Yellow or orange filter for Ultrafine Extreme 100?

[George Mann]

Which one of these filters works best with this film?

 

[pentaxuser]

Either and both depending on what you want to do with the colours in the scene. Your question suggests that it might be worthwhile reading about filters and what they do. It is not an either/or choice nor is there a better or best filter for a film

pentaxuser

 

[kevs]

What look do you want? An orange filter will cut out more blue/green light than a yellow, but not quite as much as a red. You'll thus lose less effective film speed with a yellow than an orange. The best filter is the one that's on your lens.

 

[Paul Howell]

Yellow, Orange and Red filters are normally used to darken the sky and bring out the clouds, but can deepen shadows. A deep red fiter can make a sky almost black. The darker the fitler the light is absorbed and more of a filter factor. Although that is rule of thumb, each film can be somewhat different to the light spectrum, the effect can be more or less pronounced depending on the film. It is uncertain as to who makes Ultrafine Extreme or Photo Wearhouse and as far as I know there is not a data sheet, so it's trial and error. Shoot a roll, (BTW Photo wearhouse sells both 100 and 400 Extreme in 35mm 12 shot rolls) using both or better yet all 3 filters to judge the effect. Depending on how fast your lens is, using a 100 speed film, you need to be careful that you dont drop your shutter speed to point that you pick up camera shake.

In general, unless shooting land or city scapes and you have need to darken the sky it is best to not use either.

And light green, good correction for European pale skin tone, takes a little of the red out.

 

[George Mann]

Yellow, Orange and Red filters are normally used to darken the sky and bring out the clouds, but can deepen shadows. A deep red fiter can make a sky almost black. The darker the fitler the light is absorbed and more of a filter factor. Although that is rule of thumb, each film can be somewhat different to the light spectrum, the effect can be more or less pronounced depending on the film. It is uncertain as to who makes Ultrafine Extreme or Photo Wearhouse and as far as I know there is not a data sheet, so it's trial and error. Shoot a roll, (BTW Photo wearhouse sells both 100 and 400 Extreme in 35mm 12 shot rolls) using both or better yet all 3 filters to judge the effect. Depending on how fast your lens is, using a 100 speed film, you need to be careful that you dont drop your shutter speed to point that you pick up camera shake.

In general, unless shooting land or city scapes and you have need to darken the sky it is best to not use either.

And light green, good correction for European pale skin tone, takes a little of the red out.

I do require a filter for the type of photographs I take (the same as you referenced above).

 

[George Mann]

It is not an either/or choice nor is there a better or best filter for a film

pentaxuser

There are different films that I prefer different filters for, as they have different tonal and contrast profiles.

 

[pentaxuser]

There are different films that I prefer different filters for, as they have different tonal and contrast profiles.

Essentially most panchromatic films of which Ultrafine is one do not vary that much in their spectral sensitivity There isn't a specific filter for a specific film but there may be a specific filter for a specific scene in which it is desirable alter the range of colours in relation to each other. As others have said there may be a scene in which you want to dramatically darken the sky in which case an orange or even a red might be better than a yellow

However if you are convinced that there are specific filter for specific films and there is a perfect filter for your film then fine.

In that case I cannot help you further because assuming I have understood your quote above correctly, my view is there isn't a specific as in "best" filter for a specific film.

pentaxuser

 

[destroya]

I use X100 film a lot, in 35mm and 120. I always use a dark yellow, hoya G or B&W orange, filter with the film. I like the results I get. I would treat the film as you treat any other traditional grain film regarding filter usage.

the simple solution is to just shoot a scene with the filters you use and 1 shot with no filter and see the results for yourself.

john

 

[Paul Howell]

You really do need a complete set, one option is Cokin filters and a holder for your lens or lenses. With Cokin you can start with with yellow, then add a graduation filter to bring down the exposure in the sky down.

 

[George Mann]

pentaxuser[/QUOTE]

Essentially most panchromatic films of which Ultrafine is one do not vary that much in their spectral sensitivity There isn't a specific filter for a specific film but there may be a specific filter for a specific scene in which it is desirable alter the range of colours in relation to each other. As others have said there may be a scene in which you want to dramatically darken the sky in which case an orange or even a red might be better than a yellow

However if you are convinced that there are specific filter for specific films and there is a perfect filter for your film then fine.

In that case I cannot help you further because assuming I have understood your quote above correctly, my view is there isn't a specific as in "best" filter for a specific film.

pentaxuser

Objective vs subjective. Some of us are subjectively picky!

 

[George Mann]

I use X100 film a lot, in 35mm and 120. I always use a dark yellow, hoya G or B&W orange, filter with the film. I like the results I get. I would treat the film as you treat any other traditional grain film regarding filter usage.

the simple solution is to just shoot a scene with the filters you use and 1 shot with no filter and see the results for yourself.

john

It seems to always come down to this. Thanks for your replies.

