Gary Seven wrote:
> Hello everyone. In December I went out and bought the Canon 40D and a
> couple of lenses to go with it (ok, it was a "Kit" purchase so technically I
> only bought one additional lens
. Anyway, as I practice and experiment
> with the camera I found myself wondering if the Skylight 1A filters were
> still necessary. I was looking at the 1A still mounted on the 28-105 lens
> that sits unused on my old Canon EOS A2e, and wondered if should go out a
> buy a new one for the newer lenses. I remember being told in Photog 101
> that they were more for protecting the lens glass than anything else,
> although I understand they also help to correct for overblue skies.
>
> Comment anyone? TIA.
Skylights were really only applicable with slide film, with
colour neg film the slight warming they gave was very easily
applied in printing - conversely the warming they provided
was often reversed in the printing stage.
Likewise true warming and cooling filters (81 82 etc) were
also more applicable with slide than colour neg film due to
the ease of correcting colour in print.
Now with digital - I personally leave a Skylight on all my
lenses, because I still use film. It provides a slight
warming effect, which is basically cancelled out if using
AWB or Manual WB.
But, when it comes to shooting digital, personally I like
leaving my WB set to daylight, and using warming/cooling
filters - I know I could use different WB settings to get
the desired result, but I find the use of filters to be a
more familiar workflow. In this manner of operation, I find
the skylight provides nice colour when shooting in daylight
/ open shade - just like it did with slide.
In theory if you are using in-camera (or post-process)
white-balance to correct for extreme lighting (eg very low
colour temp incandescant), then you are more likely to
posterize or blow one channel before the others. A sensor
will have a certain native white-balance - this would be the
colour of light that will make the different coloured
sensels _natively_ read the same value. In theory then if
colour correction filters are applied to convert the
incoming light to this native white-balance, the camera will
be operating with it's maximum dynamic range in all 3
channels. I don't know how you would test to find a camera's
native white balance - presumably photograph a grey card in
daylight in raw, and look at what the raw RGB values are.
>
> /G7
> >> Stay informed about: Skylight 1A filters..necessary on DSLR's?