4 Essential Camera Filters

In the world of photography, light is a very unpredictable thing. It can destroy a photo if the photographer is not able to control and utilize it. Thankfully, there are filters that you can attach to the end of your camera lens that can help you control light. These filters work to reduce the amount of light that is allowed to reach the image sensor. Using the correct filter for a scene you are trying to capture can enhance the right aspects of your photo to make it as vivid and alive as it was when seen with your own eyes. In this article, we will cover four of the most popular filters that you will find useful in your photography.

Polarizer filter

Polarizers work effectively to allow you to enhance the contrast and saturation of your photo (particularly greens and blues). These kinds of filters can significantly reduce reflections and atmospheric haze, keeping your colours rich and vibrant. Imagine looking down onto the surface of the water on a sunny day. A polarizer blocks the reflective light on the surface to avoid those harsh white areas you might see without one. Making use of a polarizer can be advantageous in certain situations more so than others, but it’s easy to remember the way it works if you’ve ever worn polarized sunglasses.

Landscape photography – if you have ever taken a photo with your camera of a landscape scene without any filters on your lens, you may have struggled with being able to capture the richness of the colours. Perhaps you noticed a slightly hazy look washed over your photo as if a thin layer of light is blocking the view. A polarizer can help you to darken a bright sky and bring out the colour depth.

Reflection reduction – any reflective surfaces (like water or glass) that can reflect light would otherwise be a headache to photograph if it weren’t for a polarizer.

Colour enhancement – sometimes the main focus of your photo is to enhance the colours of a subject. If you’re taking a picture outdoors in the daytime of someone, light rays can still affect the brightness of your subject and wash them out. A polarizer can fix that problem without you having to adjust things in post-production.

UV Filter

Although it isn’t visible in any way, UV light can affect your photos in specific ways. Without a UV filter, you could run into the problem of a moisture-induced haze. The light easily reflects into your image sensor if you are photographing near bodies of water or in the snow, influencing the contrast and saturation.

A UV Filter is also widely used to protect the camera lens from the possibilities of micro-scratches, dust, smudges, and other lens nightmares. This filter can be kept on your camera lens at all times as it is much cheaper to buy a replacement filter than repairing a scratched lens glass.

Neutral density filter

Like the other filters, a neutral density filter works to reduce the amount of light entering the camera. This filter doesn’t affect the colours at all but eases the brightness by a chosen amount. There are different strengths of ND filters, giving you control over how little or how much light you want to let into your photo. The darker the filter is the less light that enters the camera.

A neutral density filter is pretty useful because you can create some interesting photographs that capture motion at times when it is too bright. For this effect, you need a slow shutter speed which means more light is let into the camera. Without a filter, this can pose the risk of totally blowing out your photo. An ND filter is the perfect tool to use in bright conditions for capturing motion, giving you that blurred effect of something while preserving the colours, contrasts, and details.

Movement

Capturing movement with this filter can be creative, and the possibilities are endless. With a dark enough filter, you could essentially set up a tripod on a busy street with stationary buildings and objects. Then you can slow your shutter speed and get an image where people who are walking are blurred out completely giving a completely empty scene. It can be pretty unique if done correctly.

For a scene where everything in view is motionless, you can create a beautiful effect of movement with the clouds in the sky.

Graduated neutral density filter

These are ND filters that have a gradual light to dark shade. The advantage of a graduated neutral density filter is that they help to balance a photo that is heavier of light on one side. There are two types. One has a more gradual fade that looks natural (soft grad). The other type darkens quicker, with a more noticeable line of change (called a hard grad). There are also some filters where the dark area is in the centre of the filter and is ideal when the sun is low in the sky.

Split-Scene

The GND filter is often used in split-scene photos. An example of a split-scene image would be in a landscape where the sky has too much light. You have to be careful with this filter, though, because if something in the foreground crosses the split, it will extend into the darkened half of the filter. But with careful adjustment of the filter, you will be able to get a balanced shot. I can honestly say that I would rarely ever take a landscape shot without a graduated ND filter.

You can also stack filters when needed. Here is an ND filter in front of a GND filter.

