Filter Chart

The information below is courtesy of Tiffen Manufacturing Corporation. This information is provided only as a guide. For critical exposure and color balancing you should run tests using your camera equipment, lighting, film, and filtering. Please note: Cameras featuring through the lens metering (most common SLR type cameras) will automatically compensate for the f-stop changes listed in these tables.

Filters Primarily for Black & White Films

Filter   Description f-stop Increase  Ortho Film - Daylight f-stop Increase  Ortho Film - Tungsten f-stop Increase  Pan Film - Daylight f-stop Increase  Pan Film - Tungsten Yellow 6 absorbs excess blue, slightly darkening sky, emphasizing clouds 1 2/3 2/3 2/3 Yellow 8 tonal correction outdoors with panchromatic films, increases contrast within clouds against blue sky 1-1/3 1 1 2/3 Yellow 9 strong cloud contrast 1-1/3 1 1 2/3 Green 11 for pan films outdoors, more pleasing flesh tones, black and whites of landscapes, flowers, blossoms, and natural skys - - 2 1-2/3 Yellow 12 cuts haze in aerial photos, for use with aerial Ektachrome Infrared 1-2/3 1-1/3 1 2/3 Green 13 portraits in tungsten light, renders deep flesh tones, lightens foliage, with pan films only - - 2-1/3 2 Yellow 15 dramatic dark skys, marine scenes, aerial photos, contrast in copies 2-1/3 1-2/3 1-2/3 1 Orange 16 deeper than yellow 15, for pan films only - - 1-2/3 1-2/3 Orange 21 absorbs blue and blue-green, renders blues darker, pan films only - - 2-1/3 2 Light Red 23A contrast effects, darkens sky and water, architectural photos, pan film only - - 2-2/3 1-2/3 Red 25 pan films: dramatic sky effects, simulated moonglow, copies of blueprints. infrared films: extreme contrast, turns foliage white, cuts fog, haze and mist. - - 3 2-2/3 Dark Red 29 strong contrasts, copies of blueprints - - 4-1/3 2 Dark Blue 47 accentuates fog and haze - - 2-1/3 3 Dark Blue 47B lightens same color for detail 2-2/3 3 3 4 Light Green 56 darkens sky, good flesh tones, pan films only - - 2-2/3 2-2/3 Dark Green 58 contrast effects in microscopy, produces very light foliage 3 2-1/3 3 3 Dark Green 61 extreme lightening of foliage - - 3-1/3 3-1/3 87 for infrared film only, no visual transmission test test test test 87C   for infrared film only, no visual transmission test test test test

Filters Primarily for Color Films  

Filter   Film Type Lighting Description f-stop increase Clear All Films All optical glass for protection, no color shift - Sky 1A Daylight Daylight used outdoors to reduce blue shift, add warmth - Haze 1 Daylight Daylight reduce ultra-violet and blues caused by haze, aerial and marine scenes, transmits 29% @ 400mm - Haze 2A Daylight Daylight greater ultra-violet correction than Haze 1, adds warmth, transmits 0% @ 400mm - UV15 Daylight Daylight Haze correction, transmits 19% @ 400mm - UV18   Daylight Daylight / Electronic Flash reduces blue with electronic flash, haze correction, transmits 13.5% @ 400mm - UV17 Daylight Daylight reduces blue in shade, haze correction, transmits 3% @ 400mm - 80A (KB15) Daylight 3200 deg K corrects daylight film to use with 3200 deg K floods 2 80B (KB12) Daylight 3400 deg K corrects daylight film to use with 3400 deg K floods 1-2/3 80C (KB9) Daylight Clear Flash clear flash with daylight color film 1 81   Daylight M2 Flash warming filter 1/3 81A Daylight  Type B Electronic Flash  3400 deg K Flood daylight color films with electronic flash, type B films with 3400 deg K floods 1/3 81B Daylight  Type B Electronic Flash  3400 deg K Flood warmer results than 81A 1/3 81C Type A, B Clear Flash when using clear flash 1/3 81EF Type A (3400 deg K) M2 Flash 650 deg K drop 2/3 812 All Color Films Match to Film improves flesh tones, reduces blue 1/3 82 Daylight Daylight 100 deg K increase 1/3 82A Type A  Daylight  Negative 3200 deg K Flood  Early am Late pm  3400 deg K Flood daylight films to reduce warm of early/late day, type A films to 3400 deg K 1/3 82B Type B 3200 deg K Flood cooler than 82A 2/3 82C Type A 3400 deg K Flood cooler than 82B 2/3 85 Type A Daylight converts type A films to daylight 2/3 85N3 Type A Daylight same as 85 plus ND 0.3 1-2/3 85N6 Type A Gel Daylight same as 85 plus ND 0.6 2-2/3 85N9 Gel Type A Gel Daylight same as 85 plus ND 0.9 3-1/3 85N1.0   Type A Daylight same as 85 plus ND 1.0 3-2/3 85POL   Type A Daylight same as 85 plus polarizer 2-1/3 85B Type A,B Daylight converts type B film to daylight 2/3 85BN3   Type B Daylight same as 85B plus ND 0.3 1-2/3 85BN6   Type B Daylight same as 85B plus ND 0.6 2-2/3 85BN9   Type B Daylight same as 85B plus ND 0.9 3-1/3 85BN1.0   Type B Daylight same as 85B plus ND 1.0 3-2/3 85BPOL   Type B Daylight same as 85B plus polarizer 2-1/3 85C Daylight  Tungsten Daylight minimizes overexposure of blue layer 1/3 CC30R Daylight Daylight helps correct blue in underwater photos 2/3 FLB Type B Fluorescent reduces green/blue when shooting under fluorescent lights 1 FLD Daylight Fluorescent reduces green/blue when shooting under fluorescent lights 1 FLW Daylight Fluorescent used when shooting under warm white or white type fluorescent lamps 1

Filters Commonly Used for both Black & White and Color Films   Filter   Film Type Lighting Description f-stop Increase ND2 All Film Types All Light Sources .03 for uniform reduction of light, neutral color 1 ND4   .06 reduces brightness without affecting contrast or hue. The amount of light reaching the CCD drops to about one quarter (-2EV). Suited to prevent overexposure when the subject is extremely bright or when shooting at slow shutter speeds or large apertures. 2 ND8   .09   3 Circular Polarizer All Film Types All Light Sources eliminates surface reflections, glare, and hot spots, darkens sky and increases color saturation about 2, but varies by situation Linear Polarizer     Not for digital cameras   Warm Polarizer     combines the benefits of the Linear Polarizer with the warming effect of the 812 Color Warming filter