Kenko_2011.indd

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1 Filters for Creative Photography US $4.99

2 CONTACT Kenko Co., Ltd. International Division Nishi-Ochiai, Shinjuku-ku, Tokyo Japan TEL FAX Website: Planning Kenko Co., Ltd. Commentary / Product Photos.. Eiichi Tahara Production Nihon Camera Company Design Yu Takasuka Published by Kenko Co., Ltd. Printed in U.S.A.

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4 [ND Filters] A masterpiece depicting the dynamic scene of a waterfall plummeting from a steep mountain. The ND8 filter reduces the amount of light to just one eighth (1/8), and this effect, combined with a slower shutter speed, makes the falling water look like strands of white silk thread. 2

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7 [ND Filters] A nighttime view of the Tokyo waterfront. Generally, in a photograph like this the exposure is determined by the brightness of high-rise condominiums in the background. Here, the ND4 filter reduces the amount of light to create an impressive effect with the wakes of ships extended as they arrive and depart. 5

8 [ND Filters] The power of raging waves as they scour the shore is captured at a slow, two-second shutter speed using the ND400 (amount of light: 1/400). The result is an amazing spectacle beyond what the naked eye can see, with the water falling down like white silk threads that intermingle at the bottom in a cloud of mist. 6

9 [ND Filters] A close-up view of a bee resting on a flower, where the surrounding flowers are made to appear flowing, with the use of a ZS filter to add movement. With its fluid background, the photograph successfully draws the viewer s attention to the bee. 7

10 [ND Filters] A combination of the light-reducing effect of an ND filter with a slow shutter speed resulted in a still photograph that expresses the passing of time with moving clouds and a gently spinning windmill. The latter is clearly delineated by the light that shines down through the clouds. ND Filter Guide Reduced Amount of Light and a Slow Shutter Speed The ND of ND filters stands for Neutral Density. Literally, these filters only reduce the amount of light without creating unevenness in the colors they capture. The conventional monochrome filters of red and yellow cut off light of specific wavelengths, but ND filters have the effect of cutting off visible light while keeping the same density (i.e., reducing the amount of light without changing the color tone). When you take a photograph, you set conditions such as the aperture and shutter speed in order to create a different background effect or express the dynamic movement of the subject. Basically, the aperture and shutter speed are controlled so as to adjust the amount of light, but they also provide effects such as a blurred background and a flowing subject captured at a slower shutter speed. In other words, ND filters let you intentionally reduce the amount of light to create the desired effects in your photo- 8

11 [ND Filters] The combined use of an ND filter and a PL filter makes it possible to achieve an expression with a slow shutter speed while suppressing the reflection on the surface of the water. This results in an interesting depiction of the movements of racing boats and busy traffic on both sides of crowd, which appears motionless by comparison. graphs. The ND filter series includes ND2, 4, 8, 16 and 400, which reduce the amount of light to one half (1/2), one fourth (1/4), one eighth (1/8), one sixteenth (1/16) and one four-hundredth (1/400), respectively. The aperture can be opened further by the reduced amount of light to create a blurred background, or to slow the shutter speed as a means to express dynamic movement. Because the use of an ND filter makes the finder darker, it s helpful to first secure the camera to a tripod as you study the composition and fix the focus, and then install your ND filter. By combining multiple ND filters you can make the shutter release more slowly. For instance, when an ND4 is combined with an ND8 the amount of light is reduced to one fourth (1/4), and then to one eighth (1/8), meaning that the final amount of light is equivalent to what is achieved with one ND32. If you re combining ND filters, all of which create considerable surface reflections, you should put the denser filter (which reflects more light) in front (i.e., closer to the subject). 9

12 [ND Filters] River streams, waves and other natural phenomena aren t the only subjects that can be portrayed dynamically at slow shut- ter speeds. In this photograph the person taking the picture is on the same play ride with the girl and is photographing her. Thus only the background flows, but not the girl. [ND Filters] The ND400 is a perfect choice for capturing a partial solar eclipse where there is still plenty of light. However, if the camera detects too much light and the shutter speed doesn t drop, you should add an ND8. Because these filters allow light outside the visible wavelength range to pass through, they aren t suitable for observations. Other filters with significant light-reducing effects include the ND400 and ND1000 (square type). These filters are ideal if you re capturing the sun or need to significantly reduce the amount of light. ND filters are clas- sified into two types: PRO ND filters, which reduce the amount of light through the effect 10 of glass-deposition film; and ND filters, Photograph taken with an ND400 filter Photograph taken without ND400 filter When you take a photograph of a waterfall in broad daylight, the shutter releases quickly and you end up with a still image of droplets from falling water. In this situation you can turn to the ND400, which can significantly reduce the amount of light. With this filter you can have the shutter release slowly in places where the light is still abundant. which are comprised of glass that possesses a light-reducing effect. The ND400, which isn t a PRO filter, may cause the colors to turn yellowish if a super-slow shutter speed is used. If you want to use this filter with a digital camera, you should turn on the Auto White Balance function. 10

