Lee System 100

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Contents

04 Getting started

08 Publications from LEE Filters

09 The 100mm System

12 Filter holders

14 Adaptor rings

16 Lens hoods

18 Filters

22 Neutral density lters

24 The Big and Little Stopper

28 Polarising lters

31 The Landscape Polariser

32 Resin sets

39 Single effects lters

43 Technical lters

44 Polyester technical sets

46 Colour control

50 Black & white photography

52 Pouches and protection

54 Accessories

55 Lighting lters

57 Index

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If you’re new to the LEE Filterssystem, this is what you’ll need toset you on your way. The Digital SLRStarter Kit comes with the lter holderalready assembled, so all you need to

do is to slot in either the 0.6 neutraldensity (ND) grad, or the ProGlass0.6 standard ND lter, clip it to youradaptor ring* and start shooting.

The ProGlass ND lter is designedto cut out more infrared and UVlight than the standard resin version.The result? A cleaner, crisper result,with fewer colour aberrations whenshooting in challenging light.

A cleaning cloth ensures the ltersremain free of dust, and the kit is allpacked in a neat triple pouch.

Your Digital SLR Starter Kit includes:

• Filter holder • ProGlass 0.6 ND standard

(100 x 100mm)

• 0.6 ND hard grad (100 x 150mm)

• Cleaning cloth

• Triple pouch

*Adaptor Ring not included, needs to bepurchased separately.

Getting Started

Digital SLR Starter Kit

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Neutral density ltersThere are two types of neutral density lter: graduated and standard. Both aretypically available in strengths of 0.3, 0.6 and 0.9 – equating to one, two and threestops respectively.

Neutral density lters have no impact on colour balance, and should not beconfused with grey lters. They can be used alone or in combination with other

types of lter – a warm-up, for example.

ND grads can be used bothhorizontally and at an angle,and more than one can bestacked on top of the other, forextreme variations in exposureacross the composition.

When first using ND standards,experiment with slow shutterspeeds in order to learnexactly their impact on movingsubjects, such as clouds, wateror windblown leaves.

Neutral density graduated lters

The neutral density graduated lter(also known as an ND grad) is usedto balance the exposure within ascene – typically when the sky isbrighter than the foreground.

Neutral density standard lters

The only difference between NDgrads and ND standards is that thestandard is coated evenly across theentire lter, rather than partially.

The ND standard is used in two mainways: to reduce the quantity of light

hitting the camera’s sensor, or lm,permitting longer shutter speeds; andto reduce the sensitivity of a sensor ina DSLR that has a high minimum ISOsetting (ISO 200 or above).

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Long exposure ltersPhotography isn’t only aboutfractions of a second. Longexposures have the ability to rendertime and movement in a way thatproduces images full of atmosphere

and intrigue. This is where the Big &Little stoppers come in.

Just a single lter allows the userto increase their exposure to manyminutes, rendering clouds soft, watersmooth and milky, car headlightsas streaks of colour or people asabstract, blurred gures.

Getting Started

Landscape polariserWhen light bounces off a at, non-metallic surface – such as glass orwater – it becomes polarised.

This means that all the reectedlightwaves vibrate in the same plane.The result is glare, which createsextremes of contrast, is difcult tocontrol, and generally confuses thescene. A polarising lter cuts out

this glare, removes reections andresults in more saturated colours.The strength of the polarised effectdepends on the rotation of thepolarising lter.

A super slim, circular polariser foruse on all camera types, The LEElandscape polariser is the ultimatepolariser for outdoor photography.Covering superwide lenses and witha pleasant slightly warm colour bias.

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Universal hoodA versatile accessory, the UniversalHood shades lenses on any camerafrom DLSR or lm SLR to mediumformat. It comes assembled withtwo lter slots, but can also becongured to take different ltercombinations. It allows the effectsof are to be controlled, leaving thephotographer to concentrate oncreative composition.

Foundation kitThe Foundation Kit – the basic lterholder – attaches to the camera’slens via an adaptor ring. The holderis suitable for between one and fourlters and is compatible with any

camera format, whether lm or digital.

Adaptor ring: Screws onto lens

Holder: Clips onto adaptor ring

Filters: Slot into holder

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Learn the best wayto use your ltersWhether you shoot lm or digital, InspiringProfessionals and Inspiring Professionals 2 arethe only guides to using lters you’ll ever need.Produced by LEE Filters, with contributions from

professionals at the top of their eld, thesehardback books feature not only some of thenest landscape and architectural photography,but also numerous hints and tips from the likesof Joe Cornish, Charlie Waite, David Ward, MarkDenton, John Gravett, David Noton, JeremyWalker, Paul Gallagher and Tom Mackie.