If you’re unfamiliar with when to use filters, start with a polarizer or neutral density one. Take a test photo to see how the filter affects the lighting of the image, and adjust from there, whether it is the aperture or shutter speed. Keep in mind that cheaper plastic filters can have a detrimental effect on your photos by reducing sharpness and also creating colour casts. So try to invest in good quality glass filters from reputable brands such as Lee.

What Is Dynamic Range In Photography?

“Dynamic Range” in photography refers to the ratio between the two most extreme values of light within an image. This is from the lightest to the darkest tones. So the “dynamic range” of a photograph is the difference between pure white and pure black. The term is also used to describe the “dynamic range” a particular camera has. Dynamic range is important to understand in photography to ensure you know the limitations of cameras and to make sure that your photos are correctly exposed. This quick beginners guide should help you understand the basics of dynamic range in photography.

Limitations in cameras

The dynamic range of a camera is measured in what are called “f/stops.” The brightness level of the camera doubles with a one-stop increase. Human beings can see about 20 stops, and a top of the range camera has about ten stops, 14 in some of the really high-end cameras. This means that the human eye sees a much more comprehensive range of tones.

For example, if you have ever taken a photograph on a sunny day and the photo has turned out nothing like what it looked like to you, you’ve experienced the limitations of the dynamic range of the camera compared to the human eye. But remember this is not your limitations as a photographer, it’s the limitation of the technology you are using.

The dynamic range of screens and printers is even less than that of a high-end camera. So, even if your camera can capture a high number of stops, you may have to edit the image to translate the dynamic range to that of a screen.

An example of a situation when the photograph doesn’t do the real scene justice in terms of tonal range. There are also areas that are underexposed on the rocks and overexposed in the sky.

Understanding the impact of dynamic range

As a photographer, running into dynamic range issues is something inevitable, but you get better at addressing the problems the more you come across them. If the dynamic range of the subject does not exceed that of the camera, your photograph will be correctly exposed. If the range is extensive, then it will affect one part of your photograph, and it will be under or overexposed.

When the dynamic range of the subject is broader, you need to choose where you want to lose detail, in the highlights or the shadows. Generally, it is better to expose the highlights so that they have more detail and sacrifice the details in the shadows as often you can recover these in post-production better than highlights.

Thankfully, there are techniques you can use to lift shadows like using a fill-in flash or lighting up the areas using a reflector. You can also invest in graduated neutral density filters (GND) to help balance out the dynamic range in some scenes. These filters are essential in say landscape photography where you often face a broad dynamic range. Below are some of the techniques you can use to ensure you get a better dynamic range in your photos.

The highlighted red area is overexposed and completely white. A GND would be useful in this type of scene.

Graduated neutral density filters

One of the major challenges when photographing landscapes during what is the best times of the day (early morning or late afternoon) is that the sun is low in the sky. Often this means you are faced with a bright sky and a dark foreground. This is one of those scenarios where the dynamic range of the scene might be too much for your camera. If you expose for the sky your foreground will be underexposed (too dark). If you expose for the foreground your sky will be overexposed (too bright).

In this scenario a GND filter is placed in front of the lens and can be rotated to reduce the brightness of the sky, allowing you to expose more of the shadows while darkening the sky. These filters come in a range of different strengths that can reduce the brightness of the sky by around three f/stops. These filters have a dramatic effect and are the quickest way of matching the dynamic range of the subject with that of your camera.

HDR Photography

One way of overcoming problems with dynamic range is High Dynamic Range (HDR) Photography, where you take the picture at multiple exposures and then combine the images into one final composite in post-processing (some cameras have an HDR setting that does this in-camera for you).

For this type of photography, a tripod is essential if your slowest image of the range is going to be at a slow shutter speed. A tripod will also ensure that you take the same image and there is no movement. If your camera doesn’t have HDR mode, you will need to set your camera on manual and then take the multiple shots adjusting your exposure from underexposing to overexposing.

Make sure you don’t adjust the aperture as the depth of field will be altered if you adjust the aperture. You need the images to be identical to merge them effectively.