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14 [Half ND Filters] This photograph shows two boats that have washed ashore on a wide beach and now lay at rest under a magnificent sunset. Normally, with a photograph like this the great difference between the amount of light in the background and that on the subjects would cause the true colors of the setting sun to be lost or the boats to appear only as silhouettes. However, with the use of a half ND filter both problems are eliminated and the gradation expression is thereby achieved. 12

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16 [Half ND Filters] A field of sunflowers under the twilight sky. If a flash is used to compensate for the differential amount of light, the most distant flowers will appear darker. In this example a half ND filter was used to modulate the differential amount of light. Next, the zoom during exposure was performed to add dynamic movements, and an image with dramatic impact was created. 14

17 [Half ND Filters] Fireworks in the sky are actually brighter than they appear to the naked eye. If you try to capture them together with the roadside vendors at the bottom, the shooting sparkles will turn white. So, based on ample experience with scenes like this, the photographer used a half ND2 to recreate the colors of both fireworks and roadside vendors truthfully at an appropriate exposure, in consideration of their different degrees of exposure. Half ND Half Filter ND Guide Filter Guide Half ND Filter Guide Filters Adjusting the Differential Amount of Light to Capture Colors That Are Closer to What You See When you take a photograph, on film or digitally, overshooting an appropriate expo- sure level by about two steps will make the picture appear white, while an under-exposure of two steps or so will make the image turn black. White color corresponds to four times the amount of light at an appropriate exposure level, while black corresponds to one fourth the amount of light. There may not be a noticeable difference to the naked Circular frame type Square type eye, but in the photograph you ll see a defi- nite difference in the quantities of light. You can adjust this differential amount of light, as photographs are taken, using Half ND filters. As their name suggests, half ND filters consist of two half-pieces, one being an ND filter and the other being a transparent filter. Various types of half ND filters are available, but in selecting a suitable one, shape is the most important parameter. R-half ND filters having circular frames, just like general filters, are available in sizes up to 58 mm. They re suitable for users who want to try half ND filters but don t want to spend a lot of money. If you re a serious photographer, 15 then you ll need square half ND filters

18 [Half ND Filters] At sunrise and sunset, the earth receives a lower amount of light from the sun. However, it s different from the amount of light from the scene in front of the camera or from the sky, and therefore you need a half ND filter. With a half ND filter the vivid-green colors in the foreground are used to portray an expanse. 16

19 [Half ND Filters] The amount of light received when the sun has just risen above the horizon is very different from the amount of light that s received when the sun is fairly high in the sky. By reducing the amount of light from the rising sun with a half ND filter, the colors of the sun and hues of the cloud sea are fully and faithfully reproduced at the optimal exposure. Hard square type Soft square type Square half ND filters are available in four widths ranging from 75 mm (3 inches, the smallest) to 83 mm, 100 mm (4 inches) and 130 mm. Choose an appropriate size according to the lens you re using. Because the holder in which the filter is set is also affected by the effective lens diameter, a 83-mm wide Cokin filter supporting 72 mm in diameter, or a 100-mm wide square half ND filter supporting an ultra-wide-angle lens of 77 mm in width, is recommended. Other points to note when using a half ND filter are the density of the ND filter and its gradation area. Half ND filters come in three density levels-- ND2, ND4 and ND8--and are classified into two gradation types, including the soft type characterized by gradual changes in gradation and the hard type without such a feature. You should use a soft half ND filter to make the effects of the ND filter appear more natural. However, because half ND filters are installed immediately in front of the lens, the use of a soft half ND filter with a telephoto lens will cause the gradation area to expand. Therefore, hard filters are suitable for use with telephoto lenses. Because a square filter can t be set on a lens directly, some people simply hold the filter by hand. For proper use, prepare a holder matching your half ND filter and an adapter ring with which to secure the filter in the holder. Various types of holders and adapter rings are available, but the key is to use proper accessories that let you master the effects of half ND filters. 17

20 [Half Color Filters] The sun setting over a wide, terraced paddy field in China. An orange half-color filter was used to retain the vivid colors of the terraced paddy field glowing under the sun while reducing the amount of light from the sky, so as to convey the impressive hues of the sun and clouds. Half Color Filter Guide Recreating Impressive Colors As You Like It Half Color Filter Guide These square filters appear identical to half ND filters, but half-color filters have different gradations in their areas of transpar- ency and color. The main color variations include half blue, which can make a white sky look blue, and half tobacco and half orange, which are capable of truthfully recreating a sky glowing amid the sunset. Green, pink and other variations are available if you want to create color effects. You can find products by the French manufacturer Cokin (83-mm wide, 100-mm wide and 130-mm wide), and by the British manufacturer Lee (100-mm wide), so prepare half-color filters 18 to match your specific preferences and lens diameters. Bring into the transparent area of the filter the subject to which you don t 18 Half Color Filters want to add any more color, and bring the sky and other parts whose color you want to adjust into to the color area. This way you ll not only create desired color effects but can also adjust the exposure to lend colors to parts that would otherwise appear white in the photograph. If the sky is cloudy and can t be captured with any other color but white, normally you ll need an ingenious technique such as adjusting the frame to keep the sky out as much as possible. The other option is to make use of a half-color filter to provide a blue color, or apply the glowing orange color of the sunset to the sky while leaving the color of the subject as it is. Also, the half mauve filter in the purple group lets you change the upper part of the sunset sky from gray to a gradation of bluish purple through orange. Half color filters are a great choice when you want to use colors to control the impressions your photographs make.

