HomeMy WebLinkAboutThe Wingham Advance-Times, 1983-02-16, Page 20Page 8—Crossroads—Feb. 16, 1983
Burbank improvised
Plant breeder Luther Bur-
bank hadtalent for,impro-
vising. For example, he
made as many as 500 grafts
on a single plum tree and
speeded growth by inserting
wedge -ended cuttings into
the tops of the host tree
branches. Other growers
grafted branches to a limb
sawed off near the trunk —
and waited twice as long for
results.
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PILTERPOWERRPicture at left is unfiltered — the
deep red geranium petals show up as dark grey. For
picture at right, a' deep red filter was added, and sud-
denly the same geranium petals appear nearly white.
Through
the
Lens
By HOLT CONFER
One of the items that
folks often question me
about are filters. I've
talked about using filters
in several columns over
the years. But for now, it's
time get down to basics
and talk about how filters
work. The reference source
for some of this discussion
is a Kodak idea book on
filters and len attach-
ments, probably available
at your local camera store
for 82.95.
The black and white as
well as the colored pic-
tures you take are possible
because Most objects re-
flect light. Colored pictures
are by far the most popu-
lar because nearly every-
thing has color, pure white
and pure black are really
the exceptions. White light
occurs when an object re-
flects all the colors, while
black indicates the absence
of all the colors.
White light (and I'm
going to keep this explana-
tion simple and non-techni-
cal) is made up of the three
primary colors — red,
green and blue. Take away
one or two of these prima-
ry colors, and we see
what's left. For example, if
red and green are re-
moved, we'll see blue.
Each of us, however,
sees colors in a very per-
sonal way. Our eyes are af-
fected by such things as the
surrounding colors, the
brightness level, the sur-
face gloss of an object and
the degree and type of our
color blindness. Different
types of films also see col-
ors in different ways.
Black -and -white films may
at times record a color in a
lighterr or darker shade of
gray than we want or ex-
pect. In these cases,you
can use filters to control
those gray tones — you can
exaggerate them, suppress
them, or make them ap-
pear technically correct.
With color films, you card,
use filters to change the
color quality of the light to
get the proper color rendi-
tion or you can create spe-
cial effects.
You don't really need to
memorize all the various
filters and what effects
they create if you don't
want to — there are charts
and tables in most books
and sales literature on
filters that act as a ready
reference.
What you do need to re-
member is that filters al-
ways subtract some type of
light reflected from a
scene before that light
reaches your film. For ex-
ample, a red filter looks
red because it subtracts
green and blue; a yellow
filter (yellow is a mixture
of red and green) subtracts
blue; a green filter sub-
tracts red and blue, and so
forth.
Now since all filters sub-
tract something from the
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By using a deep green or deep blue filter, I could have
turned the petals nearly black.
(Photos by Holt Confer)
light entering your lens,
you need to make up for
this loss by either increas-
ing your exposure time or
by increasing the size of
your lens aperture or by
using a combination of
both. The number given to
you for use in making those
adjustments is known as a
filter factor. For example,
if your yellow filter has a
filter factor of "2," then
you need to either reduce
your shutter speed by one
number (from 1-125 to 1-60)
or open your lens by one
stop (from f-11 to f-8). A
filter factor of "4" would
call for a reduction in
shutter speed by two num-
bers or opening your aper-
ture two stops; a filter fac-
tor of 8 would call for re-
duction in shutter speed of
three increments or a
three -stop increase in your
aperture. When you get
into these higher filter fac-
tors, you might find it
works better to use some
combination of shutter
speed and aperture adjust-
ment rather than making
all your changes with one
or the other.
If at any time, you de-
cide to use a combination
of filters (such as a polariz-
er and red filter), remem-
ber you will have to add
the filter factors of each of
them together, and then
make your adjustments
based on the sum. Don't be
surprised when you do
combine filters if the ad-
justments are so severe
that you will need to use
some type of camera sup-
port in order to make cer-
tain you end up with a
sharp picture — maintain-
ing a reasonably small ap-
erture to provide overall
sharpness will call for a
corresponding slow shutter
speed and introduce the
possibility of camera
movement.
Filters aren't just for the
pros - they can make a
dramatic difference in ev-
eryone's photography.
Atheist just 'taint'
A brief epitaph in a Van-
couver, Wash., cemetery,
sums up the belief of atheist
Arthur Haine: "Haine haint."
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