) . Polarizers are the true way to make a blue sky bluer, make the clouds stand out or kill or add reflections in glass. By rotating the filter to the chosen alignment, a photographer may choose his/her degree of light polarization.

However, if you are doing portraits, some kind of soft focus filter might come in handy to hide unwanted blemishes. Soft focus (or as they are sometimes referred to - “diffusers”), come in different grades and it is up to the photographer to decide how much softness to bring to the scene. They also add a certain dreaminess to portraits that is often flattering.

For the more advanced and professional photographer who needs to control the tone of the image more, there are all sorts of color compensation and conversion filters to use. Color compensating films are available in many different grades of Blue, Cyan, Red, Magenta Yellow and Green and can greatly assist in balancing light when shooting under mixed source conditions.

Color Conversion filters are used to balance color temperatures when using certain films under alternate light sources, i.e. daylight film under tungsten lighting or vice versa. These filters “convert” the temperature of film to light or light to film so that colors fall in proper perspective.

Many special effects are possible with filters. Prisms, stars, close-ups, spot and contrast are to name just a few. A prospective buyer should peruse the various manufacturers’ catalogs (online or hard copy) to see what is offered. B&H also maintains an extensive on-line listing of all filters and is an excellent resource.

Space is also a consideration. Glass filters normally will screw right on the end of the lens while a rectangular filter holder requires an adapter ring and filter holder that “sticks out” several inches. For studio work, this is not such an issue but when shooting at a party or when discretion is needed, a large filter holder can become obtrusive. However, a filter holder, particularly one that is of compendium style can provide better protection against flare

Remember, the more filters of any kind you buy, the larger the camera bag you’re going to need.

Final verdict: Investigate… Buy what you need and can afford.

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Which Manufacturer of Filters Should I Use?

Ask ten photographers and you’ll get ten opinions on this. Certain companies specialize in round, glass filters while others focus on square and rectangular markets. One should decide what kind of photography will be done and then choose a system before choosing loyalty to a manufacturer.

Some photographers feel that glass is more optically pure than either polyester or resin. Others prefer the rectangular market because of the both the reduced cost as well as the availability of graded increments in such filters as neutral density and color compensating. Certain rectangular filters can also be bought in complete sets rather than having to buy individual filters. There are advantages and disadvantages to all systems.

Companies like Tiffen, Hoya and B&W have been in business for many years and are well-respected. They all offer a full roster of filters. There may be certain subtleties in the same kind of filter from each company but that remains to be evaluated by the photographer.

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The tremendous explosion of digital technology has, for some photographers, questioned the need for certain filters. For example, unlike film cameras that require exact filtration to correct for gross lighting temperature differences (tungsten against daylight), digital cameras can be adjusted internally with a “White Balance” switch. In addition, some digital cameras allow for manipulation of color saturation while film cameras still require the use of an enhancer or other such accessory.

However, the overall need for special effects in digital photography should not be minimized. Soft focus is still soft focus and a star effect still needs some kind of cross-screen filter. Both are a subjective expression of the photographer’s vision. A simple electronic switch won’t necessarily make it happen the way you pre-visualized it. The advantage of using actual filters is that you actually will see the effect in place.

By the same token, the advantage that digital technology has brought to the table is the ability to add some of these special effects during post-production using Photoshop or other software plug-ins. The debate about which technique produces the more pleasing or effective image (pre or post-production) can be argued all night. Both have their place. However, there is still much to be said for shooting a scene with the effect on the lens. Seeing it in reality brings much to the immediacy and feeling of the image.

On a daily basis, certainly a UV filter still makes sense to protect your lens, as does the need for a circular polarizer. More than those two, it becomes a professional and financial decision as to which filters will be added to your arsenal. Again, the question becomes,” What do I want to achieve visually and how do I want to get there?”.

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