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22 [PL Filters] An impressive portrayal of the blue sky and ocean, thanks to the effect of a PL filter. The PL filter makes the blue sky look more so because it removes diffuse reflections from fine particles and water vapor that are suspended in the air. The photographer makes masterful use of his PL filter by fully understanding what it can do. 20

23 [PL Filters] The road to the pyramids looks symmetrical and endless. A PL filter was used to make the wide blue sky look more striking, as well as to suppress the reflection of light from the asphalt below. 21

24 [PL Filters] The brilliant green of moss and leaves on rocks washed by clear streams is enhanced through the effect of a PL filter. When leaves become damp with water, they tend to look white, and therefore less lively, due to surface reflection. Instead, this PL filter emphasizes the colors while maximizing the water s transparency. 22

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26 [PL Filters] The blue, cloud-filled sky and the yachts floating on the sea are beautifully expressed through the use of a PL filter. We tend to think that PL filters generally remove reflection, but this example shows that the reflections are enhanced to create an astonishing image of the sky reflected in the water. 24

27 [PL Filters] Another example of the expert use of a PL filter and its ability to reflect highlights. Here the PL filter is rotated 90 from the angle at which the reflection of light is removed most effectively, in order to make the reflected light look the darkest. Additionally, note the vertically symmetrical gradation in the sky, which grows ever-more red. 25

28 [PL Filters] A masterpiece depicting snow-white trees covered with frost soaring upward into the deep-blue winter sky, with the contrast of the two colors accentuated by a PL filter. The background sky is positioned 90 to the sun, so that the intense blue color is highlighted. PL Filter Guide Changing the Impression of Photographs by Controlling Reflection The PL of PL filters stands for Polarized Light. Not surprisingly, these filters are widely used to suppress the reflection of light from the subject and to enhance color contrast. The current mainstream PL filters are C-PL (Circular PL) types that offer improved features that support today s advanced cameras, which have a light-measuring function at the bottom of the single-lens reflex mirror or are equipped with an AF function. In this brochure, PL filters include C-PL filters. ND filters, soft filters and color filters all work when they re simply set in front of the lens. However, PL filters have to be rotated to a position where they become effective. In other words, these filters don t instantly give you desired effects; instead, you must first familiarize yourself with how they work. 26

29 [PL Filters] A PL filter is used to capture the blue sky and reddish-yellowish hues of autumn leaves as they re reflected on the tranquil water. This is another fine example of how a PL filter can create striking color contrasts. The secret of the PL filter lies in a thin film called polarization film sandwiched between two glass sheets, with the film/glass assembly encased in a rotating frame. When observed with a microscope, the polarization film is structured like a blind. Because of this structure, the PL filter s effect changes every 90. You might be able to check the filter effect in the viewfinder, but if you re using a zoom lens of a darker F-number or the filter effect is too subtle to show up in the finder, you can remove the PL filter from the lens and look directly into the filter to check the effect at a given position, and then set the filter in the same position. Because the PL filter changes its effect every 90, you can also use a technique called bracketing, whereby the filter is rotated 30 at a time in order to take photographs showing different effects. A representative use of the PL filter is to remove the reflection of light on the water or glass surface. For an optimal effect, set the filter in such a way that the optical axis of the lens forms an angle of 30 to 40 relative to the surface of the water or glass. 27

30 [PL Filters] Colorful interference stripes of ice are captured in an artistic way. When shooting a transparent subject having stains, such as ice, set a polarization plate at the light source and use a PL filter to express interesting colors through different refractions of light. Another point is to select ice of a favorable shape. Photograph taken with a PL filter Photograph taken without PL filter PL filters are especially useful when you re capturing the blue sea and blue sky in the direction of the light. These filters make the blue sky appear more so by suppressing the diffuse reflection of light on suspended mat- ter and water vapor in the air, while making the clouds more conspicuous. They also suppress the reflection of light on the surface of the sea to make the water look more transparent. Reflections can t be removed if this angle is too close to 90 or 180. Find the angle at which the reflection becomes the smallest, and then rotate the filter 90 from that position to increase the degree of reflection from the original level. This is a good way to make an object reflected on the water s surface appear more distinctive. Another repre- sentative use of the PL filter is to make the 28 blue sky look bluer. In this case, stand with the sun behind you and angle the lens at 90 to the sky, to make the sky look its bluest. When you stand facing the sun, areas of the sky near the sun look white, and those areas can t be made to appear blue. If you re using an ultra-wide-angle lens, pay attention to the composition because uneven colors due to polarization will occur if areas you intend to become bluish and whitish areas of the sky are captured in one frame. 28

