The Schneider-Kreuznach RHOdium Full Spectrum Neutral Density (FSND) filters are a high-end ND filter line made specifically for the critical color standards of 4K, 6K, and 8K resolution cameras.

• Even response from the UV through the visible color spectrum and into the IR
  
• ND coating layer is protectively laminated within the glass
  
• Range of 10 stops from ND 0.3 to 3.0
  
• Colorimetric algorithm verifies accurate neutralit
  

Light in the IR spectrum can cause unwanted false color shifts and prevent the camera’s digital sensor from capturing true black tones. To solve this problem, Schneider’s Platinum Series IRND filters limit the light striking the camera’s CCD or CMOS sensor to the visible spectrum.

The Platinum IRND attenuates in the ultraviolet and visible spectrum ranges like our traditional ND filters while providing further control in the near infrared. Special dyes provide precise absorption of IR to maximize the color gamut while virtually eliminating off-color tinting from IR pollution. Platinum IRND filters can generally benefit the use of digital camera sensors and standard color film stock.

• Emmy Award-Winning Platinum IRND filters
  
• Eliminate the undesirable effects of IR contamination
  
• Controls exposure or depth-of-fi eld under various lighting conditions
• Free off-axis color shift, unlike hot mirrors
  

Neutral Density (ND) Filters control exposure or depth of field under various lighting conditions without affecting color or contrast.

ND filters are used if too much light restricts creative possibilities. They reduce the light in accordance with their density. They therefore allow more widely opened apertures. For very bright situations the aperture would also have to be closed. This would mean losing the option of short depth of field. 

• Control exposure or depth-of-field under various lighting conditions
  
• Diminish distracting backgrounds by allowing the use of wider aperture
  
• Helps control the amount of light reaching the sensor or film without depending only on the lens aperture
  
• Enable even exposure in unbalanced lighting conditions
  
  

The absolute clarity of the glass combined with advanced polarizing material make True-Pol filters particularly useful on demanding scenes, like shooting through windshields in rigged vehicles.

Polarizers are commonly used to control glare on water and to allow the camera to see below the surface. They are also used to reduce glare on car bumpers and control reflections on plate-glass windows. Polarizers are so versatile they can also perform the opposite functions.

Cinematographers report that True-Pol filters capture more color saturation, wider tonal range and greater contrast.

• Reduce glare and unwanted reflections
  
• Saturate colors and improve contrast
  
• Deepen blue skies
  
• Penetrate haze
  

Cinematography demands a great deal of cameras and lenses. It therefore makes sense to protect sensitive front element of the lens against rough conditions.

Clear filters fulfill the desire of many cinematographers for pure lens protection without a filter effect. Its only function is to keep dirt, sand or splahses away fromt the front lens.

The colorless UV filters ensure more brilliant images by blocking the unwanted UV component contained in daylight. They also can remain in front of the lens to protect it from dirt and damage.

Schneider-Kreuznach has developed a family of IR-reflecting filters to complement the demanding requirements of today’s high resolution digital cameras.

Digital camera sensors have a high sensitivity to light beyond the visible range. This can be beneficial in applications such as machine vision or surveillance but for most cinematic production this can cause unwanted color shifts in dark or black materials.

Schneider’s True-Cut IR filter solutions eliminate this problem by limiting the light striking the CCD or CMOS sensor to the visible spectrum.

• Limiting the light to the visible spectrum
• Eliminate the problem of unwanted color shifts caused by infrared light
  

Unlike similar filters, LowCon 2000 filters reduce excessive contrast without reducing resolution or muddying the image.

To mute the excessive contrast and spread light into shadow areas. Can desaturate a scene for artistic mood. Lower strengths can be used to take the high contrast edge off today's lenses.

• Mute excessive contrast
• Spread light into the shadows
• Desaturate a scene

By compensating with in-camera gamma settings, a higher dynamic range can be recorded than the camera alone can achieve.

For a "filmic look" when shooting with digital cameras. Optically raises black levels while lowering highlights, capturing a higer dynamic range. The result is more detail in highlights and shadows with no effect on resolution and no color shift. Highlight areas remain clean and halo-free.

• For a more „filmic look“
• Raises black levels while lowering higlights
• Capturing more dynamic range

The Radiant Soft series expands Schneider-Kreuznach’s diffusion filter line, bringing cinematographers and photographers the ability to give their subject’s skin a radiant, soft glow, while still having control over the contrast, as well as controlling the highlights with very little blooming effect.

