Tiffen 77GG1 77mm Glimmer Glass 1 Filter

£64.8
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Tiffen 77GG1 77mm Glimmer Glass 1 Filter

Tiffen 77GG1 77mm Glimmer Glass 1 Filter

RRP: £129.60
Price: £64.8
£64.8 FREE Shipping

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It’s a diffusion filter, it goes on the front of the lens. You put it on your super-sharp, modern lens and you make pictures. Notice how the direct light affects diffusion filters a lot, especially Cinebloom that completely spreads out the highlights over a big area. Test #2 – Ingolfs Kaffebar When a light source is overexposed it blooms—it spreads out over the adjacent parts of the image. The diffusion filter strengthens that spreading and here you can see the Moon has bloomed out to many times its original size. In this particular case I find this extreme blooming undesirable although no doubt good use could be made of this effect. Feeling is what matters, more than technical perfection. Sometimes ultra-sharpness contributes to that feeling. Sometimes a softness in the image contributes to that feeling. That’s where the Glimmerglass filter comes in. This filter, made by Tiffen, is one of a number of diffusion filters that do not simply “fuzz” the image but do something far more interesting. I bought one in a size to fit the new fast Fuji 50mm f/1.0 and thought it might be worthwhile to shoot this lens, which already has a sort of diffusion look built-in when shot at f/1.0, and to see what the combination would produce. That’s why the errors occur but why do they keep them? Why doesn’t the director of the film just reshoot the scene, especially with a big-budget film? The reason is that sharpness is not the be-all, end-all deciding factor in the success of a scene. There are a host of things going on and a little unsharpness can be easily overlooked if the overall sense of the scene is powerful, if the actors did something really special, if all of the complex camera movements, lighting, everything, all came together to cast some magical spell, some primordial connection between the filmmaker and the audience. Or sometimes filmmakers just didn’t notice (they review scenes during the shooting on monitors that are much smaller than the big screen) or they noticed but they’d already moved on to something else.

Not sharp” is not a neutral statement identifying a characteristic of a lens. It is a judgment of that lens, a dismissal of that lens. I have never been a huge fan of these so called “effect filters” but my friend Simeon Kolev showed a few cool pictures where he used these Diffusion filters to good effect, so I decided to give it a try. Earlier we saw flare from the filter and here it is again, though brighter and clearer. And again we see that it is not even—is there something in the flare? And there is—a picture of the Moon. With greatly reduced exposure the details of its surface are clear, the focused light having bounced off the flat filter in some way. There’s a coolness factor here that cannot be denied. The X100V doesn’t initially appear to be able to accept filters. There are no screw-in threads visible. But there’s a “secret” ring around the lens that unscrews to reveal threads, but these threads cannot accept filters. You need to buy an adapter to screw into those threads that has its own threads that filters can screw into. Make sense? Note in the Glimmerglass photo the ball of greenish light—lens flare from the surface of the filter. The flare is not evenly toned—more on that later.If I read it another way, it may be that the model is supposed to see the "Sparkle" in the filter - and that is supposed give the model the added confidence (?) Might be cheaper to just glue some glitter to the front of your camera? But one has more freedom for further creative modifications if the base itself is very solid. You can blur any sharp image, but the other way only works in action movies where crops of single frames of 240p/12fps surveillance cameras magically sharpen up to the same quality as if that cropped area was taken with a slightly stopped down 400mm/2.8. ColorCore® Technology (per < link > The Tiffen ColorCore technology is a secret proprietary formula...) That small dot between the bloom of the Moon and the flare spot is not another flare spot. It is Mars, a little over-exposed into white but hints of red remain at its edges. As this time Mars rises with the night and Jupiter and Saturn pair up higher in the sky—you can see several of Jupiter’s moons and Saturn’s rings with ordinary binoculars—the Moon racing by them and then leaving them as the month goes on.

It’s fine, it’s an interesting look, it just starts to sort of blend after a while. Filmmakers, just like still photographers, tend to be fad followers. What’s left? I own a Tiffen 49mm Circular Polarizer that I rarely use. I probably should use it more, because CPLs are great for reducing unwanted reflections. To some extent, it’s theoretically possible to mimic Color Chrome FX Blue with a CPL filter, I think, although I’ve never tried. I also have a Hoya Intensifier (a.k.a. Didymium filter or Starscape filter) that I’ve used a few times. I have some 49mm color filters for B&W film photography, but obviously those don’t work well on the X100V (I tried). I also have a Hoya 80A filter, which actually does work on the X100V, but I pretty much never use it. Taking pictures in the dark with point light sources in the frame the effect is also similar to what you get when shooting analogue Cinestill 800T film.The Glimmerglass1 was more to my liking as it really seemed to only affect the parts of the picture it is supposed to and I may keep it for the next time I take pictures at a fair or do automotive photography during the blue hour. If you hold it and shift it around so the light reflects off the glass, the surface of a Glimmerglass filter looks like it has been sprinkled with some sort of metallic dust, maybe gold. The particles aren’t really on the surface, they are sandwiched between two thin layers of glass, and they probably aren’t gold, though for the price of the filter I’m thinking maybe they should be. I don’t know how the digital Otron effect is implemented in different software solutions, but one way to make it effective only in/around bright areas of the image is to make a copy of the image, overexpose it, blur it, and take a B/W copy of the blurred image as the alpha-channel for blending with the original image. Strength and sensitivity of the effect may then be varied by applying changes to the B/W copy in the alpha-channel. Even after I introduced the thought that we were looking at sharpness, even after I set the stage, were your first thoughts when you looked at the images about sharpness? Or were they about color, about the ocean, and most of all about the dolphins?