Different time, weather, or from a different Angle

If the subject or scene you want to shoot is problematic because the sun is too bright, you can often overcome this by taking the picture at a different time of day, when for example it’s a bit cloudier or the position of the sun in relation to your scene has changed. This option will decrease the contrast and bring the dynamic range of the subject closer to that of the camera. Simply ensuring that you have your back to the sun when taking a photograph can make a difference in whether it is overexposed or not.

Use artificial lighting or a flash

You can use artificial lighting or a flash to add light to the darker parts of the image. This option decreases the difference between the lightest and darkest areas of the image and allows your camera to capture the entire gamut of light in one photograph.

When a flash is used, the light on the subject is closer to the amount of light in the background, and this narrowing of the dynamic range is often enough to capture the image effectively without any need for editing.

A flash is an excellent tool for capturing high contrast scenes, but it takes practice learning how to balance the light from the flash and the natural light. An off-camera flash is even better, but it can add to the amount of time it takes to take the shot as well as to the amount of camera gear you have to carry around.

Photo editing

There are some scenes when it is virtually impossible to deal with dynamic range problems in-camera, and you will need to use photo editing software to adjust the contrast. But the likes of Lightroom and Photoshop have come a long way in the last 10 years in being able to recover the areas which are underexposed or overexposed. So don’t be afraid to try to fix your images in post-production if needs be.

Cameras have limitations in the amount of light they can capture. When a scene’s lighting extends beyond the capabilities of the camera, these tools and techniques can still help you create a dynamic photograph of the scene. As you experiment with each of them, you will learn which is the best solution to use in a particular situation. You will soon be taking a dramatic high contrast image despite the constraints of the dynamic range of the subject or the camera you’re using.

Which filters do you need for landscape photography?

Landscape photography is one of the best and most rewarding genres of photography to be involved in. Yes, it can be frustrating waiting around for hours for the right light, but when you do capture a stunning shot it makes all the waiting worth it. The other great thing about landscape photography is that you actually don’t need a lot of equipment to be able to capture great photos. Unlike say portrait photography where you need lights and even a studio, besides your basic camera, wide-angle lens and a tripod, the only other thing you need is a set of filters. Often amateur photographers are daunted by the prospect of using filters. Or they don’t even see the point of them. Filters can transform an image and are a must for any landscape photographer. But like anything these days, the choice of filters seems to be endless. So here are the only filters that you will need for landscape photography.

Not all filters are made equal

Before talking about the filters that you need, a quick word on quality. You may have seen that filters can vary hugely in price. From just a few dollars to hundreds, you might be wondering why you need to pay that much for a filter. The reality with filters is that like any sort of glass that is put in front of your lens, the better the quality of it is, the better the quality of your image is going to be. But remember by quality I mean the resolution and sharpness and not the composition. For example, better quality filters are often made from nano-coated glass (and not plastic) which helps avoid reflections. Or they may be scratch resistant and waterproof. So if you are looking to buy filters it does pay to try and purchase better quality ones rather than cheap ones. After all, why would you want to put a cheap piece of plastic in front of your expensive lens?

Graduated neutral density filters

If you just wanted to buy one set of filters for landscape photography then look no further than graduated neutral density filters. These filters are dark at one end and clear at the other end. The main purpose of these types of filters is to help balance out the light in a scene where you have bright areas and dark areas. For example, if you are photographing in the early hours of the morning or late afternoon when the sun is low in the sky, often you will have a bright upper part of the image and a dark lower part. To be able to expose for both of these parts of the photo and ensure even light across the image will be impossible without a graduated filter. If you look to keep your highlights from being clipped by underexposing then you will probably find that your shadows will be too dark and possibly clipped. If you look to do the reverse you will find that your bright areas or highlights will end up being clipped. By using a graduated filter you can ensure that there is an even exposure across your image.

But of course, the intensity of the light can vary which is why you will see that there are a vast array of different filters. They will vary from very dark in the upper part to ones which are not as dark. There is a whole variety of different levels to look to initially purchased but two or three to cover a broad spectrum should suffice. For example, a set to include ND2, ND4 and ND8 or ND10 should cover you for most scenarios. These filters are by far the most commonly used filters for landscape photographers.