• Toning down skin imperfections
  
• Gives skin a radiant, soft glow
  
• Limited effect on contrast
  
• Very little blooming effect
  

Schneider-Kreuznach has developed a subtle and effective softening filter that can be used freely without fear of compromising the high quality of contemporary lenses. In the normal range of exposure, this filter imparts only a closely confined, very subtle glow to highlights.

The Secret of In-focus Diffusion
Hundreds of Micro-Lenslets arrayed within each Schneider-Kreuznach Classic Soft filter provide a precisely controlled soft image that is overlaid on a sharp, in-focus image. The number of Micro-Lenslets per square inch determines the image-blending effectiveness of each Classic Soft filter. This combination diffuses the fine details in the image while maintaining overall sharp focus.

If large amounts of over-exposure exist in a scene, like a blown window, Classic Soft filters add a stylish glow that keeps the scene’s contrast under control, while adding a romantic look.

• Subtle softening filter
  
• Diminish small wrinkles and blemishes
  
• Maintain in-focus look (Schneider In-focus Diffusion)
  
• Can add a soft glow to the highlights
  
• Designed for 2/3“ or larger sensors or film cameras

These filters were originally designed for use with all HD formats, including 1/2", 1/3" and 1/4" chip cameras, without fear of artifacts. Today, they offer an alternative approach to diffusion for larger formats as well.

Schneider-Kreuznach HD Classic Softs produce the same rich In-Focus Diffusion as the standard Classic Soft series. Each one contains a carefully calculated amount of precisely positioned Micro-Lenslets. These provide a controlled soft image that is overlaid on a sharp, in-focus image, creating In-focus Diffusion.

HD Classic Softs impart a closely confined, very subtle glow to highlights. If large amounts of overexposure exist in a scene - like a “blown” window – they produce a stylish glow that keeps the scene’s contrast under control, while adding a romantic look.

• Subtle softening filter
  
• Blend small wrinkles and blemishes
  
• Maintain in-focus look
  
• Can add a very subtle glow to the highlights
  
• Designed for 1/2", 1/3" or 1/4" sensors
  

The Classic Black Soft filter combines the benefits of a Classic Soft, like diminish small wrinkles or blemishes and a soft glow to highlights, with the subtle effects of a Black Frost 1/8, which tones down contrast with no black saturation reduction to give the final image a more "filmic look".

• Ideal for close-ups
  
• Facilitate a seamless transition in the look
  
• Adding pleasing diffusion
  
• Combines Classic Soft and Black Frost 1/8
  

For in-focus diffusion plus a heavier black frost effect, without filter stacking.

The Classic Black Soft filter combines the benefits of a Classic Soft, like diminish small wrinkles or blemishes and a soft glow to highlights, with the subtle effects of a Black Frost 1/4, which tones down contrast with no black saturation reduction to give the final image a more "filmic look".

• Ideal for close-ups
  
• Facilitate a seamless transition in the look
  
• Adding pleasing diffusion
  
• Combines Classic Soft and Black Frost 1/4
  

Building on the success of HD Classic Soft filters with the Micro-Lenslet design and Black Frost filters’ black micropore technology, Hollywood Black Magic filters combine the best attributes of both.

• Remove unsightly blemishes and wrinkles
  
• Diminish the harsh video edge while maintaining rich blacks and colors
  
• Combination of HD Classic Soft and Black Frost filter
  

Black Frost filters enable cinematographers to capture blacker blacks than possible with similar type filters. Shooters achieve a unique image styling that can be applied freely, without fear of having scenes appear heavy-handed.

• Fine black mist flares highlights
  
• Tones down contrast
  
• Gives a more "filmic look"
  
• No image degradation or black saturation reduction
  

White Frost filters are useful for adding a halo around light sources, blown windows, or other areas of high exposure.

They can also reduce picture contrast by lightening shadows, and can help create a romantic or period look. Depending on the strength, they enhance a scene, subtly or strongly. For a soft, romantic look, combine White Frost filter with a Schneider Classic Soft.

• Fine white mist flares highlights
  
• Lowers contrast
  
• Dreamlike effect
  
• Creates a romantic or period look
  

The True-Net diffusion filters bring the struggles of stretching old stockings on the lens to an end.

Real hosiery, made on the same knitting machines since the 1950’s and set between water-white glass, allows for consistency every time you use them. 

Now the illustrious vintage look can be achieved with modern convenience!

