A Guide to Filters for Lenses

A Guide to Filters for Lenses

If you ask most consumer-camera owners why they keep a filter on their lens, a majority will most likely reply, “For protection.” While filters do protect the surface of your lens against dust, moisture, and the occasional thumb print, the primary function of lens filters is really to improve the image quality of the pictures you take. There are many kinds of filters with obvious and lesser-known benefits, so if you’re looking for a lens filter, stick around! We are going to break down the basics  of lens filter and why they might be useful.

What are the basic filters?

The most basic filters are ultra-violet reducing filters, skylight filters, and protection filters. These filters are typically made of glass and feature basic anti-reflective coatings. You can safely use any of these filters to keep the front element of your lens clean and safe, but you’re going to want a UV or skylight filter if you are looking to also improve the image quality of your stills and videos.

Ultra-violet reducing filters, also known as UV filters or haze filters, are used to mitigate the effects of atmospheric haze, moisture, and other airborne pollutants that cause image degradation. Available in different strengths, UV filters are especially handy when you are photographing areas with intense ambient ultraviolet light. Locations near large bodies of open water, at higher altitudes, or in snow are all places where a strong UV filter (UV-410 and up, UV-Haze 2A, 2B, and 2E) will be useful. Because stronger filters use heavier UV coatings, some will have a warm, amber-like appearance that requires exposure compensation, typically anywhere from zero to a half stop.

Alternatively, skylight filters have a magenta tint and are available in two strengths 1A and 1B. These filters are preferable when photographing skin tones or using color slide film, because their magenta coloring can counterbalance the blue bias found in certain film stocks. Skylight filters can also cut through atmospheric haze like UV filters, but they do not impact your camera exposure.

What should I look for in a filter? Do I need to buy something expensive?

While most UV filters look the same, their pricing can be a big quality tell, often beginning with the kind of glass used in the manufacturing process. Make no mistake about it there’s glass and there’s glass, and the differences can really have an  impact on your image quality.

If you want premium glass, you’re going to want to look at factors like its thickness (the thinner, the better), the kinds of coatings used, how it was made and even where it was made. Usually, pricier filters use an optically purer and thinner glass that interferes less with the front element of your lens. Other factors to consider include the quality of retaining rings, prioritizing brass construction over aluminum that tends to dent and jam.

If your decision boils down to price, we recommend considering how you plan to use your filter. If you’re working with a basic kitted lens, or trying out filters for the first time, an inexpensive filter is totally worth taking out for a spin, but you will want to splurge on something of quality if you are working with a high-performance or telephoto lens. The money you might save on a budget filter is simply not worth compromising your valuable lens’s overall performance. 

What are Polarizing filters and how do I use them?

Polarizing filters are most handy when photographing outdoors, where they saturate colors and make clouds pop against the sky. They can also eliminate glares and reflections bouncing off water, glass, and other polished surfaces.

Like our other filters thus far, polarizing filters come in different flavors. They are available in two formats: linear and circular. Though they look and perform identically, linear filters are designed specifically for manual-focus lenses while circular filters can be used equally with AF or MF optics. Polarizing filters are also available in different filtration combinations like warming (81A, 81C, 81EF, 85, 85B), intensifying, and UV blends that can be handy for more specific working conditions.

Once you have purchased the correct type for your camera, simply mount your polarizing filter and rotate it until you have achieved the right level of polarization, keeping in mind that you will lose around three stops of light with it on. Overall, these little guys are great when working outdoors, optimizing your imagery in ways that cannot be mimicked with Photoshop and other post-capture voodoo.

What are Neutral Density filters and how do I use them?

Neutral density (ND) filters are gray-toned filters designed to absorb calibrated degrees of light as it passes through the lens. While they usually work in 1/3, 2/3, and full-stop increments, ND filters are also available as variable-density filters that you can infinitely adjust by rotating the filter on its mount as you would a polarizing filter.

There are many applications for ND filters, but chief among them is allowing you to shoot at wider f-stops under bright light. For this reason, ND filters are used extensively by filmmakers and videographers, offering better exposure control when working with limited shutter-speed options.

ND filters can also be used to blur pedestrian traffic and flowing water. Depending on the amount of ND filtration you place in front of your lens, you can drop your shutter speeds and control of how much or how little depth of field you desire for that silken, blurred effect.

What’s the difference between Neutral Density and Graduated Neutral Density Filters?

As the name suggests, graduated ND filters are typically clear on one end and gradually build in density toward the opposite end, while regular ND filters are even from end to end.

