Anyone using a B&W Viewing Filter?

[Stephen Prunier]

In my readings of older books on B&W photography, the authors mention the use of viewing filters for reading a scenes contrast. I see that they are still being made and are available at some photo shops. Does anyone use one? If so, do you just use the #1, or do you have a couple of the different grades? In the books they make it sound like there very helpful for LF. I was thinking about using one with my RZ.

 

[eddie]

I have a Zone VI viewing filter. I think it's just a nicely mounted Wrattan 90, but I could be wrong. Basically, it darkens the scene to remove colors, to more resemble monochrome. You move it in and out from in front of your eye. I don't always use it, but think it's a nifty gadget to have (and should use it more). I understand they've always been considered a large format tool, but they'd be a help for any B/W work. Monochrome is monochrome. My guess as to the reason for recommending them for large format is because it's already a slower shooting endeavor, so the extra minute with the filter doesn't add much time to the process. If your RZ work is slow and methodical, you might like having one. I did use it with my RB, but I worked slowly with that, too.

 

[paul ron]

i once had mounteneering sunglasses that were a deep amber which gave me a very good estimation of how my scenes would look.

but after some research i found a wrattan #90 amber filter is exactly what is used as a b&w viewing filter.

 

[Bill Burk]

A long time ago Wratten gelatin filters were easy to come by. The number 90 dark amber makes a good viewing filter. I used to just hold it up in front of my eyes.

Zone VI made it more convenient to use as a viewing filter by mounting it like a slide in a glass mount.

I was given one of these Zone VI viewing filters in poor shape. It was all wrinkly and hazy. It is a Wratten gelatin filter in a glass sandwich mount with a bit of cardboard to leave space between the filter and glass to avoid Newton's rings. I dissected it and replaced the old gelatin filter with a piece cut from my Wratten 90 gelatin filter that I bought several years ago from B&H. You can still get a Wratten number 90 filter from B&H. There's enough material to make a viewing filter for all your friends.

I used it last summer to help me find a good location for a group shot at a lakeside. Without the filter the scene looked expansive and impressive. With the filter, I could tell that there was little separation between the foreground and the distance, so I recomposed to add a triangle of sky.

 

[Arklatexian]

I have a Zone VI viewing filter. I think it's just a nicely mounted Wrattan 90, but I could be wrong. Basically, it darkens the scene to remove colors, to more resemble monochrome. You move it in and out from in front of your eye. I don't always use it, but think it's a nifty gadget to have (and should use it more). I understand they've always been considered a large format tool, but they'd be a help for any B/W work. Monochrome is monochrome. My guess as to the reason for recommending them for large format is because it's already a slower shooting endeavor, so the extra minute with the filter doesn't add much time to the process. If your RZ work is slow and methodical, you might like having one. I did use it with my RB, but I worked slowly with that, too.

I have three Zone VI viewing filters, all the same color and contrast. Why three? Why one is for the 35mm format, another is for the square format (hasselblad, etc), and the third is for 4x5 format. Each of these can be used to see the potential image for different focal length lenses by moving them closer or away from the eye. I keep them in their respective camera cases.......Regards!

 

[samcomet]

In my readings of older books on B&W photography, the authors mention the use of viewing filters for reading a scenes contrast. I see that they are still being made and are available at some photo shops. Does anyone use one? If so, do you just use the #1, or do you have a couple of the different grades? In the books they make it sound like there very helpful for LF. I was thinking about using one with my RZ.

I am a retired Gaffer/Chief Lighting Technician from the motion picture industry (and habitual analog photographer). When I started some 40 odd years ago, Kodak, Wratten, Lee and Tiffen (my favourite) all made viewing filters. There were colour and various B & W (panchromatic, orthochromatic and contrast) and Blue Screen viewing filters all on the market. As the spectral sensitivity of the various B & W filmstocks were all different, we were able to get a very generalised idea as to how scenes would look under different lighting conditions by looking through the appropriate filter. But I must say, over the years I managed to get the broad view of the contrast conditions on a set by simply squinting my eye and looking through my partly closed lashes. These filters, in fine brass mounts, that were worn around the neck, became a way to stare down the fresnel of an arc lamp to see which way it was pointed or to look in the sky to see when the clouds would clear the sun and not burn the retina. I even made a single glass polariser filter and a rotatable double pola glass in a mount, to help get the general view of spectral highlights, flares and reflections. The use of contrast viewing filters ARE helpful to learn to "see" but after awhile the minds eye can take over that task.......anyway hope that this helps you. Cheers! Sam

P.S. I do believe that Tiffen still sells viewing filters and B & H Photovideo also has at least one B & W listed in their catalog.

 

[Doremus Scudder]

I have Zone VI viewing filters. I find them useful for composing as well as for being able to better visualize a scene in monochrome (e.g., looking for tone mergers, etc.). I usually have my image composed and the proper lens chosen before I start setting up the camera just because I can determine all that with the viewing filter. Saves time not having to set up for shots that just won't work as well.

Best,

Doremus

 

[AgX]

Another point is that viewing filters differ between manufacturers.

