LEE Seven5 Micro Filter System by LEE Filters

Introduction

Compact System Cameras have a high specification packed into a small, portable body. Their design makes them the perfect tool for both everyday and more creative photography. The Seven5 filter system from LEE Filters follows the same principles and helps photographers fully realise the potential of their camera. For many photographers, filters are the mainstay of the image-making process. Versatile and easy to use, they open up a world of creativity â&#x20AC;&#x201C; be that balancing the exposure between sky and foreground, increasing the saturation of a blue sky, ramping up the contrast of a black-andwhite image or lengthening an exposure to introduce a sense of movement and the passing of time.

Filters also aid the photographer in capturing an image that reflects what they saw when they released the shutter â&#x20AC;&#x201C; this means less time spent in front of a computer during postproduction and more time shooting.

Front cover photography by Craig Roberts (craigrobertsphotography.co.uk)

Contents

How to use the Seven5 system

The filters

Neutral density filters

ProGlass IRND filters

The stopper range

The polarising filter

25 26 36

Mist filters

Getting creative Resin sets

43 46

Single graduated filters Inspiring Professionals books

47 49

Index

Accessories

How to use the Seven5

Lightweight, simple and precision engineered, the Seven5 is extremely easy to set up and use. You need only three things: an adaptor ring, which screws onto the cameraâ&#x20AC;&#x2122;s lens; a filter holder, which snaps onto the adaptor ring; and a filter, which simply slides into the filter holder. Because the Seven5 filter holder features two slots, you can also combine filters - for example, a warm-up and an ND grad. In addition, the polarising filter can be clipped onto the front of the holder and rotated independently, leaving the area covered by the slot-in filters unaffected.

The Starter Kit The Seven5 Starter Kit comprises one filter holder (which features two slots) and one 0.6ND hard grad. The adaptor ring needs to be purchased separately.

The Deluxe Kit Whether you need to balance the exposure between sky and foreground, eliminate distracting reflections from water or extend your exposure to convey a sense of peace and stillness, the Seven5 Deluxe Kit contains everything you need for creative

1 x Filter Holder

1 x Circular Polariser

1 x 0.6 ND Soft Grad Filter

photography. Containing each of the items illustrated below, all you need to purchase in addition is the appropriate adaptor ring for your lens.

1 x 0.6 ND Hard Grad Filter

1 x 0.9 ND Hard Grad Filter

1 x Big Stopper

How to use the Seven5

Adaptor Rings

Triple Filter Wrap

Adaptor rings are available for the following lens thread sizes:

37mm, 37.5mm, 39mm, 40mm, 40.5mm, 43mm, 46mm, 49mm, 52mm, 55mm, 58mm, 60mm, 62mm, 67mm, 72mm and Fuji X100 / X100S.

Keeping your Seven5 filters clean and free of scratches is of paramount importance. The triple filter wrap holds three filters, and serves a dual purpose: not only does it keep your filters safe, but it also doubles up as a cleaning cloth.

Lens Hood The Seven5 system also features a lightweight clip-on lens hood, to help control the effects of flare.

Closed

Middle

Open

The rubber hood has been designed with three positive stop positions, allowing for shading on lenses of many focal lengths.

The Seven5 polariser will fit easily inside the hood when needed.

A quick way to use an ND graduated filter

/12

Without a filter, the sky in this image is burnt out and lacks detail.

Screw the adaptor ring onto the front of your lens.

Clip the filter holder onto the adaptor ring by releasing the silver lug at the side.

LEE

.6N

Slide the filter into the holder – in this case, a 0.6ND hard grad. Place it in the guide rails nearest to your lens.

/12

T B

20 00 10 00 50 0 0 25

Use the viewfinder or Live View to position the filter so that the graduated area is over the horizon.

8 A

0 -2

30 15

-1

4000 0 20 0 0 0 10

50 0 250 125

If you are shooting in Manual mode, you should adjust your shutter speed to compensate for the filter. Simply increase the length of the shutter speed in increments until the reading on your camera’s screen is at ‘0’.

With the graduated filter in place, you are ready to take your meter reading.

8 4

-1

.6N

30 15

LEE

12 5 60

-2

If you want to use your camera in Automatic mode, set it to A. As a starting point, dial in +2/3 exposure compensation. This will be sufficient for most situations, but may vary depending on the brightness of the scene and how much the filter covers it. You may want to bracket to be sure.

If you do not have an exposure compensation dial on your camera, you can adjust it via the menu settings. The camera’s screen will display that you have set your exposure to +2/3.

9 The final picture. The 0.6ND hard grad has balanced the exposure, so the sky now has depth and colour.

A quick way to use an ND standard filter

Without a filter, the shutter speed is too short to evoke a sense of movement in this waterfall.

If light levels are low, fit your camera to a tripod to avoid camera shake. Screw the adaptor ring onto the front of your lens.

Clip the filter holder onto the adaptor ring by releasing the silver lug at the side.

Slide the filter into the holder – in this case, an ND standard. Place it in the guide rails nearest to your lens.

6 0 -2

30 15

-2

-1

30 15

12 5 60

20 00 10 00 50 0 0 25

If you are shooting in Automatic mode, there is no need to adjust your exposure, as the camera will do this automatically.