Graduated ND filters are often used to even out scenes containing extreme exposure variations on opposite sides of the frame. For example, a graduated ND filter might be useful if you are shooting a landscape where the top of a mountain is bathed in sunlight, while the valley below lies in shade. Indoors, this kind of filter is handy when your light source is overhead and gradually falls off as it approaches the floor. Graduated filters can also be used in evenly lit areas to darken the sky or foreground for stylistic reasons. You can even use a graduated color filter to add a little touch of color in a scene while darkening the foreground or background.

What about warming and cooling filters?

While warming (adding yellow to the scene) and cooling (adding blue to the scene) can be done post capture with editing software, some photographers prefer to filter their lens instead. This can be purely for aesthetic reasons, like warming up a portrait, or practical, like offsetting the bluer sunlight during the summer months. Warming filters encompass all 81- and 85-series filters, while cooling filters include all 80- and 82-series filters.

If you are applying a warming or cooling filter to a digital camera, be sure to turn off auto white balance and set your camera to meet to the ambient color temperature closely, i.e., daylight, overcast, tungsten, fluorescent, etc., of your scene for the best results.

I’ve heard landscape photographers talk about Enhancing and Intensifying filters. What makes them so special?

Enhancing and intensifying filters are modified to cut some of the orange portion of the color spectrum, which results in higher saturation levels in reds and a cleaner, less muddy interpretation of earth tones. They are especially popular for photographing fall foliage and landscapes.

Singh-Ray 55mm LB ColorCombo Polarizer Filter
Singh-Ray 55mm LB ColorCombo Polarizer Filter

I’ve seen photographers using red, green, yellow, and other color filters. Aside from making everything look red, green, yellow, etc, when should I consider using color filters?

While color filters do make everything look one color when placed in front of your lens, their most common use is for black-and-white photography.

When shooting black-and-white, a color filter can drastically change your image’s tonal qualities by preventing that specific color from reaching the film (or sensor) surface. By applying different color filters to your lens, you can enjoy creative effects specific to that color. For example, a yellow filter can be used to delineates clouds against blue skies, while orange and red filters will further intensify that effect. On the cooler side of the color spectrum, green filters can be used to improve skin tones in black-and-white portraits.

What are color-correction filters used for?

Color-correction filters, also called CC filters, include cyan, magenta, yellow, red, green, and blue filters. Available in 10% increments, CC filters are used to modify or correct the color balance of mismatched or irregular light sources. While they are less relevant in digital photography than film photography, many photographers still use CC filters to correct their images at the time of capture.

If you want to incorporate CC filters into your creative workflow, be sure to follow the same protocols as you would with other color filters. Disable your auto WB setting and use a setting closer to the ambient lighting conditions of your scene.

Are there filters other than the glass screw-on types?

While glass screw-on filters are the most common, there are also polyester, gelatin, and resin filters available. These variations are often square or rectangular and attach to your lens via either a filter holder or matte box. The filter itself is placed in a slot that will keep it flat and parallel with front lens surface to deliver optimal performance.

What are the benefits of polyester, gelatin, or resin filters?

These alternative filter types can be optically purer than glass depending on the type. This is especially true of resin and gelatin types, whose especially thin profiles can result in sharper imagery. These filters also tend to be lighter to transport when purchased as a kit or series, and will often end up being less expensive than a comparable set of glass filters.

Alternative filters are also handy if you have lenses with different filter threads. All you need is a single set of step-down rings to use with the filter holder. It is worth noting that the same set of step-down rings can also be used with screw-in glass filters, so there’s no need to purchase multiple sets of filters.

The main downside of non-glass filters is that they are easily damaged and nearly impossible to clean, especially when dealing with gel filters. If you intend to use non-glass filters, we recommend being extra careful when handling them, and purchasing a box of disposable plastic or cotton gloves.

What are slim filters?

Slim filters have narrow profiles and sometimes lack threads on the forward side of the filter ring. Available in almost every size, these filters are designed for lenses with an angle of view wider than about 74°, or the 28mm equivalent. Depending on the make and model, many kit zooms require thin or slim-mount filters. By utilizing a thinner retaining ring, the filter is less likely to vignette the corners of the frame.

What other types of filters are there?

There are many types of creative and technical filters available for pros and serious enthusiasts alike. There are filters that produce prism and star-like patterns, filters for close-ups, diffusion, infrared imaging, as well as contrast control. Their creative applications are up to you!