Beige

• Ultimate in warm and dreamy
  
• A glamorous throwback to the 60’s and 70’s

Black

• Densities from subtle to heavy
  
• Beautiful lushness
  
• Romantic, elegant, seductive - it’s old Hollywood

Gray

• Very natural feel
  
• More muted than the True-Net Black, but not as heavy as the True-Net Beige
  
• Perfect filter to customize any look

True-Streaks are available in a variety of colors and color combinations, so you can create effects not only in Blue, but also in Red, Orange, Green, Yellow, Violet, Pink, Gold as well as Clear and in Rainbow.

Each color is available in your choice of four strengths for stronger or more subtle effect. The colors turn white light into their respective color; Clear takes on the colors of the lighting.

So whether you want a creative way to enhance night exteriors, highlight reflections off chrome surfaces, wow them with vibrant rock 'n roll illumination or achieve other stand-out imagery - choose True-Streaks to liven the look with stunning effects.

• Simulate the anamorphic streak effect
• Long colored streaks emanate from bright lights and highlights
• Streak effects simply and easily in camera

Clearly the most effective and exciting way to simulate the anarmorphic streak effect with virtually any lens, anamorphic or not.

True-Streaks are available in Blue, Red, Orange, Green, Yellow, Violet, Pink, Gold and Clear. All different Colors are each available in your choice of four strengths for stronger or more subtle effect.

Merging all eight of the single True-Streak colors together we have created the remarkable Rainbow Streak filter.

Special techniques designed to merge the colors allow them to seamlessly flow, creating a beautiful effect reminiscent of the multi-color flares on uncoated lenses.

Depending on your lighting, you can make this filter go from subtle beauty to dramatic super pop!

The True-Streak Confetti filter adds a whole new level of creativity to your project by using all of the True-Streak colors in one filter.

As the name suggests, small multi-color True-Streaks are scattered about the filter to create bursts of colors around the light sources.

Perfect for music videos and concert footage, but we know our creative customers will find a multitude of applications for this fun and exciting filter!

Star filters are an exciting addition to the popular True-Streak filter line. Available in clear 6-point star effects in all the popular sizes and the red, white and blue 6pt Star.

The True-Streak Star filters are fully customizable, as well, giving you the option of 4- and 6-star points and color combos within the True-Streak colors.

These high-quality close-up lenses require absolutely no exposure compensation.

The diopters are protected by a unique mounting technique which ensures superb structural integrity and consistent long-term performance, even in demanding production environments.

•     Shorten the close-focusing distance of lenses
•     Allows focus closer to the subject
•     Bringing out the sharpest details in tiny subjects

Split-Field Diopters

Split-Field Diopters allow simultaneous focus on both close-up and faraway subjects. A standard diopter element is precision-cut in half and mounted in the ring.

Frame your subject, focus on the distant background, and move the camera slightly to obtain close focus on the foreground.

Position the slightly out-of-focus line of the cut edge of the glass in an area it won‘t be noticed. Closing the iris will reduce the width of this line.

Solid Color filters change the specific color in a scene to create a desired special effect.

An existing color is enhanced or the filter creates subtle color drama. It also creates more balanced exposure In uneven lighting conditions.

• Reduces greenish tint in complexion shadows
  
• Warm antique look

• Overall warming effect
  
• Portrays healthy skintones
  
• Accentuates foliage

• Enhances browns and golds
  
• Enhancing dark skin tones

• Rich, warm tint
  
• Old Technicolor look
  
• Only one strength

• Adds indigo blue color

• Adds gray green color to ocean and sky

Add color to part of a scene where color may be weak or absent. Can be also used for color effects which contribute to the cinematic drama of a scene.

All Graduated color filters are part clear and part color. They are designed to be used in professional matte boxes, so that they are readily positioned at the exact angle required to create desired effects.

Typically soft-edge filters with wider gradient transitions are used with short to medium focal length lenses because they blend in to most scenes better.

Hard-edge filters having narrow gradient transitions are preferred for use with longer focal length lenses or for straight and narrow transitions, like the sky above a flat ocean horizon.

•     Add color to part of a scene
•     Part clear and part color
•     Soft and hard edge graduated

• Create cool or cold-feeling images
  
• Enhance blue of sky and water

• Create cool or cold-feeling images
  
• Enhance blue for a moonlit ”day-for-night“ effect

• Create cool or cold-feeling images
  
• Enhance blue of sky and water

• Reduces greenish tint in complexion shadows
  
• Enhance an evening sky or landscape

• Offers intense flame orange color

• Enhance an evening sky or landscape

• Paint mood in a sky
  
• Toning down greens
  
• Enhance fall foliage

Color Correction filters change the color content of the light to match the color response and permit the user to creatively modify color in subtle ways.