50 0 250 125

Fn A

4000 0 20 0 0 0 10

8 4

-1

The final picture. The ND standard filter has slowed down the shutter speed, so the image imparts a sense of movement and softness.

A quick way to use a polariser

-2

0 -1

20 00 10 00 50 0 0 25

7 The final picture. The polariser has cut out the reflections and contrast, making a far more evenly toned, pleasing image.

If you are shooting in Automatic mode, there is no need to adjust your exposure, as the camera will do this automatically.

50 0 250 125 60

View the scene through your camera’s viewfinder and rotate the polariser until you achieve the desired effect.

4000 0 20 0 0 0 10

Clip the filter holder onto the adaptor ring by releasing the silver lug at the side.

8 4

30 15

-1

Holding the polariser up to your eye, rotate the filter until you achieve the desired effect.

-2

Clip the polariser onto the front of your filter holder.

30 15

Screw the adaptor ring onto the front of your lens.

12 5 60

Without a filter, the reflections are distracting and the image has too much contrast.

How to use the Big Stopper

2000

4000

-1 125

2000

-2

50 0 250 125 60

500

4000

250

-1

Depending on the shutter speed, you will probably have to set your camera to bulb (B).

-2

-1

Slide the filter into the holder. Place it in the guide rails nearest to your lens and make sure the filter’s foam seal is facing the camera.

Release the shutter using a remote or cable release. Because the camera is in ‘B’ mode, you will need to count your exposure either in your head, or with a watch or the timer on a smartphone. Cover the viewfinder with your hand to prevent light leaks, being careful not to knock the camera.

9 The ultra-slow shutter speed has resulted in the water appearing misty and ethereal.

8 T

40 00 20 00 00 10

T B

The Big Stopper increases the exposure by ten stops, so you will need to extend your shutter speed accordingly. To calculate it, use the card supplied with the filter. For example, a reading of 1/125sec at f/8 becomes eight seconds at f/8. The filter has a blue cast, which can be corrected by increasing the colour temperature of your camera to 8,000-9,000K. As each filter varies slightly, you should take some test images to determine the ideal colour temperature setting for your filter.

7 8

sto pp er

30 15

mal

Fit your camera to a tripod and set it to manual focus. Take a light reading, then set your aperture and make a note of the shutter speed.

6 th

e BIG Nor

Shu 1,0 tter 00 Ex Spe th ed po 50 0th su with re 25 Big 0th 1 se Stoppe Gui 12 cond r de 5th 2 se 60 cond Nor th 4 se mal 30 Shu cond s 15 th tter 8 se th Spe ed cond s 8th 15 with seco s ¼ Big 30 nd 1 mi Stoppe s seco ½ r nu nd te 2 mi s 1 se nu tes 4 mi cond 2 se nu tes 8 mi cond nu s tes 16 minu 32 minu tes tes

Clip the filter holder onto the adaptor ring by releasing the silver lug at the side.

125

Screw the adaptor ring onto the front of your lens.

250

Without a filter, there is no sense of movement in this scene.

500

-2

The filters

We select the right filter substrate for the right results. It’s been over 50 years since LEE Filters first started to manufacture filters for the photographic industry. We’ve learned a great deal in that time – not least, which base material is most suitable for which filter. By selecting the best base material for the job, we can ensure that photographers achieve accurate, consistent results.

Those who use filters regularly for their work will know that there are two main substrates used in the manufacture of filters – resin and glass. LEE Filters uses both in its extensive range, and it’s important to understand why we may choose one over the other, in particular when it comes to graduated filters.

Resin filters

Glass filters

n Handmade to exacting standards

n Consistent density and opacity

n Optically correct with reduced reflections

n ProGlass for the ultimate in precision and neutrality

n Subtle transitions with no harsh edges

Our resin Neutral Density Graduated Filters are all made by hand in our UK-based factory, and our resin is an optically correct polycarbonate of the highest quality, which we also manufacture ourselves. The reason we use this substrate is because of its ability to ‘take’ the dye evenly and controllably. Also, thanks to the carefully selected organic compounds that give the resin its high optical quality, the filters have a very low reflectance that mean no additional antireflection coatings are required. Because of this ability to control every stage of the production process, we are able to ensure maximum consistency and reliability of our filters. Such a meticulous approach also means we are able to control the filters’ graduation lines with precision, giving subtle transitions without the harsh edges or density variations that can degrade a photographic image. When dyeing glass filters, the manufacturing process necessitates a more ‘random’ approach. Such a process makes it virtually impossible to precisely control the transition lines, which is why our experience informs us that glass is an unsuitable surface for graduated filters.

n Controls IR pollution for digital sensors

When it comes to the original and hugely popular LEE Filters Stopper Range, these long-exposure filters are manufactured using molten glass with an added colourant to achieve a suitably deep colour and density that reduces the amount of visible light that can pass through them. Part of their unique quality is the slightly blue colour cast they feature. This cast is added to the filter intentionally in order to reduce the problem of infrared light pollution – something that can cause issues with digital sensors. As the dye is added to the molten glass, rather than coated onto the filter surface, a natural optical vignette is created in the corners of the Stopper filters. This is especially noticeable when they are used with wideangle lenses. This vignette gives images that ‘classic’ Stopper quality that is loved by photographers worldwide and has redefined the look of long-exposure digital photography. As for our latest ProGlass IRND Filters, these are vacuum evaporated onto glass, using ultra-thin layer technology to reflect unwanted light away from the lens. This technology gives a clean, pure, clinical look, with neutral, vibrant colours and excellent control of infrared and ultra-violet light, and without colour casts or an optical vignette.

