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Black And White Photography Using Green Filters Before And After Black And White Photography

Black And White Photography Using Green Filters Before And After Black And White Photography Black And White Photography Using Green Filters Before And After Black And White Photography

#11 Green (Yellow-Green) Filter Factor 3X [1½-stop] #13 Green (Green-Green) Filter Factor 3X [1½-stop] #58 Green (Blue-Green) Filter Factor 4X [2-stop]

About the author: Vincent Moschetti is an Ireland-based photographer who is in the middle of a year-long experiment where he’s shooting only film photography. You can find more of his work or follow along on this adventure by visiting his website or following him on Facebook and Instagram. This post was also published here.

There are 5 filter colours that are commonly used in black and white photography – red, orange, yellow, green, and blue. Each lets through its own colour of light and blocks other colours to varying degrees. For example, a red filter will let red light through, but block most green and blue.

Our brain and vision make adjustments to normalize our experience with changing illumination.

If I want to go for a contrasty image, Ilford HP5 or Kodak Tri-X are my go to films. If I’m aiming for a softer image, Fomapan 200 or 400 is the one I prefer.

The #58 Green filter (Vivitar) is useful when surrounded by dark green foliage. This filter will lighten blue ocean, and darken blue skies. [Reason: ocean is blue-green, and sky is blue-violet, and contains much UV.]

Orange filters give stronger effects than  yellow filters but are not as bold and dramatic as a red. It is therefore an ideal choice to span the effects given by both these filters.

Similarly to red filters, they can be used to reduce the appearance of fog and haze, and to darken skies and emphasise clouds.

Depending on which style you are going for, contrast will play a major role. There are no colors to define the mood of your image so the type of light is probably the most important element to create the ambiance you want to achieve. Direct sunlight can be a nightmare for color photographers, but not in B&W. If you want to shoot street photography, for example, it’s exactly what you are looking for as it will create contrast and harsh edges in your image. It will help to detach the subject from its environment and re-enforce your composition.

Orange filters sit between red and yellow filters, giving a nice balance of each one’s properties. This makes them a popular general purpose filter.

The B&W Filters Tutorial article is also available for download as a .pdf file.

The first reason, as discussed, is to remove excess blue and violet light, in order to “correct” the black & white photograph.

In black & white, a red filter will lighten up the brick to light shades of grey, and will unveil details in the brick that are barely visible in color.

Picture by Friederike Hiepko Does that mean that I can’t take a good B&W picture of a poppy field?

A yellow filter has always been the “classic” first choice filter for black & white film photographers. It gives an excellent balance between photographic effect and ease of use making it a useful and versatile accessory.

Here is the effect of the Hoya X0 Yellow-Green filter on a models skin tone and red dress.

  • To lighten a color somewhat, use a filter that is 1-color band away.
  • To darken a color the most, use a filter that is 3-color bands away (the complementary color).
  • To darken a color somewhat, use a filter that is 2-color bands away.
  • To lighten a color the most, use the same color filter.
  • To darken a color quite a bit, use a filter that is 4-color bands away (what I call the secondary complement).

The Red filter passes reds, orange, and yellow, and filters out green, blue, and violet. It passes long wavelength light, and filters out the high frequency short wavelength light. This results in photographs that are amazingly clear.

If you’re new to film photography, chances are that you’ll get into shooting black and white sooner or later because you have been inspired by the masterpieces of old masters. But before you become the next Henri Cartier-Bresson or Sebastião Salgado, there are a few introductory things you should know.Seeing the world in black and white is the main struggle for everyone at the beginning, but like with everything else, it can be learned and practiced with a simple understanding of how colors are translated into B&W. The human eye can distinguish approximately 500 shades of gray (well, some are limited to 50, but that’s another story). On the other hand, the scope of colors feels almost unlimited by comparison.

A yellow filter gives slightly darkened blues, increasing sky contrast. Image by Alex Gorstan.

A blue filter is not often associated with black & white photography however, it can really add “mood” to a photograph by increasing the effect of haze or fog.

Without a filter, all the different hues of green would be rendered as the same shade of grey. For natural effect, use the #11 Yellow-Green filter (Hoya) in a garden that contains yellow-green plants.