Neutral density filters

Neutral density filters are similar to graduated ND filters, but instead of being clear at one end they are tinted all the way through. The main benefit of these filters is for situations when you want to limit the amount of light coming into the camera. Sounds strange right? Trying to block light coming into the camera. But for example, if you’re photographing during the day but you want to have a slower shutter speed to be able to capture the movement of water or clouds then you will need to have a neutral density filter so that you can have a long enough shutter speed to allow you to capture this movement. You may think you could do this by decreasing your ISO and increasing your aperture (f/number). But in bright conditions, this is often not enough to be able to give you a slow enough shutter speed.

As per graduated neutral density filters, there is a whole variety of different levels of filters. For example, you can get a filter that is the equivalent of 10 stops. You can also purchase circular filters that screw into your camera whereby twisting the filter changes the amount of light entering the camera i.e. giving you five or six different levels of a graduated filter in one.

Whatever you decide to purchase it’s a good idea to look to purchase good quality neutral density filters. Poor quality or cheap ones can give you unwanted effects in your images which can be detrimental to the quality.

Polarizing filter

Polarizing filters tend to be the first filter that most people buy. The great thing about polarizing filters is that is it is cheap to purchase and one should last you for a long time. But they that can instantly give you solutions to some landscape photography problems. The main purpose of these filters is to reduce unwanted reflections on things like glass or water. But it can also help reduce the amount of haze that you might get in a landscape scene by bringing out more contrast. Blues and greens are also often enhanced to give a much more striking and vivid image.

Polarising filters will usually screw onto the front of your lens and subsequently rotating them will give you different levels of polarization.

The photo on the left was taken without a polarizing filter. You can see how the reflection on the water has been dramatically reduced by using a filter for the image on the right.

If you want to improve your landscape photos, one of the best ways to do so is to learn how to use the filters above effectively. Of course, a lot of this can be replicated in post-production. But the problem with this is that you can’t actually see how the photo would look like when you’re taking the photo. For example, by using a filter you can adjust your composition or even the filter to capture the perfect photo. But if you wait until you get in front of the computer you are stuck with what you have. The other benefits of using filters are that it reduces the amount of work you have to do in post-production which can only be a good thing as a photographer.

So there you have it a quick guide to the must-have filters for landscape photography.

Square Filters vs Screw-on Filters – Which Filter System Should You Use?

Any professional photographer will tell you that one of the most important accessories they carry are their filters. A quick search online will bring up hundreds of results of different filters. With varying price ranges, they can be cheap for an entire set, or expensive for an individual filter. It can all seem overwhelming with so much to choose from. But often the first question that you need to answer is if you need a square filter or a screw-on round filter. So if you don’t know which is right for you, here’s a quick guide on the difference between the two.

What is the difference between the two?

Whilst it might seem complicated, the difference between the two filters is actually very simple. A screw-on filter is a piece of glass that screws onto your lens directly. Whereas the square filter, shaped either square or rectangle, would fit onto your lens using a filter holder. That is the difference between the two.

Keep in mind that the filter glass of either system will vary from manufacturer to manufacturer. You can get everything from plastic to coated glass. The better the quality of the glass the more expensive the filter will be. But when it comes to filters quality does matter.

What are the pros and cons of each?

The biggest difference between the two formats is that circular filters have to be purchased to fit a specific lens size. In other words, you need to buy one that is going to be the same size as the diameter of your lens. This means that if you decide one day to change cameras and lens sizes then you will need to buy new filters. The only other way to be able to match your filter to a new lens size would be to use an adapter.

On the other hand, square filters will fit onto a lens with an adapter that is purchased separately. Normally this would be in the form of a plastic or metal holder that the filter will slide into. This adapter will then attach to an adaptor and screwed onto the lens using a converter. So this means that if you one day decide to change lens sizes you will just need to replace the adapter that the holder fits onto. This means you can save yourself considerable money not having to replace every single filter or buying new adaptors.

Why should you choose circular screw-on filters?

Based on the above, it sounds like it’s a no-brainer that you should choose square filters. That’s not necessarily the case. Screw-on filters are also a valid option for any photographer. The main benefit of screw-on filters is that they are much easier to store and transport. Not to mention that they are generally harder to break. Naturally, a piece of glass is going to be more brittle than one which is surrounded by a frame.

