There is something to be said for creating images at the moment of exposure—the way most of the world’s greatest pictures have been made. Tiffen optical filters let you do just that, by being able to preview the effect you’ll get when it matters most—when you’re behind the camera. There is nothing wrong with using electronic plug-in filter programs that let you add effects or manipulate the image after it’s taken, but if you really want to own the final images you compose, there’s no substitute for optical filters when it comes to controlling color balance and special effects with precision, repeatability, and convenience.
It is important to remember that filtering the light before it passes through the lens and strikes the image sensor or film, has important advantages. It lets you match the brightness range of the scene to the characteristics of the capture medium, and get professional quality results even under tough lighting conditions. For instance, Tiffen polarizing filters actually polarize the light, eliminating reflections on glass and water surfaces while retaining sub-surface details. Neither of these effects is possible with after-the-fact plug-in filter systems which can only provide filter effects, not true light filtration.
Tiffen filters are manufactured using ColorCore technology, a closely guarded proprietary process that entails permanently laminating the filter material in between two pieces of optical glass that are ground flat to tolerances of a ten-thousandth of an inch, then mounting them in precision metal rings. The ColorCore process allows the control of the color and density of Tiffen filters, and the characteristics of special effects filters with much greater accuracy than typical dyed-in-the mass filters, which usually exhibit color and density variations.
When Tiffen filters are ground and polished, the ColorCore is unaffected, so color and density remain uniform. When you hold a group of Tiffen filters of the same type against a white sheet of paper, they all look identical. This consistency and excellence allow custom-made exact replacements for them if one breaks on the job. All Tiffen filters are backed by a 10-year warranty and are made in the USA.
Filters are more important then ever before when shooting with your digital camera.
- Save time and frustration in post-production. Eliminate uncertainty and see the effect you want immediately, not hours or days later.
- Lens Protection – Protect your lens from moisture, scratches and damage.
- Correction – Bring the optical correction to a known standard, leaving more latitude for digital effects used later.
- Contrast Control – Ultra Contrast and Low Contrast filters allow your digital camera to capture more shadow detail or lower contrast evenly.
- Polarizers – These filter are ideal for color and contrast enhancements, removing reflections from water and glass (impossible to do electronically) while adding richer, natural color saturation.
- Color Enhancing Filter – Makes vibrant fall colors "pop" without adversely affecting other colors (difficult to easily do electronically).
- Color-Grad Filters – Add color selectively to the image while keeping other portions unaffected.
- Black & White Contrast
- Close-Up
- Color Compensating
- Color Graduated, Color Grad Complements
- Combination Colors
- Contrast
- Day-For-Night
- Decamired
- Diffusion
- Digital High Transmission
- DV Kits
- Enhancing
- Flourescent Light Correction Filters
- Fog Effect
- Hollywood/FX
- Hot Mirror, Infrared, IRND
- LL-D (Low Light Daylight)
- Mist Effect
- Neutral Density, Color Grad ND, Combination ND, LL-D ND
- Polarizing, Combination Polarizing
- Protection/UV/Haze Control
- Series 80, 81, 82, 85 – Color Temperature Correction
- Smoque
- Soft/FX
- Softnet
- Solid Color, Standard Color
- Split-Fields
- Star / Streak Effect
1. Black & White Contrast
These filters create a variety of effects including contrast control, enhanced skin tones, tonal correction and more dramatic scenery and are usually used when shooting with black and white film.
The filters assist in managing the variation of colors to appear as darker or lighter grey tones in order to differentiate them in the grey variation as they would be in natural color.
Although originally intended for use with black and white film, these filters can also be used as a creative tool in color imaging. These contrast filters are also used in the copy work of old photographs.