This is a light yellow-orange filter, for use where more blue light needs to be absorbed. Darkens sky and blue water more than #8 Medium Yellow.

In landscape photography, a red filter will turn a blue sky almost black and make clouds really stand out, giving the scene a dramatic feel. They’re also excellent for increasing visibility in haze and fog.

It is necessary to correct this “imbalance” by selectively filtering out excess blue and violet light, in order to make black & white photographs capture the same impression as our color vision.

White light is composed of Red, Orange, Yellow, Green, Blue, and Violet light.

A Green filter illuminated with white light looks green, because it absorbs red light (the complement of green). White light is a combination of all visible colors. A Green filter illuminated with red light would look black.

Imagine a bus with only 50 seats (and no standing space) that has to carry 200 hundred people at the same time. If they all want to get in, some people will have to share the same seat. It’s the same with colors turned into B&W, there are too many to fit into the 500 shades of gray, so they must be compressed to all fit in the bus. To put this into an image, I’ve turned the 6 basic colors into gray so you can see how they translated in B&W.​

A common problem in black and white photography is that certain colours look very similar when converted into greyscale. For example, some shades of red, green, and blue look completely different in colour, but almost identical in black and white.

One important thing about using filters is that they all reduce the amount of light by 1 or more stop. So you must compensate this loss of light when exposing. It varies depending on the filter so refer to the manufacturer’s product information.

Another crucial element that affects contrast is the type of film you shoot with. B&W films don’t react the same way and it’s important that you choose the proper one based on what you are looking for. This is really a matter of personal tastes and there is no right or wrong film here, just the one you like.

The 25A is a deep red filter that passes red and blocks bluish colors so that blue skies are rendered as a much darker gray or even nearly black in a B&W photograph. This filter allows for much stronger contrast to bright out white puffy clouds.

A typical blue filter has a filter factor of 2 (the manufacturer will supply the exact factor with the filter) while most cameras with TTL metering will be able to correct automatically for the filter factor.

The same red filter can be used in landscape photography, to dramatically darken blue skies, and produce deep shadow effects.

Using Colour Filters for Black & White photography Posted On 30th March 2017 To Beginner Series

It’s been so much fun this week looking through all of the #fridayfavourites #filtered shots and finding out o…

The Red filter is unique, because it is at the bottom of the visual spectrum, and behaves like a Low Pass filter.

For example, architectural photographs of dark red brick buildings.

Because of their different effects, each colour filter tends to be used in a different way.

Mindtraveller Technical info Film Used: ILFORD HP5+ (pushed to 3200) Format: 120, shot as 6×7 Camera : Mamiya…

When red light is removed from white light, the result appears green. This is due to the Red-Green complementary pair being broken.

If we look at different colors of light, all with exactly the same light intensity, yellow appears the brightest, followed by green and orange, followed by red and blue, with violet the darkest.

Black & white photographs are renditions of the color scenes they are made from.

Blue filter: Another uncommon filter but if you want to brighten blues it’s the one! Warm colors will be darkened and red turned into black, which can help to separate elements in a mixed colored scene. It also increases fog and haze which can help to emphasize a moody landscape.

If you prefer a softer ambiance, look for an atmosphere with low contrast. Cloudy or foggy days are perfect for this type of images. The light is evenly distributed which result in a mellower ambiance. It’s also the ideal situation for shooting female portraits, as it makes skin looks softer and more pleasing.

In Black & White photography orange is considered the general purpose leave in at all times filter. It sits between red and yellow filters and has some effects of both.

When shooting flowers without a filter there’s often little tonal  difference between the flowers and the foliage in the print. A red filter will, in almost every case, give a significant difference in tone, making the photograph more interesting and dramatic.

Filters pass their own color band. The Yellow-Green filter passes light that is yellow-green, so yellow-green plants rendition as light grey on black & white film.

Yellow filters do darken blue skies slightly so clouds pop a little more also this creates a better balance with the foreground.

Unlike the subtler changes given by yellow and orange filters, a red filter can create bold and dramatic effects. Blue skies are now recorded as black on the print, resulting in an impending thunderstorm effect. Pictures of mixed material buildings gain drama and clarity. A red filter will also give marked penetration of haze and fog. When used with a film like [SFX] it can create an infrared style look.

