Noctilux at night or indoor tungsten only situation. Filter?

[syuji_honda]

In such a condition, do I need a filter? Which one? 80A? B+W?

Heliopan?

[peter_white2]

What film?

[syuji_honda]

Provia 400

[furcafe]

As Provia is a daylight, it all depends on the lighting & color temperature where you're shooting. E.g., if you really know it's going to be tungsten lighting, then use the filter for that (I don't know the various designations).

[capocheny]

Syjuji,

 

I'm assuming that you've not yet purchased a filter... my question would be, "How often

will you be shooting under tungsten lighting conditions?"

 

If the answer is, "not that often," - then, why not just shoot with tungsten film in the first

place?

 

Cheers

[al_kaplan1]

If you're shooting color negative then today's films for the most part have enough color latitude to produce acceptable prints with all the corrections done by the printer.

 

Household tungsten lights are around 2800 degrees Kelvin (depending on wattage), warmer than studio lights which are 3200K or amateur movie lights at 3400K. For slde films yo'd use an 80A filter with the movie lights or an 80B for studio lights, both requiring an extra 2 stops exposure. An old trick was to use an 80C filter, designed for clear flash bulbs at about 3800K, because you'd only lose 1 stop. Your pictures would be a bit warm but still believable.

 

We got plenty of good useable photos before multi-coated filters. While you mentioned two top brands I'd suggest trying a used one for a couple bucks of any brand to see if you like the results before spending a bunch of money on something that might see little or no use.

[rolfe_tessem]

In documentary situations, if you correct out the red and yellow you will wind up with a

very unrealistic looking scene on film.

 

Check out how David Alan Harvey does it with reversal film. He occasionally uses a small

flash with warm gels for just a bit of fill to match the ambient light.

 

http://www.magnumarchive.com/c/htm/FramerT_MAG.aspx?

Stat=Portfolio_DocThumb&V=CDocT&E=29YL53ZUWLJK&DT=ALB

[furcafe]

Why should that be the case (unless the correction is overdone)? Our eyes are much less sensitive to red & yellow than C41 or E6 film.

 

----------------

 

 

"In documentary situations, if you correct out the red and yellow you will wind up with a very unrealistic looking scene on film."

[rolfe_tessem]

"Why should that be the case (unless the correction is overdone)? Our eyes are much less

sensitive to red & yellow than C41 or E6 film."

 

Because if you shoot a bar or restaurant interior, for example, and take out the red and

yellow (as a full correction filter would do), it simply won't look realistic, nor will it look as

your eye remembered it.

 

Take a look at any food magazine, such as Gourmet or any of the others that feature

interiors that are supposed to look realistic. On the other hand, most architectural

photographers would fully correct out the color for a completely neutral look. It just

depends on what you're trying to achieve.

[al_kaplan1]

That's why the 80C filter was popular, besides the fact that it only cost you one stop of exposure rather than two. Interiors had a warm "homey" look to them.

[syuji_honda]

How about KB3 cooling filter?

[rolfe_tessem]

The KB3 is a different name for an 82C. It is a light blue filter that raises the color temperature 400 degrees Kelvin, which is a small amount. It will have a noticable but not that significant effect. The 80C that Al mentions was for raising clear flashbulbs (3800 deg. K) to daylight (5500 deg. K) for a difference of 1700 degrees. Obviously, the 80C will have a larger effect and as Al says, it has a filter factor of only 1 stop.

 

The Schneider web site has some good info on color conversion filters:

 

http://www.schneideroptics.com