Neutral density filters

Neutral density (ND) filters form an invaluable part of any creative photographer’s armoury. Their purpose is to reduce the amount of light hitting the camera’s sensor without – and this is crucial – altering the colour of the scene. They come in two types: graduated and standard. Both standard and graduated ND filters for the Seven5 system are available

in 0.3, 0.45, 0.6, 0.75, 0.9 and 1.2 strengths. The 0.3ND reduces the amount of light hitting the sensor by one stop, the 0.45ND by one and a half stops, the 0.6ND by two stops, the 0.75ND by two and a half stops, the 0.9 by three stops and the 1.2ND by four stops.

(2½ stop)

(2 stop) 1.2

(1½ stop) 0.9

0.75

(1 stop)

0.6

0.45

0.3

Graduated ND filters (Resin)

(3 stop)

(4 stop)

A graduated ND filter has the neutral density tone covering just part of the filter. Half way down the filter, the tone begins to ‘dissolve’, until it leaves clear resin. In most situations, the sky is brighter than the foreground of a scene, so the graduated ND helps to balance your exposure. The result is an evenly lit scene, as opposed to one where either the sky is burned out and white, or the foreground is underexposed.

ND grads come in three types: hard, medium and soft. The hard grad has a much more defined transition between neutral density and clear, and is ideal when the area of transition in the composition is defined â&#x20AC;&#x201C; a wall, or the seaâ&#x20AC;&#x2122;s horizon, for example. The medium ND grad offers the photographer increased choice and expands the creative possibilities within an image. It is ideal for balancing the contrast between, for example, the sky and a line of treetops, or indeed the rooftops of houses. A soft grad, as its name suggests, features a more gradual transition, and is the filter type of choice when the line between sky and foreground is less defined, such as an undulating landscape.

0.9 ND Soft Grad

0.9 ND Medium Grad

0.6 ND Hard Grad

Neutral density filters

Crop-sensor cameras, larger lenses and the Seven5 system Lens manufacturers continue to introduce ever larger and faster lenses for mirrorless cameras. The bigger front elements that characterise these lenses make their filter thread sizes unsuitable for use with the Seven5 system. As a result, if you have a lens with a diameter of 72mm or above, we recommend that you use the LEE Filters 100mm filter system with it. Neutral density graduated filters designed for the Seven5 system have tighter areas of transition than the larger-sized filters of the 100mm and SW150 systems. This is because mirrorless cameras, for which the Seven5 system is designed, have smaller sensors, which means that the grad lines have to cover less of the filter area in order to achieve the same filtration effect as you would get from a full-frame sensor.

As a result, photographers who use larger diameter lenses (and therefore the 100mm system) on crop-sensor cameras will need to refer to the chart below for their 100mm system filters to have the same effect as those from the Seven5 system. 100mm System

Seven5 System

Very hard grad

equivalent to Hard grad

Hard grad

equivalent to Medium grad

Medium grad

equivalent to Soft grad

Soft grad

equivalent to N/A

All ND grads in the Seven5 filter system are available in 0.3, 0.45, 0.6, 0.75, 0.9 and 1.2 strengths.

LEE Reverse ND filters have been specifically designed to give the photographer full control over images shot at the beginning and end of the day, when the sun is at its brightest on the horizon. As it’s name suggests, the Reverse ND has a stronger density in the centre of the filter, with a carefully designed transition zone that gives a natural balanced exposure to the sky. The Reverse ND is manufactured by hand by the skilled technicians at the LEE factory. This level of quality control differentiates the Reverse ND from other similar filters on the market. Most importantly, where many

0.9 Reverse ND

1.2

0.9

0.6

Reverse ND filters (Resin)

similar filters feature a strong ‘stripe’ at the horizon line that fades very sharply, the LEE Reverse ND has a much smoother, more gradual transition between the dyed and clear areas of the filter. The result is a far more pleasing and balanced image than can otherwise be achieved. The Reverse ND is available in 0.6 (2 stop), 0.9 (3 stop) and 1.2 ND (4 stop) strengths.

(1 stop)

(1½ stop)

(2 stop)

0.9

0.75

0.6

0.45

0.3

Standard ND filters (Resin)

(2½ stop)

In a standard ND filter, the neutral density tone covers the entire filter. It can be used either to slow down the shutter speed or to widen the aperture. For example, if a meter reading suggests 1/60 sec at f/8, fitting a 0.9ND (three-stop) standard filter would allow you to slow your shutter speed to 1/8 sec at f/8, to impart a sense of movement to the scene.

(3 stop)

Alternatively, using the same reading of 1/60 sec at f/8, fitting a 0.9ND standard filter would allow you to open up your aperture to f/2.8. This gives you the opportunity to focus more selectively and – if shooting a portrait, for example – throw the background out of focus for a more flattering and less distracting result.

ProGlass IRND

(2 stop)

(3 stop)

(4 stop)

(6 stop)

4.5

3.0

1.8

1.2

0.9

0.6

The ProGlass IRND range was developed in response to a demand from the movie industry for ND filters that could stand up to the rigours of the film set. Now, the same filters are available to the photographic industry, along with longer-exposure versions that have been made possible thanks to technological advances in coating. ProGlass IRND filters were two years in the making and are available in 0.6ND (two stop), 0.9ND (three stop), 1.2ND (four stop), 1.8ND (six stop), 3ND (ten stop) and 4.5ND (fifteen stop) versions.

(10 stop)

(15 stop)

0.6 ND Hard Grad & 3.0 ND ProGlass IRND – 10 stop (RAW file – unprocessed)

0.6 ND Hard Grad (RAW file – unprocessed)

0.6 ND Medium Grad & 4.5 ND ProGlass IRND – 15 stop (RAW file – unprocessed)

0.6 ND Medium Grad (RAW file – unprocessed)

ProGlass IRND (Glass) Thanks to LEE Filters’ complete control over the manufacturing process, ProGlass IRND filters are precisely neutral, with virtually no colour shift and extremely accurate stop values. And because they block both infrared and ultraviolet pollution, blacks remain pure and clean, while colours are crisp, punchy and vibrant. The six, 10 and 15-stop filters feature a foam seal, which fits snugly to the filter holder

to avoid light leaks. These filters should be used in the slot closest to the lens for the most secure fit. While the two, three and four-stop versions do not have a foam seal, they should also be used in the slot closest to the lens. ProGlass IRND filters can be used in conjunction with the likes of neutral density grads and the polarising filter, for even greater control of the in-camera image.

The stopper range

In recent years, photographers such as Jonathan Chritchley, Michael Kenna and Rolfe Horn have created a trend for ultra-long exposures. The result is a very particular style of image that conveys a sense of movement and the passing of time.

Little Stopper

Big Stopper

Super Stopper

(6 stops)

(10 stops)

(15 stops)

It is a technique that is well suited to seascapes or landscape images that feature water, with sometimes fast-moving elements of a composition being rendered apparently still and milky white. Big Stopper

The Little Stopper - 6 stop (Glass) The Little Stopper is ideal for those low-light scenes at the beginning and end of the day, when any exposure compensation greater than six stops might render shutter speeds too long. It’s also the filter to choose when you want to retain some texture in moving objects such as cloud or water

The Big Stopper - 10 stop (Glass) With a density of ten stops, the Big Stopper is highly adaptable, proving equally useful not only in lower light conditions but also at times of the day when the light is harsher.

Little Stopper

The Super Stopper - 15 stop (Glass) The Super Stopper is designed for use in bright conditions during the middle of the day – a time that’s traditionally considered unsuitable for photography because of the harsh, contrasty nature of the light. However, with the Super Stopper filter fitted, the softness that arises from any movement contrasts pleasingly with any areas of bright light, creating an effect rarely seen in photography before now.

Combining Filters For even more precise control of the image, the Stopper range of filters can be used in conjunction with other filters – for example, an ND grad or polarising filter. Remember to take the filter factor of any other filters into account when setting your exposure.

Super Stopper

The stopper range

Exposure Guide The actual density of your Stopper may vary by as much as â&#x2026;&#x201D; of a stop. In order to achieve the most accurate exposure for your individual filter, it is recommended that you make some test exposures before first use. Normal with Shutter Speed Little Stopper

with Big Stopper

with Super Stopper

1/2000 sec

1/30 sec

1/2 sec

15 seconds

1/1000 sec

1/15 sec

1 second

30 seconds

1/500 sec

1/8 sec

2 seconds

1 minute

1/250 sec

1/4 sec

4 seconds

2 minutes

1/125 sec

1/2 sec

8 seconds

4 minutes

1/60 sec

1 second

15 seconds

8 minutes

1/30 sec

2 seconds

30 seconds

16 minutes

1/15 sec

4 seconds

1 minute

32 minutes

1/8 sec

8 seconds

2 minutes

1hr 4mins

1/4 sec

15 seconds

4 minutes

2hrs 8mins

1/2 sec

30 seconds

8 minutes

4hrs 16mins

1 second

1 minute

16 minutes

8hrs 32mins

2 seconds

2 minutes

32 minutes

17hrs 4mins

The Stopper App Designed to help you get the most from your Big, Little and Super Stopper filters, the LEE Stopper App accurately calculates the precise exposure you require and includes a timer for very long shutter speeds.

Download for FREE â&#x201E;˘

The polarising Page Title filter

The polarising filter is an extremely versatile tool that can bring depth and dimension to an image.

Circular Polariser

Polarising filter (Glass) There are two types of polariser: circular and linear. These terms do not describe the shape of the polariser, but the way in which it works. In general terms, modern cameras require circular polarisers, because the linear type interferes with complex electronics.

