Hi I'm Doug McKinlay and you're watching AdoramaTV. For today's segment we're gonna look at
filters. I know we've touched on them in the past but today we'll look at them in a little
more detail. Why use them, when to use them and how they work.
AdoramaTV presents 'Stay Focused' with Doug McKinlay.
So the filters we're going tolook at today are made by Lee filters UK.
I've used Lee filters for a number of years now and I find them to be very consistent,
very reliable twenty-minute feel that's all I really need there are other
manufacturers who are probably just as good but I like leak in the system we're
going to use the hundred millimeter system consisting of standard neutral
density filters and graduated neutral density filters and there's a whole
series of these filters colored filters etc but I prefer just to standard and
the grads the standards are a series of filters to look like opaque glass is
photographic lots becoming different stops from a one-stop two stops six
stops in 10 stops you can see this but that's a to stop one and this one is a
10 stop one no one's really dark ones not quite so dark both produce different
effects on your images the graduated filters are with the filters were the
top half is darker than the bottom of this is really great for us
evening out white landscapes this was a hard grad missiles soft grad and the
difference is the hard ground to let the delineation line between clear in the
dark is much cleaner warrants a soft ground it's much more kind of the soft
makes a different effect on you on your images
because we're going to use fairly heavy duty Andy standard filter probably six
or ten stop quite sure yet that the second is a couple things you have to
think about now
first 30 tripod to discover that one and on your camera body itself we want to
have everything set to manual to begin with we want to have the the driver said
it a two second ten second release and we need the mir locked up this just
helps to mitigate any kind of problems of camera shake and what you gotta let
set up a competition in place then we're gonna look to start putting on our
filters now with only system 200 millimetres system comes to this little
bracket hear a ring shrinking me different sizes ring for different sizes
of lenses is a seventy seven millimeter on it just slides onto the frontal and
what's that screwed in place and you take the the bracket or the guidelines
on it slide down on their guard rail sorry this thing turns which is really
great when you're using the Brad Childress you can turn them from
different directions so what we've chosen is we're going to we're going to
use the six stop filter is giving me a one second exposure reading a look
through the lens set manual still once we got a reading you have to remember
that gonna turn the shooting mode to bob was gonna have a long exposure so we're
gonna need a cable release with a locking mechanism on it is quite cheap I
prefer to use the the ones are directly attach the camera can I find a little
more reliable than the radio-controlled ones so we're all set to go
gonna grab our filter which is this league six top filter this one has got a
gasket around the outside so it helps to stop any kind of light leakage this goes
into the closest guy drill to the landslides in make sure it's covering
the whole opening so you get no light leakage in there as I said what's your
raashee ready to go
we switch the camera back to bolt on the shooting modes make sure the lenses
turned
to manual camera and lens cannot see through this filter when you set one
second and one second reading what you put a filter on according to the league
cheat sheet one second give me one minute exposure so you said involved
push the lock button you good to go away for a minute
unlock it
and you got really
what your landscape images the big stopper the little stopper worked really
well with your you graduated filters on a slide into the front guide rail nicely
you know I would advise putting the the the graduated filters in first so you
can see actually where it's going to we're gonna work then slide in big stop
for a little stubborn behind the eff eff numbers I keep us a better at 11 the
most because once you start getting up to 16 of 22 you start getting into
fraction problem meaning your fear pitches will not be as sharp as you
expect a lot of math involved when I can get into it but just remember as you're
just get smaller diffraction problem becomes more pronounced so what's he got
our our grad Indian here we can move it around depending which way the lights
phone and you start to look through the back of the camera through live you
doing
eyepiece the long exposures you are going to get some light leakage through
their onto your sensor unless you covered up to take the cover off simple
sticking your pockets we don't lose it and then the back of the camera strap
they put this little cover on there and it's pretty straight forward you the
sliding on the eyepiece like this you ready to go
so in a nutshell how he feels his work is the cut-out them the amount of light
coming through the filter through the lens and sensor doing this allows you to
open your shutter up longer than you normally would be able to get those
really great sort of milky scenes with water moving your landscapes stick out I
graduated filter on top of that you gonna get a nice work really well and am
now using a neutral density filter with your portraiture is also really good
tool because I'm a sunny days YouTube right to get a wide open aperture to get
that blur behind your subject to filter the whole thing changes you can open a
picture now and keeping that shutter speed still fast enough to freeze your
subject of a picture of you get a nice player
so that's it from me. I'm Doug McKinlay. Don't forget to subscribe to AdoramaTV for more
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work a check to see how you guys work so if you got another way to this topic
please send it in.
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