The Takeaway

  • UV / Haze and Skylight filters protect the surface of your lens against scratches, dust, moisture, and fingerprints. They also minimize atmospheric haze, resulting in better overall image quality. Protective filters also keep dust, moisture, and fingerprints at bay, but are not effective in cutting through atmospheric haze.

  • The difference between an inexpensive filter and a pricier one has to do with the quality of the glass (costlier filters tend to use purer and thinner glass), the quality of the anti-reflective and color coatings and retaining ring (better filters have brass rings instead of aluminum).

  • Polarizing filters reduce or eliminate distracting reflections from the surface of glass, water, and other polished surfaces. They also darken skies, make clouds pop from their surroundings, and saturate color by reducing stray ambient glare.

  • Polarizing filters are also available combined with warming filters, enhancing filters, and diffusion filters.

  • Neutral density (ND) filters block varying degrees of light, making it possible to shoot at wider apertures under bright lighting conditions. They also blur moving objects and allow for better exposure control when shooting video or film.

  • Graduated and color graduated ND filters use a gradient effect to equalize extreme lighting variables on opposing sides of the frame. They can also add an element of drama to spice up an image.

  • Enhancing and Intensifying filters are useful for intensifying the color-saturation levels of reds and other earth tones, making them desirable for landscape and foliage photography.

  • CC filters allow you to adjust the color levels of your cyan, magenta, yellow, red, green, and blue channels incrementally.

  • Although most photographers rely on conventional glass screw-in filters, there are also square and rectangular filters made from out of polyester, gelatin, and resin. These filters can be optically purer than glass and require holders and extra care when handled.

  • If you plan on using one filter on several lenses, you should purchase a slim or thin version to ensure it won’t vignette the corners of the frame when used on a wide-angle lens.

Overall, filters can be incredibly useful whether you are looking to enhance your imagery or gain some peace of mind in the field. If you are looking for solid filter recommendations, you can always leave a question in the comments, contact a B&H Sales Professional over the phone or live chat, or visit our SuperStore.

Do you have any tips for using filters? If you could only use one filter, which would you choose? Let us know in the Comments section, below.


Hi there... an informative read. Are there filters that work well for shooting people, portrait work or events?

Hi Lwazi,

Thanks for the kind words!

The "general use" filter is going to be your UV/Clear filter.

Generally, at events, light is at a premium, so you'd want to avoid any filters that reduce the amount of light entering the lens.

For portraits, traditionally, some photographers have used soft focus filters and other special use filters to get unique effects. They have lost a bit of popularity over the years, as you can reproduce some of the effects digitally now, but feel free to do a search on the web to see what folks have done with different filters.

Here are some soft focus filters:


Let me know if you have more questions!

Thanks for reading!



Hi Team BH Photovideo. 

We have these lenses, I need UV Filters and the necessary accessories to install them on the lenses; what would be the options?

15 CanonKJ20x8.2B IRSD    

05 CanonHJ17ex6.2B IRSE S

05 CanonKJ22ex7.6B IRSE

01 CanonKJ17ex7.7B IRSE S

04 CanonKJ13x6B KRSD

06 CanonCJ24ex7.5B IASE S

01 CanonHJ24ex7.5B IRSE S

02 CanonCJ14ex4.3B IASE S

Hi Jose - 

Please email or call us for details, quantities, or a quotation: 

[email protected] 

  • 800.952.1815
  • 212.239.7500

This was very informative and helpful. Thank you to those who wrote it. Do you have other write ups like this that talk about the different manufacturers and brands? Im interested in learning how filters from companies like Hoya, Heliopan, B+W and Zeiss differ from each other. 

Great explanation on filters. I saw somewhere info that one can use one filter size with these adaptors, I think they were magnetic and they can be used on multiple size lens filter mounts. What are these called and where can one find them. 

There are quite a few manufacturers who now make magnetic filters, or filters that are exchangeable using a magnetic filter ring.  The most popular manufacturer would be Kase Filters, but we do have options from other manufacturers such as Freewell, Haida, Ice, and K&F Concept.  I would recommend either contacting us via Live Chat by clicking the link on our standard B&H website, or you may e-mail us at [email protected] with the brand/model name of your lenses or the filter thread sizes of your lenses, as well as what type of filter you are looking to purchase or what effect you are looking for, and we can assist you with your usage needs.  Most magnetic filters tend to be either neutral density filters or circular polarizer filters, though there may be a few diffusion or effect filter options available as well.

