Filters

B+W

UV FILTERS

The B+W Difference

Most other filter manufacturers start with ordinary window glass that has been poured in thin sheets and cooled quickly, introducing internal flaws. B+W filters, on the other hand, start with a cylinder of Schott German optical glass from which the filters are diamond cut, precision ground, and then polished to ensure flatness on both surfaces and uniform thickness throughout. Every B+W filter is interferometrically tested for plane parallelism. This process is used routinely by the world's leading lens makers, but only rarely by filter manufacturers. To reduce unwanted reflection and lens flare, which can seriously degrade the image contrast and resolution, B&W gives their filters a single coating on both sides. This guarantees that the high MTF performance of your lens is maintained exactly as the lens manufacturer intended it. You can also purchase filters with Multi Resistant Coating (MRC). Developed by B+W, Multi Resistant Coating (MRC) technology is not only an enhanced process that assures virtually complete elimination of surface reflections on both sides of each filter —maximizing light transmission— it also offers an extraordinary hardness that minimizes scratching and its water- and dirt repelling surfaces facilitate the care of filters.

Finally, most B+W screw-in filters are mounted in a matte black, corrosion-free brass ring, further reducing surface reflections and minimizing distortion or binding of the filter to the lens, even during rapid temperature changes. All filters must pass manual as well as automated tests to insure that each and every one that leaves the factory meets B&W's critical standards.

UV 010 Filters

A UV filter blocks the invisible UV component of light from the sky, which can cause blur and causes many color films to react with a blue cast. UV Filters are ideal for when shooting in high altitudes (in the mountains), by the sea and in regions with very clean air. The pictures gain brilliance and disturbing blue casts are avoided. Because the glass is colorless, color rendition is not altered, aside from the elimination of the unwanted blue cast, and no increase in exposure is required. Filter factor is 1.0.

Good lenses are far more expensive than filters, therefore it makes good sense to attach a filter to protect the lens' sensitive front element. The colorless, multi-coated UV 010 is ideal, protecting the lens' front element against dust, flying sand, sea water spray and the like, and it can be kept on the lens at all times. Taking it a step further, the extremely hard MRC coating optimizes the protective effect and facilitates cleaning in case of accidental fingerprints or when the surface becomes soiled. This, by the way, is all the more important with digital cameras, whose picture quality, because of the shorter focal length of their lenses, is much more sensitive to dirt on the front element of a lens!

UV filters are also available in Wide Angle (they have a larger front diameter than the screw-in diameter to eliminate vignetting on wide angle lenses, and can only be used without a lens hood), and SLIM mounts (no front threads) for even wider-angle photography without vignetting. Wide Angle and SLIM filters are also available in a choice of multi-coated or MRC.

NEUTRAL DENSITY FILTERS

ND Filter 101: The lightest ND filter, it attenuates light by one f-stop (log density 0.3), which can be beneficial, for instance, for the correct exposure of high-speed films when the brightness of the subject is still too high for the fastest shutter speed and the smallest aperture. Ideal as a complement to the ND 102 for fine adjustments. The filter factor is 2x.

ND Filter 102: The most popular ND filter, the ND 102 reduces light by two f-stops (log density 0.6) and offers many benefits, for instance f/4 instead of f/8 for selective sharpness instead of a great depth of field, or 1/15 sec. instead of 1/60 sec. for a flowing instead of a "frozen" waterfall. It has excellent color neutrality, costs less than the denser filters, and is recommended as part of a basic outfit. The filter factor is 4x.

ND Filter 103: Somewhat more difficult to manufacture and thus a little more expensive, the ND 103 reduces light intensity by three f-stops (log density 0.9). It still features very good color neutrality. Ideal for use on video cameras when the lens cannot be stopped down sufficiently in great brightness or when a deliberately low depth of field is desired. The filter factor is 8x.

NEUTRAL DENSITY FILTERS

ND Filter 106: The ND 106 reduces light by six f-stops. That means without changing the f-stop, a shutter speed of 1/60 sec. is changed to a full second, thus requiring the use of a tripod. Flowing water is rendered as flowing in the photo, and people moving in streets are dissolved in unsharpness. Because of its higher transmission in the red beyond 660 nm, brings a slightly warm tone to color photographs. (If this effect is undesirable, a B+W UV-/IR-Blocking Filter 486 in front of the ND filter remedies that situation). The filter factor is 64x.