It also lightens blues and darkens yellows, oranges and reds which helps separation in scenes containing a mix of colours.

We can see that some share the same seat. Look at the yellow and orange: they are nearly identical, so that affects sunset pictures. Another interesting comparison is the red and green: they are almost identical, which makes pictures of poppy field look like a muddy gray landscape… how disappointing!

Coloured lens filters offer a solution to this problem because they affect the way colours are “converted” to black and white. This allows you to control the way they appear in the final image, ensuring that objects are well separated and clearly defined.

This can cause objects in a black and white image to blend into one another, leaving you with a photo which is flat and lifeless, and lacking in contrast and definition.

If a garden has no yellow-green plants, then use the #13 Green filter (Heliopan). The #13 Green filter will make green-green plants look lighter, with blue-green plants a darker shade of grey.

Many photographers use a yellow filter to “bring out the clouds”. This works by darkening the blue sky, giving a greater visual separation between the darkened sky and the white clouds on the final print. A yellow filter will also give improved penetration of haze and fog.

Tags: b&w, blackandwhite, color, colorfilters, filters, learn, monochrome

What we experience is a corrected rendition of what actually exists. When using black & white film, we need to understand this in order to choose the right filter, to produce the photographic effects we desire.

If you’re serious about black and white photography then a selection of coloured filters is a great addition to your kit. They’ll give you much more control over the way your photos appear, helping you to create mood, balance contrast, and emphasise the most important parts of a scene.

We need to acknowledge that our color vision allows us to see contrast between objects, when those objects reflect the same amount of light. When we look at sky with clouds, we easily see the contrast between the blue sky and white clouds because of color. In terms of light intensity, the blue sky and white clouds are almost the same.

Green filter: The opposite of the previous one. Red will turn darker and green brighter. It’s not very popular because of its limited span of action, but it can give very interesting effect when used on the correct scene.

Black & White photographers use filters to selectively remove unwanted wavebands of light, like sculptors removing unwanted marble from a statue.

Yellow filters produce the most subtle effect of the 5 coloured filters. In some cases the difference is barely noticeable, but it can help to lift a photo just enough. They’re a popular choice for beginners as they can be used in virtually any type of photography.

We choose filters by using these principles, to select the best overall contrast in our photographs.

A green filter lightens greens, separating foliage and flowers. Image by aussiegal.

A blue filter darkens most colours and is used to reduce contrast. Image by Tony Armstrong.

Filters have long been a popular accessory for photographers and offer a number of different functions or effects. In both analogue and digital photography it is possible to recreate some of these in the darkroom or digital darkroom. However there has always been a benefit to getting it right in camera.

The second reason for using filters is to produce contrast between different colored objects that reflect the same amount of light.

Due to atmospheric conditions, excessive amounts of blue and violet light are present outdoors. Blue and violet light have short wavelengths, and do not focus well on the film plane, like longer wavelength light.

Although a yellow filter darkens blues, it reproduces green, yellow, orange and red in lighter shades. This gives more differentiation between the different colours of foliage while flesh tones have a more natural look.

We are most sensitive to yellow light, which is right in the middle of the visible spectrum. This is biological sensitivity, due to our vision adapting to sunlight. We are the least sensitive to violet light, followed by blue light. These wavebands are the highest frequency visible light (short wavelength).

An orange filter gives warm, smooth skin tones. Image by David Jubert.

Over filtering to produce one desirable effect, can cause us to lose details somewhere else in the photograph.

Excessive blue and violet light cause haziness on the film, so we need to selectively filter out the excess amounts of blue and violet light, in order to produce clear detailed photographs.

Orange filter: It comes right after the yellow in terms of strength. Blues will become even darker for a more dramatic effect. Most warm colors will also show brighter than greens.

Green filters are less popular than the others but are useful in some circumstances.

Now that we know how to manipulate each color, the other element to consider when shooting B&W film is contrast.

A green filter is also highly effective in yielding better skin tones when taking portraits under tungsten lights or natural light. Please note that the dress the model is wearing is red and the background foliage is predominately green.

When snapping landscapes a yellow filter darkens the sky slightly, helping to balance its exposure against the darker ground. They also bring out clouds nicely, resulting in more interesting skies.