 

[RalphLambrecht]

In my readings of older books on B&W photography, the authors mention the use of viewing filters for reading a scenes contrast. I see that they are still being made and are available at some photo shops. Does anyone use one? If so, do you just use the #1, or do you have a couple of the different grades? In the books they make it sound like there very helpful for LF. I was thinking about using one with my RZ.

I tried some and found them all to be useless.Lots of monochrome shooting will the replace the need with experience.

 

[Stephen Prunier]

Thanks everyone for your replies. I had looked at B&H a while ago and they do offer several. I also read about the Zone VI filter in Fred Pickers book. I know with practice, reading contrast in a scene can be developed. I just figured that $30 + or - for a filter would save me $ and speed up the learning curve. I haven't used one up to this point with 35mm. Now I'm just using the RZ with film.

 

[CCLA]

Has anybody used this? Is it too small to be of use?

http://www.bhphotovideo.com/c/produ...LF_37A_9_Stop_Density_Adjustable_Viewing.html

claudio

 

[AgX]

It is a neutral density filter. The classic viewing filters are coloured.

 

[DREW WILEY]

I often carry around a pair of dark red laser glasses, which equate to a dark red camera filter. And recently someone gave me a very old little Kodak
Pocket Data Guide replete with leather cover! I has a page in it with red, blue, yellow, and green viewing windows. Of course, you can simply eyeball
things through any filter you put over a lens and happen to carry with you. Film doesn't see things exactly the same as your own eye, and different
types themselves differ, but it's a pretty good approximation with typical panchromatic films. Otherwise, I never did buy into that Fred Picker viewing
filter thing. He already got enough of my hard-earned money. But I have always made certain my optometrist ordered me up color-neutral sunglasses, so I could see color itself correctly. Otherwise, squint!

 

[Sirius Glass]

I tried some and found them all to be useless.Lots of monochrome shooting will the replace the need with experience.

That is what I suspected.

 

[Bill Burk]

I don't think it needs to be big. You could make such a viewing filter really small and it would still work as well - just hold it closer to your eye.

 

[darinwc]

I tried some and found them all to be useless.Lots of monochrome shooting will the replace the need with experience.

+1 -Though a cell phone or digicam works pretty well. And a real 1 degree spot meter has improved my black and white photographs better than any other lens or gadget so far.

 

[Alan Klein]

I have a Zone Vi filter. There are different sizes that meet the type of format you are shooting so you can see the shot framed as well as get a better sense of BW. If you check how far you should view from your eye when you look through it, you can then select the lens you need before putting it on the camera.

 

[CropDusterMan]

It's funny, when I bought a carful (literally) of darkroom and photo gear from an estate sale, there
was a lot of very high end equipment, and in among the gear was a "Photo Research Corp Panchromatic
viewing glass". I found it pretty interesting, although I've never used it. It's kinda cool,
says "Hollywood Calif." on it.
Looks like this one...

 

[RalphLambrecht]

I have a Zone VI viewing filter. I think it's just a nicely mounted Wrattan 90, but I could be wrong. Basically, it darkens the scene to remove colors, to more resemble monochrome. You move it in and out from in front of your eye. I don't always use it, but think it's a nifty gadget to have (and should use it more). I understand they've always been considered a large format tool, but they'd be a help for any B/W work. Monochrome is monochrome. My guess as to the reason for recommending them for large format is because it's already a slower shooting endeavor, so the extra minute with the filter doesn't add much time to the process. If your RZ work is slow and methodical, you might like having one. I did use it with my RB, but I worked slowly with that, too.

They don't work for me.I still see the colors but a digital camera, set to monochrome and viewed in live-view mode works very well.

 

[Gerald C Koch]

I have used one but find the filter in the "mind's eye" to be better. This is something that is gained with experience. It is also why I never try to photograph both B&W and color on the same shoot.

 

[AgX]

It is also why I never try to photograph both B&W and color on the same shoot.

Could you explain?

You mean you need a certain b&w mind-set, that would be spoiled that momernt if you concentrate on colour photography too?

 

[Jim Noel]

The Zone VI viewing filter is nothing more than a Wratten 90, and thus not dense enough to serve the purpose.
I have three different Panchromatic Viewing filters and one Orthochromatic one. I always use them, and advise y students to do so. If one was good enough for Al Weber and Ansel Adams, it is good enough for me. Properly used they provide information about scene contrast and are very good at telling me which film to use.

 

[justpete]

FWIW, I use one of the Tiffen filters and while it's not perfect it works well enough as long as the time used is short as then colors aren't obvious. And it's kinda helpful especially when trying to determine if some adjacent colors might end up too close in greyscale. More of an aid rather than a replacement for experience, of which I haven't enough to forego use of the filter from time to time.

 

[Andrew O'Neill]

When I was first starting out, I used a Wratten #90 as a viewing filter to see when coloured objects merged together and if filtration was necessary to better separate them. The scene actually does appear monochromatic for a few seconds, then the brain quickly compensates. If anything, it's a great learning tool.

 

[Stephen Prunier]

When I was first starting out, I used a Wratten #90 as a viewing filter to see when coloured objects merged together and if filtration was necessary to better separate them. The scene actually does appear monochromatic for a few seconds, then the brain quickly compensates. If anything, it's a great learning tool.

Thanks