ND Filter 110: With a light intensity reduction of ten f-stops, the ND 110 has a slightly stronger warm tone than the ND 106. Its principal field of application is the observation and documentation of industrial processes with extreme brightness, such as steel furnaces, incinerators, glowing filaments in halogen- and other bulbs. The filter factor is 1000x.

ND Filter 113: With its light reducing capability of 13 f-stops, the ND 113 is used in astronomy for photographs of the sun and the relative movements of heavenly bodies as light traces in extremely long exposure times. Not be used for observation of the sun (danger of blindness!) due to its greater transmission in the infrared range. Filter factor is 10,000x.

ND Filter 120: With light reduction capability of 20 f-stops, the ND 120 is used for the same astro-photographic applications as the ND 113 when an even greater light attenuation is required. In spite of its much higher density, this filter too, must not be used for visual observation because of its transmission in the infrared range. The filter factor is 1,000,000x.

POLARIZING FILTERS

With B+W polarizing filters, reflections on glass, plastic and lacquer surfaces can be reduced or even eliminated. B+W polarizing filters give you the control over how much reflection you wish to remain because the light reflected at an angle of about 40° to 70° by these surfaces is strongly polarized. Its transmission can be reduced, blocked or even enhanced in relation to the remaining unpolarized light, depending on the rotation of the filter. Thus a clear view is made possible through plates of glass, of goldfish below the surface of the water, or of writing or pictures behind a glossy layer of lacquer.

Every object outdoors reflects light from the sky more or less diffusely and largely polarized, some objects, such as green plants and red roof tiles are covered by a bluish-gray veil that can make them appear pale and dirty. B+W polarizing filters remove this polarized veil thus increasing the saturation of the true color. Bring out deep, rich greens in foliage and reduce the objectionable effect of smog in a photograph of a cityscape horizon. Because the blue light from the sky, especially at an angle approximately perpendicular to the sun is strongly polarized, a polarizer can be used to render the sky with a more saturated color, so that white clouds will stand out more dramatically. Using a polarizer for black-and-white film, reflections can be accentuated or reduced, and can have higher image contrast. The effect of B+W polarizers can be observed through the viewfinder while rotating the front element of the polarizer.

Linear and circular polarizers both consist of a linear polarizer foil but differ in their construction. Today's SLR cameras have have a beam-splitting prism that sends part of the incoming light to the meter and part to the viewfinder. The effect is that the light entering the meter is partially polarized by the beam-splitter. A linear polarized placed on the lens of such a system will act as a second polarizer and block light to the meter by a degree dependent on the angle between the prism and the polarizer on the lens. The result is incorrect exposure/aperture values from the meter. The circular polarizer circumvents this problem through the addition of a 1/4-wave retarder, or delay, foil. This ensures that the linearly polarized light is changed into a rotation that appears unpolarized to the meter, resulting in proper exposure/aperture readings.

Versatile Tools

Polarizers are commonly used to control glare on water and to allow the camera to see below the surface. They are also used to reduce glare on car bumpers and to control reflections on plate-glass windows. Polarizers are so versatile that they can perform the opposite functions as well. Some use polarizers to increase or enhance reflections, simply by changing the filter's setting.

• Darkening skies in color photography for dramatic impact. While graduated neutral density filters can also be used to achieve this effect, the need to position their transition line accurately precludes their use in many applications. Polarizers do not suffer from this limitation.
• Suppressing reflections and capturing truer color when shooting subjects through a windshield, and from other rigged-car camera positions.
• Greatly adding to the drama and appeal of the shot when photographing food (particularly meat or liquids).
• Increasing the color saturation of any object with a glossy surface.
• In fact, virtually any subject involving glare or reflections, or that is illuminated with specular light, can be improved through the skillful use of quality polarizing filter.

POLARIZING FILTERS

Top-Pol (Linear) Polarizer

Linear polarization filter for SLRs and rangefinder cameras without beam splitters in their light paths. High-quality optical glass ensures excellent pictorial quality. B+W Top-Pol Polarizing Filters are available uncoated and with B+W's proprietary MRC coating.

Circular Polarizer

Highly efficient standard circular polarizing filter for all cameras with beam splitters in the light paths of their TTL exposure meter and with autofocus lenses. Circular polarization has the same pictorial effect as linear polarization, but allows for proper exposure metering and/or autofocus distance settings.

Warm Tone Polarizer

These filters are special versions of the B+W Linear- and Circular Polarizing Filters with an KR 1.5 correction filter or an 81A warm tone filter as protection glass (KR 3 or 81B on request). This combines the optical qualities of both filters in a single filter.