If you are just starting out, forget about everything else and just concentrate on imagining a scene in B&W. Once you’ve gained more experience, it’ll be easier to apply what you’ve read above.

When developed using the stand technique using Ilfotec DD-X developer, Fomapan 400 turned into a super contrasty film. On the opposite, Kodak Tri-X, which is known for being contrasty, turned into a flatter image with this process. These are just examples and combinations are infinite when developing. The best is to experience yourself with the chemicals and films you have at home. If you want more information about developing time for each film and chemical, check out this Massive Dev Chart.

In portrait photography, an orange filter reduces the appearance of freckles and blemishes, giving the skin a healthy, smooth look.

Green plants help illustrate the biological sensitivity effects. Typically, gardens contain plants that are yellow-green, green-green, and blue-green. Our vision sees the yellow-green plants as the brightest, followed by the green-green, and the blue-green as the darkest. Really, they are all the same as far as light intensity. All three hues of green reflect the same amount of light.

Blue skies will be recorded in very dark tones on the print, giving bold contrast between the sky and clouds. An orange filter will also penetrate haze and fog. Most flowers will be recorded with a significant difference in tone from the surrounding foliage giving impact and effect.

We’ve now seen that many factors can influence a B&W image, but the most important point is your ability to see the world in monochrome. That’s what requires the most practice but with experience, you’ll become better — it’s just a matter of training your imagination.

For portraits an orange filter will reduce the appearance of freckles and other blemished while giving skin tones a smooth, more healthy look. Please note that the dress the model is wearing is red and the background foliage is predominately green.

Getting into Black & White photography with either film or digital? They you really need to see how some of these colored filters for Black & White Photography can improve your photos.

Less popular than the other colors but still very useful for specific types of photography. The Green filter is good for lightening the tone of green foliage which can give an other-worldly effect similar, but not has strong as infrared in some situations. Since it renders greens lighter it can be used in the scenic photography but because it also makes skies a lighter gray care should be taken to consider the scene and include as little sky as possible.

In addition to the biological sensitivity of our vision, our brain automatically makes color corrections, and our vision makes automatic adjustments as well.

Works well for architecture, especially red brick buildings, and stonework.

Yellow filters are good for separating shades of green, and can be used whe photographing plants to increase the contrast of foliage.

This series of filters allows you to better control contrast and the lightness or darkness gray tones of a Black & White picture at the time the photo is taken. This is also known as “the tonal rendition”. By adjusting the tonal rendition at the time of capture there will be less need for post processing with software, that saves time and as the saying goes, time is money.

By this time next week we will already be into February, I’m not sure sure how that happened!  It’s been fant…

Blue filters are rarely used for black and white photography. They darken most colours and reduce contrast across an image.

Different coloured filters (top line) affect your scene’s greys in different ways.

Black and white filters pass their own color band, and block the complementary color.

Red filters produce such an extreme effect that they can make your photo look like it’s been shot through an infrared filter. This makes them a popular, cheaper alternative to true infrared photography.

A green filter is mainly used for photographing plants as it helps separate the green foliage from the brightly-coloured flowers and buds.

Before we delve into what reach color filter will do the thing to remember is that in Black & White photography the each color filter will render its own color as a lighter gray in a scene while darkening it’s opposite color, also known as is complimentary color. For instance a green filter will lighten greens while absorbing reds rendering them darker.

The #21 and #22 Red Orange filters are stronger than the #16, and have an effect similar to the Red 25A filter. These filters work well on architecture and landscapes, especially distant scenes, mountains, etc.

When shooting plants they help increase definition between flowers and foliage. This is particularly useful when shooting red flowers, as they have a similar tone to the surrounding leaves.

Panchromatic film records all colors of light in the same tones of grey. Light Intensity (the number of photons per square inch) is what determines what shade of grey gets produced on film.

An example of this would be walking indoors after being out in the sunlight for some time. When we go inside, electric lights appear yellow. After being indoors for some time, the electric lights appear to be white lights. When we return outdoors, sunlight then appears to be blinding blue white.

Black and white filters let you control how colours are converted to shades of grey. Use them to get the right contrast and mood in your photos.