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33 [Soft Filters] A woman is walking toward the glistening waves. The light-diffusing effect of a soft filter is used to accentuate the reflection of light on ocean waves and white fabrics dancing in the wind, where a brighter exposure setting creates an image that s very dream-like. [Soft Filters] Soft filters serve to diffuse light. This picture of a starlit sky was taken with a digital camera using a soft filter to make the brighter stars look bigger. The boat in the foreground excites the imagination. 31

34 [Soft Filters] Cherry flowers in full bloom are captured against a dark background. A special soft filter called Center Focus was used to create an imaginary cherry tree to overlap with the actual one and enhance the presence of the cherry blossoms, which are the main feature of this photograph. Soft Effect Filter Guide Creating Soft Images with Your Regular Lenses If you want to take soft-looking photographs, you can do either of two things: use a special soft lens or attach a soft filter to your regular lens. Soft filters are popular because you can easily combine them with your regular lenses to create softening effects. Various types of soft filters are available, but the major types are as follows: j Soft filters that require the focal distance and F-number to be adjusted properly. Examples include DUTO, which consists of a concentric pattern attached to glass, and Softon Speck, which is made of glass whose surface has been specially machined to create multiple circular patterns. k Soft filters that don t require adjustment of the focal distance or F-number, but fine patterns on glass are used to diffuse light. Examples include PRO Softon and Foggy. l Soft filters consisting of a close-up lens having a hole at the center to create an outof-focus, imaginary reflection of an actual object around the object. Examples include Center Focus. 32

35 [Soft Filters] A close-up shot of a flower. Instead of capturing only the flower, the special soft filter Center Focus was used to overlay the actual flower with its imaginary reflection, thereby enhancing a simple portrayal. The result is a dream-like visual marvel. Other soft filters include Low Contrast and Black Mist, as used in motion pictures, Center Image comprises a transparent center surrounded by a soft focus area, and Soft Cross offers both a softening effect and cross effect. Some people feel that soft filters should be used with near-open F-numbers and medium telephoto lenses, which are a general choice for taking portraits. However, this rule applies only to DUTO and Softon Speck. (With these products, the use of other conditions causes unwanted patterns to be reflected in blurry areas or otherwise prevents the desirable softening effects from being achieved.) Moreover, with PRO Softon and Foggy the softening patterns on the glass surface aren t reflected in the photograph, so the desired effects can be achieved even when a wide-angle lens or a small aperture is used. The Foggy filter makes the entire image look white, as if the area were shrouded in fog, instead of creating a strongly softening effect normally as- sociated with the greater diffusion of light. Many soft filters are available in two versions, known as types A and B. 33

36 [Soft Filters] A seasonal tradition of winter illumination. By effectively utilizing the light diffusing effect of a soft filter, bright dots representing trees and streetlamps are made to look bigger, thus creating a unique visual experience. The effect is weaker with type A and stronger with type B. The photographer can select the appropriate type based on his or her personal preference or the specific focal distance. With a soft filter the degree of softening effect varies according to the focal distance. One approach is to use type- A filters with telephoto lenses that tend to create stronger softening effects, and to use type-b filters with wide-angle lenses that often present difficulty in one s efforts to achieving softening effects. Soft filters can make the skin look flawless by rendering pigmentation, freckles, small winkles, etc., less conspicuous, and are therefore used for portraits. These filters are also ideal for photographing stars, nighttime scenery, etc., since they diffuse light to create enhanced effects. 34

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38 [Cross Filters] A silhouette of a boat floating on the blue river, which glows bright orange like the setting sun. The Sunny Cross filter is used to expand the giant ball of light in front of the boat into bright lines that extend in eight different directions. The look is absolutely stunning. 36

39 [Cross Filters] This photograph captures the moment the sun comes out during a total solar eclipse, known as the Diamond Ring. The diffraction phenomenon of the light is expressed by controlling the lens aperture, while a cross filter creates an extended cross of light, adding to the impact of the photograph. 37

40 [Cross Filters] An impressive twilight view achieved with the help of a cross filter. This particular filter creates crosses of light only around strong light sources, but not around the moon. Because crosses are created only at the locations of streetlamps, the bridge is emphasized. Screen Guide Cross Filters That Make Light Appear More Intense Cross filters use specially treated glass to generate bright lines from a light source and make it look more impressive. Examples include the Cross Screen, which generates four lines, the Snow Cross, which creates six lines, and the Sunny Cross, which produces eight lines. There are other special cross filters too, like the Partial Cross, which generates crosses only in only one area of the screen, and the French manufacturer Cokin s cross filter series such as the Star 2, which generates two lines, and the Star 16, which produces the most glitzy cross effect with sixteen lines extending from the light source. A tip on achieving a better cross effect is to find strong sources of light. You can t create clean crosses from linear light sources like fluorescent lamps or planar light sources like glowing glass surfaces. If the desired point of light isn t bright enough, one way of improving the situation is to get closer to that point until a better cross can be generated. Cross filters aren t suitable for photographs taken at wide angles or with small apertures, because crosses become distorted or their lines are cut off by the patterns on the glass surface. To get the best result, combine cross filters with larger-than-standard lenses and near-open apertures. If the changes in the sizes of crosses are difficult to grasp, if you re using a digital camera you can check them in the image you ve captured on the LCD screen. Every cross filter is housed in a rotary filter frame, so check the shape of each + or x and make adjustments until crosses of desired shapes and sizes are obtained. 38