8Medium Yellow |
Gives greater contrast for blue skies and foliage. Offers the most correct tonal range contrast to produce natural clouds against blue skys. Reduces background blue, brings out clouds in a blue sky. For facial shots, reduces freckles and red spots on skin and darkens blue eyes. |
11Yellow Green |
Ideal for more pleasing skintones outdoors. Especially suited for portraits photographed against the sky. Darkens blue skies in contrast to clouds but preserves natural skin tones. In foliage, greens are lightened and red blossoms darkened. |
12Yellow |
Stronger contrast than 8. ‘Minus blue’ filter. Provides haze penetration in aerial shots. Reduces excess blue of full moon in astrophotography. |
15Deep Yellow |
Dramatically darkens skies in landscapes. Also enhances marine scenes and aerial shots. |
16Orange |
Deeper than Yellow 15 for more dramatic highlights. |
21Orange |
Absorbs blue and blue/green. Renders blue tones darker as in marine shots. |
23ALight Red |
Light red filter produces contrast effects that darken sky and water, as in dramatic architectural photography. Not recommended for flesh tones. |
25Medium Red |
Almost completely suppresses blue and green. Creates dramatic contrast particularly with skies. Haze reduced and white surfaces appear brilliant. Simulate a moonlit scene at midday with slight underexposure. Use with infrared film to yield extreme contrast with skies, turn foliage white and cut through fog and haze. |
29Dark Red |
Provides very strong contrast. Excellent copying filter for blueprints. Also used in scientific photography. |
47Blue |
Accentuates haze and fog, used for contrast effects. |
47BBlue |
Dark blue filter that lightens blue objects for detail. |
58Dark Green |
Reduces blue and red, affects blue skies similarly to yellow filter but differentiates better between delicate hues of grass and foliage. Gives a very light foliage effect. |
2. Close-up
These filters maintain resolution and picture clarity while maximizing image size, allowing you to focus much closer than your average lens allows. Great for detailed photos of nature, stamp collections and a wide array of other close-up situations. Available in several diopter strengths. Use individually or in combination for maximum effect.
3. Color Compensating
Specific filters to adjust your image when it has too much of one particular color. These filters effectively act as light sponges, absorbing excess amounts of a specific color in different densities according to which filter is selected. By selecting these different densities very fine adjustments in color temperature can be made.
The filters come in red, green, blue, magenta, cyan and yellow.
| Red | Absorbs green and blue |
| Green | Absorbs blue and red |
| Blue | Absorbs green and red |
| Cyan | Absorbs red |
| Magenta | Absorbs green |
| Yellow | Absorbs blue |
4. Color Graduated, Color Grad Complements
The Color-Grad filter category is one of the most widely used category of filters in the industry today. The principal purpose of graduated filters is to create an effect in the top part of the image while leaving the bottom undisturbed. Some of the most popular applications are:
- Adding color excitement to a drab sky
- Changing the specific color in a scene to create a desired special effect
- Enhancing the existing color or creating subtle color drama
- Creating more balanced exposure in uneven lighting situations
- Create or enhance sunrises and sunsets
Tiffen Color-Grads are supplied in a wide range of sizes and colors and are made in either soft, hard or, as a special order, attenuated gradients. When it comes to rectangular-shaped filters, such as the 4x5.650 (Panavision size), the terms vertical and horizontal are important.
The horizontal or vertical designation refers to the position of the filter in relationship to the camera when the grad line is horizontal. In addition to subject matter and its surroundings, the type of lens you use will help to determine whether to use a Tiffen Color-Grad with a “hard” edge or “soft” edge. Interesting effects can be achieved using two different graduated filters, (one upside down) one of which affects the top half of the image with the other affecting the bottom half.
Hard Edge: the transition area is approximately 1/4” to 1/2” wide before reaching full density, depending on the size of the filter. Telephoto lenses make use of a small portion of the filter. We recommend a hard edge for long lenses because a soft edge would get lost in the image.
Soft Edge: the transition area is between 1/2” to 2” wide before reaching full density, depending on the size of the filter. Wide angle lenses make objects smaller. We recommend a soft edge for short focal lengths because a hard edge gradient would look like a hard straight line. Soft edges and attenuators are for subtle blending with irregular-shaped subjects or unusual lighting.
Attenuator: the transition area takes place throughout the whole filter, starting clear and reaching its maximum density at the opposite end. Soft edges and attenuators are for subtle blending with irregular-shaped subjects or unusual lighting.
Graduated filters may be split into warming colors and cooling colors.
WARMING COLORS
- Antique Suede: This is a green/brown warming filter giving a gritty feel to the image.
- Chocolate: This is a rich dark brown color containing both magenta and sepia.
- Corals: Coral Filters can be considered as both Color Correction and Color Effects Filters and are used to warm cool lighting situations such as overcast days. Corals are available in densities 1/8 to 5 and are ideal for maintaining a consistent color balance throughout a whole day of shooting or to create a sunset or dawn effect at any time of the day.
- Cranberry: This is a deep reddish/magenta color which is often used for landscapes.
- Golden Sepia: This gives a golden tobacco type color. Often used as a naturalizing color for landscapes.
- Magenta: A rich red/purple effect.
- Pink: This is a very striking pink giving a “bubblegum” color.
- Plum: A deep purplish red.
- Sepia: Gives a traditional sepia “old picture” effect
- Straw: This is a vibrant gold/yellow warming color.
- Tangerine: A bright orange effect.
- Tobacco: A warm brownish orange.
- Tuscan Pink: A pale rose - reddish pink.
- Whiskey: This is a subtle warm gold filter.
COOLING COLORS
- Blue: This creates a standard cooling blue effect.
- Cool Blue: This is a steelier blue effect.
- Cyan: Cyan is a light blue between blue and green in the spectrum.
- Grape: This is a blue/purple color and creates a strong blue effect on skies.
- Green: Bright green effect
- Tropic blue: This is close to Cyan but a deeper blue.
- Twilight: This provides a cool image ideally suited to creating a late afternoon/early evening twilight effect.
5. Combination Colors
Several filter combinations are so popular that they are produced as two filter effects in one. These include: Neutral Density or Polarizer plus 81 or 85 Series Wratten filters; the Polarizer plus enhancing filter; the warm versions of Pro-Mist, Soft/FX and Black Pro-Mist filters.
The Neutral Density Combination filters will be found listed in the Neutral Density Category and the Polarizer Combination filters will be found in the Polarizer Category.
6. Contrast
Controlling the contrast of your film or video image is critical. Bright lights or sunlight create problems when the ratio between the highlight and shadow areas is beyond the latitude of the recording medium. If you expose for the highlights, the shadows appear without detail. If you expose for the shadows, the result is washed-out, overly bright highlights. Tiffen offers three alternatives to solving your contrast problems.
ULTRA CONTRAST filters work with ambient light from surroundings, lowering contrast uniformly throughout the scene. Shadow areas reveal more detail without any flare or halation from light sources or bright reflections, even direct shooting into the sun.
LOW CONTRAST filters work by spreading light from the highlights to the darker areas. Shadows are lighter, enabling you to see more detail. They also create a very slight flare or halation around hot spots which can be a useful effect. Low Contrast is the filter of choice for people who shoot video but want to achieve more of a film look.
SOFT CONTRAST filters diminish highlights while retaining the darker look of the shadows, hence a reduction in contrast. Although the Soft Contrast filter is a neutral gray do not compensate exposure.
Use Ultra Contrast filters in scenes with sufficient brightness to lower the contrast without the minimal amount of flare produced by the Low Contrast and Soft Contrast filters. Tiffen offers Low Contrast and Ultra Contrast filters in densities 1/8, 1/4, 1/2, 1, 2, 3, 4, 5 and Soft Contrast in densities 1, 2, 3, 4 & 5. Available in a range of sizes to fit every type of lens or Matte Box
7. Day for Night
Tiffen Day for Night filters are a great way to create the look of night without the hassle of shooting at night. Combined with proper exposure compensation, the use of Tiffen Day for Night filters is an easy and cost effective way to create a realistic dusk or nighttime appearance when filming during the day, simplifying production requirements.
These filters save the expense of extensive lighting needed for large areas when actually shooting at night, instead of making use of available sunlight.
The Cool Day for Night is based on the perception that moonlight is cool, therefore bluish in color. To simulate a feeling of moonlight, a particular shade of lavender is used, producing visual coolness while maintaining realistic flesh tones. In addition, since the ability to see detail at night is diminished at lower light levels, a low contrast component is added to the filter.
The Monochrome Day for Night is based on the fact that low light levels reduce the sensitivity of the eye to color causing a more monochromatic effect. The filter skews the color balance so that upon fine tuning the color timing, the proper monochrome effect can be created.
Cool Day for Night and Monochrome Day for Night filters are available in sizes to fit all professional motion picture and video lenses.
8. Decamired
Acts as a conversion filter for color temperature adjustments from any point to any other point in the color temperature scale. Can be used to create ‘proper’ coloration in unusual situations and to make creative alterations.
Applications include keeping color temperature constant during the course of the day and producing the effect of different times of day.
Available in two series: Reddish filters that warm the light and bluish filters that cool the light. Each series contain four densities 1-1/2, 3, 6, 12. Filters in the same series can be combined.
9. Diffusion
Many techniques have been developed for diffusing or softening images, whether to create a mood or simply as an aid to make people look glamorous. These filters produce silky-smooth textures, even in tight close-ups, without sacrificing image clarity. Both the Black Diff and the Gold Diff create a diffused image that doesn't look like it's been shot through a filter.
- The Black Diffusion/FX filter gives a silky-smooth look to textured surfaces. It does a spectacular job of suppressing facial blemishes and wrinkles, while maintaining a clear, focused image. The effect is flattering, by virtually eliminating unwanted details, but without being dull or “fuzzy”. At the same time, a bare minimum of highlight flare is produced. The effect of the lighter grades is subtle, with the higher grades becoming gradually more noticeable; all capable of providing a beautiful image.
- The Gold Diffusion/FX filter takes the effect of the Black Diffusion/FX a step further. It adds a soft, golden tint to shadows, and infuses images with a special warmth, yet it still manages to balance any mix of skin tones. Neutral colors appear minimally affected, while cool colors and skin tones are slightly warmed and softened with beautiful results. As grades increase, so does the diffusion, but the warm, golden tint stays constant.
- Digital Diffusion/FX filters for today’s DV cameras deliver extraordinary clarity of image without evidence of filtration. They are similar to the Black Diffusion/FX without the internal dot pattern. They create a silky smooth look on textured surfaces and suppress facial blemishes and wrinkles while maintaining a clear, overall in-focus image
Lower densities of the Digital Diffusion/ FX offer a more subtle version of the "film look" effect, modest softening, minimal reduction of contrast and fine tuning of the image with higher grades creating stronger effects. This is helpful when different grades of diffusion are required in the same shot or different scenes because the viewer will not see a difference in the overall ‘look’.
10. Digital High Transmission
Tiffen Digital HT - High Transmission - filters offer a new breakthrough in multi-coating technology. These superior transmission filters are double-sided coated made from Water-white glass with the strength of titanium, unmatched scratch-resistant durability and worry-free cleaning. The secret is in the titanium coating that makes Digital HT extremely durable and protects against damage and mark up. These High Transmission filters feature a low profile ring with anti-reflective black lock ring, and a distinctive titanium finish.
11. DV Kits
DVEK3 DV Essentials Kit 3: Contains Clear, 812 Warming, Ultra Pol Circular Polarizer
DVSK3 DV Select Kit 3: Contains Neutral Density .6, Black Promist 1/4, Ultra Pol Circular Polarizer
DVSEK3 DV Scenic Enhancing Kit 3: Contains Sunset Color Grad 2, Enhancing Filter, Color Grad ND .6
DVFLK3 DV Film Look Kit 3: Contains Digital Diffusion/FX1, Soft/FX1, Black Promist 1/2
DVVEK Video Essentials DV Kit: Contains Clear, Circular Polarizer, Warm UV17
DVFLK Film Look DV Kit: Contains Black Diffusion FX 1/2, Warm Black Diffusion FX 1/4, Black ProMist 1/2, Soft FX 1
DVSEK Special Effects DV Kit: Contains Color Grad ND6, ProMist 1/4, Enhancing, Gold Diffusion FX 1/2
2USMK1 Scene Makers Kit: Contains Cool Day for Night, 812 Warming, Ultra Pol Circular Polarizer
12. Enhancing
These filters make reds, rust browns and oranges ‘pop’, with minimal effect on other colors. Perfect for fall foliage, earth-tone rock formations, architecture, woodwork, faded rustic barns and any photos where red, brown and orange subjects should be enriched or appear more intense.
13. Fluorescent Light Correction Filters
Fluorescent Light Correction Filters provide correct color by removing harsh green cast caused by fluorescent bulbs. Provides true-to-life color rendition, with pleasing skintones, under fluorescent lighting without a flash. Essential in any environment where ambient light source is fluorescent.
Use FL-D with daylight film and FL-B with tungsten film.
14. Fog Effect
Fog: The Tiffen Fog filter mimics the effect of natural fog, creating a soft glow and flare and producing a warm romantic tone. Lighter grades take the edge off excess contrast and sharpness. Heavier grades create unnatural effects, as in a fantasy sequence or a dreamlike aura of mystery.
Double Fog: The Double Fog produces a more natural heavy fog effect. Objects remain sharper and contrast is substantially reduced.
15. Hollywood/FX
Center Spot Filters The Standard Center Spot filters isolate the main subject, held sharp in the clear center, while diffusing a distracting background - Ideal for portrait or product applications.The Warm Center Spot filter adds the warmth of the 812 filter - Neutral colors appear minimally affected - Cool colors and skintones are slightly warmed and softened.
Glimmerglass Filters — Standard Glimmerglass softens fine details, while adding a mild glow to highlights. Beauty is enhanced as contrast is reduced. The glass itself has a distinctive silver ‘sparkle’.
Bronze Glimmerglass filters, with the addition of a bronze color, add warmth to skin tones and scenics and have some effect on contrast. The effect of the lighter grades is subtle, with the higher grades becoming gradually more noticeable.
Glimmerglass filters are available in grades 1-5 in many standard professional motion picture and television sizes, as well as screw-in sizes in 52mm to 82mm.
-The HDTV/FX filters address both contrast and sharpness issues associated with HD. HD video is higher in contrast than traditional film. Combining the Ultra Contrast Filter with the new Digital Diffusion/FX filter, the HDTV/FX filters smooth out unwanted detail and make people look their best without evidence of filtration. It creates a film look by reducing contrast and also provides subtle improvements in shadow detail.
Although results may be very subtle with still photography, the effects of the HDTV/FX are seen more substantially with digital and video applications. HDTV/FX filters are available in densities 1, 2, 3, 4, 5 and 6 in professional sizes 4x4, 4x5.650, 6.6x6.6, 138mm and 4-1/2" and will be available in screw-in sizes 52mm-82mm for the digital and still photographer and videographer.
-The Nude/FX filters are a series of different skin tone enhancing filters that offer ultimate flexibility and control in shooting skintones. Custom complement a person’s complexion or make-up or create a new look; perfect for headshots and close-ups. Combine with a Diffusion filter for beautiful, silky smooth skin without wrinkles and blemishes. Ideal for digital, video and still imaging. Available Nude/FX 1-6
16. Hot Mirror, Infrared, IRND
-Hot Mirror - Digital still cameras can have increased sensitivity to infrared light that may cause color rendition problems. The Tiffen standard Hot Mirror is designed to remedy this problem by reflecting most infrared light.
-Infrared Filters
Various filters are used to reduce unwanted visible light. Total visible light absorption, transmitting only infrared,
can be useful. Prior testing is recommended.
-Infrared 87
For black and white infrared film only; no visible transmission
17. LL-D (Low Light Daylight)
The LL-D filter is used for two hours after sunrise and two hours before sunset and allows tungsten film to be used without any stop loss. LL-D ND (Neutral Density) filters will be found listed in the Neutral Density Category.
18. Mist Effect
Pro-Mist Filters create a special atmosphere by softening excessive sharpness and contrast by moderately lightening shadow areas, especially useful given the contrast and extremely sharp resolution produced by contemporary films and lenses. Pro-Mist filters also yield moderate highlight flare that appears to stay close to the light source like a halo, creating an almost pearlescent glow around the highlights. Great for portraits and scenics - Maintains focus
The Warm Pro-Mist filters combine the benefits of the widely acclaimed Pro-Mist with the Tiffen 812 filter. Useful in outdoor open shade situations where there is excessive blue in the image and when total control over lighting may not be possible. Great for portraits and scenics - Add natural warmth to skintones, exterior shade and highlight areas - Eliminate pale, washed out skintones often caused by electronic flash - Can also help balance contrasting skintones within one scene - Neutral colors remain unaffected
The Black Pro-Mist filters offer all the benefits of the Pro-Mist filter in a more subtle form. The effect is subtle and delicate, with contained highlight flare, less lightening of shadows and moderate reduction of contrast. A soft light “pastel” effect is created. Low densities tone down excessive sharpness to create a ‘film look’.
The Warm Black Pro-Mist filters offer the benefits of the Black Pro-Mist with the Tiffen 812 filter for warming skintones, as well as exterior shade and highlight areas. The warming feature also can reduce bluish reflections from dark skintones. This filter is the right choice when you want to convey a warm, romantic feeling. It is also very useful in outdoor open shade where there is excessive blue and control over light may not be possible; helps eliminate the blue cast for a more pleasing effect.
The higher the density, the greater effect of diffusion; the warm color remains constant in all densities while the amount of softening varies.
