Hot on the heels of DJI’s announcement of the Osmo Action camera, PolarPro is here to announce new filters for it. There are six different packs available, each offering a different combination of filters depending on your needs. They’re based on PolarPro’s very popular range of ND and ND/PL filters for drones, the Osmo Pocket and GoPro cameras, but these are designed specifically to fit the Osmo Action.
When it comes to shooting photos or video on drones, it quickly becomes apparent that filters are key to getting the best footage. And the first name that springs to mind for drone filters is PolarPro. They’ve pretty much been the leading company for drone camera filters since they started taking to the air.
Today, though, PolarPro announce that they’re expanding their range to include larger lenses for DSLRs, mirrorless and cinema cameras with the new QuartzLine series of filters. It looks like their whole range for drones has been scaled up to fit the larger lenses in a variety of sizes.
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.
Polarisers are one of the few filters that still hold an advantage for digital cameras. Pretty much everything else can be done these days much more easily in post. Even the effect of neutral density filters can be simulated – although it’s still not quite the same. Polarisers are common amongst landscape photographers, although not so much with portrait photographers. But they can be very useful, as the Koldunov Brothers demonstrate in this video.
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.
Filters have largely gone the way of the dinosaur with digital photography. Lens filters, that is. The simple fact of the matter is that they’re just not needed now. We used to need a whole array of filters when we shot film. Solid colours to shift the contrast on black & white film. Variously coloured graduated filters to shift skies warmer. Now, you can do all that in post.
Colour shifts and gradients are pretty straightforward in Lightroom or Photoshop. But one filter that’s still essential is a circular polarising filter. It allows you to do things that are simply impossible in post, even with today’s digital technology. This video from photographer Christopher Frost explains why, with some practical examples.
This is a topic that seems to come up every few years. As sensors increase in dynamic range, ND grads sometimes aren’t so essential. Raw processing software becomes more capable with each new release. Even filters that cut through haze aren’t always needed. But what about things like circular polarisers and big ND filters for super long exposures?
In this video, landscape photographer Thomas Heaton offers his insight and thoughts on the question. When it comes to polarisers, Thomas is of the opinion that they absolutely are necessary. It’s an opinion I share. The function that they serve just cannot be reproduced in post. But what about the rest? Watch the video to find out.
Circular polarizing (CPL) filters are one of the most useful tools a landscape photographer can have in their toolkit, and in this video from landscape and nature photographer Joshua Cripps, you’re going to find out why.
Of course, they’re not limited to just landscapes, they can also help to cut through reflections and glare on glass and other reflective surfaces, so they can also be great for street, automotive and even portrait photography.