Publications from LEE Filters

XposureFeaturing interviews with some of the world’smost respected photographers, advice oneverything from neutral-density graduatedlters to long-exposure photography, andanalysis of what goes into making a successfulimage, Xposure – the online magazine fromLEE Filters – is packed full of photographicinspiration. Download the latest issue atwww.leelters.com.

Inspiring Professionals ebooksBoth books are also available as ebooksfrom the iBooks Store (suitable for Mac andiPad). These multi-touch versions have beenspecically designed for the best possibleexperience on screen. The high quality imagescan be viewed full screen or alongside thecommentary and diagrams that explain whichlters were used for each shot.

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The 100mm fi lter system

AT THE CORE OF THE LEE FILTERS SYSTEM IS THE HOLDER, WHICH CAN BE

CONSTRUCTED WITH UP TO FOUR SLOTS, AND IS INTENDED TO BE VERSATILE

AND STRAIGHTFORWARD TO USE, FREEING UP THE PHOTOGRAPHER TO

CONCENTRATE ON TAKING THE PICTURE. THE HOLDER IS DESIGNED TO BE

COMPATIBLE WITH 100MM FILTERS – LEE FILTERS’ STANDARD WIDTH.

TO FIT THE HOLDER TO THE LENS, AN ADAPTOR RING IS REQUIRED. THERE ARE

TWO TYPES OF LEE FILTER ADAPTOR RING: ONE FOR GENERAL USE, AND ONE

FOR WIDEANGLE LENSES.

10 Holder versatility

12 Filter holders

14 Adaptor rings

16 Lens hoods

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To position the graduation line slide the lter up and down in the holder.

Holder versatility

The LEE Filters holder has beendesigned with almost everyphotographic eventuality and

combination in mind. Up to fourlters can be used in one holder. Acombination of different types oflter, such as neutral density andwarm-up if shooting colour, whetherlm or digital. Or red and neutraldensity standard (to darken blueskies and slow down the exposure) ifshooting with black & white lm, forexample.

Crucially, once tted to the adaptor

ring, the holder can be rotated to anyangle. This permits the photographerto balance the exposure even whenthe brightest areas fall, say, within thetop left hand ‘triangle’ of the scene.

Don’t forget that ND grads canalso be used ‘upside down’ –

with the filtered section at thebottom and the unfiltered sectionat the top – on occasions whenthe lower part of the frame isbrighter than the top part.

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It is possible to t a 105mmaccessory ring to the front of theholder, which allows a polariser to betted and rotated independently ofany other lters. It is also suitable for

use with wideangle lenses.

Graduation line

Back plate

Back plate cover

Filter holder guide

105mmAccessory ring

An ND grad should be positioned atthe point where the brightest area ofthe frame meets the darker area. This

is achieved simply by sliding the lterup and down in its holder, assessingthe effect through the viewnder,until the correct point is reached.

When using multiple lters in oneholder, it is crucial to take into accountthe possibility of vignetting. Thehigher the number of lter guides,the narrower the angle of viewbecomes and, therefore, the higherthe likelihood of vignetting. The

approximate limitations are as follows:Number of

filter guides

Minimum

focal length

One 16mm

Two 17mm

Three 21-24mm

*All focal lengths are full-frame digital or 35mmSLR equivalents

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Foundation kitThe Foundation Kit is fundamental tothe LEE Filters system. It takesstandard 100mm lters, and can beconstructed to take up to four lters atany one time (remember, though, the

more lter guides added, the higherthe likelihood of vignetting withwideangle lenses). The Foundation Kit,like all others, clips onto the adaptorring which, in turn, screws onto yourcamera’s lens.

How the holder isconstructed

• Fit the back cover plates to theback plate (see diagram below)

• Fit the lter holder guides (up to fourguides, or slots, can be used withone holder) to the back cover plates

• Fit the front cover plates to thelter holder guides

Single lter conguration Three lter conguration

Holders

Back plate

Filter holder guide

Filter holder guide

Back plate cover

Front plate cover

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Professional kitThe Professional Kit features twolter holders and a tandem adaptorto join them together. This allowsindependent rotation of grads, aswell as the option to use more thanfour lters if desired.

Push-on lter holderThe push-on lter holder has beenspecically designed to t straight tocertain large format wideangle lenseswhich otherwise will not take a ltersystem. It takes the standard 100mmlters and ts directly to lenses withan outside diameter of 100mm (lterthread often 95mm). It can becustom adapted to t lenses orcentre lters of smaller diameter, butis not generally the best option forsizes less than 86mm.

Upgrade kitThe Upgrade Kit contains a lterholder and a tandem adaptor andconverts your foundation kit into aprofessional kit.

