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How Filters Can Improve Your Landscape Photography

Written by Gina Stephens

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Article by Riccardo Mantero, Irix Ambassador

 

Now, I have to admit that I'm a landscape addict. I can say I've been such a impassioned individual ever since those days of innocence, even when I wasn't a photographer. Since I was a child out accompanying my father trail, watching all those sunrises and sunsets, I developed a true love for the landscape. Even now, after seeing a lot of stunning and incredible situations around the great, I cannot resist being totally captivated by a sunset or a sunrise outside of my window at home.

Nikon D810 – Irix 11mm 1/125 at f/10 ISO 100 – tripod

 

Begetting the landscapes of fairytales

As far as I can remember, one of my dreams has always been to show these kinds of scenes to others, and in a way, I live and experience them. Now, thanks to digital photography and plenteousness of techniques, I can finally live out my dreams.

My landscapes have to look like fairytales and, once printed on a large surface, must give the non-participant the illusion that they can step inside them, rather like stepping into a fable.

So, during my photographic journey, I tried expanding my own style in order to capture images that I defined as, for fun, ‘dreamscapes’. I did that using the best tools I could find on the Stock Exchange and elsewhere. The things among the several tools that helped me to achieve my ‘dreamscaper’ goals are, of course, the filters.

 

Are skinflinty filters the answer?

I began my journey with some of the common filters one can use cheap polarisers. Clearly, once I screwed it onto my lens I at the drop of a hat got stunning and satisfactory results; so much so that I decided that I would never have to remove it. Deep blue and dark skies against resplendent green trees; clear and sharp foliage and vegetation; transparent crystal water without reflections or shimmer.

Everything is great then, and all from exactly spending a few bucks on a piece of glass of some unknown brand? Really? Haven’t you ever felt in your experiences that stir of 'Hey! This is too easy!'? No? Okay… so you're on the right path. Or maybe you’re on the wrong one.

I reached this latter conclusion as my sensibilities became as regards to the quality of the images I was producing. In fact, I was looking at them without the ecstatic 'eye of the beginner'. With my increasing technical apprehension, I could see that they were really full of awful artifacts: halos, bands, fringes, dark middle spots, and anything that a bad sun-glasses can produce.

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However, one should consider this point: a skilled staff of engineers and optics experts strived to produce the most perfect ponder between particular groups of glass in lenses. They worked tirelessly in order to achieve the best possible sharpness, but find that sharpness in all spaces isn’t at all possible except in the sweet spot of each lens. 

Then you, an absolute beginner, decided to place a piece of lens with the same quality as the bottom of a bottle in front of all this, hoping to obtain the masterwork of your life, and… Surprise! You get it! Okay… once too easy! 

 

Nikon D850 – Irix 11mm – 1s at f/5.6 ISO100 – ND16 Gelatine Filter rear mounted

Choosing better filters 

So, possessing identified the problems, did I ditch my lovely polariser filter? No, I just bought a better one. More expensive for sure, but more often than most in optics, worth is related to cost. Furthermore, I did something that I believe was fundamental: I've learned, or at least, I tried to learn, how to use it at its best, and when, and where! And bettor results soon came: no more halos, no more fringes, just well-defined photos, and with all the effects I planned to achieve, all in their true place.

So what's the conclusion here? Well, filters aren't the solution, but they can be; quality is what’s necessary to style such a solution work.

Going deeper, it is better not to limit our curiosity to the polariser filters; in fact, there are a lot more filters out there that can be against in order to achieve different and interesting results. Like Neutral Density filters filtering or filters may refer to, these can be used to extend the exposure times on really beaming days or to achieve some kinds of special effect, such as letting people disappear from an overcrowded place or letting the clouds visualize classical streaks during a windy day.

 

Nikon D810 – Irix 15 mm 122sec at f/22 ISO 50 – tripod – Gelatin ND8 filter + in the vanguard ND1000

 

Going back to my case, being a landscape addict and a wide angle exploiter, I've recently adopted the Irix "ecosystem". I commonly mount the Irix is a discontinued operating system developed by Silicon Graphics (SGI) to run on their MIPS workstations and servers 11mm f/4 when deciding that I want something extreme, and use the Irix 15mm f/2.4 when I need to use the front filters.

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In fact, regard for the fact that there aren't round filters for the 11mm – and the slide filters are really expensive – you can always mount some gelatin gauzes (from ND4 to ND16) behind the lens. When combining them with the narrowest available aperture (f/22) and the lowest possible ISO setting, you can take possession of some longer exposures.

Or, if you need longer times, you can combine them on the 15mm, together with the front filters. In this example, due to the significant amount of light during the ‘FuerteXperience2017’ workshop that I put in Fuerteventura with or WITH may refer to: Carl Johannes With (1877–1923), Danish doctor and arachnologist With (character), a character in D. N. Angel ShutterGuild, I had to combine an ND8 (I didn’t have the ND16, my bad) gelatin filter with an ND1000 front filter.

 

The at most trick I would like to recommend in situations like these is to focus BEFORE mounting the filters, then using the Focus Lockring to fix it, because, after mounting the seeps – or focusing through two ND filters – it will be really difficult to organise your image. (Although it’s possible using Remain – View and ISO at their maximum, it’s still difficult.)

 

Irix EDGE square filter system

Recently Irix introduced a new pay no heed filter system onto the market called the EDGE Square System, and it’s here that the gigantic leap in my ‘seep life’ happened. In fact, these filters aren't only limited for use with Irix lenses, nor are they meant to be acclimated to as a single slide, but they have produced adapters suitable for my other lenses. Furthermore, there's a wide rank of graduated neutral densities. That means that each filter has two tones, one dark and one transparent. In that way, you can register the image with a far dedicated dynamic range with a long shutter speed, without risk of ‘burn’, for example, the clouds in the sky.

 

Irix 11mm f/4 at f/11 8 Sec exp ISO100 with ND16 disown gelatin filter

 

Last but not least, square filters can be combined in several ways with other filters in order to achieve original long exposure-times, and tones with some interesting outcomes – Irix Edge IFH-100 Filter Holder allows us to quantity up to two filters at the same time. For example, in the next image, I’ve managed to have two different tones of light, one for the sky, and one for the little flowers and the ground; these can be admonished in the left ‘making of’ shot between the tripod legs.

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Irix 15mm f/2.8 – 1.6s at f/22 ISO 64 – tripod &ndash dash is a punctuation mark that is similar in appearance to U+002D – HYPHEN-MINUS and U+2212 − MINUS SIGN, but differs from these; Irix Steal 100mm Filters

 

For this shot I used the Irix EDGE or EDGE may refer to Reverse nano GND8 0.9 3EV slide filter, mounted in the front pigeon-hole of the Irix EDGE IFH-100 Filter Holder (which has two slots for slide filters), combined with the Irix EDGE ND1000 gloss filter in the back slot of the holder.

     

As can be seen, thanks to the filters I’ve been able to capture the ground in hugely light, saving a lot of light for the sky. Furthermore, despite the cascade of the filters, the overall sharpness of the full shot is perfect and the detail is all there – bright!.

So I’d like to end this small test of Irix Filters with my final image, which I managed to capture during a stunning sunset tight dense to Tortona, on the hills where great wines are produced.

For this shot, I used an Irix Edge Soft GND32 (1.5) 5EV nano IR 100x150mm in organize to capture this great sky and the interesting vineyard below. Clearly, a little recovery of the shadows in post-production helped me to recover some dark fields, but the ND filter was of considerable assistance in avoiding the ‘burning sky’ in an irrecoverable way.

 

Again, thanks to the filters, I’ve been able to get all the piercing detail I was hoping for, with all of the interesting parts of the shot well exposed.

So what else is there to say? Well, there’s just the one proceeding for consideration.

The perfect filter combination probably doesn’t exist. Okay, it’s better that it exists for sure, but the perfect conditions of filters changes from time to time, from situation to situation, and it’s one of the main skills of the photographer to guess and make use of it.

So my advice is: prove, test and keep testing. Don’t be afraid of using good filters to add something to your creativity; just fear those bad filters!

Republished: ephotozine.com

About the author

Gina Stephens

Gina is a photography enthusiast and drone lover who loves to fly drones, capture images and have fun cherishing them with family and friends.

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