19. Neutral Density, Color Grad ND, Combination ND, LL-D ND
Neutral Density (ND) filters reduce the amount of light passing through the camera lens without changing the color of the scene. NDs are able to absorb light evenly throughout the visible spectrum. These filters are especially useful in bright light conditions to help prevent overexposure.
They also allow proper exposure at a wider lens opening for reduced depth-of-field to highlight a key subject by making the foreground and/or background out of focus. Eliminate overly bright, washed-out images, balance exposure, control depth-of-field and allow slower shutter speeds to produce blurred motion effects.
Color-Grad Neutral Density Filters are part clear, part neutral density, with a smoothly graded transition to balance light intensity between two areas within a scene.
A Color-Grad ND.6-to-clear is often best for balancing sky to foreground. Without a Color-Grad/ND, exposing for the foreground will produce a washed-out, over-exposed sky and exposing for the sky will leave the foreground dark, underexposed.
The LL-D ND filter is used for two hours after sunrise and two hours before sunset and allows tungsten film to be used without any stop loss.
20. Polarizing, Combination Polarizing
Polarizers provide color and contrast enhancement. Reflected light often shows up as whitish glare that washes out color in an image. A Polarizer corrects this problem producing deep, dramatically blue skies. It also removes glare from non-metallic surfaces, such as windows and water. Color saturation in general, especially outdoors, can be improved significantly.
Essential general-use outdoor color filters. These filters produce deeper skies and minimize reflections in black and white and color photography and can be rotated to achieve desired effect. The Ultra Pol offers maximum polarization. A Circular Polarizer has the same effect as a Polarizer and is used on cameras with beam splitting metering systems commonly found on auto focus SLR’s (for most 35mm auto-focus cameras – see your camera manual). Use the Tiffen Polarizing filters with the enhancing filter for more dramatic effects.
Circular UltraPol filters are suitable for virtually all situations; Linear UltraPol filters excel in traditional applications. Rotating the UltraPol varies the effect to meet your needs. Require 1-2/3 stop exposure compensation.
Warm Polarizer — This filter combines the benefits of the linear Polarizer with the warming effect of the Tiffen 812 Color Warming filter making it ideal for portraits and scenics.
This valuable filter adds natural warmth to all skintones, exterior shade and highlight areas. This is useful in outdoor open shade situations where there is excessive blue in the image and total control over lighting may not be possible. You can actually see the effect of the Warm Polarizer through the filter before you shoot. Approximately 2 f-stop compensation is required.
Linear UltraPol and Circular UltraPol filters get the most from any scene that calls for a polarizer. They extract the maximum of unwanted glare from the scene and render crisp white clouds against a dramatically dark blue sky, like never before. Distracting reflections from water and windows become invisible with the UltraPol filter. While removing glare, you also ensure richer, truer colors, free from glare’s whitewash effects.
Some camera-related optics, like a video tap, employ a partially silvered mirror, or beamsplitter. This may require the use of a Circular UltraPol, which places a clear, quarter-wave retarder on the camera side of the filter, effectively de-polarizing the light being recorded, after the image enhancement is done.
21. Protection/UV/Haze Control
Film and video are more sensitive to UV light than our eyes are. This often shows up as a bluish cast in images, especially shots from high altitudes and long distances, particularly over water. Ultra Violet filters are available in a variety of UV absorption levels. Protects your camera or camcorder lens against dust, moisture, fingerprints, scratches and damage. These filters can be kept on your camera at all times.
- UV Protector: Most popular protection filter - Provides basic reduction of UV light - Available for Wide Angle lenses
- Digital Ultra Clear: Made from the highest quality optical glass - Offers ultimate protection - May be kept on lens at all times - For Digital, Video and Photo
- Sky 1-A: Absorbs almost half of UV light - Popular general use filter - Pink-tinted for added warmth and better colors - Especially helpful when shooting in outdoor open shade and on overcast days - Available for Wide Angle lenses
- Haze-1: Reduces excessive blue by absorbing almost three quarters of UV light - Best general purpose UV control - Eliminates UV problems from most situations where increased haze tends to wash out color and image clarity - Available for Wide Angle lenses
- Haze 2A: Absorbs virtually all UV light - Reduces haze more than Haze-1 - Perfect for use in high altitudes and along bodies of water. Ideal for aerial/mountain/marine scenes - Maintains color and image clarity.
