Nd Filter Photography

nd filter photography

nd filter photography - Neewer 58mm

Neewer 58mm Neutral Density ND2 Filter For Canon Digital Rebel

Neewer 58mm Neutral Density ND2 Filter For Canon Digital Rebel

A Neutral Density filter or ND filter is a "grey" filter, it appears gray and reduces the amount of light reaching the film or sensor, but does not have an effect on color balance.

The purpose of standard photographic neutral density filter is to allow the photographer greater flexibility to change the aperture or exposure time, allowing for more control, particularly in extreme circumstances such as on a very bright day.

This filter can be used to prevent strong overexposure even when using a slow shutter speed. It's perfect for shooting in heavily-lit settings or for extended exposures. For example, when you use a slow shutter speed to capture a bright moving object, such as a waterfall, this filter is your best choice. See the pictures below for comparative shots of a waterfall taken both with and without the use of this filter. The ND Filter we offer is double thread with 2?, 4? and 8?(ND2 ND4 ND8) to indicate the amount of light a ND filter can reduce. Different neutral densities have different effects. You can use the filter individually or in any combination to meet your demand.


*To enable slow shutter speeds to be used, especially with fast films, to record movement in subjects such as waterfalls, clouds, cars, seas, etc.

*To decrease depth of field by allowing wider apertures to be used, which helps separate subjects from their background.

*To decrease the effective ISO of high speed film (i.e.: above ISO400) and allow it to be used outdoors in blight situations.

*To allow cine and video cameras (which have fixed shutter speeds) to film subjects such as snow, sand or other bright scenes which would normally cause over-exposure.

*ND2 Filter.
*Material: High-quality Plexiglas .
*Size: 58mm.

package content: 1 x 58mm ND2 Filter

87% (6)

Revisited: Dunnigan Hills, California

Revisited: Dunnigan Hills, California

As seasons change, I find myself repeatedly visiting a few locations. This tree is one such location. I photographed this scene when the crop was green, and I plan to revisit after the crop is harvested. The fact that time is so visible here, with the ever changing agricultural landscape, makes me return to see how different the same place can appear. I think the phenomenon of revisiting (in general) is innately human, similar to listening to music you've already heard. Familiarity is appealing, especially with photography.

I debated doing a crop on this one, since it is so left-heavy, but the oddly centered tree here begged me to post the shot in its entirety!

From a technical standpoint, I've been experiencing some tough-stitching panoramas lately. I had a hunch that it had something to do with incorrect "parallax correction" at the time of shooting. Since stitching panoramas requires a well-placed "no-parallax-point", I decided to quit winging it, and make the effort to calculate the exact "no-parallax-points" for all my lenses. Below are a few things I learned...

I use mostly zoom lenses, which means that this NP-point changes for every focal length, so I calculated about 4 to 5 spots for each lens. Until now, I have been incorrectly assuming that the NP-point was near the front element in the lens. Not true. In fact, the NP-points on my 24-105mm lens move closer to the ballhead the further the front element of the lens extends from the axis of rotation. This especially holds true for lenses where the barrel of the lens extends when zooming. For this 24-105mm lens, there was a over a 5cm (~2in) difference in the NP point over that focal range. For my 17-40mm lens, which has a fixed lens barrel, there was less than .5cm (~.25in) of a difference. Pretty interesting. Anyway, it was a time consuming process, but simple and worth doing if you do a lot of panorama stitches. I could write more photo-nerd commentary on this subject, but I'll spare you for now.

Canon 5D Mark II
Canon 24-105L @32mm
6, 1-second exposures @ F16
Lee ND soft grad .9 filter
RSS Pano Bar
ISO 50

June in the Grain: Woodland, California

June in the Grain:  Woodland, California

This summer began with a few solid storms that passed through quickly. I hadn't planned on going out this evening, but my buddy Ken called me and said "are you out shooting, because you should be!" So, thanks Ken, for calling. I talk about clouds way more than most people can handle, but the upside is that they think of me when they see spectacular clouds!

I didn't have much time to go anywhere before the sunset, so I bolted out the door and drove into the farmland to see if I could stumble upon something interesting. This field of grain was perfect. It helped even out the bright sunlight by way of reflection. This crop was planted in the spring, and it is harvested now.

I ended up blending two shots for the brightest part of the sky, because there was no way to reproduce the scene as I saw it with only one shot. I waited for the wind to settle down a bit, and fired off a few of these to make sure I had some with grain in focus.

Canon 5D Mark II
Canon 24-105L @24mm
2.5 second exposure @ F16
Lee ND grad .9 + .6 filters
Blended exposure from 2 shots at ISO 50

nd filter photography

nd filter photography

Tiffen 77mm Neutral Density 0.9 Filter

Neutral Density filters reduce the amount of light passing through the camera lens without changing the color of the scene. Especially useful in bright light conditions to help prevent overexposure. Also allows proper exposure at a wider lens opening for reduced depth-of-field to highlight a key subject by making the foreground and/or background out of focus. Neutral Density filters eliminate overly bright, washed-out images, balance exposure, control depth-of-field and allow slower shutter speeds to produce blurred motion effects.

Reduces the amount of light passing through the camera lens without changing the color of the scene. This filter is especially useful in bright light conditions. Allows proper exposure at a wider lens opening when reducing depth of field to highlight a key subject by making the foreground and/or the background out of focus. A slower shutter speeds can be used to produce blurred motion effects.

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