Starter kitLike the Digital SLR Starter Kit, aready assembled lter holder comesas standard with this kit. However,

the main difference lies in theinclusion of a Coral 3 graduated lter,which has enough tone to be usedboth as a grad or an all over warm-up lter. Also included in the kit is a0.6 ND hard grad, cleaning cloth andtriple pouch.

Your Starter Kit includes:

• Filter holder

• 0.6 ND hard grad (100 x 150mm)

• Coral 3 hard grad (100 x 150mm)• Cleaning cloth

• Triple pouch

*Adaptor Ring not included, needs to bepurchased separately.

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The adaptor ring is crucial to theLEE Filters system. It screws onto thecamera’s lens and, in turn, the lterholder clips onto the adaptor ring.

The adaptor ring screws onto thelens with a uid action, thanks to thesturdy construction and aluminium

screw thread.

Adaptor rings

Wideangle adaptorrings are available in thefollowing thread sizes:

49, 52, 55, 58, 62, 67, 72,

77, 82mm.

Special sizes can be madeto order

Standard adaptor rings areavailable in the followingthread sizes:

49, 52, 55, 58, 62, 67, 72,77, 82, 86, 93 and 105mm,as well as Rollei VI and 50, 60

and 70mm bayonet fitting forHasselblad lenses.

Special sizes can be madeto order

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The wideangle adaptor ring issuitable for use with wideanglelenses. It differs from the standardadaptor ring by sitting closer tothe front element of the camera’slens. As a result, the likelihood ofvignetting is dramatically reduced.

Standard adaptor ring Wideangle adaptor ring

The standard adaptor ring is suitablefor use with lenses up to a moderatewideangle. It sits in front of the lens’front thread.

The standard adaptor ring iscompatible with lens focal lengths ofapproximately 24-28mm (35mm SLRequivalent) and upwards.

The wideangle adaptor ringis compatible with all lensfocal lengths.

Adaptor ring for Canon17mm TS-E f/4L lensThis adaptor ring is compatible withCanon’s tilt-shift lens, the 17mmTS-E f/4L. It simply clips on to thefront of the lens, and the lter holderattaches to it.

With the adaptor and lter holderin place, more than half of the lens’usual total movement is possiblebefore vignetting occurs.

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Lens hoods

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This means, quite simply, theyhave no need for rails or guides inorder to be adjusted or maintaintheir structure. As a result, they

are compact and light, so don’tbecome a hindrance to thelandscape photographer whoprefers to travel light.

The LEE Filters lens hoods can beused alone or in conjunction withlters, allowing the photographer

to shade the lens and enhance theirphotographic composition at thesame time.

Thanks to their exibility, thesehoods can be used at varying angles,so can selectively shade partsof the image, or even match themovements of a large format camera– making them a versatile addition tothe photographers’ kit bag.

LEE FILTERS LENS HOODS ARE SELF-SUPPORTING – A FEATURE UNIQUE

TO THE MANUFACTURER.

Universal hood closed Wideangle hood closed

Universal hood open Wideangle hood open

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Universal hoodThe Universal Hood is designedto suit the needs of mostphotographers. It works both as asimple lens shade, and in conjunctionwith lters. It comes assembled

with two lter slots, but can also becongured to take different ltercombinations. It is ideal for shadingwideangle lenses on DSLR, 35mmSLR and medium format cameras.

Wideangle hood

The much larger bellows that are acharacteristic of the Wideangle hood,mean it can be used in conjunctionwith wide or very large lenses –reducing the chances of vignetting.

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Filters

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Each sheet of resin, polyester orglass is carefully inspected and, if anyaws are discovered, it is discarded.Once it has been cut to size, it isdelivered to one of the technicians,who proceeds to dip it into theappropriate bath of dye. Neutraldensity lters are the most complex,requiring a level of precision thatcannot be replicated by any piece offactory machinery.

A soft ND grad requires a gentlerocking and dipping action in the

dye, so that the transition from thedyed part of the lter to the clear isas smooth as possible.

Hard ND grads, on the other hand,are created with a much sharperdipping action. Careful attention, ofcourse, has to be paid to the point atwhich the transition occurs.

All lters are then checked in aspectrophotometer for colour densityand evenness across the lter.

Only after the lter has undergone astrict process of quality control canit be packaged up for distribution tothe company’s network of dealers.

It is this attention to detail thatensures LEE Filters products aresecond to none.

LEE FILTERS PRIDES ITSELF ON THE ATTENTION THAT IS PAID TO THE

MANUFACTURE OF EACH OF ITS FILTERS. IT IS FOR THIS REASON THAT EACH

FILTER IS HANDMADE TO EXTREMELY PRECISE DETAIL, BY THE SKILLED TEAM

AT THE FACTORY IN ANDOVER, HAMPSHIRE, ENGLAND.

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Resin ltersResin lters are made fromlightweight, optically correctpolymeric materials. This ensuresthey are durable, easy to handle –and can be wiped clean if sprayedby sea or sand during a shoot.