- UV-17 / Warm UV: For the technically-minded image maker who wants to absorb most but not all UV light - Absorbs slightly less UV light than Haze 2A - Combines benefits of UV 17 with the Tiffen 812 Color Warming Filter for added warmth
22. Series 80, 81, 82, 85 – Color Temperature Correction
Sunlight, daylight, incandescent, fluorescent, and other artificial light sources all have color characteristics that vary significantly. Filters give you better images by adjusting for these light variations. Film and video are rated for a particular color temperature such as that of daylight or tungsten light. Filters are used to correct differences in color temperature between the recording medium and the light source. They can also be used to create an intentional warm or cool effect.
80 Series - Blue series of conversion filters for use with color films. Get the right colors with daylight film when shooting indoors, with tungsten lighting, and without a flash.
- 80a: For use in exposing daylight type color materials under 3200K tungsten illumination (most standard tungsten lighting, studio lighting and copy stand lighting) - Converts 3200-5500K, with exposure +2
- 80b: For use under 3400K tungsten light - Balances daylight film for use with photo flood lamps - Converts 3400-5500K, with exposure +1-2/3
- 80c: For use under 3800K tungsten light - Converts 3800-5500K, with exposure +1
- 80d: For use under 4200K tungsten light - Converts 4200-5500K, with exposure +1/3
85 Series - Amber series of conversion filters for use with color films. Using tungsten film in daylight will produce a bluish cast. The 85 Series will produce natural colors when shooting with tungsten film outdoors. For best results use the filter that most accurately matches your film type.
- 85: This is used for exposing type A tungsten materials in daylight - Produces slightly cooler results than the 85b - Conversion 5500-3400K, exposure +2/3
- 85b: This is used for exposing type B tungsten materials in daylight - Converts tungsten film to daylight. Conversion 5500-3200K, exposure +2/3
- 85c Useful as creative warming effect with daylight film in daylight - Designed to produce cooler results with tungsten film in daylight than the 85 or 85B - This paler filter is sometimes preferred for exposing Type L tungsten materials in daylight. Conversion 5500-3800K, exposure +1/3
For more subtle changes in color balance, the following filters are used. These are often known as light balancing filters rather than conversion filters, as they shift the color temperature in smaller degrees to balance the color of the light to the color sensitivity of the film. They will make the appearance cooler (with the light blue filters) or warmer (with the light amber/yellowish filters).
81 Series - Light Amber/Yellowish series of light balancing filters - Warm up the look by reducing the blue cast - The 81 Series filters are useful with daylight corrected film in cool light conditions. As letters advance, density and warmth increases - Creates warmer tones and brighter colors on overcast days or when shooting with electronic flash - Great for improving flesh tones - Used to warm-up open shade with blue sky
- 81a: Conversion 3400-3200K, exposure +1/3
- 81b: Conversion 3500-3200K, exposure +1/3
- 81c: Conversion 3600-3200K, exposure +1/3
- 81ef: Conversion 3800-3200K, exposure +2/3
82 Series - Light Bluish series of light-balancing filters - Cool lighting situations but not as dramatic as the 80 series - The 82a and 82b reduce unnatural red tones in early morning or late afternoon light - Prevents reddish cast - Maintains natural flesh tones - Can create mood of coolness – 82a provides a cooler effect with tungsten film under 3200K lamps.
- 82a: Conversion 3000-3200K, exposure +1/3
- 82b: Conversion 2900-3200K, exposure +2/3
23. Smoque
The new Tiffen Smoque filters produce a smoke-like effect without the cost and difficulty of a generator or the smoke it produces. Smoque filters are used to add atmospheric haze to a scene for enhanced realism in places where smoke is normally encountered, like a nightclub, or the scene of a fire or the smoke is added to create a certain look.
Available in 4 grades in professional motion picture, television and screw-in sizes, the new Tiffen Smoque filters can be used to create the look alone, or in addition to a more modest application of real smoke. They allow greater base level consistency especially outdoors in a wind. The effect of the lighter grades is subtle, with the higher grades becoming gradually more noticeable.
24. Soft/FX
Many different techniques have been developed for diffusing or softening images. The Soft/FX filter retains overall image clarity while it softens unwanted details. This series of filters has a pattern of tiny lenselets designed specifically to put fine image elements, like wrinkles and skin blemishes, out of focus while leaving larger details such as the eyes, sharp. The proportion of clear space to the diffused pattern on the glass determines the strength of the filter and enables the overall image quality and sharpness to be retained.
The lighter densities are very subtle, producing no flare from highlights or reduction in contrast. The higher densities tend to be more noticeable in their effect while still providing a pleasing portrait.
The Warm Soft/FX combines the diffusion technology of the Soft/FX filters with the exclusive Tiffen 812 warming filter, balancing contrasting skintones to make people look their best. Ideal for all types of people photography, the Warm Soft/FX can be helpful when a scene involves several people with varying skintones. The Warm Soft/FX is particularly useful with video due to its sensitivity to blue
It provides the dual benefit of softening and warming, while offering the convenience of minimized filter requirements by allowing the use of two filter effects in one position of the filter wheel in professional broadcast video cameras. Neutral colors show little change while cool and skin-tones are made warmer as well as being softened for a beautiful effect.
Available in all professional sizes in densities 1/8, 1/4, 1/2, 1, 2, 3, 4 & 5 - the higher the density, the greater effect of diffusion - the warm color remains constant in all densities while the amount of softening varies.
25. Softnet
Often used in the old glamour days to create the flawless faces of the stars. A modern update made of special fine net laminated between clear optical glass. Available in Softnet Black, the standard, and Softnet White.
26. Solid Color, Standard Color
Color filters can be used for many purposes, from enhancing existing light and color wash to creating bold color effects, on everything from landscapes to skin tones. The color filters may be split into Warming and Cooling colors.
Standard Color filters are a wide array of Wratten and other colors for the most comprehensive image control.
Solid Color filters are solid-color versions of Tiffen’s Color-Grad colors which provide subtle or strong color for creating many special effects.
WARMING COLORS
- Antique Suede: This is a green/brown warming filter giving a gritty feel to the image.
- Chocolate: This is a rich dark brown color containing both magenta (more) and sepia.
- Corals: Coral Filters can be considered as both Color Correction and Color Effects Filters and are used to warm cool lighting situations such as overcast days. Corals are available in densities 1/8 to 5 and are ideal for maintaining a consistent color balance throughout a whole day of shooting or to create a sunset or dawn effect at any time of the day.
- Cranberry: This is a deep reddish/magenta color which is often used for landscapes.
- Golden Sepia: This gives a golden tobacco type color. Often used as a naturalizing color for landscapes.
- Magenta: A rich red/purple effect.
- Pink: This is a very striking pink giving a “bubblegum” color.
- Plum: A deep purplish red.
- Sepia: Create a warm, brown glow offering “turn of the century” nostalgia. Sepia #3 adds a light fog effect to soften mood.
- Straw: This is a vibrant gold/yellow warming color.
- Tangerine: A bright orange effect.
- Tobacco: A warm brownish orange.
- Tuscan Pink: A pale rose - reddish pink.
- Whiskey: This is a subtle warm gold filter.
812 Warming Filters
The 812 warming filter improves skintones and is ideal for portraits taken on a cloudy day or outdoors, in shade on a sunny day. Ideal for portraits or scenics - absorbs blue cast often caused by electronic flash - adds warmth to pale washed-out flesh tones. Gives warmer results than Sky 1-A.
COOLING COLORS
- Blue: This creates a standard cooling blue effect.
- Cool Blue: This is a steelier blue effect.
- Cyan: Cyan is a light blue between blue and green in the spectrum.
- Grape: This is blue/purple color and creates a strong blue effect on skies.
- Green: Bright green effect
- Tropic blue: This is close to Cyan but a deeper blue.
- Twilight: This provides a cool image ideally suited to creating a late afternoon/ early evening twilight effect.
27. Split-Fields
Split Field splits the image with a line that can be positioned, rotated and blurred. On one side of the line, the image is blurred and on the other, it is in focus.
28. Star / Streak Effect
Generate photographic excitement with these dazzling star effects created from original point light sources or bright reflections. The Star effect will become more pronounced with a brighter, larger source. Filter may be rotated for creative control.
Star Filters: North, Hyper, Vector & Hollywood Stars
Exciting and dazzling star effects generated from original point or reflected light sources with the added glitter and sparkle of these exclusive, natural looking asymmetrical designs and shapes. Great for water scenes, candle flames, street lights, and more. Rotating mount allows exact positioning of light rays.
Can be used in combination for remarkably creative effects.