Arguably the biggest advantage of using screw-on filters is price. They are generally cheaper than square filters. Also, you can now buy variable filters which cover a whole range of different stops. In other words, you can turn the filter and the mechanism inside can make the filter go From an ND2 to an ND16. This means that being able to cover a wide range of filters becomes far more affordable than buying individual ones.

So which one should you buy?

With both systems, you will be able to stack filters on top of each other. You can adjust the position by turning the filters. The one benefit that square or rectangular filters have is that you will have more glass area to play with. So it’s less likely you will get vignettes. So the real question to ask yourself is whether you are going to be changing your lenses any time soon and what your budget is? This will determine what is right for you.

In addition to this, it also depends on what it is that you are going to be photographing. For example, for landscape photography, you often have plenty of time and have your camera set up on a tripod. So square formats are the better choice. But if you are going to be photographing on the go and will be requiring different ND filters, then screw in filters will be easier to work with. Especially variable ones that cover a wide range of stops as it means you don’t have to change filters all the time. Ultimately the only person who can decide which is right for you is you.

Filters are an essential part of a photographer’s set of accessories. For anyone wanting to photograph outdoors filters will need to be used on more occasions than you can imagine. So it pays to make sure that you buy the right thing for you. Keep in mind that the quality of the glass does make a big difference to the quality of the image that you will end up with. So make sure you buy good quality filters. After all, why would you want to put a cheap piece of glass on the front of your expensive DSLR or mirrorless camera? Hopefully, this article will help you decide.

The Great Minor White and Infrared Photography

Born in 1908, Minor White was something different in terms of how and why he photographed. He incorporated as much of his own beliefs and philosophies into his work as he did photographic technique. His work is a mix of his mentality and the emotion he felt towards a scene or subject. He injected a part of himself into all the photographs he made. Bestowed by him are such words as “The photographer projects himself into everything he sees, identifying himself with everything in order to know it and to feel it better.” and one of my personal favorite quotes about us photographer’s mentality “…all photographs are self-portraits”.

Minor White-By Imogene Cunningham

It was with the existential mindset that White approached his photographs and perhaps there was none of his work as idealistically surreal as his adventures into the world of infrared. Not only was he a prolific photographer in the artistic and technical sense but he was one of the early practitioners of infrared photography who brought it’s incredible appeal to the masses. The IR images he made, just like his other works, projected a world blended with both the physical landscape and his own personal creativity.

By Minor White, 1958

By Minor White, 1955

By Minor White, 1955

Minor White and Infrared

How did Minor White make his IR photographs? With magic…. Well no, not exactly magic, but it certainly looked that way. Minor White used black and white infrared film, usually large format 4×5, to capture his dreamlike scenes. The infrared or more accurately “near-infrared” light spectrum falls around the 700-1200nm range and infrared film is manufactured to be sensitive to these wavelengths. However, seeing as IR film is also still sensitive to other wavelengths of light, IR filters must also be attached to the camera lens in order to filter out other types of unwanted light that falls in the more visible spectral range. It’s this filtration of the normally visible light and the inclusion of the near IR spectrum which we generally don’t see which gives IR photography their ghost-like quality. Development of the IR is surprising the same as many other conventional black and white films and requires basic darkroom techniques and chemicals.

IR Lens Filters

IR 35mm film

You may be wondering, “So why can’t I just use an IR filter on my digital camera to make IR photos?” And that’s good question. The answer lies in the very construction of most modern digital cameras themselves. IR wavelengths are generally unwanted and in conventional photography and therefore modern digital cameras have a built in IR filter that is placed in front of the image sensor to block out IR light. Even if an IR filter was placed on the lens the resulting transmitted IR light would in turn be filtered out by the camera’s own internal filter. So, how can you enable your digital camera to make IR photographs? Read on….

IR Photography in the Digital Age

As I mentioned earlier, the largest obstacle that stands in the way of making IR images with your currently digital camera is the built in IR sensor filter inside your camera. So if you want to venture into the world of IR photography this filter must be modified through an infrared camera conversion process.