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42 [LB Filters] Twilight scenery is more impressive when an amber LB filter is used. The sky at twilight looks orange, so a filter of amber color in the same group as orange is used to enhance the ambience. LB Filter Guide Filters That Portray Time with Colors Color temperature is a representation of the temperature at which a particular substance burns. Candle flames are red, while burning glass looks blue, because the temperatures at which they burn are different. In photographs, color temperatures are defined with respect to the temperature at which an ideal black body (an object that absorbs all optical energy from the outside and emits all energy fully) burns. Flames that are redder than the color at this neutral temperature have low color temperatures, while flames that are bluer have high color temperatures. Color temperatures are indicated in units of Kelvin (K). In photographs, colors that are visible under sunlight are deemed to have color temperatures of approximately 5,500K, and light sources are described as having higher or lower color temperatures than this level. Essentially, photographic films are either daylight films of the type used for shooting in sunlight, or tungsten films of the kind used to shoot with incandescent lamps (photographic bulbs). 40

43 [LB Filters] A scene of fishermen at work in the early morning is expressed with a blue LB filter. At sunrise the sky is captured as gray. Here, a blue filter is used to change the color of the sky at daybreak gradually, from purple to blue, thus creating a richer image. Human eyes are adaptive and can, to some extent, discern the colors of subjects under various light sources. However, when we photograph on film we need appropriate LB filters according to the color temperatures of different light sources in order to recreate the colors faithfully. If the color temperature of the subject is low, such as when you re capturing the sky in the early morning or at twilight (when the light is reddish), use a filter of a blue color to contrast with the red. If the color temperature is high, such as when it s raining or cloudy (the light is bluish), use a filter with an amber color. The concept of correcting colors according to the color of the light source is included in the white balance function provided by digital cameras. With a digital camera you can correct colors using this built-in function. However, the use of LB filters featured in this section is an effective way to emphasize, through the use of colors, how a given scene looks. By using an amber filter you can depict the scene of morning glow or evening glow with stronger colors, while a blue filter lets you create a better rendering of early morning hours or a day that s rainy or cloudy. 41

44 [LB Filters] A mother and child descend the stairs under cherry trees in full broom. By using a blue LB filter together with a soft filter, the entire picture is given a subdued tone. The blue filter enhances the bluish light from the rain water. To achieve such effects, LB filters of darker colors--such as W10, W12, C8 and C12--are recommended. If you re using a film camera, you can simply set an LB filter of the color you want to add to the daylight film and immediately achieve the desired effect. However, if you re using a digital camera the color effect may be corrected by the camera s auto white-balance function and the result might not be what you ve expected. So, if you want to use an LB filter with a digital camera, set the white balance control of your digital camera to Fine Weather or Sunlight. 42

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46 Infrared Filter Guide [Infrared Filters] A meandering tree root. The infrared feature of a digital camera makes the tree s green leaves appear whitish because they reflect more infrared light, while the trunk of the tree looks darker. The image is enhanced by the movement of the clouds as a result of a long exposure time. Infrared Filters Letting You Create Images That Differ from What You See You may remember the days when shops would start selling a monochrome film brand called Konica Sekigai as summer drew near. Unlike regular monochrome film, this type was sensitive not only to visible light but also to infrared light. To cut off visible light and capture an image with only infrared light on this film, it was necessary to use a red filter such as R1 or R64. In fact, digital cameras also have a range sensitive to infrared light. The majority of this infrared-sensitive range is blocked by an IR cutoff filter installed in front of a sensor, but there still remains a small range that reacts to infrared. Accordingly, you can use an infrared filter such as R72 to cut off visible light and utilize only infrared. 44

47 [Infrared Filters] A piece captured with an infrared filter. The water s surface, which reflects less infrared light, is dark and subdued, while the tree leaves covering the front area and extending deeper into the photograph are depicted with a whitish tone, creating a unique contrasting effect. Even the small details are precisely depicted, making this garden scene very impressive. One can t see anything by looking into the R72 filter directly, since it cuts off visible light. So, to shoot infrared photographs with a digital camera using this filter, you ll definitely need a tripod. Secure your camera on the tripod. Determine the composition and adjust the frame, and then set the infrared filter onto the lens. Set the exposure to a shutter speed approximately 10 steps lower than what you would normally use without the filter. For example, if your normal shutter speed is 1/125 sec., change it to 8 sec. to achieve a slow shutter speed. It s recommended that you use small apertures like F11 and F16 to account for the out-of-focus situation that may occur between visible light and infrared light. However, the foregoing tip on shutter speed setting is only a general guide. Because the exact setting of the pass-through amount of infrared light varies according to the make and model of camera used, as you take each photograph you should check the captured image on the LCD monitor and change the exposure by adjusting the shutter speed until the desired effect is achieved. 45