491 Enhancing Glass Filter

Designed to strengthen the reddish components of orange, near red or brown subjects, the 491 Enhancing Glass Filter is popular for use in nature- and landscape photography. It is particularly effective in conjunction with a polarizing filter, controlling a potentially bluish-gray veil and for increasing color saturation,e.g. to capture fabulously vivid scenery during the colorful autumn season. The use of color reversal film is recommended, because the automatic correction applied by printers to color negatives can erroneously interpret the desired effect as a color cast and reduce it by filtering it out.

'Käsemann' Polarizer

The "high-end" polarizing foils of the Käsemann-type filters are neutral in color, have a higher efficiency than conventional polarizing foils and they are cemented between high-grade plano-parallel optical glass. The resulting sandwich is then precision-polished again to achieve highly accurate plano-parallel surfaces. Subsequently they are edge-sealed to protect the foil against humidity. Brass mounts made on CNC-controlled machines ensure precise seating on the lens. Discriminating photographers regard the B+W Käsemann-Type to be the best of all polarizing filters. They are well suited for applications that require the highest possible imaging quality, especially with high-speed telephoto lenses and apochromatic lenses. They are available as linear and circular polarizing filters, and also with SLIM- or oversized wide-angle mounts.

LIGHT BALANCING (CONVERSION) FILTERS

Cooling Filters

Illumination with a high percentage of red, as in light from a photoflood lamp, leads to a complete distortion of the original composition when used with daylight color film. Despite the handicaps of inadvertently selecting the wrong film and inappropriate lighting, color conversion (cooling) filters, such as the blue-violet KB-20, make more natural looking results possible.

KB 1.5 (82A): The conversion filter with the most delicate shade of blue attenuates the slightly higher red, orange and yellow components in order to produce a neutral color rendition. It can also be used for subjects that are to be shown with a cooler coloring. In addition, it adapts the color temperature of the very bright photoflood lamps to color films balanced for halogen light of 3200 K. Filter factor is approximately 1.1.

KB 3 (82C): With about twice the correcting effect of the KB 1.5 filter, this filter removes the orange-red color cast that appears on photographs made on tungsten reversal film with artificial light using 100 to 200w light bulbs, or from aged photoflood lamps. Therefore this filter is ideal for neutral color reproduction with appropriate illumination. Filter factor is approximately 1.2.

KB 6 (80D): This nearly medium blue conversion filter neutralizes the strong red tendency of light at sunrise or sunset out in the open when the original colors of the subject are wanted instead of a warm morning- or evening mood. In addition, the KB 6 filter is ideal for "under-corrected" filtering of artificial light photographs on color negative films. When filtration is performed only later during printing, there is a visible color shift, and full correction leads to a higher loss of light. Its filter factor is approximately 1.5.

KB 12 (80B): The deep blue KB 12 blocks so much red, orange and yellow that it increases the color temperature of very bright halogen and special photoflood lamps (around 3400 K) to that of daylight. With that kind of illumination, and with daylight color reversal film, subjects will be reproduced in their original colors. With weaker halogen bulbs or stronger incandescent bulbs in conjunction with this filter and with daylight reversal film, a residue of "warmth" is retained for an optimal mood in interior photographs. Filter factor is 2.0.

KB 15 (80A): The slightly denser KB 15 filter is recommended for daylight color reversal film with artificial light from the 60 to 100w halogen bulbs commonly used in lights aimed at the ceiling. With weaker incandescent bulbs, there will again be that pleasant warm tone for moody interior photographs. Its filter factor is approximately 2.2.

KB 20: Used when the illumination provided by 40 to 150w household incandescent bulbs, and the transparencies are to show the subject in its original colors (e.g., technical interior, architectural photographs, or reproductions). However, it shouldn't be used for moody interior pictures because unlike the KB 12 and KB 15, the KB 20 filter corrects the light to a neutral balance, eliminating the warmth that one might intuitively expect from bulbs. Filter factor is 2.7.

LIGHT BALANCING (CONVERSION) FILTERS

Warming Filters

Color conversion filters balance the spectral composition of the photographic light source to the color temperature balance of photographic films. This color temperature is expressed in degrees Kelvin ('K'). High color temperature light becomes blue while low tends to have a reddish tone. Depending upon the degree of necessary color temperature conversion, reddish to brown or blue-toned, color conversion filters in varying density are required to absorb the predominant color tones of the light. Refer to the color temperature tables to see which filters are necessary.