Encompassing a wide range of colors and densities, color correction filters are categorized into three main groups: Color Conversion, Light Balancing and Color Compensating. 

Each can create a wealth of practical color-temperature corrections and creative color effects.

• Change the color content of the light
• Permits creative color modification in strong or subtle ways

• Adds warmth to skin tones
  
• Reduces blue in outdoor open shade

• Corrects the color of tungsten balanced film for daylight

• Balances color temperature from tungsten toward daylight

• Simulates nighttime moonlit scenes during daylight

Active photography puts a great demand on both cameras and lenses. It makes sense therefore to use a B+W filter to protect your delicate front lens element against the elements such as blowing sand and dust, fingerprints and splashing water. B+W filters not only cost just a fraction of the price of a new lens but they are also easier to clean.

007 Clear Filter

• Highly transparent protective glass
• No filter effect, pure front lens protection
• No multiplying factor
• Made in Germany

010 UV Haze Filter

• Color-neutral filter glass
• Blocks annoying UV components of daylight
• No multiplying factor
• Made in Germany

Reflection reduction par excellence

Radiant white clouds against a deep blue sky or the deep colors of fall foliage don't happen by chance. B+W polarizing filters (polarizers for short) augment the purity of the intrinsic colors and increase color saturation and are among the most important filters for analog and digital photography. Because the filter mounts rotate, the polarization effect can be visibly controlled in the viewfinder or on the monitor display.

Another effect of the B+W polarizer is to reduce reflections from non-metallic surfaces such as water, glass, and glossy paint. Objects and people behind surfaces such as shop windows and car windshields become visible again – a fascinating image enhancement without image processing!

B+W polarizing filters are circular polarizers which are compatible with nearly all modern cameras when beam splitters are used in the light path for TTL exposure metering or autofocus. Exposure errors are therefore avoided.

The multiplying factor with HTC is 2 to 3, which is equivalent to 1 to 1.5 f-stops. Other polarizers up to approx. 3 stops. Often regarded as the most important filter for photography.

RICH COLORS

B+W standard circular polarizing filters are equally suitable for both analog and digital cameras. The filter is of high optical quality and designed for all cameras, with or without internal measuring devices (AF, exposure meter).

This filter reduces reflections from a variety of surfaces and increases the color saturation and contrast.

Coating: E and MRC

THE LIGHT VERSION

For this high-end polarizing filter the foil pieces are selected individually for maximum color neutrality. Following cementing between high-grade optical glass, additional grinding and polishing takes place. This guarantees outstanding sharpness even with very bright, apochromatic lenses. The latest cementing technique ensures lasting stability even in damp climates.

The new generation of Käsemann High Transmission (HTC) polarizing filters is fitted with a new polarizing foil which has higher translucency (transmission), yet still provides outstanding effectiveness. The filter extension factor is only 2 to 3, equivalent to approx. 1 to 1.5 f-stops.

Coating: MRC nan

THE LIGHT VERSION

For this high-end polarizing filter the foil pieces are selected individually for maximum color neutrality. Following cementing between high-grade optical glass, additional grinding and polishing takes place. This guarantees outstanding sharpness even with very bright, apochromatic lenses. The latest cementing technique ensures lasting stability even in damp climates.

The new generation of Käsemann High Transmission (HTC) polarizing filters is fitted with a new polarizing foil which has higher translucency (transmission), yet still provides outstanding effectiveness. The filter extension factor is only 2 to 3, equivalent to approx. 1 to 1.5 f-stops.

Coating: MRC

Creativity by using less light

ND filters or neutral density filters are used if too much light restricts creative possibilities. They reduce the light in accordance with their density. They therefore allow longer exposure times or more widely opened apertures. Applications are highly varied and in some cases experimental.

For very bright motifs in the snow or on the beach the aperture would also have to be closed, despite minimum exposure time. This would mean losing the option of short depth of field, e. g. for portraits. ND filters can produce wipe effects in movements if the exposure time can be extended with the required aperture. A waterfall then no longer appears to be frozen, but as a flowing motion. ND filters create ingenious effects in architecture or urban photography. With long exposure times of several hours, people walking through the shot are blurred or not reproduced at all.