48 [Infrared Filters] A Western-style house and garden drenched in rain are depicted with an infrared filter. The wet stone pavement reflecting light is close to what we see with the naked eye, but the tree leaves look white which is characteristic of an infrared photograph and bring accents to the composition. In infrared photographs, objects that reflect more infrared light appear white while those that reflect less infrared light look black. The blue sky and water surface appear dark because they reflect less infrared light. On the other hand, green leaves and grass, which reflect more infrared light, appear white, and that tone is a unique feature of this technique. If you re using a digital camera, set the color mode to Monochrome. In the Color mode the entire photograph will appear reddish. With a digital camera you can also change the mode to Monochrome in a post-processing step. With monochrome photographs, you can create dramatic contrasts between bright and dark areas, which is different from what we actually see, and also depict movements of clouds and water. These effects can be inspiring as accents to the picture. We recommend infrared filters to anyone who wants to shoot mono- chrome photos. 46

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50 [Twilight Filters] A photograph taken with a twilight filter, showing a silhouette of a pyramid towering amid the setting sun. Although the sky in twilight hours is generally orange, areas away from the sun can appear to be gray. By utilizing a twilight filter, the huge red orb is captured faithfully. Twilight Filter Guide Impressive Rendering of Morning Glow and Evening Glow When you take a photograph of the morning or evening sun, allowing the sky to occupy a large area of the frame may create a red ring around the sun, with gray between it and the blue sky. This is due to the mixing of the three primary colors: red, green and blue. Twilight filters adjust green wavelengths to suppress the graying so that the glowing sky in the morning or evening can be captured. Twilight filters are classified into two types: Twilight Blue filters, which create gradations from bluish purple to the sun s orange, and Twilight Red filters, which produce gradations from reddish purple to orange. Both types can give the effect of shadows approaching at dusk or of imminent nightfall. When a twilight-blue filter is combined with a twilight-red one, even deeper impressions can be created. 48

51 [Sepia Filters] A nostalgic view of the Italian city of Venice, rendered using a sepia filter. A key to achieving clean chromatic effects with a sepia filter is to choose a landscape whose overall tone is white. Clearly, the photographer has chosen an appropriate subject. Sepia Filter Guide Filters That Lend a Nostalgic Appeal to Photographs Traditionally, sepia photography has required a sepia toning agent to be added in the finishing stage of black-and-white photographs in order to adjust the tone. A key feature of sepia filters is that the filter can easily add a sepia tone to color photos as you shoot. There are two types of sepia tones: Retro Sepia, which is a darker tone, and Euro Sepia, which is a lighter tone. Simply choose the type you prefer. A tip is to select a subject whose overall tone is white, so that the sepia tone can be reflected more effectively. When using a digital camera, set the white balance to Fine Weather in order to draw forth the intrinsic color effect of your sepia filter. If your camera has an auto whitebalance function, be careful that the tone may be corrected and become too light. 49

52 [ZS Half Stream Filters] Movement is added to a still heron flower with the effect of a filter. One of the two flowers blooming side by side is made to look flowing, as if one flower has departed into the sky as a real heron would. 50

53 ZS Series Filter Guide ZS Filters Adding Movement to Photographs You can use one of three methods to add movement to photographs: the slow shutter technique to make the subject look flowing; the flow shot technique to make the background look flowing; or the zoom during exposure technique to express movement with a specific lens operation. All methods require the shutter to be released slowly. Moreover, some need a bit of skill, so not everyone can achieve the same ef- [ZS Cyclone Filters] A close-up view of a bee resting on a flower, where the surrounding flowers are made to appear flowing, with the use of a ZS filter to add movement. With its fluid background, the photograph successfully draws the viewer s attention to the bee. fects. ZS filters use a sheet of glass that has been specially treated to make light flow so that movement can be added to photographs with ease. ZS filters are classified into a total of eight types based on their specific effects, and examples of ZS filters include Cyclone, Elise and Priere, which create circular motions; Stream and Half Stream, which create linear motion in one direction; Radial and Aurora, which generate movements that expand radially from the center; and Half X Cross, which draws a loud cross. These filters are ideal for photographs taken with standard zoom settings. 51

54 [Hexahedron Mirage Filters] A lily is captured with a Hexahedron Mirage filter that creates five imaginary copies of one subject in order to make it appear as if there were six pieces of it. The virtual lilies created by the Mirage filter look as solid and real as the actual lily. The result is a very flowery piece. 52