A polariser works by cutting out certain waves of light from reflective surfaces, making colours appear more saturated. But there is more to this filter than simply ramping up the colour of a blue sky. It can be used more subtly, too.

LEE Filters has introduced a circular polariser specifically for the Seven5 system.

While rotating the polariser fully will result in the aforementioned deep blue sky with clouds that appear to leap out of the image, rotating it by just two thirds or three quarters will give a slightly more delicate â&#x20AC;&#x201C; and potentially more realistic â&#x20AC;&#x201C; result, with less contrast between cloud and sky, and an image that is more believable to the human eye.

The polarising filter

And itâ&#x20AC;&#x2122;s far from being a filter only for the landscape photographer. Those with an interest in architectural pictures also find it invaluable, as it cuts reflections â&#x20AC;&#x201C; which can render an image confusing and muddled â&#x20AC;&#x201C; from glass and metallic surfaces.

This means it can be used in conjunction with, for example, a warm-up filter or a neutral density grad. One point to remember is that you will have to increase your exposure by 1 3/4 stops when using a polariser. If you are combining it with other filters, the increase may be even greater.

Circular Polariser

The beauty of the Seven5 polariser lies not only in its simplicity (it snaps onto the filter holder and is ready to use), but also in the fact that it can be rotated independently of any other filters.

Mist filters

With judicial use, mist filters can be the perfect tool for injecting atmosphere and mood into a composition.

Mist stripe

Mist grad

Mist filters (Resin) The important thing to bear in mind is that you’re not creating a ‘special’ effect – you’re creating a mood by introducing something that appears natural and in context with what’s in front of you. As such, mist filters tend to be most effective when used in earlymorning light, in spring or autumn – the time of day and year when we might expect to witness such conditions. The mist filters allow a certain amount of light through to hit the sensor, which is crucial to their natural, convincing effect. This effect is tricky to replicate on the computer in postproduction, and doesn’t look as believable.

Mist grad

No filter

Getting creative

Vibrant, colourful and often gritty, it’s not surprising so many photographers find their inspiration in our cities. From studies of architectural details, to quirky juxtapositions of buildings, or playing with the scale differences between people and structures, the creative possibilities are almost infinite.

Compact System Cameras are ideally suited to this type of environment, where a photographer, often working handheld, needs to respond quickly to a fastunfolding scene. It’s this kind of photography that LEE Filters bore in mind when developing the Seven5 system – making it inconspicuous and light enough to remain attached to the lens at all times. All the photographer needs to do is slide in or snap on the appropriate filter and shoot.

Circular Polariser

Urban landscapes

One of the most enjoyable aspects of shooting in cities is choosing which lens to work with. A telephoto lens, or shooting at the long end of a zoom, allows the photographer to compress the perspective of a scene, making structures appear closer to each other than they actually are.

0.6 ND Hard Grad

This is great for conveying the bustle of a cityscape. A wider lens puts the building into context and can convey drama when shooting from a low angle pointing upwards.

Choosing your filter Almost any filter goes in an urban environment. A polariser reduces the reflection from glass windows, while increasing the saturation of a blue sky. The polariser can be used alone or in conjunction with other filters. More often than not, the sky will give a brighter meter reading than the foreground, so fitting an ND grad will overcome this and balance out the exposure. You might even like to slide a sunset filter or a coral grad into the holder, to introduce an element of warmth to the scene. Itâ&#x20AC;&#x2122;s also possible to create unusual and arresting images in cities using the Big Stopper filter â&#x20AC;&#x201C; although it does, of course, require a sturdy tripod if camera shake is to be avoided.

The movement of clouds against a steadyas-a-rock building is often an attractive juxtaposition, while extremely long exposures in low light can render moving figures invisible, resulting in an intriguing scene that might appear to be devoid of human presence.

Getting creative

0.6 ND Soft Grad

Whether shooting family snaps as mementoes, or something more formal, photographing people is an endlessly fulfilling challenge.

Portraits Capturing the essence of someoneâ&#x20AC;&#x2122;s personality while simultaneously placing them at their ease and staying alert to the split second when everything falls into place certainly keeps a photographer on their toes. The choice of filter when shooting portraits depends on many factors, including whether working indoors or outdoors, the subjectâ&#x20AC;&#x2122;s skin tone and, of course, what the photographer hopes to achieve with the image. Like much of photography, itâ&#x20AC;&#x2122;s all about experimenting, but here are a few pointers to get started.

Choosing your filter

0.6 ND Standard

When shooting portraits outdoors in natural light, you may encounter the same disparity between sky and foreground, in terms of exposure, as you would with landscape photography. In cases such as these, an ND grad is invaluable and reduces the need for fiddly work at the computer in postproduction.

0.6 ND Soft Grad

One of the classic techniques of portrait photography is to use a wide aperture – around f/4 or even f/2.8 – in order to throw the background out of focus and concentrate the viewer’s attention on the subject, and render any potential distractions blurred. However, bright sunshine can often put paid to such an approach. In these situations, a standard ND filter reduces the amount of light hitting the sensor, permitting the photographer to open up the aperture.

