Since the initial announcement of Irix’s new Edge filter series at PPE last year, the range has grown slowly but steadily. A new 15 stop neutral density filter, the Irix Edge ND32000 was announced just a couple of weeks ago, and today we got to see it in person during The Photography Show in Birmingham, England. We also got the chance to check out their new square filter holder, too.
Some might have you believe that neutral density and polarising filters aren’t required in today’s modern era of digital photography. That you can replicate their effects in post. No problem, just a couple of clicks, right?
Well, no. While many filters aren’t really required any more (unless you just want to save yourself some time in post), neutral density and polariser filters both offer effects that can’t be accurately recreated in post. In this video, Evan Ranft explains why and how each of these different filters work.
The likes of B+W and Lee have pretty much dominated the strong neutral density filter market for the last few years. Both of their 10 stop NDs are excellent, and then Lee upped the game with their 15 stop Super Stopper. Now, Irix is expanding their new line of Edge filters with a 15 stop ND3200 screw-on neutral density filter.
Have you ever heard of a reverse graduated neutral density filter?
If not, this is a specialty filter designed to balance the lighting conditions between foreground and background at sunrise or sunset – when the sun (and therefore brightest part of the image) is at the horizon.
You’re not going to use this filter on a regular basis – but when you do need one, you’re going to be very happy that you packed it!
With a new year comes new products. There’s already been a couple of new ones announced yesterday by DJI, including the DJI Osmo Mobile 2. And here’s another one for mobile photographers and filmmakers from Moment Lenses.
Moment lenses have become rather popular and are often found in the serious mobile photographer’s toolbag. But one of the biggest questions they’ve received concerns the use of filters. Specifically, how the heck do you attach one? Moment have answered this call with a new 62mm filter adapter, allowing photographers and filmmakers to use many of their existing filters.
If you’re flying a drone and want professional photos and video you need a set of polarizing and neutral density filters.
I have been using a set of Polar Pro filters on my Mavic for some time now, so I thought I would spotlight why I use polarizing and neutral density filters on my drone and some thoughts on the Polar Pro filters that I use.
Variable neutral density filters are quite a wonderful thing. In theory. They let you adjust your exposure outside of the camera’s own systems as the light on your scene changes. They’re quick and convenient, and expensive if you want a good one. But are they really all that good?
Lok Cheung used variable ND filters during his tenure at Digital Rev. He was typically the one manning the camera filming Kai. But since he’s gone solo, he’s noticed that they’re not really as practical as he’d like. Nor do they really offer the quality that one needs today. In this video, he explains why variable NDs just don’t hold up to the job, and why fixed NDs reign supreme.
Trying to overpower the sun seems to have become a popular thing again lately. The go-to technique for these results is a fast shutter speed and high speed sync. But the limited power available in speedlights often falls a little short. Now, with more powerful HSS-capable strobes on the market, like the Godox AD360II and AD600BM, it’s become a more common look.
This look has been available for a long time, though, with the use of neutral density. These would allow you to shoot wide apertures in the daytime while keeping your shutter speed below the flash sync. In this video from photographer Levy Moroshan of sector5films we see how that technique works. Balancing the bright daylight with the flash, to make our subjects stand out with a shallow depth of field.
Shooting stills in bright sunlight with fast glass with super wide apertures is fairly easy. You just knock down your ISO and speed up your shutter until you have your exposure under control. But when you’re shooting video, that’s not really an option if you want that cinematic look. Your shutter speed’s generally locked at 1/50th of a second for 24p video (1/100th for 50fps, 1/125th for 60fps, etc).
It’s a bit like working outdoors in bright conditions with flash that doesn’t support high speed sync. Once you hit that sync speed your shutter simply won’t go any faster. The go to option in both cases is neutral density. Filters that go over your lens to reduce the amount of light entering it and hitting your sensor. This video from weird lens guru, Mathieu Stern, shows a slightly different approach.