55 [SP Color (Green/Blue/Red) Filters] An intersection with a blue sky and impressive building in the background is captured by tricolor factorization photography. Pedestrians and clouds in the sky are depicted in SP Color red, Filter green Guide and blue, according to the timings at which they were captured. Buildings and other objects are portrayed in natural colors through the use of proper exposure. High-Impact Photographs with Tricolor Factorization Tricolor factorization photography is a technique of using filters in three primary colors namely red, green and blue to apply three exposures to one photograph. Stationary subjects are faithfully captured Mirage Filter Guide Multiplexing Prism Effect with a Single Shot Mirage filters are specially designed to create multiple imaginary copies of only one subject in a single shot using a polyhedral prism. There are polyhedral types having three, five and six planes, as well as those having three or six parallel planes to create in terms of colors, but by including moving subjects in the frame one can add red, green and blue colors to the image and create a unique rendering that s different from one would see with the naked eye. However, you must correct the exposure to ensure a good color balance. Remember, too, that this technique can be used only with a camera having a multi-exposure function. imaginary copies in parallel. The Vari Mirage filter provides varying effects with two planes to four planes. Because the position of each imaginary copy changes according to the rotation of the filter, determine an appropriate position by checking the finder. Imaginary copies appear more vividly against a dark background, such as fireworks and nighttime illumination against a dark sky. 53

56 [SP Color (Green/Blue/Red) Filters] A close-up view of small shellfish in water, surrounded by ripples. A digital camera with an integral lens was used to take this photograph. Sometimes you can t zoom in on the subject, according to the camera s zoom range. This photographer, however, used a close-up lens to create a composition with great impact. Capturing Subjects Positioned Closer Than Your Close Up Lens Guide Lens Minimum Shooting Distance Each lens has a minimum shooting distance, so if you want to zoom in on a subject positioned very close, a close-up lens will be needed. Close-up lenses can be attached easily, just like filters, to the front edge of the lens using filter attachment screws. Close-up lenses come in types ranging from No. 1 to No. 10, where the minimum shooting distance of each lens in the setting can be calculated by the formula 1 m / Lens number. With close-up lens No. 3, for example, the subject comes into focus at a distance of 33 cm (1 m / 3). You should choose the closeup lens that lets you get closer to the subject than the minimum shooting distance of the original lens, but if you re using a telephoto zoom lens with a long minimum shooting distance it will be helpful to choose a closeup lens that doesn t reduce the shooting distance of the zoom lens much, such as No. 1 or No. 2, and thereby prevent the loss of image quality. You can use one close-up lens or combine two close-up lenses on top of each other to create a greater effect. color balance. Remember, too, that this technique can be used only with a camera having a multi-exposure function. 54

57 [Original Musical Score Filter] This very creative piece depicts the subject against the blurred background of a musical score using an original filter made with cutout musical notes. Blue musical notes merging together against a dark background make the viewer feel as if he or she is listening to music. Original Filters Own Filter Guide Incorporating Various Ingenious Ideas to Create Unique Expressions Have you heard the expression putting gauze over to create a softening effect? Gauze is a thin fabric, and just like putting gauze over the lens you can put various materials in front of the lens to create unique softening effects. For example, a technical paper mount, which facilitates the attachment of fabric to the lens, lets you use a given fabric in a filter holder just like you do with other square filters. You can also use an unwanted lens-protection filter with some scratches on it, as well as Technical Glass (a square filter of 75 mm or 100 mm in size, used in a holder) or any other filter available on the market for a do-it-yourself purpose. Then you can apply transparent hair gel, etc., to it and create your own softening effect. In this example you can adjust the thickness of the hair gel or the direction in which it s applied and thereby adjust the blurriness and flow. One benefit of working with filters is that you can create various expressions through your photographs with clever ideas of your own creation. 55

58 Kenko Filter Line Up Kenko Kenko Filter Filter Line Kenko Line Up Up Filter Line Up Lens Protection Filters Lens-protection filters provide a term insurance policy for your lenses. You need them The lens is protected and UV to keep your precious lenses in good working light is cut off, thus preventing a condition. Filters offering various levels of distant landscape from appear- protection are available, so choose the one ing bluish. UV protective filters that matches the specific purpose of the lens are suitable for those who fre- with which it s used. quently photograph landscapes. UV Protecting the lens and cor- Only the lens is protected, so UV light isn t cut of filter is suitable for portrait off. Various coatings are photographers since it makes provided to give different the subject s skin appear more Protector grades of protection. 1B Skylight healthy and recting pink color, this type refined. PL Filters (Pages 19 to 28) These filters enhance color contrast by adjusting the reflection of light on the subject. They also prevent reflection on water and glass surfaces in order to lend a more transparent look to photographs. These are universal filters that can be used not only in landscape photos but in all other types of subject matter. PL filters are invariably thick To be available in fall 2010 because they consist of two Zeta EX C-PL pieces of glass. However, Kenko s latest, highest-end thin-frame types are also PL filter. It uses a polarization available, in which the glass film of high transmittance to assembly has been ground increase the amount of light PL to a thickness equivalent to Zeta EX by approximately 1 EV while that of a normal filter. retaining the same PL effect. ND Filters (Pages 1 to 10) ND filters reduce only the amount of light without changing the colors, and offer an alternative light- amount adjustment method to the adjustment of aperture or shutter speed. Use ND filters to create a slow shutter effect, or adjust the aperture without causing diffraction due to excessive stop-down. ND2, 4, 8 and 16 provide dimming effects in aper- ture steps of 1, 2, 3 and 4, respectively. Use them to ND2 ND4 ND8 ND16 create a slow shutter effect. The ND400 should be used if you need to substantially reduce the amount of light, such as when taking a photograph of the sun. It is also used to create different effects from what ND10000 we actually see, with a slow shutter speed. This ND filter reduces the ND400 amount of light to just R-Half ND is a simple half ND filter that comes in a one-ten thousandth. When rotary frame. your subject is the sun or Because the layout is limited, anything that generates a the serious photographer great deal of light, place Square Half ND should use the square type. R-Half ND this filter in the holder

