Pictures of landscapes – The issue of filters.

Unlike negative materials, which do not require the use of filters for landscape photos, the latter should never be omitted when shooting on reversible materials. With typical landscape photos, we do not necessarily have to strive to obtain the same common shades in all images. The naturalist will easily learn to recognize the dominant color outside and see it like this, jak będzie później odtworzona na obrazie i jaką ‘chciałby ją na nim zobaczyć. Photos in cloudy weather would have to be, if they are to recreate the right mood, slightly bluish and cannot have the warm character of the world illuminated by the rays of the sun. We won't get the right photos especially when the sun is low, where we are dealing with long, narrow shadows, wanting to get the typical yellowish-red lighting at the same time. Nevertheless, cases are known, above all, if you want to photograph objects or people against a landscape background, and a typical sightseeing photo recedes into the background, in which we need to compensate for the dominant sunlight with the help of filters. A completely weak filter is enough, for example R 3 or K 32, to combat bluish tints in an image with slightly obscured skies or shadows. The Arnz company proposes the use of three types of graduated pink filters for this purpose. Pink filters give photos of people outdoors a pleasant warm skin tone. Filtry te, complementary colors to greens, they are a bit dangerous for landscape photos, because the leaves may come out too dark. Arnz also produces two bright blue filters for low-end photography, red sun.

We talked about the possibilities of measuring the shades of lighting colors above, as well as about equalizing filters - pink, blue and possibly yellow - combined with a discussion of light color temperature measurements. However, we cannot finish the chapter on filters yet. We must make mention of three types of special filters used in landscape photography. The phenomenon of the blueness of distant landscapes is well known, because the short-wave light on the long path from the object to the camera mixes and arrives together with the reflected rays, obscuring the proper colors of a distant object. At higher altitudes, of which distant views are most often photographed, there is also ultraviolet radiation, which is stronger here than in the valleys. Maybe it, though not visible to the eye, have such a strong effect on colored materials, if only- will be transmitted through the lens glass, that will lead’ to unnatural shades of blue. We can prevent this easily, if we use colorless ultraviolet filters (Agfa or ORWO filter no 29 c, Arnz filter no 100, filtr Lifa UV 1 or other) relatively weak yellow filters as a last resort. The last two filters require some explanation. They are used not only for general color correction, but: also to improve the blue of the sky.