The lters are available as grads –where the top portion of the lter iscoloured, and the lower portion isclear – or standard, where the whole

lter is evenly coated in the colouror tone.

Resin lters are available either singlyor in boxed sets, in sizes of either100 x 150mm or 100 x 100mm.Sizes to t other lter holder systemscan be custom made. Because allLEE lters are handmade by skilledtechnicians, their quality is guaranteed.

Glass ltersWhen necessary, some lters aremanufactured in glass, these includePolarisers, the Big and Little Stopperand the ProGlass ND standards.These lters absorb visible andinfrared light making them ideal fordigital photography.

Polyester ltersManufactured from the highestquality polyester-based material, thelters are tough and easy to clean.

Polyester lters can be mounted inframes or cut to t a photographer’sexisting system. All lter sets aresupplied ready mounted for use withthe LEE Filters holder system.

An ND standard range is alsoavailable in polyester, in strengthsfrom 0.1 to 0.9, while other ltersin the technical range includeuorescent correction, ultravioletabsorbing, infrared and colourtemperature correction.

Filter choice

WHETHER YOU CHOOSE FILTERS MADE FROM

RESIN, POLYESTER OR GLASS, LEE FILTERS ENSURES

THE OPTICAL QUALITY IS SECOND TO NONE.

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Filter choice

0 . 6 N D H a r d

N o

f l t e r

Hard graduatedresin ltersA hard graduated lter ischaracterised by a very sharptransition between the coatedand uncoated sections of the

lter. A hard grad allows thephotographer to control withgreat precision the desiredeffect on the composition –especially when the transitionbetween two areas in the frameis particularly abrupt, as with aclear horizon, for example. Theeffect of the lter ‘carrying over’from one part of the frame toanother would be undesirable.

0 . 6 N D S o f t

Soft graduatedresin ltersThe transition between thecoated and uncoated portionsof a soft graduated lter is lesssharp and more subtle thanin a hard grad. A soft grad

is recommended when thevariation in light readings withina scene is less pronounced, andon occasions when the effect ofa hard grad would be apparentin the result, showing as a ‘line’across the composition. Thetransition in tones, from brightto dark, should appear verynatural when using a soft grad.

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Combination lters are custom made and if used correctly, can yieldimpressive results.

Combination resin lters

These are graduated lters with a different colour at each end of the lter,and although this can be any combination of colours, it will most usually bean ND and a warm-up. The ND balances the exposure of the sky, and thewarm-up gives a boost of colour to the foreground.

Popular combinations are:

0.6ND to 81B or 81A These lters have separate colours

top and bottom, and can only bemade with hard grad transition.0.75ND to Coral 2

0.6ND with 81B These lters have the warm-upover the entire lter, then an NDoverdyed at one end. This gives awarming effect to both the sky andforground, with the ND balancingthe exposure. Available in hardor soft transition, with soft being

popular for the darker colours.

0.6ND with 85C

0.9ND with 81A

0 . 6 N D t o 8 1 B

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Neutral density grads are available inboth hard and soft versions, and instrengths of 0.3, 0.45, 0.6, 0.75 and0.9. The 0.3 strength equals one stop,while each subsequent incrementequals an additional half-stop.

Therefore, if, for example, the sky ina scene were two-and-a-half stops

brighter than the foreground, a 0.75ND grad positioned across the skywithout encroaching on the foregroundwould ensure an even exposure.

It is also possible to stack one NDgrad on top of one another withinthe same holder – as long as thereare sufcient lter guides to do so –for a variety of effects.

Don’t forget, neutral densitygraduated lters – as with mostothers in the LEE Filters range – are

compatible with both digital and lmphotography.

0 . 6 N D

0 . 6 N D H a r d

0 . 3 N D

0 . 4 5 N D

0 . 7 5 N D

0 . 9 N D

Neutral density graduated filters

Sometimes it might benecessary to sacrificea certain amount ofshadow detail whenusing ND grads. It is upto the photographerto visualise whetherthis loss is acceptable

within the parametersof the image.

THE PURPOSE OF THE ND GRAD IS TO REDUCE THE BRIGHTNESS OF

SELECTED AREAS OF THE FRAME. CRUCIALLY, A TRUE NEUTRAL DENSITY

GRAD SHOULD HAVE NO IMPACT ON COLOUR BALANCE, AND THIS IS

WHERE LEE FILTERS ND GRADS EXCEL.

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The aim of the standard ND lteris to reduce exposure equallyacross the entire frame. It is mostcommonly used to lengthen

shutter speeds in order to blur themovement of, for example, clouds,water, or even people.