New IR translucent filter being installed

This means that your camera’s sensor is now sensitive to incoming IR light. There are also many other possibilities to expand your infrared horizons with today’s digital camera bodies. Full spectrum, color IR, and a host of other tailored IR imaging effects can be produced depending on the type of conversion and IR lens filter combinations you happen to choose. The benefits to Find out more about infrared conversion possibilities here.

A Final Word About Minor White and Infrared Photography

The work of Minor White was profound, beautiful, innovative, provocative, and at times quite sad. His ventures into the world of IR photography showed us a the wonderment that is all around us, yet invisible all the same. His images speak volumes to the life he lived and to the way he approached the art of photography.

Today, we have so many ways to practice IR photowork whether it is with film and filters or with our digital cameras through a dedicated IR conversion. If you are considering the latter route, be sure to learn as much as possible about the possibilities and limits of digital IR conversions. Make sure whoever you trust your beloved camera to has the reputation for quality that you and your gear deserve. Read more about IR digital camera conversion here at LifePixel and be sure to check out what people just like you have to say about the level of service offered by the LifePixel team!

Review: K&F Concept 58mm Variable Neutral Density Filter

Neutral density filters(ND) are one of the staple components of virtually every serious landscape photographers gear bag(read some outdoor photography tips). The great thing ND filters allow us to do is shoot longer exposures in bright light without overexposure. A good analogy I always like to use is that ND filters are light sunglasses for your lens. Neutral density filters are a great way to remain flexible with your shooting even when conditions aren’t ideal.

Like most photographic equipment, you often get what you pay for…. That doesn’t mean that every piece of budget gear isn’t capable of yielding great results. The K&F Concept 58mm ND Fader Variable Neutral Density Adjustable ND Filter is quite a mouthful to say, but essentially it is a neutral density filter that is capable of shooting at various shades of darkening. This particular filter ranges from ND2-ND400. If we’re speaking in terms of f-stops, then it equates to 1-8 ⅔ stops of light reduction. The version I tested was the 58mm size and I used it with my trusty Canon EF 50mm F1.4.

Build Quality

The filter arrived well packaged and included a nice micro-fiber cloth along with a standard padded plastic filter case.

Overall, I was extremely impressed with the build of this ND filter from K&F. The material of the two elements is listed by the manufacturer as “optical quality glass” with the body of the filter likely being aluminum. Originally I had thought the housing was made from some type of resin but after a scratch test it turned out to indeed be metallic.

I was also pleased to note that both the stock lens cap and lens hood still worked perfectly while the filter was attached.

The filter itself functions by turning the outer ring to the desired darkening setting is reached. This ND filter functioned extremely smoothly with no binding or sticking points.

Optical Performance

As I mentioned earlier, there is most often an unavoidable compromise between cost and quality(with a few exceptions) when it comes to camera gear. The K&F Concept variable ND is a budget ND filter currently retailing for around $20US from both Amazon and Kentfaith.com. The performance of the filter was a mix of great to, well, not so great. When used at it’s lowest optical darkening setting, the results were wonderful for a filter at this price point.

1/100 second

Moving a little darker to approximately 3 stops of light reduction, the results were still great and allowed me to shoot long exposures with no real color tinting or vignetting to speak of from a practical standpoint.

1.3 seconds

Now, moving onto the darkest setting of ND400, or approximately 8 ⅔ stops, we see some extreme problems arise in terms of color tinting and image degradation.

25 seconds

For a $20 ND filter, I was honestly surprised at how well the filter performed up till now. And from a real world point of view, the filtration offered between ND2 and ND400(1-8 ⅔ stops) was outstanding. This lends me to believe that he overall results from this filter are perfectly workable from approximately 1 to 3-4 stops of darkening. Here are three more images showing the progression of image quality across the range of filtration. It’s interesting to note that while the last image shows significant quality reduction, the massively apparent purple tinting observed in the previous example is virtually nonexistent. This is possibly due to the lengthy exposure of 25 seconds used for the image above. The white balance of my camera was set to ‘Auto’.

1/200 second

1.6 seconds

4 seconds

Final Thoughts….

Given the low cost of this variable ND filter from K&F Concept, I have no problem with the limited performance results achieved from my tests.

