![]() If you like shooting at 24mm or longer (on full frame) you should be more than fine. The downside of the standard sized option is vignetting at wide angles. I love using this filter in combination with my Lee Big Stopper. Finally, and most importantly for me, the thin version doesn’t have threads on the outside, making stacking a strong ND filter impossible. Second, I have owned many thin screw-on filters and I hate taking them on or off when hurriedly working in the field. ![]() I went with the standard for a few reasons. Sizes – the filter comes in 2 sizes: standard and thin.Next, I’d like to touch on a couple of points to consider if you are interested in this filter. Let’s take a look now at some of my favorite images that I’ve made over the last 2 years of having this filter in my kit.Īs you can see there are a variety of situations that the Singh-Ray Gold-N-Blue filter can be used to infuse some warmth or coolness into otherwise lifeless landscapes. That is what we call “Good, clean fun” in the industry.Īlright, enough technical nerd talk, we’ll get back to that in a bit. Also notice it not only changes the color of the water in the foreground but also what’s going on up in the sky. Notice these compositions are exactly the same and the images were taken just seconds apart after a quick rotation of the filter. Or, hopefully something a little more like this: When you screw it on the lens you can spin it around until you get the desired color, gold or blue, then the desired strength of that color. You can see the effect it will have through the viewfinder of the camera. The stronger it is, the darker (bluer) it will make the sky or the brighter the highlights it will be able to reduce. When using a CPL you can adjust the strength of it by spinning it around once it’s attached to the front of your lens. The Gold-N-Blue is not as essential as a CPL, but it will give you a lot of creative options when out in the field, especially on one of those dull, dreary days. Instead of reducing the highlights it fills them up with vivid color, either gold or blue as you probably guessed. ![]() Without using a CPL to reduce the glare, the detail in those bright spots will not be captured and are unrecoverable in post-processing (most issues can be recovered to some extent, this can not). ![]() ![]() Imagine shooting a waterfall with highlights from the sun hitting the water. One of its key functions, in addition to darkening skies, is to cut the reflections in a scene. A standard circular polarizing (CPL) filter is one of the most essential items in a landscape photographer‘s bag. The Gold-N-Blue is technically a polarizing filter. It’s in these times that it’s nice to have a friend such as the Singh-Ray Gold-N-Blue filter in your toolbox. For those who are not landscape photographers, I’m going to let you in on a little secret: this scenario happens about 80% of the time. One thing we do know is that we have to come home with something. The subject we traveled to shoot is just as glorious as we envisioned and we got the composition lined up, but the light just isn’t hitting like we hoped. We often wake up at 2 am to drive to a location 3-4 hours away on assignment or for personal work only to find a sky with no texture or a river without color. Making something out of nothing – that’s sometimes our task as landscape photographers. ![]()
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