For example, a reading of 1/500 sec at f/11 is an ideal shutter speed, but not such a great aperture. Fitting a standard 0.9ND filter would result in an aperture of f/4, which is preferable for portrait photography.

Getting creative

Long exposures Success with long exposures relies on one key item: a decent tripod. This means the resulting photographs are blurred for the right reasons – and not because of camera shake. Because there’s no exact definition of what constitutes a long exposure, the extent of blur within an image is completely down to the photographer.

0.9 ND Standard

One of the great joys of photography is that it gives us the chance to experiment – and nowhere is this more apparent than with long exposures. They can be something of a trial and error, but that’s a big part of the fun.

Super Stopper

A shutter speed of 1/2 sec on a busy street will capture a sense of movement and bustle, while a two-minute exposure when shooting a seascape will result in a smooth, still image almost devoid of detail in the moving areas of the frame.

Choosing your filter When it comes to long exposures, the standard ND is the filter you want to reach for. Depending on the extent to which you want to slow down your shutter speed, you can pick anything from the 0.3ND, for just one stop of compensation, through 0.6 (2 stops) and 0.9 (3 stops), right up to the fifteen stops of the Super Stopper. And because the Seven5 filter holder has two slots, you can even stack filters, so a combination of 0.6 and 0.9ND standards, would give an extended exposure of five stops.

Trial and error Although one of the most enjoyable aspects of long-exposure photography is its unpredictability, if you want more controlled results, it’s important to experiment. By doing so, you will build up a mental ‘library’ of the effects of different shutter speeds on the scene in front of you.

For instance, a long exposure doesn’t have to mean the moving part of the composition is devoid of all detail. Many landscape photographers feel the movement of a waterfall, for instance, is best conveyed when a little detail is retained in the water. As such, they may use a shutter speed of around 1/4 sec or 1/2 sec as opposed to one of 30 seconds or more. Other photographers, however, may prefer the abstract results that arise from the longer exposures – there are no rules, after all!

Getting creative

Landscape photography consistently comes up as the most popular subject among keen photographers. And it’s not surprising. Getting out into the fresh air of the countryside – armed with nothing but a camera and with nothing to think about other than making images – is one of the best ways to switch off from everyday pressures. Landscapes Despite this, however, landscape photography can be tricky to master, and conveying a true sense of place, time and mood in an image is something that only comes with practice.

Nothing is more crucial to the success of a landscape image than the right light. This usually means shooting at the very beginning or end of the day, when the light can be anything from understated and subtle to dramatic and fiery, moulding the scene, giving it colour, depth and atmosphere.

0.6 ND Soft Grad + Little Stopper

Choosing your filter When it comes to filters for landscape photography, the choice is enormous and can be confusing. Start by asking yourself what you want a filter to add to your image. Do you want it to dramatise what is in front of you, adding a sense of the hyper real? Or would you prefer the use of filters to be imperceptible, their use simply helping to replicate what can be seen with the naked eye?

0.6 ND Hard Grad + Big Stopper

Whichever your preference, neutral density grads, warm-up filters and a polariser make a good starting point. For further enhancement, you might want to add sunset, coral and blue filters to your kit â&#x20AC;&#x201C; all of which will enhance an otherwise dull sky, without appearing overdone. Choosing colours that complement rather than clash with your composition is the key to success. The two-slot design of the Seven5 holder means that the photographer can combine filters, so a neutral density grad might balance the exposure between sky and foreground, for example, while a blue grad would introduce tone into what might be an otherwise featureless sky.

Getting creative

Recent years have seen a huge resurgence of interest in black and white photography. This is thanks in no small part to the introduction of digital technology and the ease with which it allows the photographer to convert colour images to monochrome. Black and white images have a quality all of their own. Black and white Stripped of its colour, a scene takes on a whole new mood and meaning, one that is completely different from how it might appear if shot in colour. Many Compact System Cameras give the photographer the option of capturing the image in black and white, with the rear monitor displaying it in monochrome.

This is an extremely useful aid in terms of visualising in black and white. When shooting in this mode, using filters can enhance the picture, and the monitor means the photographer can see the effect of the filter instantly, rather than waiting until the photographs are uploaded onto the computer at home.

As a result, they can be modified in the field, avoiding the need to spend as much time on the computer at the postproduction stage.

23A Light Red Filter

Choosing your filter

This filter also absorbs green, so it should be used judiciously when shooting landscapes, as any lush greenery can block up, losing detail and contrast. Neutral density filters – both standard and graduated – are also invaluable to the photographer who works in black and white. They should be used in the same way as with colour photography, namely, to balance exposure and to either slow down shutter speed or afford the use of a wider aperture.

The basic kit for the photographer who shoots in black and white would include yellow, orange and red filters. If shooting a blue sky with white, puffy clouds, the yellow filter would impart a slight increase in contrast between the two, while a red filter would have a far more dramatic effect. The effect of an orange filter falls in between. However, there are other factors to consider when using these filters, because they also brighten colours similar to their own. For example, fitting a red filter when photographing a typical red London bus would result in the vehicle appearing almost white in the final image.

0.6 ND Soft Grad

Last, but most definitely not least, long exposure filters are perfect for monochrome photography, enhancing a picture’s mood and sense of the abstract.