Pros:

Low lost
Sturdy build
Looks great on the camera
Smooth operation

Cons:

Extreme color tint at dark settings

The fitler itself is well made, looks great, and lends itself to relatively respectable performance for a filter costing around $20US. Beginners will love it for its quality to cost ratio and even experienced photogs could find a place for it in their kit. The K&F Concept 58mm ND Fader Variable Neutral Density Adjustable ND Filter is a low cost option for those looking for a variable ND filter with good performance in the 1-4 stop range of light reduction. The diminished performance at the far end of the filters capabilities are indicative of the cost of the product and expectations should be tempered with that information in mind!

The Dynamic Range In Landscape Photography

Since the camera has been invented, the man has always tried to copy one of the greatest wonder that our body possesses: the eye. Unfortunately, despite it has passed far beyond a hundred years from the first time that the man “captured the light”, we are still far from overcome Mother Nature.

Try to think about the last beautiful sunset that you have witnessed by the sea: you will certainly remember the light and the warm tones, the marvelous colored reflexes of the clouds on the sea and the golden sand. But I am also certain of your disappointment when you tried to take a picture of that moment. The fact that you have taken a picture with your cell or with your beloved reflex, it does not matter: if you have exposed on the sky, the beach has become a silhouette, vice versa exposing on the beach the sky will have become completely white. Why? Indeed simple: in the visible spectrum, your eye sees a lot better than your camera.

With the sun in front of you, for your camera is not easy to manage details

The parameter that describes this behavior is called Dynamic Range, which defines the difference between the minimum and maximum value of brightness that a support succeeds in recording.
Basically therefore the Dynamic Range points out the ability of your photographic camera to contemporarily see details in very clear areas and very dark areas of the scene.
Our eye therefore it has a superior dynamic range to the sensor of our photographic camera.
By how much? About twice.

Comparison between human eye and DSLR Dynamic Range

This explains why in front of a beautiful sunset, we succeed in seeing details in the whole scene, both in the sky strongly illuminated, and on the beach or on the ground in front of us.
The unity of measurement of the Dynamic Range is the Exposure Value (EV) and at the moment in which this article is written, a good DSLR has a superior Dynamic Range to 13.
We could enter into technical detail of how the photon interacts on our sensor, but I believe that further to annoy you to death I would not be of any help in your next outdoors trip in field.

Evolution of Dynamic Range in Nikon cameras – DxOMark

But if even the best of cameras has a Dynamic Range which is half of the human eye, how can we hope to be able to shoot a beautiful sunset or a wonderful sunrise?
There are different methods to overcome the problem, but in the end we can gather them into two macros families:

Techniques of more or less advanced post production (HDR, Digital Blending, Luminosity Mask,.. ),
Use of photographic filters

Which of the two is it better? I think it’s a bit ‘like asking whether it is better Nikon or Canon.. Personally I prefer to apply the second solution, the photographic filters, for several reasons:

I prefer to spend my time in field and not on Photoshop
Having a “clean” shot in camera ensures best quality
There are filters that can not be reproduced in post production

In the series of articles that I will propose you in the next appointments, we will explore together the world of filters, not only to know how to choose what is good to have with you in your backpack depending on your photographic style, but also how to use them well on the field.

Stay tuned!

4 Essential Camera Filters

Polarizer filter

UV Filter

Neutral density filter

Graduated neutral density filter

What Is Dynamic Range In Photography?

Limitations in cameras

Understanding the impact of dynamic range

Graduated neutral density filters

HDR Photography

Different time, weather, or from a different Angle

Use artificial lighting or a flash

Photo editing

Which filters do you need for landscape photography?

Not all filters are made equal

Graduated neutral density filters

Neutral density filters

Polarizing filter

Square Filters vs Screw-on Filters – Which Filter System Should You Use?

What is the difference between the two?

What are the pros and cons of each?

Why should you choose circular screw-on filters?

So which one should you buy?

The Great Minor White and Infrared Photography

Minor White and Infrared

IR Photography in the Digital Age

A Final Word About Minor White and Infrared Photography

Review: K&F Concept 58mm Variable Neutral Density Filter

Build Quality

Optical Performance

Final Thoughts….

Pros:

Cons:

The Dynamic Range In Landscape Photography

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