As a B&W film photographer, you probably know that there is a lot of debate about using colored filters in your photography. Some say they should not be used at all, while others believe that they can add interesting effects to the final image. Many kinds of color filters are available today, but most photographers use these standard colors; yellow, orange, red, and green. These colored filters have been around since the early days of film photography and have been used by professional photographers ever since then.

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Numerous Sony cinema cameras include electronic variable neutral density (ND) filters, including the popular full-frame FX9.

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ND filters are a common tool for filmmakers, enabling them to adjust the amount of light that hits the image sensor. This is important because filmmakers often want to shoot at specific shutter speeds, like 1/48s when shooting 24p footage. While that shutter speed may be easy to achieve with a slow lens or in dim conditions, bright light, and fast lenses can demand faster-than-desired shutter speeds. Using an ND filter makes it possible to cut the amount of light and comfortably shoot at the desired shutter speed, even with a fast aperture.

It is really impressive technology and is available in Sony’s FX6, FX9, FS5, FS5 II, FS7 II, and Burano cameras, among others.

Using a colored filter can create a unique look for B&W photography. Experimenting with different filters can yield beautiful results. We can all agree that it isn’t always necessary but may provide exciting effects for particular subjects or scenes. The kinds of effects that you never knew were possible, simply based on the color in the scene. Keep in mind that when it comes to exposure compensation, the outcomes will vary depending on the brand and filter type. For the purpose of this article, we used Tiffen Filters and were pleased with the outcome. Don’t forget to check out our Film Index for all you need to know about Black and White films. Once all is said and done, remember to check out The Darkroom’s easy online order form to get your rolls processed and printed.

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To get a more creative and exciting look for your black and white photos, be sure to not only convert them with the right color filter but also experiment by using an assortment of different ones.

A yellow filter gives an excellent balance between photographic effect and ease of use. Many people like to “bring out their clouds” with this type. The yellow filter darkens blues but reproduces green and other colors in lighter shades. It gives more differentiation between different kinds of leaves while flesh tones have a natural look. It works well with pictures containing people against an environmental background.

Most newer cameras use TTL metering to correct the impact of filters automatically. Some older models will need to have exposure adjusted manually – reference an owner’s manual to see how your camera meters correctly. However, beginners should stick to a film camera with TTL metering until they get used to the process and outcomes of using colored filters. It is also essential to consider the use of SLR versus Rangefinder-style cameras. With an SLR, you will see the impact of the color filter when framing the shot. However, with a rangefinder, you won’t see how the color filter impacts as you are not looking through the lens.

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Orange filters are more dramatic than yellow but less so than red. The sky will take on a dark tone when recorded in blue skies thanks to its strong contrast with the clouds and gives off an impactful look that other colors cannot match. Orange also helps penetrate through haze efficiently, giving flowers their signature “pop.” So if you’re into your landscape shots and lush floras, screw on the Orange filter.

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When you shoot black and white film, it’s tough to get the same effect as shooting color. B&W film records the colors of light as white, and color filters block some wavelengths from being captured. When taking pictures, they act as sunglasses, filtering out specific frequencies to not distract from your picture’s quality. The process often makes objects appear clearer because their background has been eliminated, along with all those pesky reflections that can get in people’s shots without asking. Colored lens filters can help to ensure objects remain well defined in images while still providing some vibrancy for mood shots or scenery backgrounds.

Changing the ISO is not always an optimal option, either. If it’s bright enough, there may not be an ISO speed slow sufficient to nail the shot at the required shutter speed. Further, many videographers want to maintain a consistent look and image quality across multiple shots, so constant ISO adjustments may not be the best choice.

While it is relatively straightforward to use a filter like this on the lens itself, this comes with some usability concerns and a potential impact on image quality. Plus, getting a variety of ND filter strengths in different filter thread sizes is tedious and costly.

At its core, an electronic variable ND system enables users to control their camera’s exposure settings and depth of field, even when ambient light conditions are excessively bright or constantly changing.

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If certain colors in a scene seem too similar, it can make the B&W picture relatively flat and milky. You can change this mood by adjusting the color contrast. A color filter allows you to alter accents of colors in different tones from their original representation.

A red filter is the go-to for bold and dramatic effects. Not only will it give your photos a more intense feel, but using this type of color eliminates any haziness that might be present in those shots with mixed material buildings or foggy landscapes – giving you clarity where there was once misty atmosphere before. When you add a red filter to your camera, blue skies will become very dark. Instead of looking at pictures in which there are endless amounts of fluffy white clouds drifting lazily across an open field or high above some pretty scenery, now they come out dark and ominous providing a much more dramatic feel.

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Although this solution might not work for every type of landscape photograph, it’s often an ideal fit when applied to ones with an abundance of greens.

The electronic variable ND filter has another added benefit. Not every lens, including third-party E-mount lenses, has seamless iris control. When recording video, cinematographers don’t want to deal with rough transitions from one aperture to the next, nor do they want to adjust their shutter speed during a shot. Electronic variable ND filters help the camera compensate for changing light values without changing the aperture or shutter speed.

Instead, it’s also possible to use a filter at the sensor level, which is how Sony’s electronic variable ND filter system works. Sony’s optical filter system lives inside the camera, in front of the image sensor, and it responds to user input in the camera’s menu system.

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The color filters covered in this article refer to the circular type. Mounting lower-quality filters on the front of a lens can increase the risk of flare. However, some filters with more expensive and advanced coatings can overcome this risk.  Although, flare can happen with good filters as well which is why it is good to have a lens hood as well.

Our guide will explain using yellow, orange, red, and green with black and white film photography. We’ll discover when best to use them and the kinds of outcomes achieved with each color. There will also be tips and examples showing each of the filter types. You’ll also find some great resources at the end to reference our B&W Film Index and make sure you have what you need for processing and printing.

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Since 1976, we have developed literally millions of rolls of film with experienced lab professionals and film enthusiasts.

Green filters are used almost exclusively for scenes that contain a lot of green. A green filter will allow leaves to appear more natural with a lighter feel to them. It will lighten dark green leaves, which usually read as very deep in shadows without it.

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Imaging CCDs typically are 6 mm x 4 mm with pixels smaller than 10 μm square. Spectroscopic CCDs are often 25 mm or longer and have pixels around 25 μm square.

For example, the user can adjust the ND filter’s strength from 1/4 to 1/128, enabling fine-tuned control. However, since the system is electronic and fully integrated into the camera, it can also be adjusted automatically based on a user’s selected settings and the metered light.

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400 ISO film will still allow enough light even with -4 stops. In obtaining test shots for this article, we were able to shoot with 50 ISO and 100 ISO with a red filter during the day without a tripod. A tripod is a great way to achieve balance as pushing film increases contrast (as do filters) so the contrast could get way too strong especially with a red filter.

The system relies upon a crystal LCD through which light travels from the lens to the image sensor. What makes this “variable” is electric voltage. The camera precisely controls the voltage that goes into the liquid crystal panel, which changes how much light can travel through it and reach the image sensor. There is no color shift or other negative impact on image quality.

Each filter reduces the amount of light transmitted by 1 to 4 stops and could significantly affect your shooting style. It is recommended to use a film such as Delta 400 or Tri-X 400.