Resin sets

Resin sets are a great â&#x20AC;&#x201C; and economical â&#x20AC;&#x201C; introduction to filters. Each LEE Filters set for the Seven5 system includes three filters, which are presented in a wrap that is easily stored in a pocket or camera bag.

Neutral density grad filter set Filters

The neutral density grad set comes in both hard, medium and soft grad versions. Each set includes 0.3, 0.6 and 0.9 strength filters, with the 0.3 grad equating to one stop of exposure compensation, the 0.6 grad equating to two, and the 0.9 grad giving three stops. So, for example, if the meter reading for the sky was 1/30 sec at f/8 and the foreground 1/125 sec at f/8, you would

Filter used 0.6 ND Hard Grad

0.3 ND

0.6 ND

0.9 ND

select a 0.6ND grad, which would even out the exposure to 1/125 sec at f/8 across the whole scene. Don’t forget, too, that the Seven5 system’s filter holder can be rotated, so grads of any type can be used at an angle – or even upside down. For a full explanation of how to use neutral density grads, see page 8.

Neutral density grad filter set Filters

Neutral density grad sets In addition to being available individually, three ND grad sets are available for the Seven5 system.

ND Grad Hard Set 0.3ND hard grad

0.6ND hard grad

0.9ND hard grad

0.3ND medium grad

0.6ND medium grad

0.9ND medium grad

0.3ND soft grad

0.6ND soft grad

0.9ND soft grad

ND Grad Medium Set

ND Grad Soft Set

OUT OF TOWN ND filter set Filters

Containing both a hard and a soft neutral density graduated filter, the versatile Out Of Town filter set puts you in control of the contrast in a landscape, whether youâ&#x20AC;&#x2122;re shooting a mountainous scene or a close-up of the forest floor.

Filter used 1 x 0.6 ND Soft Grad

1 x 0.6 ND Soft Grad

1 x 0.9 ND Hard Grad

1 x Big Stopper

A Big Stopper helps slow your exposure to convey movement in clouds, grasses or streams â&#x20AC;&#x201C; or all three.

Seascape ND filter set

Filters

Our coastline never fails to inspire the photographer, and the Seascape filter set has been designed to make the most of the seaâ&#x20AC;&#x2122;s creative possibilities. A Big Stopper slows down the exposure by ten stops, rendering even the stormiest waters calm and serene.

Filters used 1 x 0.9 ND Hard Grad

1 x Big Stopper

1 x 0.3 ND Hard Grad

1 x 0.9 ND Hard Grad

1 x Big Stopper

Two ND hard grads both balance the exposure and ensure a clean transition at the horizon. The grads can even be stacked to help balance extremely contrasty conditions.

URBAN

ND filter set Filters

Cities provide many exciting photographic challenges, and the Urban filter set helps to ensure you get the best from this often hectic environment. The two ND soft grads help hold back areas of brightness such as glass windows, and donâ&#x20AC;&#x2122;t forget, like all

Filters used 1 x 0.9 ND Soft Grad

1 x Big Stopper

1 x 0.6 ND Soft Grad

1 x 0.9 ND Soft Grad

1 x Big Stopper

filters in the Seven5 system, they can be used upside down and at an angle, too. The Big Stopper means that moving figures will be blurred or, depending on the length of exposure, may even disappear altogether.

Black and white filter set Filters

Filters are an essential part of any black and white photographerâ&#x20AC;&#x2122;s kit, and this set reflects that. Made up of Yellow, Red and Yellowish Green standard filters (not

No. 8 Yellow

No. 23A Light Red

No. 11 Yellowish Green

grads), the first two filters will enhance the contrast in a sky to varying degrees, while the Yellowish Green both imparts contrast and opens up the tones of green foliage.

Filter used

No. 23A Light Red

Single graduated filters

Sunset

Sunset Yellow The yellow portion of the Sunset grad.

Sunset Orange The orange portion of the Sunset grad.

Straw For a strong warm-up effect when shooting landscapes; accentuates foregrounds when inverted.

Yellow

The red portion of the Sunset grad.

Orange

Sunset Red

Red

For a sunset effect when shooting into a low sun.

Single graduated filters

Coral

Slightly pink warm-up filter, more red than 81 series.

Chocolate Accentuates brown tones, such as autumn leaves and stone.

Tobacco Darker and more red than Chocolate and Sepia filters, with a very strong effect.

Sepia For a brown-tinted monochrome appearance, which is less red than Chocolate.

Real Blue

0.9

Sky Blue

0.75

Darker and more black than Sky Blue, for a stronger impact on skies.

A green-blue to bring realistic colour into flat skies.

Mahogany

0.45

0.6 1.2

Reverse ND Used for sunrise and sunset. Reduces exposure in selected areas without affecting colour balance.

0.6

1.2

Reduces exposure in selected areas without affecting colour balance.

0.9

Neutral Density

0.3

Enhances impression of dawn and evening light in skies; â&#x20AC;&#x2DC;red sky at nightâ&#x20AC;&#x2122; effect.