There is so much you can do in colour grading these days with Resolve for video. Once you use a filter you burn in that effect and it can make it difficult or impossible to remove. Intensifying filters for example, over $300.00 each to add saturation and polarization. How close can you get to what you can do in post or not do in post that justifies laying out thousands in filters? What truthfully can be in post that is close or perhaps more flexible in post and which filters are absolutely essential (ie variable ND for mirrorless cameras)? I would like to see a discussion that seriously considers the digital environment we are working in today vs filters that you might need any more or less so than in the days film stock made filters more essential. Some producers insist you minimize filters to allow more flexibility in digital post.

Hi John,

Thank you for your comment. I am not a video shooter, but I do know what you are saying about burning in a filter effect that cannot be removed in post.

As a still shooter, I sometimes add filtration and then shoot the same image without it (when able) to make sure that I have a couple of post-processing options.

Regardless of the power of post processing, it is still impossible to digitally simulate the effects of a polarizer (sky darkening and glare reduction) and that of a strong ND filter (allowing slower shutter speeds for a given amount of ambient light), so those are the filters I carry and rely on.

We live in interesting technological times and, yes, the days of film stock filters are pretty much done except for those shooting film and those looking for creative filtration.

I would enjoy more of your thoughts, and that of other readers—especially those who specialize in post processing work to get their input.

Thanks for reading!



I have a canon 5d mark4 

Sigma 35mm f/1.4 DG HSM Art Lens for Canon EF and Sigma - Art 85mm F1.4 DG HSM | A Standard Zoom Lens

I mainly photograph people outside in nature (ocean, park, etc.)

I'm thinking I just need a skylight filter to protect the lens but not change the color of the photos? What would your recommendation be?

I also want to get a flash to use if taking photos at an indoor event without much natural light or when shooting in the sun and the person's face is in shadow. What would you recommend? Someone I know recommended this option: https://www.bhphotovideo.com/c/product/1250646-REG/canon_speedlite_600e…


Hi Amy,

Any good UV, clear, or skylight filter will have a negligible effect on the color of your images, so don't hesitate to use one to protect your lens's front elements. Personally, I would stay away from the bargain priced ones and shop in the mid range knowing that you don't need the most expensive ones either. Hoya and B+W are solid brands and you cannot go wrong with them. You can also get a Sigma filter for your Sigma lens...if you want to show some brand loyalty to your new lenses!

Yes, that is a good choice for a speedlight for fill-flash and low ambient lighting needs. Someone gave you a good recommendation!

Please let us know if you have other questions!




Thank you Todd! I was also recommended to get a graduated filter because I often take photos of subjects where the background gets blown out. For the 85 mm lens what size graduated filter would I be looking for? Thanks in advance!

Hi Amy,

Welcome! Sorry for the delay in circling back to your reply!

The Sigma 85mm Art lens takes monster 86mm filters. You have the option of 0.3 or 0.6 graduated filters for that lens. I would probably go with the heavier 0.6 filter if I was going to get a single one.

Sans GND filter, you can always try to shoot an HDR shot, or meter on the highlighted area of your frame and try to pull out shadow detail in the darker areas.

Let me know if you have more questions! And, again, sorry for the delay...I am not the author of this article, so I don't always get notified about comments.



Recently purchased a used Nikon 500mm f/4G. Came with a 81A 1.2x MRC filter. I don’t like the warming effect of the filter. Colors are better with no filter at all, obviously, in the filter holder and it’s a bit sharper. I think a new filter is in order before I sent the camera and lens out for micro alignment. Optically speaking, is there a difference in a Nikon NC filter vs a XS Pro Nano (007M)?With the price points being relatively close between the two. My goal is maximizing clarity and sharpness of the camera and lens hence the micro alignment. 

Both the Nikon Neutral Clear Filter (52mm) and the B+W 52mm XS-Pro Clear MRC-Nano 007 Filter would be compatible for use in the slip-in filter holder included with the Nikon AF-S NIKKOR 500mm F4G ED VR Lens.  Both filters are clear multi-coated filters, so neither have an effect on the image and should have similar performance.  I will state that the Nikon filter was designed for use with the Nikon AF-S NIKKOR 500mm F4G ED VR Lens and is made from the same optical glass as the elements used inside the lens, so I would recommend the Nikon filter as that is the one the engineers had in mind when designing the lens' optical design, but both would work; I can't state that you would see a major difference between either filter, so it would be personal preference.

I'm using a Sony NEX-7 to record videos of a DJ setup with a mixer that has two lighted VU meters.  The VU meters in the recordings are light blobs, i.e., the action of the VU meters, which I'd like to capture, is not at all discernible.  After reading the article, I'm still unclear about which type of filter might help or solve this issue, if at all.  Thanks for any insight.

