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Table 3-1.–Parallel Filter Bars | Up
Photography (Basic) - Introduction to photography and other graphic techniques | Next
Table 3-3.–Light Balancing filters |
Table 3-2.–Recommended Filters for Use with Black-and-White Panchromatic Film in Daylight
Subject
Desired Effect
Filter to Use
Natural
Yellow
N o . 8
Darken
Deep yellow
No. 15
Blue Sky
Very dark
Red
No. 25
Near black
Deep red
No. 29
Seascape when
Natural
Yellow
N o . 8
sky is blue
Dark water
Deep yellow
No. 15
Sunset
Natural
None/yellow
N o . 8
Brilliance
Deep yellow
No. 15
R e d
No. 25
Added haze for
Blue
No. 47
distant effect
Landscapers
Natural
Yellow
N o . 8
Reduce haze
Deep yellow No. 15
(little)
Reduce haze (a lot)
Red
No. 25
Deep red
No. 29
Green colors
Natural
Yellow
N o . 8
Light
Green
No. 58
Reddish colors
Lighter
Red
No. 25
Bluish colors
Lighter
Blue
No. 45
Wood, stone,
Natural
Yellow
N o . 8
sand, snow,
Render texture
Deep yellow
No. 15
fabrics, etc.
Red
No. 25
To obtain desired effects with the use of filters, refer
LIGHT BALANCING FILTERS
to table 3-2.
FILTERS FOR COLOR PHOTOGRAPHY
Problems associated with color materials are quite
different from those encountered with black-and-white
materials. In color photography, the main problem is
achieving correct color balance. The principal factor
involved is the color temperature of the light source
being used to illuminate the subject. This color
temperature provides a natural appearance to the final
product. Filters for color photography are classified as
light balancing, conversion, and color compensating.
Light balancing filters come in two series (not to he
confused with a series that indicate physical size): the
Series 81, yellowish filters, are used to lower the color
temperature of a light source; and the Series 82, bluish
filters, are used to raise the color temperature of light
from a light source. Both series are used when a tungsten
light source is used with color film.
These two series of filters permit minor adjust-
ments in the color quality of an exposing light to obtain
cooler (bluer) or warmer (more yellow) reproduction of
colors; for example, when the color temperature of a
tungsten light source is 3100 K and a color temperature
of 3200 K is desired for the exposing light, a Series 82
3-4
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