B&W filter recommendations?

[h2oman]

I'm pretty new to LF, and have never really shot B&W in my life. I'm committed to giving it a try, however. I'm wondering what folks might recommend for a person's first two or three filters for B&W. My preferred photography is landscape/nature. I already have a polarizing filter that I use for color shooting.

[Ron Marshall]

For landscape, usually the only filter I use is a Wratten #12. Occasionally a #23. Used mostly to increase sky/cloud contrast.

I recommend buying one and shooting a few scenes with and without a filter to get a feel for it, then deciding if you need others.

[Robert Skeoch]

I mostly use one filter. A B+W 040, which is a dark yellow or orange. It darkens the sky which helps separate the clouds from the blue.

If any one uses a green for portraits and has a with/without sample they could post that would be great.

-Rob

[Eric Leppanen]

I also use a dark yellow/light orange filter (Wratten #16, same as Robert's B+W 040) to hold back the sky and increase cloud contrast. A frequent problem with daytime B&W landscape photography is that, when exposure is increased to open up the shadows, the sky can get blown out. A yellow or orange filter holds back blue light, darkening the sky to a more appropriate level.

In high contrast or hazy conditions, I will even combine the #16 and polarizer to further darken the sky and give any clouds the best definition possible.

[Preston]

"A yellow or orange filter holds back blue light, darkening the sky to a more appropriate level."

Agreed. However, a filter that darkens a blue sky will also darken shadows that are lit by the sky. A small increase in exposure, beyond that called for by the filter factor, will support the shadows a bit without blowing out the high values. Testing to see what works best is always a good idea.

-Preston

[Bill_1856]

Used filters are so cheap that you can buy a whole "set" for only a few dollars.
The usual group is: 1) light yellow, 2) medium yellow, 3) orange, 4) red, 5) green. The most used would probably be the medium yellow (formerly called the K2 filter), or a lot of folks use only a single combination called "yellow-green."
A few years ago filters were grossly overused, and more recently the scene has shifted and now they are seldom used at all. It will just take time for you to feel when they are appropiate, so don't be in a rush.

[Eric Leppanen]

...a filter that darkens a blue sky will also darken shadows that are lit by the sky. A small increase in exposure, beyond that called for by the filter factor, will support the shadows a bit without blowing out the high values. Testing to see what works best is always a good idea.Agreed, as you note, the filter will also black out shadow areas if one is not careful. For beginners, I have found that it can be a good idea to expose the shadows generously (a half stop or more beyond the filter factor), then shoot two sheets of film. Process the first sheet normally; if the highlights are too elevated then pull-process the second sheet accordingly. This "expose for the shadows, let the highlights fall where they may" methodology is easy to do, and protects against metering errors for those not used to shooting negative film. It is easier to recover from moderate overexposure (pulling will bring back highlight detail) than underexposure (pushing usually doesn't improve shadow detail much). Since film holders typically hold two sheets of film, each holder can correspond to a single shot.

At least in my experience, folks used to shooting digital or chrome tend to err toward underexposure to avoid blowing out highlights. With B&W film, they have to learn to err in the opposite direction.

[Mark Sloane]

"A yellow or orange filter holds back blue light, darkening the sky to a more appropriate level."

Agreed. However, a filter that darkens a blue sky will also darken shadows that are lit by the sky. A small increase in exposure, beyond that called for by the filter factor, will support the shadows a bit without blowing out the high values. Testing to see what works best is always a good idea.

-Preston

Interesting thread….I was just exploring different options last night.

I use 77mm B&W screw on filters and all my lenses have 77mm step up rings. The problem is I have no control over which parts of the composition get filtered. So if I want added contrast for the sky I have to add contrast to the whole image.

I do use graduated ND filters to try and keep my highlights within 6 stops of my shadows so I thought; what if there were contrast filters in different strengths that were graduated?
You could add contrast selectively but I’m not sure you could tame cloud highlights because a contrast filter might accentuate the highlights and the clouds are usually brighter than the sky behind it.

Anyway…..here is Formatt grad red filter at B&H…..an idea I might pursue:

http://www.bhphotovideo.com/bnh/controller/home?O=workaround.jsp&A=details&Q=&sku=395339&is=REG#specifications

[Brian Ellis]

A basic set of filters for b&w photography is polarizer, yellow, orange, red, and green. In b&w photographer you use the colored filters for two reasons: to darken skies and, more frequently, to separate objects of different colors but that are of similar values. This is one of the harder things to get used to when you go from color to b&w. For example, if you have a red apple against green foliage in the same light, the difference is very obvious in color but in b&w the apple won't stand out from the foliage, the shades of gray will be too similar. You can use a red filter to lighten the apple and darken the foliage or you can use a green filter to lighten the foliage and leave the apple about the same. But you have to do something. Eventually you get accustomed to seeing when you need a filter for this purpose but it can take a while.

[jeroldharter]

A basic set implies a limited number of filters, so which limits you impose on yourself should depend on what kinds of photos you anticipate shooting the most.


Red, orange, yellow filters are often used in landscapes to punch up contrast and darken the sky.
A polarizer is used just like in color photography to subdue reflections, punch up the clouds, etc. It can also be used as a neutral density filter in a pinch. The cheaper linear polarizer is adequate for large format work rather than a circular polarizer.
Neutral density filters are useful for blurring flowing water and amplifying wind effects or motion in general.
Green filters lighten green foliage and I believe white skin tones.
Blue filters amplify mist or fog.
UV and Haze filters are mostly for lens protection.

Best to get step up rings and buy single filters of the largest size. Depending on your lenses though, that could drive the prices up.

If you are looking for a good mix, get a yellow/orange, green, and 8x ND filter for starters.

[John Kasaian]

As a minimum, a yellow K2. If your shooting locations are super green you might add a second filter to lighten foliage.
That's about as basic as it gets IMHO. Add more when you have a need.

[Eric James]

As Jarold mentions - consider a ND filter. Have a look at the photography of Sheldon Nalos - he has developed a real talent for employing them in his photography.


Also, before you buy, give some serious consideration to the question of diameter before, "if I had it to do over again" becomes a sorrowful mantra, and a closet full of expensive (hard to sell) glass. Step up rings are cheap:)

[Peter De Smidt]

I recommend a yellow/green filter, and then add as needed. It'll darken the sky without unduly effecting foliage.

[tgtaylor]

I just visited the OP's home page and picked-up the following trojan:
JS/Obfuscated (Trojan).

McAfee says this trojan was first discovered 11/26/08 and has unknown origin. :mad: