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FILTERS FOR LIGHT BALANCE

CORRECTION AND COLOUR-CONVERSION

SERIES 80 – 82 – 81 – 85

The emulsion immediately reacts to these differences, which translate into prevailing colours that

are more or less pronounced depending on the light source and the type of ﬁlm. The colour correction

or conversion ﬁlters are available to correct these shifts in colour.

In digital

they remain a more sure, precise and predictable solution than the white balance setting included

with digital cameras, whether it be automatic or pre-adjusted to generic values.

These ﬁlters belong to two families – blue or orange – depending on whether they cool down or warm

up the light. In each family they come in various intensities intended either for strong colour conversions

or for ﬁne adjustments. Each ﬁlter carries out a very precise shift in warmth, expressed in Kelvins or

in Mireds (see the table opposite). A few amongst them are essential, such as the 026 and 027 (81A and

B), while the others have very speciﬁc uses. For example, shots using tungsten lamps of 3,200 Kelvins

with a daylight ﬁlm.

The Z-PRO ﬁlters are perfectly calibrated, to the nearest Mired, to answer the most

speciﬁc professional demands. For precise ﬁltering, a colour meter has lost none of its usefulness,

not even in this age of digital photography!

As everyone knows,

the colour warmth of daylight constantly varies, from dawn to dusk. Our

eyes do not notice this, thanks to an automatic phenomenon of adaptation. It is the same with

artiﬁcial light, which varies considerably according to the emitting source – electronic ﬂash or

tungsten lamp, for example.

The

3 blue ﬁlters of series 80 are technical con-

version ﬁlters for use with daylight ﬁlms

under artiﬁcial lighting with tungsten lamps or other

warm sources. The most powerful conversion is that

of ﬁlter 020 (80A), each ﬁlter of the series lessening

in intensity from there.

•

Even when one works with “artiﬁcial light” ﬁlms,

these ﬁlters can help correct, for example, the

prevailing colours of tungsten bulbs. For indoor

shoots, stop before completely correcting the domi-

nant warm tone so as to maintain the ambiance!

On the other hand, the series 80 filters – especially

the 020 (80A) – can be used in the middle of the day

to yield a very strong prevailing blue, giving the illu-

sion of a night-time shoot. This is the famous “Day

for night” filter, invaluable to filmmakers!

• BLUE (80A) : conversion of 3,000 K to

3,200 K. + around 2/3 stop

• BLUE (80B) : conversion of 2,900 K to

3,200 K. + around 1

2/3

stop

• BLUE (80C) : conversion of 2,800 K to

3,200 K. + around 1 stop

Blue 80A 020 Blue 80C 022Blue 80B 021

Blue 82A 023 Blue 82C 025Blue 82B 024 Orange

85A

029 Orange

85C

031Orange

85B

030

Warm

81A

026 Warm

81C

028Warm

81B

027

Warm

81D

035 Warm

81Z

039Warm

81EF

037

BLUE CONVERSION

FILTERS

SERIES 80

These

3 filters produce subtle corrections in colour temperature in order to reduce or eliminate

certain warm colours that dominate the image; for example to get a more neutral depiction

of a façade illuminated by the setting sun, or to make skin look less tan when under a hot light.

Used less frequently than the Series 81 ﬁlters, these are often used in a context contrary to their intended purpose – to reinforce the pre-

vailing natural blue colour of some shots, in misty or snowy weather, before a sunrise or in the rain – so as to emphasize the atmosphere.

• BLUE (82A) : conversion of 3,000 K to

3,200 K. + around 1/3 stop

• BLUE (82B) : conversion of 2,900 K to

3,200 K. + around 2/3 stop

• BLUE (82C) : conversion of 2,800 K to

3,200 K. + around 2/3 stop

BLUE CORRECTION FILTERS SERIES 82

FILTER BLUE 80A

> Photography Lee Frost

• ORANGE (85A) : conversion of 5,500 K

to 3,400 K. + around 2/3 stop

• ORANGE (85B) :

conversion of 5,500 K

to 3,200 K. + around

2/3

stop

• ORANGE (85C) : conversion of 5,500 K

to 3,800 K. + around 1/3 stop

• WARM (81A) : conversion of 3,400 K to

3,200 K. + around 1/3 stop

• WARM (81B) : conversion of 3,500 K to

3,200 K. + around 1/3 stop

• WARM (81C) : conversion of 3,600 K to

3,200 K. + around 1/3 stop

• WARM (81D) : conversion of 3,700 K to

3,200 K. + around 2/3 stop

• WARM (81EF) : conversion of 3,850 K

to 3,200 K. + around 2/3 stop

• WARM (81Z) : conversion of 3,450 K to

3,400 K. + around 1/3 stop

ORANGE CONVERSION FILTERS SERIES 85

These

3 filters are either “super” warmers

or conversion filters with a specificity: their respective intensity

does not increase, as with other filters of the series, but is irregular; the 030 is the strongest, the

031 the weakest, and the 029 falls between the two.

•

On one hand, they correct, for example, the strong dominant blue of shaded places in sunlit exteriors

(029) or on cloudy days (031).

These ﬁlters are great for reinforcing, very naturally, a sunset or a landscape of dunes or autumn undergrowth with backlighting, thus

giving the full measure of their effects. They also combine marvellously with soft ﬁlters.

•

On the other hand, they allow for the use, during full daylight with films balanced for artificial lights,

of type A (029) or B (030) filters, without the dominant inherent blue.

WARM-TONE

CORRECTION

FILTERS

SÉRIES 81

With experience and practice, you

will know right away which filter

to use. Avoid potential over-

corrections which can often be

unpleasant: yellow-tinted clouds

suggest pollution, and a model

with skin that’s too yellow looks

jaundiced!

These filters combine very well

with diffuser or pastel filters (see

pages 42 and 43). Three of these

combinations exist as specific

COKIN filters, the Warm Diffusers

(see page 46).

FILTER 035

> Photography Lee Frost

all the colour conversion ﬁlters

the Series

81 ﬁlters are the best for everyday use.

Available in 5 intensities, from the weakest

– the 026 – to the strongest – the 037 – they

warm up light gradually, thus responding well

to lighting conditions which photographers

confront most often.

•

So, on cloudy days, a 026 ﬁlter (81A) or a

027 (81B) will add a light touch by counterba-

lancing the bluish part of the light. But in good

weather, they will enhance your subject with a

pleasing shade of tan.

•

For a stronger effect, the 028 (81C) and 035

(81D) ﬁlters reinforce warm lights, such as

those at dawn or dusk, especially if the subject

is well-suited for it, like an autumn forest or

wheat ﬁelds.

•

As for the 037 (81EF), reserve its use for

special cases: a pale sunset which you wish to

reinforce or when you want a very noticeable

effect!

•

Finally, with the 039 (81Z), your subject will

instantly gain the effect of 6 UV cabin tanning

sessions! For light-skinned models, the effect

is guaranteed... and less dangerous! For lands-

capes, each autumn forest will turn immedia-

tely into an “Indian summer”. This is an effect

ﬁlter that deserves the name!

NO FILTER WITH FILTER 020

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Cokin WX125F Fiche technique Page 19

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