An ND lter of 0.9 equates to areduction of three stops. Therefore,a light reading (without lterattached) of f/8 at 1/2sec wouldbecome (with lter attached) f/8 atfour seconds.

In a case such as this, the effectof any movement would be quitepronounced.

By stacking, say, a 0.6 ND lter ontop, the exposure would be reducedby a further two stops, giving areading of f/8 at 16 seconds.

0.6 ND ProGlass

(Standard) Filter

0.9 ND ProGlass

(Standard) Filter

When shooting digitally, light atthe infrared and ultraviolet ends ofthe spectrum can be problematic.The ProGlass range of lters has

been designed with this in mind.These glass neutral density ltersare optimised for use with digitalcameras, as they absorb more infraredand ultraviolet light than traditionalND lters. The result is a punchierimage, with less discolouration inadverse lighting conditions.

0 . 6 N D

0 . 3 N D

0 . 4 5 N D

0 . 7 5 N D

0 . 9 N D

0 . 9 N D

P r o G l a s s

Neutral density standard filters

ProGlass neutraldensity standard filters

When reducing exposuressignificantly, don’t forget to takereciprocity failure into account ifshooting film.

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One of the main joys of photographyis its spontaneity. Whether shootingfrom the hip on the street with adiscreet rangender, using a DSLRand long-lens set-up to capturesports action, or waiting for the lightto come right for a large-formatlandscape composition, it’s up tothe photographer to make theirsplit-second choice about when tocapture their image.

Photography isn’t only aboutfractions of a second. Longexposures have the ability to rendertime and movement in a way thatproduces images full of atmosphereand intrigue. This is where the Big &Little stoppers come in.

Just a single lter allows the userto increase their exposure to manyminutes, rendering clouds soft, watersmooth and milky, car headlightsas streaks of colour or people asabstract, blurred gures.

The Big and Little Stopper

For more precise control of yourimage, both Stoppers can beused in conjunction with otherfilters – for example, an NDgrad or a polarising filter.

B i g S t o p p e r

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What are they?

Each lter allows the user to extend

their exposure by six or ten stops,permitting either a longer shutterspeed or a wider aperture – or acombination of the two. In the past,such long exposures have beenproblematic because of the potentialfor light leaks. Both Stoppers featurea foam gasket which ts rmlyagainst the lter holder, thusensuring it is light tight.

Manufactured from high-quality

glass, each lter ts the standard LEE100mm Filter Holder, so can be usedwith a variety of lenses and evenin conjunction with other types oflter, such as neutral density grads orwarm-up lters.

A Stopper must be placed into the

lter slot nearest the lens, with the

foam seal facing the holder.

The Big Stopper

With a density of ten stops, the Big

Stopper is highly adaptable, provingequally useful not only in lower lightconditions but also at times of theday when the light is harsher.

The Little Stopper

The Little Stopper is ideal for thoselow-light scenes at the beginningand end of the day, when anyexposure compensation greater thansix stops might render shutter speedstoo long. It’s also the lter to choosewhen you want to retain sometexture in moving objects such ascloud or water

0.75 ND Hard Grad & Big Stopper

Little Stopper

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How to use

• Before tting a Stopper, rstcompose your image.

• Take a meter reading without thelter in place, and set your desiredaperture and shutter speed.

• Multiply your exposure by thefactor of the lter you are using.For the Little Stopper, that is six,for the Big Stopper it is ten. Forexample, if your meter readingsuggests an exposure of 1/250secat f/11, with the Little Stoppertted, your exposure becomes1/4sec, with the Big Stopper itbecomes four seconds. If yourmeter reading suggests anexposure of two seconds, the

exposures would become two and32 minutes respectively.

• With the Stopper lter insertedinto the slot nearest the lens,attach the lter holder as usual andmake your exposure.

• Always use the sturdiest tripodyou can when making longexposures, and take care notto knock the camera or tripod.Cover your viewnder before

releasing the shutter to avoid lightencroaching onto the sensor orlm and causing are.

The Big and Little Stopper

Other lters should be set up andpositioned in the lter holder asnormal before tting your Stopperlter, remembering to keep the slotin the lter holder nearest the lensfree for the Stopper lter.

0.9 ND Soft Grad & Big Stopper

0.6 ND Soft Grad & Little Stopper

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If you are using a Stopperin combination with otherfilters – such as a polariseror warm-up, for example –remember to take their filterfactor into account whensetting your exposure.

Exposure Guide

The actual density of yourStopper may vary by as much as⅔ of a stop. In order to achievethe most accurate exposurefor your individual lter, it isrecommended that you makesome test exposures beforerst use.

