Filter System Required in this Post-Processing World?

[Enormicon]

A two-part question for you all:

 

1) with the latest DR offered by Sony camera's and the post-processing capabilities of LR, are filter systems still a necessity for landscape photography? I would imagine getting the best image OOC is preferred but am wondering out loud...

 

2) also, if you were upgrading your existing Cokin P holder and plastic Hittech filters to Lee, would you get the 100mm system or the Seven5? I currently have an 82mm filter threaded Canon 16-35L 2.8 which wouldn't support the Seven5 system, but would prefer to sell it in favor of a Sony prime WA if there's (ideally) one coming down the pipe. Aside from that, a 25mm Batis would be the widest angle lens I'd currently be using. Any advice from existing LEE users would be appreciated; if the Seven5 vignettes on the Batis the decision will be an easier one..

 

Thanks!

 

 

[Guest all8]

1/ Yes. If you spend all your DR headroom on correcting exposure differences then there is not much left for working on the actual photo.

 

2/ There is a thread about the Seven5 system (I started it with a similar question).

[Enormicon]

Much appreciated timde! Not sure why I missed that searching for "Filters" (I see it now though). Sounds like the Seven5 is working for you and the Batis, but if planning to go wider, then the 100mm is the likely answer

[Golem]

...... If you spend all your DR headroom

on correcting exposure differences then

there is not much left for working on the

actual photo.

 

.............

Frinstintz, the 82 series, for partial daylite

conversion, will reduce the in-camera WB

"overhead expense" when shooting by

tungsten-hued indoor lighting.

 

Acoarst you could use the deeper blue 80

series but thaz about 2.5 EV loss. The 82

is barely a 1 EV loss. Its original purpose

was a slight "cool down" for shooting film

at about 4pm to 6pm outdoors when you

still have daylite but it has become warm

hued daylite.

 

Also, there are those indoor too-warm light

sources that can take your in-camera WB

to its far limit yet the result is still way too

warm. Usually this is a scene way too dim

to spend 2.5 EV on an 80 series filter but

an 82 can keep you within, or at least near

to, correctable range at a cost of 1 EV.

 

Finally ... you can find a used 82 series for

next to nothing, even a huge one, cuz until

you read this, I was the only person who

realized they are still of any use !

 

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