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Singh-Ray recently introduced their most substantial, long-exposure-inducing solid neutral density filter ever: the Mor-Slo ND 10-Stop Filter. This optically dense filter provides a highly effective reduction in exposure, allowing you to utilize larger apertures or longer shutter speeds for greater control in bright conditions.
This video from B&H surveys various optical filter options for video production. Mia McCormick discusses the basics of neutral density filters, circular polarizing filters, UV filters and soft effect filters. You’ll learn about the unique benefits of using an optical filter during the capture process—benefits which cannot be replicated in post production.
Way back—five years ago—if you shot video, you used a video camera, and if you shot photographs, you used a still camera. Today, that distinction is all but meaningless. Almost every video camera today captures stills, and virtually every still camera now shoots video.
Not long ago, filters were part and parcel of any worthwhile camera system. If you wanted to warm up the palette of a dreary day, you used a filter. Ditto for converting daylight to tungsten light, tungsten to daylight, and daylight to (or from) fluorescent lights.
With the exception of the filters used for black-and-white photography (see the article Black & White Landscape Photography) the numbers of filters used for capturing color landscapes are few, mostly due to the fact that, in digital imaging, many white balance and filter effects can be addressed in camera.
While many "looks" can be achieved in post-production, certain aspects of the image are better controlled before the image is recorded. Optical filters modify the light before it enters the lens. The benefit of using optical filters instead of digital filters is that there is no added time in post production and less degradation of the image quality, especially in HDSLRs, which already have limited color space and a highly compressed image.