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I
n the days of black and white film photography, the use of strongly colored filters placed over the lens during image capture could produce very different images. The expressive camera artist used filters to intensify the prevailing mood by controlling the translation from saturated hues into tonal relationships. The red filter generally rendered the most vivid variation, causing extreme tonal shifts like dramatic cloud formations against dark skies and distant haze penetration. In comparison, unfiltered landscapes shots would often produce unsatisfactory results. A wonderful feature of digital photography is the ability to create these same effects with immense control in post-processing. Surprisingly, there is a righteous group of “pure photographers” that claim digital processing is bad but filter use at capture is good.
“By the time the fool has learned the game, the players have dispersed.” - African Proverb