  • HOYA 80B Filter Prices starting at $20.90
  • HMC 25A – Red Prices starting at $24.95
  • HOYA 82C Filter Prices starting at $19.90

Red filters also render red color has much lighter gray tones then because it passes a lot more red light than any other color increasing the exposure of this color and by doing so, making its gray tone much lighter. In certain circumstances a red car could appear as white in in Black & White when a red filter is used. Please note that the dress the model is wearing is red and the background foliage is predominately green.

This image shows how different filters affect the way colours are converted to black and white:

In portrait photography, they produce warm, natural, pleasing flesh tones, like an orange filter but less intense.

Another way of describing this, is to say that we have automatic correction built into our visual process, so we must manually filter panchromatic film in order to produce the same effect we experience.

By far the most useful filter for black & white photography. This filter makes black & white photographs look like the real scene. Sky and clouds look natural, as do green plants and skin tones. Colors are rendered as proper shades of grey. The #8 Medium Yellow filter can be used probably 60% of the time for black & white photography. The Yellow filter is unique, because it lies in the middle of the visible spectrum, and makes everything look natural.

Red filter: This one is the strongest. Red will turn into white and foliage appear very dark. If you want your poppy flowers to pop out that’s the one but pay attention to the background. We can see at the horizon the light green turned also into white. It works best with darker shades of green like in the foreground.

A really powerful filter for darkening greens and blues, and lightening reds and orange.

Like the Medium Yellow, except it absorbs less blue light. The Light Yellow filter is best for shadow details, and subdued lighting.

The output of the Yellow 8 filter matches the biological sensitivity of our vision. That is why the Yellow 8 filter makes everything look natural with panchromatic film.

When photographing buildings and cityscapes, they give bricks a pleasing tone, and increase contrast between different materials to add depth and texture to the image.

A Green filter with a 3X Factor requires the camera to open 1½-stops to compensate for the filter absorbing light.

Red filters produce a very strong effect and greatly increase contrast. They’re often considered too “harsh” for most types of photography, but can be used to produce striking creative effects.

A typical orange filter has a filter factor of 4 (the manufacturer will supply the exact factor with the filter). Most cameras with TTL metering will not be able to automatically correct for the filter factor. Due to the dramatic effects given by an orange filter it is recommended that shots are taken with +1 stop extra exposure.

Green light passes freely through the filter with no loss. When the camera opens 1½-stops, green objects get brightened by 1½-stops. Blue objects, although slightly darkened by the Green filter, lighten up after the 1½-stops adjustment is made.

The result is that colours matching the filter colour appear brighter in the final image, while other colours appear darker. In black and white photography this means that objects appear as lighter or darker shades of grey.

Another undesirable element of sunlight is ultraviolet light.

Unfiltered panchromatic film records a dramatic blue sky with white clouds as almost completely white. Clouds are barely visible. This is disappointing.

The yellow-green filter was another filter that was traditionally considered an “all-around” filter to leave on a lens all the time when shooting Black & White. It has properties of the Yellow filter, such as darkening the tone of blue skies slightly while also lightening green foliage. These properties make it a good filter for “walking around” when shooting with either Black & White film or with a digital camera set in Black & White.

It can also be used on leaves to give green foliage more contrast. Please note that the dress the model is wearing is red and the background foliage is predominately green.

Hopefully not! There are ways to change the way B&W film responds to colors. For this, you will have to rely on colored filters. Let me briefly introduce each of them:

What a fantastic week for sharing on social. We’ve seen so many images for this week’s #ilfordphoto #fridayfav…

A difference of 25% to 50% in light is barely noticeable to our vision, but makes a whopping difference on film. We need to learn how film sees things, in order to produce fine quality photographs.

I’ll take the example of stand development, as that’s the one I’m more familiar with. Depending on the film and developer you are using, it can completely change the contrast of your photo. I have tried this approach with Fomapan 400 (low contrast) and Kodak Tri-X (high contrast).

A Green filter absorbs some blue light, but has the effect of lightening blue, because of the Filter Factor adjustment.

Yellow filter: The classic among black and white photographers. Blue skies are darkened, which helps to increase the separation with the clouds. Other colors like green, red, orange and yellow will appear brighter.