• Reducing the amount of light entering the camera
• Suitable for both analog and digital cameras
• Selective sharpness by achieving larger apertures – ideal for portraiture
• Long exposures producing a cotton candy effect on moving water and deserted streets void of people and cars
• Wipe effects, continuous light trails
• Made in Germany

This B+W ND filter, which reduces the light by two f-stops, already shows a clear effect on your photographs such as requiring f/4 instead of f/8 for selective focus or 1/15 sec instead of 1/60 sec for a long exposure effect. The filter is color-neutral, and it should be part of any basic DSLR photography equipment kit.

Coating: E and MRC

This B+W ND filter reduces the light by three f-stops and is particularly interesting for video when no suitable aperture can be selected in bright light or when a specific, small DOF is required. With this filter, distinct flow of water effect becomes apparent. The B+W 103 ND filter 0.9 is also ideal for shooting photos with a wipe effect.

Coating: E and MRC

This B+W ND filter, which reduces light entering the camera by six f-stops, already qualifies as an extreme filter. With this filter, and without changing the aperture (and DOF), an exposure time of 1/60 s becomes a full second. Running water is rendered hazy and soft. A tripod is necessary in any case.

Coating: E and MRC

With a light reduction of ten f-stops, this ND filter delivers a further intensification compared with the B+W ND 106. Running water virtually transforms into mist. People walking on streets become blurred and indistinct or even invisible. In some cases this involves extremely long exposures of up to one minute. A stable tripod is essential.

Coating: E and MRC

For extreme contrasts

Digital cameras are normally equipped with a permanent IR-cut filter in front of the image sensor, but the residual IR that is still transmitted can be used for typical infrared photos. The B+W 092 infrared filter 695 and the B+W 093 infrared filter 830 utilize exactly this gap when visible light is blocked.

The image is pre-selected and IR focusing is performed before attaching the filter as checking through the viewfinder or on the LCD is not possible when the IR filter is attached. The result is creative infrared photos with an amazing "Wood effect" (white leaves) and the typical dark sky.

The IR photos are optimized in the image-processing program: increase the contrast automatically or in the histogram; convert a color image to black and white or "play" with individual color channels, leaving the red channel at maximum. Infrared photography always has an experimental nature to it.

NEW: Now also Available with a diameter of 82, 86 and 95!

The B+W 092 IR filter 695 looks almost black, but is deep purple-red in front of a light source. It blocks visible light up to 650 nm, and at just below 700 nm it allows 50% to pass through (hence the dark red color).

From 730 nm to 2.000 nm the transmittance is very high at over 90%. This allows shots of the pure red and IR image. This IR filter is suitable for most digital cameras.

The B+W 093 IR filter 830 blocks the entire visible light spectrum. It therefore appears black and in contrast to the B+W 092 infrared filter 695, it enables shots in pure infrared without the visible red. The transmittance does not exceed 1 % until 800 nm, but increases to 88 % at 900 nm.

With this really pure IR filter, great attention must be paid to the residual IR transmission the digital camera does or does not transmit (i.e. certain cameras are better suited than others). The filter factor is highly dependent on the lighting. The optimum exposure value can be determined by running a series of tests.

Enhanced image contrast

B+W Black & White filters, as the name suggests, are mainly used in black and white photography.

Yellow filters, for example, can help to add more brilliance to landscape photos and to differentiate the greens in plants and foliage. Yellow and orange filters can conjure clouds out of mere cloudlets, while red filters can increase them to dramatic storm strength or create moonlight effects in daylight.

• Optimizing the gray tones for expressive pictures
• Available as yellow, orange, and red filters
• Suitable for analog and digital cameras
• Made in Germany

The B+W 022 yellow filter 495 is regarded as the basic filter for every black and white photographer. A cloudy sky looks very natural, but is not yet dramatic. Long-distance views with a light haze become clearer – an ideal filter, especially for landscapes and photos of plants.

Coating: E and MRC

The B+W 040 Orange Filter 550 already has a very pronounced effect and darkens violet and blue very strongly, green quite strongly, and even yellowish green a little.

Landscape and architectural photos show an increased, almost "graphic" contrast, while a cloudy sky may already appear dramatic. Because the skin tones rendered by the filter color are noticeably lightened in comparison with plant greens, this filter is often used in nude photography outdoors to increase the contrast between the lighter body and the darker landscape.

Coating: E and MRC

The traditional B+W 090 light red filter used for architecture. White façades are lightened, blue skies are dramatically darkened, and clouds pop. Also used for spectacular landscape photos with greatly improved views into the distance and for posterization (tonal separation) in photos of objects (blue and green very dark, red light).