But there are situations where doing everything in software isn‘t viable or simply not wanted. First, if you shoot video, it will cause very heavy workloads in post. Second, if you shoot on film…well, that‘s obvious. Third, if you‘re a purist and don‘t want to treat every image in post, or if you try to improve your “analogue” photographic skills. For astrophotography the better way to highlight brighter stars in images may be the use of some of the quite good Samyang lenses which are known to show slightly undercorrected spherical aberration leading to a similar effect while maintaining comparably high contrast and resolution in the whole frame. Books On My Desk: Robert Adams’ Photographs ( not in the way you think I mean) and Bruce Conner’s Attic

The effect of the Glimmerglass filter shows most obviously in the sun-bright portion at the top edge of the image where the white sun suddenly blooms, the white glow spreading out over the leaves and the tree trunk. There is a lowering of contrast—the Glimmerglass image might initially look dull in comparison. I’m not sure if there is a loss if resolution or not—higher contrast can give the illusion of sharpness and lowered contrast thus seems less sharp. There’s a slight mist in the air here—actual water vapor, not residual smoke from the forest fires—which gives its own diffusion filter effect in the light. This is greatly augmented by the filter, as you can see, creating a glow all across the houses in this small town. It’s worth noting that Glimmerglass comes in several strengths—the one I am using here is the weakest. NiSi recently released a so called “Star Soft” filter which I might give a try in the future — maybe later this fall with less hot nights with less atmospheric turbulences impacting the image quality. In that case the brighter stars should seem more pronounced (as seen with the naked eye), but smaller stars may no longer be visible probably leading to an image with less details. To maintain a high resolution and contrast in the foreground this filter is split in two areas. So one can chose where this effect should be applied. I’m curious how the results will turn out. thanks for this nice short review. I don’t like the idea of worsening the optical qualities of a good lens either. But indeed, the achievable looks may be quite nice. I think I’ll give some NiSi filters a try as well.

This whale was moving in a circle, too, in shallow water, apparently both corralling the fish and then coming up on them to eat them. I saw him lunge out of the water but neglected to take a picture. It is also unusual to see whales active and feeding like this after sunset—normally about a half-hour prior to sunset the whales tend to wrap things up and head to wherever it is they go at night. But there was a lot of fish in the water, witnessed by the many birds on the surface and the dive-bombing Pelicans crashing into and under the swells, and so that may explain the late activity, though I worry that this whale may be here now more out of weakness and hunger than out of choice. More Samples Sony A7III | 28mm | Tiffen Glimmerglass1 Sony A7III | 28mm | Tiffen Glimmerglass1 Sony A7III | 28mm | Tiffen Glimmerglass1 Sony A7III | Laowa 35mm 0.95 | f/0.95 | K&F Diffusion 1/2 Sony A7III | Laowa 35mm 0.95 | f/0.95 | K&F Diffusion 1/2 Sony A7III | Laowa 35mm 0.95 | f/0.95 | K&F Diffusion 1/2 Sony A7III | Laowa 35mm 0.95 | f/2.8 | K&F Diffusion 1/2 Sony A7III | Laowa 35mm 0.95 | f/0.95 | K&F Diffusion 1/2 Further Reading But followers have to, by definition, be following and that implies that somebody is out there in front. With diffusion filters that is certainly not me—adapting old lenses to modern cameras is a well-established corner of the photo world and diffusion fits into that same corner as well, although even there it’s sort of a niche, a corner within a corner. Perhaps we can add a bit to that little group—put the Glimmerglass on the fast Fuji 50 and see what happens? These filters are made by several manufacturers these days and they come in different strengths. Filters with the same nominal strength from different manufacturers do not necessarily offer the same degree of the effect though, which makes it especially hard to find the best one for your needs.

I will try to demonstrate some of those digital effects here sometime in the not too far future. Let‘s see how it turns out. All of these filters seem to contain a higher density of very small implanted particles/defects. Those lead to a mixture of diffractive and scattering effects in the path of the light travelling through the optical system. Without going too much into detail most of those effects will lead to blurred light sources where the blurring might be well approximated by the superposition of some gaussian blurs with a filter specific distribution of different radii (it‘s not exactly gaussian, but close enough to keep that simple model — which is also implemented in most photographic/image manipulating software). Hence, yes, theoretically one should be able to recreate these effects quite easily with some work. In each of the image pairs that follow the Glimmerglass image is first, followed by the unfiltered image. The Moon in this image dominates the composition and the difference between the Glimmerglass-filtered image and the straight image couldn’t be starker. They are different photographs. The dark foreground areas of the photograph look identical in each and yet in one the diffuse glow around the Moon renders a different Moon entirely. Again, one is not better than the other—that depends on the photographer’s intent and the viewer’s taste—but the different possibilities are clearly, and literally, illuminated.



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