Normal Shutter

Speed

with

Little Stopper

with

Big Stopper

1/2000 sec 1/30 sec 1/2 sec

1/1000 sec 1/15 sec 1 second

1/500 sec 1/8 sec 2 seconds



1/60 sec 1 second 15 seconds

1/30 sec 2 seconds 30 seconds

1/15 sec 4 seconds 1 minute

1/8 sec 8 seconds 2 minutes



1 second 1 minute 16 minutes

2 seconds 2 minutes 32 minutes

0.6 ND Hard Grad & Little Stopper

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Polarising filters

THE POLARISING FILTER IS AN INVALUABLE TOOL IN THE PHOTOGRAPHER’S

ARMOURY. NOT ONLY DOES IT REMOVE POTENTIALLY DISTRACTING

REFLECTIONS FROM NON-METALLIC SURFACES SUCH AS GLASS AND

WATER, BUT IT ALSO INCREASES COLOUR SATURATION AND DEEPENS

BLUE SKIES, MAKING WHITE CLOUDS STAND OUT IN SHARP RELIEF.

Normally, light waves vibrate inall places at right angles to thedirection of its travel. Polarised light,however, vibrates in only one plane.A polarising lter, therefore, allowsthrough only those waves whichvibrate in the plane parallel to thelines in the lter. By rotating the lter,certain waves pass through it, whileothers bounce off.

It is this process of cutting outcertain waves of light from reectedsurfaces that makes colours appearmore saturated.

In addition, because much of thelight in the sky on a clear, sunnyday is polarised, the polarising lterremoves these waves, hence theappearance of a deeper, strongerblue in the nal image.

The effect of a polarising lter on ascene can be assessed in two ways.If using an SLR, simply attach thelter to the front of the lens, look

through the viewnder, and rotatethe polariser until the desired effectis achieved. Alternatively, if usinga rangender, where its strengthcannot be assessed by lookingthrough the lens, hold the lter up tothe scene, rotate it until the desiredeffect is achieved, then place it onthe camera’s lens.

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The 105mm rotatingpolariserThis polariser is attached to the ltersystem by a special ring, which tsto the front of the lter holder. Thisallows the polariser to be rotatedindependently of any other ltersin the holder. It is the ideal solutionfor landscape photography, where acombination of graduated lters andpolariser may be required.

The 100x100mm squarepolariserThis polariser slots into the lterholder, which is then rotated toachieve the desired effect. Thisversion is recommended for studiouse, or when no lters are requiredin addition to the polariser.

105mm rotating polariser– circular and linear

100x100mm square polariser– circular and linear

Polarising filters can be used with both digital and film cameras.

Sometimes a fully polarised sky can appearoverdone. Experiment with halting the rotation ataround 45 degrees to the sun, rather than the full90 degrees, for a more natural-looking result.

Polarising filters

C i r c u l a r p o l a r i s e r

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The landscape polariser

The ultimate polariser forlandscape photographyWideangle lenses form a crucial part ofthe landscape photographer’s arsenal,but using polarisers with them can causeproblems, because their design leads tovignetting in the corners of the frame. LEEFilters has overcome this problem with theslimline Landscape Polariser, which can beused to a focal length of 16 -17mm on afull-frame DSLR.

The Landscape Polariser is compatible

with the two-slot design of the LEE Filterholder, it screws onto the front of the

Taken at 16mm on full frame sensor with the Landscape Polariser

holder via a 105mm accessory ring(sold separately) and can be usedin conjunction with any other slot-inlter in the 100mm system. Being acircular type polariser, it can be usedon all types of camera.

The Landscape Polariser also comeswith an added advantage for theoutdoor photographer: it has aslightly warm bias, which makes it

the ideal companion for landscapephotography, enhancing gold, brownand orange tones, that are so oftenassociated with the landscape.

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The Neutral Density Grad Set issuitable for use with both digitaland lm cameras, and features threeneutral density graduated lters of0.3, 0.6 and 0.9 strengths (equatingto a reduction of one, two and threestops respectively).

The beauty of the ND grad is that itallows the photographer to reduceexposure in one part of the scene,while leaving the rest unaffected.And because LEE Filters ND gradsare truly neutral, there will be nonasty colour casts on the end result.

Neutral density grads are mostcommonly used when the sky isbrighter than the foreground. Byplacing an ND grad across the brightarea, detail is retained and a morebalance composition is the result.

If the sky is one stop brighter than theforeground, a 0.3 ND grad would beused; two stops, and a 0.6 ND gradwould be used – and so on. Grads canbe stacked one on top of the other, orcombined with different effects grads,for even more creative photographs.