Atmospheric haze causes blue cast Color Correction with KR 1.5 Warm autumn vegetation with KR 6

Blue cast on walls in the shade 81A filter neutralizes the blue cast Rendition of neutral colors with KR 3

KR 1.5 (1A): This filter also blocks UV radiation and reduces haze in the scene. However, due to its light pink color, the KR 1.5 reduces the high blue cast in the shadow portions of color photographs caused by light coming from a blue sky. Because of its very faint color, a skylight filter can be kept on a lens constantly for protection, as long as a slightly warmer color rendition is desired, as it would be with color reversal films that tend to produce cooler colors. The exposure factor is only 1.1 so for practical purposes it can be ignored.

KR 3 (81C): This filter is recommended for daylight photographs, especially in spring and summer with cloudless skies and clear air. It helps eliminate the strong blue tone and haziness which is produced by this level of ultraviolet light. Furthermore, it reduces the unwanted blue tone in shadow areas with an overcast sky. Filter factor is approx. 1.2.

KR 6 (81EF): Daylight with a high percentage of blue (midday in the mountains during the summer) is neutralized by the KR 6 in color photos where an extreme blue tone is to be expected. Not only does it block ultraviolet light and reduce blue tones in the shade, but it also penetrates light fog. Filter factor is approx. 1.4.

KR 12 (85EF): When using the brown toned KR 12 with tungsten-balanced color film, one can photograph in daylight or with flash illumination. This eliminates the strong overall bluish cast which would be present otherwise. In addition, many color films respond to this color conversion filter with particularly brilliant color tones. Filter factor is approx. 2.0.

B+W 81A: This filter balances color temperature from artificial light sources to the color tungsten film standard of 3200 degrees and balances the difference up to 3400 degrees. Due to this characteristic, a noticeable warmer color reproduction is produced. This fine balancing is important for special work such as art reproductions where true color reproduction is required. Filter factor is approx. 1.2.

B+W 81B: The 81B makes possible a stronger color temperature balance from artificial light sources to 3500 degrees which also results in a slightly warmer color reproduction. In addition, when using artificial light for portraits, especially when more flattering warmer colors are appropriate (portraits of women and children), this filter is highly recommended. Filter factor is approx. 1.2.

LIGHT BALANCING (CONVERSION) FILTERS

GRADUATED FILTERS

B+W graduated color filters are primarily intented for color photography and are used mostly for photography on color transparency film. When color negative films are used, the lab should be informed, so it won't "correct" the effects from the image. Of course they can also be used with black & white films, often with very interest effects. Fabricated from high-quality CR-39 acrylic, these filters are color toned in one half of the filter which is smoothly graduated into the clear portion. Colored and clear filter portions can be brought into the desired position by rotating the mount. They can also be combined with other filters or other color graduated filters. Two color graduated filters rotated by 180° to each other allow a picture composition of colors to fade into each other.

Graduated Gray 501

The neutral gray half of this filter transmits 50% of the incoming light, so that it darkens the respective portion of the subject by one f-stop without altering its colors. For example, when the sky is too bright in relation to the landscape, this is an ideal amount for good detail rendition in the clouds and for preventing the sky from being "washed out" by over-exposure.

Graduated Dark Gray 502

Because it attenuates the light twice as much as the Graduated Gray 501, by two aperture stops (it transmits 25% of the light), this graduated filter already produces quite dramatic effects. Because of the increased differences in brightness, it is even more important for the horizon line not be positioned too far from the center of the image.

Graduated Orange 524

The somewhat more delicate coloring of this graduated filter is recommended when the correction of the sunset mood is not to be pronounced, or when a certain amount of red coloring is already present, so that only a small enhancement would be sufficient. With heavy gray thunderstorm clouds it can produce a nearly awesome storm mood.

Graduated Violet 543

With grazing light and a sparse exposure, this graduated filter with its somewhat unnatural color can produce a ghostly, macabre moonlight effect. So it is more suitable for abstractions rather than enhancements of natural moods. An interesting effect can be achieved by using it in combination with Graduated Green 561 for the lower half of the image.

Graduated Tobacco 550

Those who have experienced a sandstorm in the desert will never forget that mood. With this graduated filter, one can approximate that mood: slightly threatening, yet still pleasantly "warm". The tobacco color is discreet, not overly colorful, so that it never appears gross nor overlay the existing colors as much as more intense graduated colors.

Graduated Green 561

Because of its vegetation color, this graduated filter is especially suitable for the lower half of an image when used in combination with other graduated filters that are being used to darken or to alter the color of the sky. With such filter combinations, the TTL exposure metering should be performed with filters in position on the lens.

