These filters are manufactured from the finest. solid opt ical glass, and are ground and polished to the most practical
thinness. In addition they are heat- treated to avoid any distortion or focal shift, and each filter is subject to strict tests
in order to ensure a perfectly even surface, essential to a good filter. |
Name |
Colours |
Factor |
Description -
For Black and White Photography |
UV |
Transparent |
1 |
Absorbs ultra-violet rays without increase of exposure. thereby preventing haziness and foggy effects
in distant landscape. It creates clearness.
Constant use of this filter is recommended for clearer pictures as well as a lens protector. |
Y1
Y2 |
Yellow |
1.5
2 |
Absorbs ultra- violet rays, neutralizes. to a certain extent, violet and blue rays and renders a good
tonal interpretation many bright colours predominate. Creates clear and perfect contrast between
landscape (or seascape) with blue sky and clouds. Can be regarded the most useful. perhaps essential. filter for bright outdoor pictures. |
O2 |
Orange |
4 |
Creates strong contrasts for red and yellow. which are rendered lighter
than seen with the naked eye. against other colours. It penetrates haze. adds details to distant landscapes and subdues glare on the
surface of water. |
R2 |
Red |
8 |
Absorbs ultra-violet blue. green and yellow rays, rendering the red and yellow objects lighter. In
sunlit outdoor photographs with panchromatic film. this filter has a strong effect on contrast; the blue
sky will be rendered darker, red and yellow subjects lighter than the eyes see them. Will cut through
haze for long distance shots. This filter is normally. used with infra- red film, |
G |
Green |
4 |
Besides providing all. the effects of the Y2 filter., it lightens green foliage by darkening the
colours it absorbs. It is preferable to the Y2 for outdoor portraits because it produces healthier and more
natural skin tones. |
YG |
Yellow
/ Green |
2 |
Corrects the colour rendering of panchromatic film to approximate that of the human eye and imparts
a natural effect to skin and lip colour tones in portraits. Y2 Mostly useful scenic photography. |
ND 2x
ND 4x
ND 4x |
Grey |
2
4
8 |
The most frequent need for a neutral density filter (ND) arises when taking pictures in bright
sunlight on high speed film. As the smallest aperture available on some lenses. /16, is too large
for scenes in bright sunlight with fast film. In still photography. one occasionally encounters' very
brilliant subject which require neutral density filters, |