B+W Filters

Multicoated to minimize reflection at the filter surfaces which reduces flare and ghosting. B&W Extra-Wide's are special filters for wide-angle lenses. In order to prevent vignetting, the accessory thread on the front is larger.

An 81B filter will replace even more yellow than an 81A and bring her skin tones back to a more appealing level. An 81B can also be used with electronic flash to reduce the amount of "blue" generated by the flash. The 81 series (81A, B, C, D and EF) allows you to choose how much warmth you wish to replace in the image.

An 81D filter will more than replace the yellow missing from the image and place all skin tones on a "warmish" level. The 81 series (81A, B, C, D and EF) allows you to choose how much warmth you wish to replace in the image.

There is much flattering light to be found in the early morning and afternoon hours. With sunlight low on the horizon, the red-orange end of the spectrum becomes enhanced. With daylight balanced film, images shot in this light may prove to be a bit on the warm side. The photographer may desire this effect or choose to "cool" things down.

An 82A has a greater "cooling" effect than an 82 but less than an 82B. The 82 series of blue filters allows the photographer to keep skin tones somewhat normal by increasing the color temperature to a more daylight balanced level. In addition, an 82A provides a cooler effect with tungsten film under 3200K lamps. • 82A Increases temperature from 3,000 to 3,200 Kelvin (1/3 stop).

It’s better to over-expose
In descriptions of the effects of soft focus attachments, reference is frequently made to flare, light fringes or halos. That implies that the subject is bathed in light. The friendly effect of such soft focus pho -tographs also has something to do with our fondness for just the right amount of pleasing light. That amount of light can only appear authentic if the picture’s light-colored portions are really bright. That in turn means that the original exposure should not be too dark, but preferably a bit over (by approximately

Brightness- vs. color contrast
Unlike color photographs, black-and-white photographs only have brightness contrast, no color contrast. That is why in the photography of objects, for example, things that have different colors but the same brightness will have similar gray values. For instance, when there is a blue toy in the foreground and red dress with the same brightness in the background, they will be reproduced with the same gray values. This is referred to as insuffi -cient tonal separation.

Colored filters are helpful in such situations. First the photographer must de -cide which object is to be rendered lighter and which one is to be rendered darker. Then he can select a filter color that ¡) is similar to the color of the object that is to be shown lighter and that 2) is as com -plementary as possible to the object that is to be rendered darker. If the two colors are already nearly complementary, like blue and orange, he selects a filter color that is similar to that of the object that is to be rendered lighter. If the two main colors are not complementary, like blue and red, a compromise can be used: A blue filter lightens the blue color, but it also darkens the red color a little. But a green filter could also be used. While it would only lighten the related blue color a little, it would darken the red color more strongly than the blue filter would. The photographer would have achieved his objective in either case: a good tonal sep -aration with the lighter gray of the toy and a darker gray for the dress.