Cokin WX125F Ficha de datos descargar pdf (Pagina 18)

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THE GRADUAL

BLUE FILTERS

The gradual blue ﬁlters are available in 5 models for optimal adjustment of the correction level

desired. They can be very useful for enhancing a grey and lacklustre sky by giving it a sunnier

aspect, something that a polarizing ﬁlter cannot do under these circumstances. It is perfect for

those who do not want a ﬁlter effect to be apparent!

The gradual tobacco respond to the exact opposite logic: their pronounced effect adds a very

special touch to the image, a touch that delights some photographers. Here again, they exist in 5

versions, adaptable to everyone’s taste or need.

With the COKIN “sunset” ﬁlters, the sun sets right when you need it to and its intensity is assured!

Place these ﬁlters as close as possible to the lens in order not to alter their transition zone.

If necessary, these ﬁlters can also be used in reversed position, either alone – to bring out the hyacinths in a

forest for example – or together head-to-tail, one working on the upper part of the image, the other on the fo-

reground. Thus a gradual blue ﬁlter can enhance a sky that is too dull, while a tobacco ﬁlter in reverse position

can intensify the colour of the reeds in the foreground.

COLOURED GRADUATED

FILTERS

BLUE – TOBACCO – SUNSET

These

5 filters differ distinctly

either by their in-

tensity or by their structure, as

you can see in the icons below.

•

To adjust the exposure, you can

either measure the foreground wi-

thout a ﬁlter and apply that value,

or – with SLR cameras that feature

matrix metering – measure the

exposure directly with the ﬁlter

in place.

•

Note that placing the ﬁlter’s

transition zone in the image re-

quires the same attention as for

the neutral density gradual ﬁlters

(see page 33).

WHEN the sky is not as blue as one wishes, the setting sun not as radiant, or if one wishes

to add a touch of personal colour, the coloured graduated ﬁlters are the right answer. They

darken one part of the image (most often the upper part) by adding the appropriate tint, blue,

tobacco, or “sunset”.

• GRADUAL BLUE B1 : around 1

2/3

stop on upper part, long transition, the best choice for a subtle effect.

• GRADUAL BLUE B2 : around 2 stops on upper part, long transition, more pronounced effect.

• GRADUAL BLUE B2 LIGHT : around 2/3 stop on upper part, the perfectionist’s choice for touch-ups.

• GRADUAL BLUE B2 SOFT :

around

2/3

stop on upper part, long transition, the other standard choice with easier

positioning for irregular horizons.

• GRADUAL BLUE B2 FULL : around 2

1/3

stops on upper part, long transition, the ﬁlter for images where the

sky predominates.

• GRADUAL TOBACCO T1 : around 2 stops on upper part, long transition, the right choice for a real but

discreet tobacco effect.

• GRADUAL TOBACCO T2 : around 3 stops on upper part, short transition, very pronounced “tobacco”

effect, with a sharp border.

• GRADUAL TOBACCO T2 LIGHT : around 2 stops on upper part, long transition, the choice for a subtle

“tobacco” effect.

• GRADUAL TOBACCO T2 SOFT : around 2 stops on upper part, long transition, pronounced “tobacco”,

adapted for irregular horizons.

• GRADUAL TOBACCO T2 FULL: around 2 stops on upper part, extra long transition, pronounced “tobacco”

effect on the entire image.

Gradual

Blue B1

122 Gradual

Blue B2 Full

123FGradual

Blue B2 Soft

123SGradual

Blue B2 Light

123LGradual

Blue B2

123

FILTER 123

> Photography Daryl Benson

Gradual

Tobacco T1

124 Gradual

Tobacco T2 Full

125FGradual

Tobacco T2 Soft

125SGradual

Tobacco T2 Light

125LGradual

Tobacco T2

125

Sunset 2 198Sunset 1 197

GRADUAL TOBACCO FILTERS

•

SUNSET 1 : around

2/3

stops

on upper part, long transition, the right

choice for a moderate effect.

• SUNSET 2 :

around

stop

on upper part, long transition, the ﬁlter

for radiant sunsets. Even allows for the creation of a sunset in the

middle of the day!

SUNSET FILTERS

These

filters allow you to intensify

simulate a realistic sunset.

Their speciﬁc tint is graduated from top

to bottom: the upper part, more colou-

red, intensiﬁes the effect of the sky; the

lower part, paler, gives the rest of the image the early evening

effect desired.

•

The 2 available models differ only by the intensity of their tint:

they will increase the exposure setting by 2/3 or 1 stop, delivering an

effect that is much more pronounced. They excel for backlighting

or silhouette effects

•

If, at dusk, there is little or no sunlight, this kind of ﬁlter is sure

to give you a fantastic helping hand.

FILTER 198

> Photography : D. Benson

Created

by Jean Coquin in the early 1970s, the COKIN gradual

tobacco ﬁlters – the famous “CROMOFILTERS” – have had

a worldwide success. Today, they remain the ideal tool for many – in particular

commercial photographers – but can also be used “discreetly” as seen in the

example above. Thus, to accentuate the “tobacco” effect while avoiding a

tint that is too pronounced, Andrew Kime has cleverly combined a 125L with a

neutral density gradual ﬁlter – a 121M in this case – plus a 027 warm tone.

•

Based on the same basic tint, the 5

gradual tobacco ﬁlters available differ by

their intensity and their structure, as is

clearly shown in the icons below.

To adjust the exposure and the transition zone,

consult the instructions for the gradual blue ﬁl-

ters which are the same for the tobacco ﬁlters.

Pay special attention to the transition zone

of the Z124/Z125 ﬁlter, short and a bit trickier

to use.

FILTERS 125L, 121M AND 027

> Photography Andrew Kime

NO FILTER

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