Graduated Blue 581

This is an excellent solution when the sky isn't blue enough. It can be used effectively in combination with another graduated filter for the lower half of the image, so that in combination the sky will not be rendered too brightly or too pale. Example: sand dunes by the sea; using a Graduated Tabacco 550 for the lower half and a Graduated Blue 581 for the upper half of the image.

Graduated Red 590

This graduated filter is often referred to as the "sunset filter", because it can simulate a missing red sky in the evening or in the morning, or to enhance one that is too pale when the line of sight is towards the sun. By the sea or by a lake, the horizon line should be positioned high enough for the red portion of the filter also to cover the reflection of the water.

GRADUATED FILTERS

B+W FILTERS ACCESSORIES

Plastic Filter Cases

Thanks to their transparent lids, these handy flat filter cases, made of impact-resistant plastic material, let you se right away which filter is stored inside. A foam rubber insert keeps filters from rattling. A filter contained in such a case can be carried in a pocket without any problems.

4-Filter Plastic Case

The same case as above, except this case has an insert that holds four filters. Recesses keep the filters from touching each other. Finger indentations permit the easy removal of filters from their recesses. Available with a choice of insert for 49, 52, 55 and 58mm filters.

B6 Filter Pouch (BWFPB6)

This folding padded filter pouch is made of a flexible plastic material with snap fasteners. Its see-through pockets hold six filters or close-up lenses in sizes up to 62mm. The pouch easily fits in any gadget bag, for instance readily accessible in a front compartment

Nylon Fabric Filter Pouches

These nylon fabric filter pouches are made of padded, water-andabrasion-resisting Nylon fabric with practical Velcro closures and a white space for identification.

SOFT FOCUS FILTERS

Soft focus filters are popular lens attachments. Although they have awide variety of applications, there is a tendency to use them to achieve a stronger or lower contrast level. However, images created with soft focus filters with lens shaped structures in its surface retain their sharpness while softening contours and causing a pleasing halo effect around the highlights. This effect remains unchanged from the lens aperture opening with these types of filters. Special-effect filters which are slightly colored or have concentric rings in the glass create a look that is similar to a slightly-outof-focus effect. This increases with wider lens aperture openings and diminishes by stopping down. Soft-focus and fog filters are not only useful for still-life and romantic portrait photography, they can produce a surrealistic atmosphere for everyday subjects too. Partial soft focus via a filter with a clear center can help concentrate the attention of the viewer to a specific picture subject. In this case, using larger lens openings to create a nice flow between the sharp and less sharp portions of the image is recommended. Black and white pictures taken with soft focus or fog filters appear slightly dull. Under exposing can help remedy this.

CROSS SCREEN & PRISM FILTERS

3x Multi-Image Prism

The three wedges of equal size that meet at the center of this prism attachment are made of high-grade optical glass, and they deflect the light in such a way that the lens looks at the same subject in three directions. The lens should have an approximately normal focal length (50mm). The result will be a triple image with pleasingly merging contours. The positioning of the images can be varied by rotating the mount of the attachment.

5x Multi-Image Prism

Four prism wedges around a square planoparallel center correspondingly generate five nearly identical images: one in the center and four around the periphery, all with softly merging contours. The most suitable lens is one with a normal focal length, in order for the outer four repeated images to be the same as the central one. The filter can also be rotated for the best arrangement of the outer images, and is very popular for use on video camcorders.

6x Multi-Image Prism

In this prism attachment, the central plano-parallel section is surrounded by 5 wedges, so that the final picture will consist of a central image repeated five times around the perimeter; a total of six images with softly merging edges. Like the other attachments, it should be used on a lens of approximately normal length, and can be rotated.

4x Cross Screen

The star patterns created around light sources by star screens are not spread out as colorfully as those created by the Spectra series. Instead, their colors are less pronounced. The rays begin right at the light sources, they are very long and they are most effective when they are not vertical and horizontal, but at an angle of approximately 45° to the vertical axis.

6x Cross Screen

The star pattern produced by this screen is similar to that of the 4x except that it generates 6 beams from light sources and reflections at an angle of 60° to one another. Here too the light rays emanate right at the light sources, whereas there is a small separation when Spectra filters are used.

8x Cross Screen

Like two 4-beam star screens superimposed at a rotational angle of 45°, this star screen generates eight star beams. Therefore, as is the case with multi-beam Spectra filters, there should only be a few light sources within the image area and the background should have large dark areas in order for the star beams to remain recognizable.

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