Unfortunately, a filter would not particularly help you in your situation.  The best thing to do in your situation would be to add light to your scene, either using a flash (for still photography) or a continuous light (for both video and still photography) to add light to the mixing console.  The issue is the difference in light, with a bright VU meter that is overexposed and a dark console that is underexposed.  The difference in exposure value of the lit VU meter and the un-lit mixing board is too far apart for the dynamic range of your camera.  As such, adding light to the mixer board would be the recommended solution.  A filter will not add light to the shadow area of the mixing board.  If you are looking for a filter that may help slightly, you can look for a filter that reduces the contrast of the scene, such as a Tiffen Ultra Contrast 3 Filter.  I do not think this is the best solution, but it would be the filter solution I would recommend if so desired (or used in combination with supplemental lighting).  Either adding light from a flash, from continuous light, or from a reflector bouncing light onto the mixing board would be my recommendation for your described shooting situation to reduce the dynamic range between the VU meter and the darker mixing console.

I own a Canon 1500D, which lenses should I have in my bag, any recommendations?

I am from India

Which filter you choose to purchase will depend on the type of photography you capture, as well as whether you are shooting digital still images, still images on film, or video capture.  One filter I often recommend to everyone who photographs images outdoors would be a circular polarizer filter.  Circular polarizer filters remove glare from non-metallic items, such as grass/foliage, water, glass, paint, wood, etc.  By removing the glare, it will have the appearance of increasing color saturation and contrast.  Also, depending on your direction in relation to the sun, a circular polarizer can also deepen the blue color in the sky on blue days.  It does remove between 1.5-3 stops of light from your camera, so it is primarily used outdoors (think of using them as sunglasses for your camera, and use them in the same situations you would use polarized sunglasses).  For other filter recommendations, we would need to know what you are shooting.  You can e-mail us at [email protected] with your shooting needs/desires, as well as the filter thread size of the lenses on which you wish to use the filters, and we can give more recommendations based on your planned usage needs.

Hi, I have a Canon R6 and I'm kind of in the same situation. I don't know with what type of filter should I start first. I do portraits and based in what you said I am thinking circular polarizer since all my sessions are outdoors but I don't know for sure. Also the lenses I do have are RF 35mm f1.8 50mm f1.8 and 85mm f2.

The Canon RF 35mm f/1.8 IS Macro STM Lens uses 52mm filters.  The Canon RF 50mm f/1.8 STM Lens uses 43mm filters.  The Canon RF 85mm f/2 Macro IS STM Lens uses 67mm filters.  The Hoya 67mm HRT Circular Polarizer UV Filter, B&H # HOCPHRT67, would fit on the RF 85mm f/2 lens, whereas the Hoya 52mm HRT Circular Polarizer UV Filter, B&H # HOCPHRT52, would fit the RF 35mm f/1.8 lens, and the Hoya 43mm NXT Plus Circular Polarizer Filter, B&H # HOCPNP43, or the Tiffen 43mm Circular Polarizing Filter, B&H # TICP43, would fit the RF 50mm f/1.8 lens.


If you are not planning on using lens hoods, and you wish to only purchase one filter, you may purchase the larger 67mm circular polarizer, and you may purchase step-up rings such as the Sensei PRO 43-67mm Aluminum Step-Up Ring, B&H # SESURPA4367, and the Sensei PRO 52-67mm Aluminum Step-Up Ring, B&H # SESURPA5267, to connect the larger filter to the filter threads on the smaller lenses.


I've got a Nikon Z50 and use it for video (artistically). I'm in southern California, where it's bright bright bright. So I'm looking for an affordable filter solution. I shoot in manual modes (focus, aperture, etc.). According to the article I should get an ND filter, but I'm not finding them easily for this camera. Any suggestions? Alternatives? I haven't yet used the camera outside in broad daylight.

You can definitely use a variable ND filter on your Nikon Z50, but the right one will depend on which lens you're using there. We invite you to contact us via Live Chat on our website today until 8PM ET so we can go over your options in greater detail. 

Looking for a slim good protection filter for Canon RF600mm....would it matter if it was UV or clear?

If using the filter just for protection, the B+W 82mm XS-Pro Clear MRC-Nano 007 Filter, BH # BWCXSP82 would be an excellent option with a slimmer ring. 