59 Soft Filters (Pages 29 to 34) Soft filters are used in various situations such as shooting portraits or nighttime illumination. Some soft filters are available in two different versions: type A, which offers a gentler (weak) effect, and type B, which delivers a more dramatic (strong) effect. A smooth glass surface creates The above is a comparison of the effects of a softening effect. This filter can general soft filters. Use this only as a reference, be used in various applica- however, because the actual effect of each filter tions without limiting the focal varies according to the focal distance of the lens distance or aperture. Types A and other conditions. PRO Softon and B are available. A gauzy fabric is sandwiched Offering a softening effect between two sheets of glass based on a specially treated within a rotary frame. This filter glass surface, this filter should provides a strong softening ef- preferably be used with fect as well as a cross effect. Softon Speck medium telephoto lenses and near-open apertures. Types A Soft Cross This soft filter has a black lightdiffusing material in glass. It and B are available. creates a softening effect but This soft filter envelops the subject with a veil of fog, whereby whitish, so this filter is ideal the entire image turns whitish. when shooting against a dark Types A and B are available. background. Foggy Black Mist doesn t make the image turn Concentric patterns on the Because it decreases contrast, glass surface create a mild this filter is ideal for shooting softening effect. Use this filter in fine weather where there s a with medium telephoto lenses marked contrast between bright and near-open apertures. and dark areas. The contrast is reduced by the light-diffusing DUTO This convex lens has a hole Low Contrast No. 1 material in the glass. at the center to generate an imaginary copy next to the Two replacement filters are actual subject, thus creating a available: the sand screen with unique softening effect. Use a transparent center and whiten- this filter with standard to ing area around it, and the soft medium telephoto lenses. screen, which creates a soften- Center Focus Center Image ing effect around the periphery. Cross Filters (Pages 35 to 38) These filters create bright lines that make illumina- tion sources, etc., more impressive. Various types This cross filter has the greatest effect of accentuating spot light sources by are available, each creating a different number of bright lines. Each cross filter comes in a rotary generating eight bright lines frame. Simply turn the frame as you check the ef- around them. It s the ideal fect in order to determine the best angle. R-Sunny Cross filter for glitzy optical effects. A basic cross filter that This cross filter adds a cross generates four bright lines. effect to one-fourth the area PRO1D, with an enhanced on the screen. It s the perfect coating, is also available. choice when you want to R-Cross Screen R-Partial Cross Screen apply a cross effect only as an accent. A cross filter creating a snowflake-like pattern This special filter is compris- es of two cross filters, each of lines. It s ideal for shooting which generates two bright Christmas lights and similar lines. You can freely change consisting of six bright R-Snow Cross scenes. the angle of the cross. Vari Cross

60 Peripheral Effect Filters (ZS Series) These filters add movement to photographs by creating such effects as making objects around the subject flow but maintaining the clarity of the main subject. They re suitable for standard to medium telephoto lenses due to the ratio of transparent area and flowing area, and also due to the need to make the flowing objects somewhat clear. This filter creates a strong This filter is intended for flow in one half of the screen subjects illuminated against while keeping the other half a dark background, such as transparent. Moreover, it creates that effect regardless of nighttime views. Light expands as if it s flowing toward the shutter speed. (See P. 50 ZS-Elise the periphery of the screen. ZS-Half Stream for a photograph taken with this filter.) This filter demonstrates a very strong cross effect so strong that what is under the cross is nearly unrecognizable in one half of the ZS-Half Cross screen. Simply adjust the target point light source to the desired position. Photograph taken with ZS-Elise ZS-Priere This is a special-effect filter that adds movement by causing objects around the transparent center to flow radially. It s ideal for shooting illumination, etc. Photograph taken with ZS-Half X Cross Photograph taken with ZS-Priere This filter creates wind-like flows that move in one direction. The filter can be turned in both directions around the transparent center, making it easy to find the optimal vertical and lateral positions. ZS-Stream ZS-Cyclone ZS-Aurora This filter creates vortex flows toward the main subject at the center. With this filter you can add movement to a relatively still subject by creating unique flows. (See P. 50 for a photograph taken with this filter.) Radial flows are created from one point off the subject at the center. An effect of falling light from above draws the viewer s attention toward the subject. Photograph taken with ZS-Stream Photograph taken with ZS-Aurora 58 58