Neutral density grad set

0 . 3 N D

0 . 6 N D

0 . 9 N D

N o

f l t e r

0 . 6 N D H a r d

Filter used

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S u n s e t 2

S u n s e t 2

N o

f l t e r

N o

f l t e r

S k y B l u e 3

C o r a l S t r i p e

C h o c o l a t e 2

C o r a l 6

T o b a c c o 2

C o r a l 6

C h o c o l a t e 2

The purpose of the Sky Set isto enhance the colours in thesky, and is particularly usefulwhen a sunrise or sunset hasn’tquite lived up to expectations.The Sunset 2 enhances warmtones, typical of the light at theend of the day, the Sky Blue 3introduces colour into lifelessskies, while the Coral Stripe

boosts a selective area of theframe – usually directly abovethe horizon.

The Autumn Tint Set, as thename suggests, is particularlysuitable for enhancing thecolours in autumnal scenes,

making the most of the richgolds, reds and browns thattypify the season.

A unique feature of these ltersis that they can be used asboth hard grads and standards.Because the graduation line isplaced 90mm from the top ofthe lter, the coated portion ofthe lter is sufcient to coverthe whole scene. Alternatively,

by raising the lter higher in itsholder, it then becomes a grad.

Sky set

Autumn tint set

Filters used

Filter used

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M a h o g a n y 1

M a h o g a n y 1

S t r a w 2

S t r a w S t r i p e

S t r a w 3

R e a l B l u e 2

S e p i a 2

S e p i a 2

0 . 7 5 N D

The light at dawn tends to berather paler and more subtlethan at sunset, and this setreects this. The strong yellow ofthe Straw 2 acts as a warm-up,while the Mahogany 1 is suitablefor creating a paler effect. TheStraw Stripe introduces warmthinto the horizon.

This set is designed tocomplement the landscape –be it urban or rural. The RealBlue 2 brings intensity to faded

skies, while an inverted Straw 3warms the foreground. Suitablefor more classic landscapes, theSepia 2 enhances the colour ofrocks, foliage and fallen leaves.

Sunrise set

Landscape set

N o

f l t e r

N o f l t e r

Filter used

Filters used

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0 . 9 N D

C o r a l 4

S k y B l u e 1

S k y B l u e 2

S k y B l u e 2

S k y B l u e 3

Lifeless skies in both land andseascapes can be enhancedwith the subtle use of thisset, with each lter increasingslightly in intensity.

Sky blue set

C o r a l 2

C o r a l 4

C o r a l 6

The Coral set – which ranges instrength from pale to mid tone– has a variety of uses. Whenplaced across the sky, a warm,

soft orange hue is introduced;when inverted it brings tone togreenery in the foreground. Thehigher the number in the Coralgrad series, the further thecolour temperature is corrected.

Coral set

N o f l t e r

N o

f l t e r

Filter used

Filters used

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S u n s e t R e d

S u n s e t O r a n g e

S u n s e t Y e l l o w

This popular set adds warmth and denition to both sky andlandscape, enhancing the natural colours created by sunsets.The extra-deep coating of the Sunset Yellow lter allows it to beused both as a standard and a grad.

Sunset set

T w i l i g h t

M a h o g a n y 3

P a l e

C o r a l S t r i p e

Not to be confused with the Coral Stripe, this pale version permitsa subtler approach to the enhancement of the horizon. When usedin conjunction with the Mahogany 3, which gives the impressionof a ‘red sky at night’, the effects can be striking. The Twilight lterreplicates the deep blue that arises when day crosses into night.

Twilight set

Y e l l o w

M

a g e n t a

C y a n

This set is particularly effective at introducing special effects, bycolouring just one section of the frame. By combining two or morelters in the same holder, the colours of red, blue and green can becreated. And their versatility doesn’t stop there. One lter can beplaced to cover the top of the frame, while another can cover thelower part. For example, using the Cyan lter to enhance the sky, andthe Yellow lter to warm the foreground.

Colour grad set

P i n k 1

C y a n 1

G r e e n 1

The number one denotes that each of these lters is the palest of itsrange. The colours in this set allow the photographer to introduce thesubtlest hints of tone to selected parts of the image.

Pale tint set

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P o p B l u e

P o p G r e e n

P o p R e d

The primary colours of red, green and blue form the basis of this set.Like a more intense version of the Colour Grad Set, it can be usedcreatively to introduce colour into selected areas of the frame. Likeother grads, their position can be altered both by rotating the holder,and sliding up and down within the lter guides.

Pop set

8 p t S t a r S e g m e n

t

6 p t S t a r G r a d

4 p t S t a r S p o

t

With careful positioning of these lters, a star pattern is introducedinto the highlight areas of the photograph. The Star Spot featuresa circular cluster of markings, while the Star Segment creates starsin a chosen segment of the frame. Finally, the Star Grad featureshighlights in one portion of the lter, which gradually fade to clear.

Selective star set

M i s t G r a d

M

i s t S t r i p e

M i s t C

l e a r S p o t

The lters in this set are designed to imitate the effects of fog andmist, and are suitable for use either alone or in combination with oneanother – depending on the desired density. The Stripe, when usedin the foreground, gives a sense of the depth of fog, while the ClearSpot takes the viewer’s eye straight to the most important part of theframe – wherever the photographer decides that may be.