Hi. Looking for a lens filter to just protect my 70-210 f4 Tamron lens. I want my image to look exactly the way I shoot the shot as if I didn't have a filter on. Which one would you recommend? UV or clear filter in this case?? Could you recommend a few (like 1-3) for the brand Hoya, Tiffen, and B + W to help my decision before purchasing?? 

Hi Kirk/ B&H,

I'm unable to see the complete link for the 3rd recommendation I think is the Hoya???

Thanks for writing such a clear, comprehensive article! I just bought the Nikon Z 24-200 lens and am looking for a good protective filter but something between the $130 Hoya & the $10 cheapo. Any recommendations? 

I have the Tamron 15-600mm lens 95mm is the filter size.  I just want one to protect the front lens glass.  What do you recommend?

My shooting is mostly landscapes and wildlife in the mountains and national parks.

excelente matéria sobre os filtros, muito útil..

Muchísimas gracias! Estamos felizes que o artigo tenha sido útil para você.

493 / 5000

I was told that the glasses located in front of the camera sensors are already anti-UV treated and that it is therefore unnecessary to use such a filter from now on. Can anyone confirm this?

The idea of protecting the front lens is only valid for manual lenses such as Leica, Voigtländer and other old lenses. Today, if the autofocus lens is impacted, even before the front lens is damaged, there is a good chance that the internal autofocus system is damaged.

Most digital camera sensors do have some amount of UV filtration to protect the sensor from UV light, though there are a few digital cameras that may still allow UV light into cameras, and a smaller number that allow both UV and infrared light into the cameras (these usually have hot filters or UV/IR blocking filters to correct colors from being altered due to the UV/IR light).  That being said, it is less necessary to use a UV filter to reduce UV light from entering the camera unless you are shooting at high altitudes where extra UV reduction can still be beneficial.  UV filtration is more so important when photographing with film.  However, in reply to your comment about protecting a lens only applies to older lenses is not quite accurate.  Protection can refer to more than just impact damage.  A filter used on the front of the lens can protect your lens from scratches from dust/dirt on the front optical element of your lens, and can protect your lens from oils such as those from fingerprints from damaging the coatings on lenses.  While some newer lenses are starting to feature Nano coating which helps make the lens easier to clean and repels oil/water, a filter can add additional protection from these elements, and would apply to both older and newer lenses.  That being said, whether or not you choose to use a UV or protection filter comes down to personal choice.  Some photographers prefer the additional benefits offered by a UV filter, while some purists feel that adding any piece of glass in front of the manufacturer's designed lens formula will reduce some image quality from the image, and they prefer not to use filters at all.  As stated, this would come down to personal preference, and I would add to use the best quality filter in your budget for your chosen application to reduce any negative effect filtration may add to your image.

This was a very informative article , thank you. Is there an adapter I can use to fit filters to my Panasonic Lumix DMC Zs100? 

Unfortunately, there are no adapters that will allow filters to fit the Panasonic Lumix DMC-ZS100. We're very sorry. 


I recently acquired a load of Kodak Wratten Gelatin Filters, but I am looking for a way to mount it on my lens. How will I go about doing so?

I was given a 81-A 1.2x MRC filter. What do I have and what does the 1.2x signify? I believe it's a warming filter. 

The 1.2X designation would refer to the filter factor, which is the amount of light that is being blocked with the filter attached. 

What about filter strengths?  For example, 'cooling' and 'warming' filters come in different strengths.........A, B, C.   Is an 82A stronger or weaker than an 82C?

As you go higher in letter, the color temperature goes further to the cooler side.

I'm looking variable ND filters for the Tokina 11-16mm F2.8 (not a fish eye with 77mm filter size) and Sigma 16mm F1.4 (with step up ring to 77mm) to shoot video on my GH5S. Since this is a wide angle lens, i read that there could be problem of vignetting. I would like to find affordable ND filters with hard stop. I was looking at K&F Concept brand. Which models could you recommend for my use?

I need a filter that will reduce the glare of my eyeglasses when I record video.  Which type should I get?

If you are referring to a filter for use when photographing a subject in front of a camera, a polarizer lens on your camera may be beneficial for your usage needs.  However, some instances of reflection/glare may require cross-polarization (using a linear polarizer filter on your light fixture at a 90° angle to the polarizer on your lens.  While this should be able to eliminate most glare from glass, do note if your subject is moving, the angle of polarization will also change.  As such, you may either try to just use a polarizer on your lens and understand you may have some glare if the subject is in motion, or you may have them remove the lenses from their glasses, remove the glasses altogether, or position the lights at an angle where they will not reflect on your subject's lenses.

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