do you use filters on your LF lenses for architecture projects?

Discussion in 'Large Format' started by francesco_bertelli|2, May 26, 2011.

  1. may sound silly question, but i never used filters fo studio...
    but now that i have some field work to do maybe i should get one.
    i'm both shooting in BW and color, so i dont knwo if i want to buy just a UV filter or a filter for BW to ennahce th eBW..
    wch BW filter is the best for architecture work in your opinion? or maybe better without any filter?
     
  2. The only filter I use is a circular polarizer if I use normal or long lenses (pol filters have a bad effect on wide angle lenses).
     
  3. When shooting film and indoors, you will probably need filters. You didn't mention if you were shooting indoors or not. Indoors is always tricky with film because of the mixed lighting. Architectural photographers will sometimes filter the camera for one type of light and filter the rest of the lights to that color balance or one that yields the effect they are after. Tungsten films, not made anymore I don't think, were the preference because of the long exposures and the fact that they are already somewhat corrected for many interior situations. I personally scan my film and then correct for the color at the time of scanning or in post--I also shoot only negative films as they are a bit more easily worked, IMO.
    If only external shots, I wouldn't suggest any filters for color unless you are shooting without a wide lens. A polarizer with wide lenses, if there is much sky, can create more problems than they solve--uneven skies. I do carry one with me, but I really don't remember the last time I used any filter since I started shooting negative film and scanning.
    For black and white, any normal b/w filter might be appropriate depending on the scene and the effect you are after. A yellow filter is probably the most used with black and white, but it will darken a blue building as well as the sky or brighten a yellow building (if either color is part of the scene they will be affected even if only in part (oranges or purples for instance), so again, the effect must be taken into consideration as to how you want the shot to look).
    If you are scanning the film and not making prints, I don't think I would bother with shooting b/w film as color gives you so many options in post that b/w film does not.
     
  4. Polarizer and color-balance or CC filters are often used, especially on interiors; I find I often need to alter the light temperature on interior shots...sometimes it gets tricky with mixed light sources; do the best you can and add correction after scanning into the computer if needed.
     
  5. Exteriors...daytime....Polarizer for color, Polarizer plus either medium yellow or full red for dramatic skies in black and white. Night time, no filters unless you want to tweak the color balance.
    Interiors.....Minolta Color meter to determine needed CC filter pack fir each scene.
     
  6. I am often hired to shoot architecture for conservation architects. The service I offer is black and film film archivally processed, stored, and printed digitally with pigment inks on fibre paper. My service would not agree with the notion of shooting colour to provide more options in post. When I do shoot colour, I shoot mostly Fuji NPL tungsten for long exposures with no reciprocity issues. If shooting outdoors, I shoot with an 85B filter. If indoors with tungsten light, no filter needed. This film stock is no longer made, but I've got a bit of it stockpiled in a freezer. NPL also handles mixed interior lighting better than most any colour film. I think digital is what killed this film stock.
     

Share This Page