Books

Who better to learn from than the professional photographers who use LEE Filters products every day? Learn from the professionals Inspiring Professionals Books

Xposure magazine

With contributions from Joe Cornish, Charlie Waite, David Ward, Mark Denton, John Gravett, David Noton, Jeremy Walker, Paul Gallagher and Tom Mackie, Inspiring Professionals and Inspiring Professionals 2 are packed full of world-class photography and invaluable hints on how to get the best out of your LEE Filters products.

Featuring interviews with some of the world’s most respected photographers, advice on everything from neutral density graduated filters to long-exposure photography, and analysis of what goes into making a successful image, Xposure – the online magazine from LEE Filters – is packed full of photographic inspiration. Download the latest issue at www.leefilters.com.

Inspiring Professionals 2 ebook

LEExposure/ E IN

LEExposure/ ISSUE

ON L

ISSUE

M LEE FILTERS FRO INE AZ AG M

E IN

M LEE FILTERS FRO INE AZ AG M

TH E

Both books are also available as ebooks from the iBooks Store (suitable for Mac and iPad). These multi-touch versions have been specifically designed for the best possible experience on screen. The high quality images can be viewed full screen or alongside the commentary and diagrams that explain which filters were used for each shot.

Accessories

ClearLEE Filter Cleaning Kit A dirty filter can cause areas of softness in your images – something that's nearly impossible to remove in post-production. Much easier to avoid the issue in the first place with the Filter Cleaning Kit - ensuring your filters stay optically perfect and free of marks and smudges.

ClearLEE Filter Wash (50ml) Specially formulated to cut through grime and fingerprints – safely and effectively.

ClearLEE Filter Cloth A high-quality microfibre cloth.

Also available separately • ClearLEE Filter Wash (300ml) • ClearLEE Filter Wash (50ml) • ClearLEE Filter Cloth

Accessories

System Pouch The Seven5 System Pouch has been designed to hold a Seven5 Filter Holder, Polariser and up to eight individual Seven5 filters. Constructed from a tough and durable fabric so that it can stand up to wear and tear, the System Pouch features a concertina design, which means the photographerâ&#x20AC;&#x2122;s filters are easily accessible.

Lens Caps The Seven5 Lens Cap allows the photographer to leave their adaptor ring attached to the lens at all times while keeping the front element of the lens clean and safe. The caps are made of polypropylene and come in three colours to enable easy identification of lenses whilst in the camera bag. They can also be written on if required. Available in a pack of 3.

Filter wrap The Filter Wrap is a simple, yet ingenious design. Made from a microfibre cleaning cloth, it holds a single filter and can be stored, using only minimal space.

Index

Page

Accessories Adaptor Rings Big Stopper

47 6 5,11,20,33 39,40,41

Page

Little Stopper

20,31,33

Mahogany 1, 2, 3

Mist Grad

Mist Stripe

Neutral Density Filters

Black & White Filter Set

Black & White Photography

Books

Chocolate 1, 2

ClearLEE Filter Cleaning Kit

ClearLEE Filter Cloth

ClearLEE Filter Wash

Coral 1, 2 ,3 ,4 ,5 ,6 ,7, 8, 9, 10, 11, 12, 13, 14

Neutral Density Graduated Filter Set

Out Of Town ND Filter Set

Neutral Density Graduated Filters Neutral Density Standard Filters

5,8,14 27,28,29,33 34,37,38,39 40,41,42 9,17,29,31

Deluxe Kit

Polariser

5,10,23,27

Filter Wrap

Portraits

Holder

4,5

ProGlass IRND

Inspiring Professionals 1 & 2

Real Blue 1, 2, 3

Landscape Photography

Resin Filter Sets

Lens Caps

Reverse ND

Lens Hood

Long Exposures

17,45

Seascape ND Filter Set

Single Graduated Filters

Index

Page

Sepia 1, 2, 3

Super Stopper

20,31

Sky Blue 1, 2, 3, 4, 5

System Pouch

Tobacco 1, 2, 3

Straw 1, 2, 3

Triple Filter Wrap

Sunset Orange

Urban ND Filter Set

Sunset Red

Urban Photography

Sunset Yellow

Xposure Magazine

Sunset 1, 2, 3

Starter Kit

Contact details

LEE Filters, Central Way, Walworth Business Park, Andover, Hampshire, SP10 5AN UK T: + 44 (0) 1264 366245 F: + 44 (0) 1264 355058 sales@leefilters.com leefilters.com

LEE Filters USA, 2237 North Hollywood Way, Burbank, CA 91505 USA T: (800) 576 5055 F: (818) 238 1228 sales@leefiltersusa.com leefilters.com Contributing photographers: Mark Bauer www.markbauerphotography.com Jonathan Chritchley www.jonathanchritchley.net Joe Cornish www.joecornishgallery.co.uk Paul Gallagher www.paulgallagher.co.uk Damien Lovegrove www.lovegrovephotography.com Craig Roberts www.craigrobertsphotography.co.uk Charlie Waite www.charliewaite.com Jeremy Walker www.jeremywalker.co.uk

Design and layout â&#x20AC;&#x201C; sixty8seventy. www.sixty8seventy.co.uk Tel: 02392 160509â&#x20AC;Ź

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