 

[BradS]

Which one of these filters works best with this film?

Isn't this entirely up to you? It's like asking what's the best flavor of ice cream...no? How can any of us tell you what you will or will not like?

 

[MattKing]

I'm not sure that one could answer a "what is best" question well.
But perhaps people who have experience with this film might comment on what they have observed about its spectral sensitivity - that can then lead to decisions about filtration. If I recall correctly, this film is essentially the same emulsion as another well known film (either Foma or Kentmere, I can't remember). There may be spectral sensitivity information published about that film.

 

[George Mann]

Isn't this entirely up to you? It's like asking what's the best flavor of ice cream...no? How can any of us tell you what you will or will not like?

I realise that I should have asked which filter provided the best (most neutral?) balance of tone and contrast with this film.

Of course, the answers would be subjective opinions at best.

 

[BradS]

I see that you are in Denver. Based upon my experience at altitude here in the Sierra Nevada, I would think that, at altitude, you'd always use at least a skylight 1a with any B&W pancro film. I keep a UV or Skylight filter on at all times only removing them to use something stronger. Otherwise the UV causes highlights to be well blown out - took me a while to figure this out. I prefer yellow-green (B+W 060) over light yellow (B+W 021). The effect of the yellow green filter seems very minimal - really just a slight modification of tones that isn't too noticeable but helps. If I want a stronger effect I'll go with yellow-orange (B+W 040) . I have red or (dark red ?) but other than initial playing around with it, I have never used it.

 

[George Mann]

I see that you are in Denver. Based upon my experience at altitude here in the Sierra Nevada, I would think that, at altitude, you'd always use at least a skylight 1a with any B&W pancro film. I keep a UV or Skylight filter on at all times only removing them to use something stronger. Otherwise the UV causes highlights to be well blown out - took me a while to figure this out. I prefer yellow-green (B+W 060) over light yellow (B+W 021). The effect of the yellow green filter seems very minimal - really just a slight modification of tones that isn't too noticeable but helps. If I want a stronger effect I'll go with yellow-orange (B+W 040) . I have red or (dark red ?) but other than initial playing around with it, I have never used it.

So you recommend stacking the two types of filters? I am currently looking to pick up some thin Nikon filters.

 

[BradS]

So you recommend stacking the two types of filters? I am currently looking to pick up some thin Nikon filters.

Oh no. Sorry I did kinda imply that but no...well with the one exception, sometimes I’ll use both a polarizer and a yellow-orange.

 

[Ian C]

I own a variety of filters for B&W panchromatic film. No single filter is best in all circumstances. The best answer is: “It depends.” The job at hand, the color of the scene elements, and the lighting will dictate the best filter to use.

The majority of blue-sky scenes I shoot look best with the #8 yellow (old Kodak designation is K2). When I want a more dramatic look with a blue sky, I will add a polarizer in front of the yellow filter. Note: A polarizer darkens a blue sky within a limited angular range relative to the sun. When this condition is met, the darkening of the blue sky relative to white clouds and non-blue foreground elements with a polarizer in front of a #8 yellow filter can be quite snappy, significantly more so than using the yellow filter alone. This is my favorite filtering, provided that the angle relative to the sun makes this practical.

The Kodak Workshop Series book “Using Filters” does a good job of explaining the use of contrast filters for B&W and color filters for color work in a wide variety of circumstances. Copies can be found used in decent condition for low prices. I recommend that you obtain a copy.

https://www.google.com/search?sourc...hUKEwi56fng89zpAhVDHc0KHSMQDIMQ4dUDCAg&uact=5

 

[George Mann]

Oh no. Sorry I did kinda imply that but no...well with the one exception, sometimes I’ll use both a polarizer and a yellow-orange.

So what warming filter for color film will be sufficient at high altitude while remaining acceptable elsewhere?

 

[George Mann]

I am going to post my last reply in the color film section.

 

[BradS]

So what warming filter for color film will be sufficient at high altitude while remaining acceptable elsewhere?

For b&w, either a skylight 1A or UV filter. For color, really only the UV filter.

 

[George Mann]

I'm afraid that I will need more than a uv filter when shooting slides.

 

[BradS]

Maybe so. I really don't know. The Skylight 1A or the stronger 1B might be plenty in that case. Might try it and see.

 

[Paul Howell]

I used a Skylight 1A when shooting Ektachrome as I found it somewhat cold, a tad too blue for my taste, which is why I favored Kodachrome. My go to filter when shooting color is a good polorizer.

 

[George Mann]

I think that I will go with a Nikon A1, which is suppose to bit a tad bit warmer than a 81A.

When will they ever bring back our Kodachrome?