Coating: E and MRC

Compared with the lighter B+W 090 red filter 590 described earlier, the B+W 091 red filter 630 delivers a further intensification because it even darkens the yellow close to red in the spectrum, and its transparency does not come into play until the orange-red zone. It produces dramatic effects and extreme posterization for a graphic effect.

Coating: E and MRC

Reading glasses for your lenses

Would you like to explore fantastic worlds in miniature? Close-up lenses open up new motifs in an inexpensive way. Like reading glasses, close-up lenses move the focus range into the close-up zone.

The effect increases with the diopter number and the focal length of the lens. For shorter focal lengths in digital photography stronger close-up lenses are therefore recommended. The image scale describes the effect. A scale of 1 : 3 renders an object at a third of its original size on the film/sensor. Close-up and macro lenses are simple aids which are suitable in particular for three-dimensional objects (flowers) and pictorial photography, less for technical reproduction purposes. Sufficient stopping down increases the sharpness and the depth of field.

• Especially useful for simple close-ups
• Fascinating shots of flowers, insects, and small objects
• Suitable for analog and digital cameras
• Low-cost, straightforward entry to close-up photography
• Made in Germany

With +1 diopter, this close-up lens is ideal for telephoto and zoom lenses with a close-up setting down to around 1 meter. Ideal in the 35 mm format for lenses between 85 mm (to about 1 : 5) and 200 mm focal length (to approx.1 : 3), and for popular standard zoom lenses. For the 50 mm standard lens, the rule is: go straight for the close-up lens +2!

For all lens settings, the B+W +2 diopter close-up lens focuses at a distance of 0.5 m, so for 50 mm lenses there is seamless expansion providing an extended close-up range to approx. 1 : 4.5. For telephoto lenses up to 135 mm, the range of the NL 1 is continued seamlessly (at 85 mm to approx. 1 : 3.5, at 100 mm to approx. 1 : 3.2, and at 135 mm to approx. 1 : 2.5).

With a +3 diopter, the close-up setting of this lens starts at 33 cm from the front edge regardless of the focal length. Ideal for seamless continuation of the normal close-up range (to approx. 1 : 5.5). For 85 mm and 100 mm telephotos, continues beyond the NL 2 (to 1 : 2.7 or 1 : 2.4).

The B+W +4 diopter close-up lens is the right power for additional close-up range with the 50 mm lens (up to approx. 1 : 3) when the B+W +2 close-up lens has reached its limit. This is the maximum power for telephoto lenses with focal lengths of 85 mm (to approx. 1 : 2.1) and 100 mm (to approx. 1 : 1.9), but you should stop down to at least f/8. With a 35 mm focal length, pass straight on to the B+W +5 close-up lens.

With the B+W +5 diopter close-up lens, you have reached the most powerful in the B+W close-up lens range. The B+W +5 close-up lens provides seamless continuation from the NL 3 with a 35 mm lens (up to approx. 1 : 3.5). Anyone with a 50 mm lens who can accept a small gap (approx. 1 : 4.4 to 1 : 4) after the NL 2 can continue a bit further into the macro range (up to approx. 1 : 2.6) by using the NL 5 instead of the NL 4.

This filter delivers sharp pictures which are softly overlaid with unsharpness. Small mini-lenslets are distributed randomly on a precisely plano-parallel glass disc. They scatter the light and overlay the sharp core image with hazy, diffuse halos. This opens up deep shadows, while highlights themselves are hardly blurred, but instead form a shimmering aura in the darker surroundings.

Precision beauty softener

The term “soft focus attachment“ does not do justice to this soft filter. The filter delivers sharp pictures which are softly overlaid with unsharpness. Details such as eyelashes do not taper into unsharpness, while skin blemishes are gently covered up. Small mini-lenses are distributed randomly on a precisely plane-parallel glass disc.

They scatter the light and overlay the sharp core image with hazy, diffuse halos. This opens up deep shadows, while highlights themselves are hardly blurred, but instead form a shimmering aura in the darker surroundings. Professionals, even in Hollywood films, use these stable glass filters when aiming for perfect beauty shots. The effect cannot be achieved with image-processing software (e.g. Gaussian blur). As well as for portrait photography, soft focus attachments are frequently used for great effects in landscape shots. They reduce high contrasts and the light fringes in the backlight are softened. The photographs take on a gentle, romantic character.

• B+W Soft-Pro subtle soft-focus effect
• Ideal for portrait and nude photography and dream-like landscape shots
• Made in Germany

In addition to portrait photography, soft focus attachments are used for great effects in landscape images. They reduce contrast and the light fringes in the backlight are softened. The photos take on a gentle, romantic character.