An example would be someone wearing an orange shirt, and blue pants. If the orange and blue are the same shade (reflect the same amount of light), they would wind up the same shade of grey on film. The solution would be to choose a filter that would lighten the shirt a bit, and darken the pants a bit. The black & white photo would then exhibit nice contrast, a shirt that appears lighter than the pants.

The last point that will influence the result of your image is the development technique or chemicals you will use. There are many ways to go when developing and the combinations of film/developer can completely change the look of a negative.

It lightens green foliage, which is particularly important with dark green leaves which can record very dark without a filter. It therefore gives a more natural, lighter feel to the photograph.

Yellow filters yield the most subtle effects of all the colored filters. They are kind of considered the UV/Protector” of Black & White photography but they do have more of an impact on tones and contrast than a UV filter would. The effect is just strong enough to give a scene a little boost without it being immediately noticeable.

Each coloured filter produces a different effect on the scene.

Ultraviolet “light” is actually invisible ultraviolet radiation, which is higher frequency than visible violet light. Ultraviolet light has a shorter wavelength than visible light, and causes the worst haziness on black and white film. Our filters will remove ultraviolet light, along with violet and excess blue light.

In black & white photography, colour filters in particular are useful as they can control how the colours in a scene are reproduced as greys. Normal black & white films are sensitive to all wavelengths of visible light although how they interpret the colours of that scene will not always match the way you see it. Colour filters therefore allow us to modify, at the point of capture, the way the film will respond to the different colours.

A typical red filter has a filter factor of 4 to 5 (the manufacturer will supply the exact factor with the filter). Most cameras with TTL metering will not be able to automatically correct for the filter factor. Owing to the dramatic effects given by a red filter it is recommended that shots are taken giving +1 to +2 stops of extra exposure.

Green objects become 1½-stops brighter, and blue objects maybe ¾-stop to 1-stop brighter. Violet objects would become darker.

When used correctly, this reduced contrast can be useful for giving a shot a calm, soothing atmosphere. A blue filter also increases the appearance of haze and mist, making it handy for enhancing the mood of an early-morning scene.

Although limited in application, it can be the perfect solution for many photographs. A typical green filter has a filter factor of 2 (the manufacturer will supply the exact factor with the filter) while most cameras with TTL metering will be able to correct automatically for the filter factor.

In color film, dark reddish brown colors do not rendition well.

#16 Orange (Yellow-Orange) Filter Factor 4X [2-stop] #21 KA2 Orange (Red-Orange) Filter Factor 4X-5X [2-stop+] #22 O2 Orange (Red-Orange) Filter Factor 4X-5X [2-stop+]

The #16 Orange filter absorbs more blue light than the #15 Deep Yellow. The #16 deepens blue skies, and darkens blue waters. Shadows become deeper, and produces a 3-dimensional effect on rocky surfaces.

Yellow Arrow – 2nd Complement Violet – Complement Filter UV – 2nd Complement Filter

For city scape or scenic photography the orange filter can render blacks as a pleasing tone and increase contrast between different building materials. In scenics the work similar to red filters in that they darken blue skies a little so clouds are more clearly defined and slightly reduce the effect of fog and atmospheric haze.

A typical yellow filter will have a filter factor of 2 (the manufacturer will supply the exact factor). Most cameras with TTL metering will correct automatically for the filter factor but check your particular model.

Produces dramatic skies with clouds, and for good contrast in scenes that have pale blue skies and oceans.

A red filter gives extreme, dramatic contrast. Image by Nicholas.

Please see The B&W Filters Addendum for additional information.

When photographing foliage in black and white, a green filter is used almost exclusively.

Another factor is that our vision has great dynamic range. We can see something very bright, against something very dim, and see details in both. Not so with film.

They can also be used in landscape photography to boost the appearance of grass and trees, but they also lighten the sky so you need to be careful not to lose detail there.

In portrait photography a yellow filter will yield more clear, warm skin tones similar to the orange while still appearing very natural. Its subtlety is the beauty of they yellow filter.

Choosing film can be overwhelming when beginning so if you are not sure about which one you should use, check out the “Film Dating” quiz I created. It helps to find the right film for you in just a few clicks.

For example, the Red filter has Green as the complement. The Red filter would be used to make Green trees look the darkest against snow topped mountains. The Red filter would also darken Blue skies dramatically, as Blue is 4-color bands away from Red (2nd complement).

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