Mist set

Based on the type of net lter which is commonly used incinematography, this set creates a subtle soft focus effect. Additionally,the black net lters increase contrast, while the white net lters

decrease it. The lters can be moved up and down within the holder tocontrol where the clear spot appears in the photograph. When usingthe Black Net 1, exposure should be increased by half a stop. Whenusing the Black Net 2, exposure should be increased by one stop.

Selective net set

S e l B l a c k N e t 1

S e l B l a c k N e t 2

S e l W h i t e N e t

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Single effects filters

*filter available both individually and as part of a set.

P o p *

RedFor colour effects.

R e d *

Sunset RedThe red portion of theSunset Grad.

1

1

2*

2*

3

3

SunsetsFor a sunset effect whenshooting into a low sun.

Y e l l o w *

YellowFor colour effects.

Y e l l o w *

Sunset YellowThe yellow portion of thesunset grad.

S t r i p e *

StrawFor a strong warm-up effectwhen shooting landscapes;

accentuates foregroundswhen inverted.

O r a n g e *

Sunset OrangeThe orange portion of theSunset Grad.

S t r i p e *

Pale Coral

Paler and narrower thanthe Coral Stripe for a moresubtle effect.

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*available as part of a set. † filter in the set is an extended graduated version.

ChocolateAccentuates brown tones,such as autumn leaves

and stone.

TobaccoDarker and more red thanChocolate and Sepia lters,with a very strong effect.

CoralSlightly pink warm-uplter, more red than81 series.

S t r i p e *

SepiaFor a brown-tinted

monochrome appearance,which is less red thanChocolate.

P o p *

GreenFor colour effects.

P o p *

Blue

A deep red-blue, mainly forcolour effects.

1

6*

11

2†

7

12

3

8

1

1

13

4*

1

9

2†

2*

1*

14

5

2†

10

3

3


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*available as part of a set. † filter in the set is an extended graduated version.

Real BlueDarker and more blackthan Sky Blue, for astronger impact on skies.

C y a n *

CyanFor colour effects.

S t r i p e *

PinkFor colour effects.

T w i l i g h t *

TwilightDeep blue-black gives amonochromatic twilightappearance.

MahoganyEnhances impression ofdawn and evening lightin skies; ‘red sky at night’effect.

M a g e n t

a *

MagentaFor colour effects.

Sky BlueA green-blue to bring

realistic colour into atskies.

1* 2*

1

1*

1*

3*

2*

2

4

3

3*

5

1*

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*filter available both individually and as part of a set.

FogFor an opaque, mistyeffect, which is differentfrom soft focus.

Low ContrastA slight white opacity, tolighten darker areas andso reduce contrast.

S p o t *

S t r i p e *

G r a d u a t e d *

MistIntroduces a misty effect toselected areas of the frame.

S e l

B l a c k 2 *

S e

l W h i t e *

S e l

B l a c k 1 *

Selective Net

A subtle, soft-focus effect,with hole for a clear centre,if required.

6 p t S t a r G r a d *

8 p t S t a r S e g m e n t *

4 p t S t a r S p o t *

6 p t S t a r

8 p t S t a r

4 p t S t a r

StarPrecision manufacturingprocess achieves a clearyet subtle star effect.

Neutral DensityReduces exposure inselected areas withoutaffecting colour balance.

0 . 7 5

0 . 4 5

0 . 3 *

0 . 9 *

0 . 6 *

When using neutral density grads in conjunction with a DSLR, consider attachingone of a stop less than that suggested by the light reading (e.g. 0.6 insteadof 0.9). This is so maximum detail is recorded in the scene, which can later beadjusted in postproduction.

1

1 / 4

2

1 / 2

3

3 / 4

4

1

5

11 / 2


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Technical fi lters

Because of the high quality of thematerial used, the optical quality ofLEE Filters polyester range is equalto that of its resin and glass lters.

The lters in this range are designedto tackle specic problems, suchas correcting colour temperature– whether major or minor – orabsorbing light that would otherwisecreate unwanted casts.

The Black & White Set allows thephotographer to adjust certaintones within the frame, while theSoft Set introduces increasing levelsof diffusion.

MOST FILTERS IN THIS RANGE

ARE MANUFACTURED FROM THE

HIGHEST QUALITY POLYESTER

BASE, WHICH IS TOUGH AND

DURABLE, AS WELL AS BEING

IMPERVIOUS TO WATER AND EASY

TO CLEAN.

44 Colour temperature set, Fine colourtemperature set, Warm-up set,Daylight uorescent set

45 Tungsten uorescent set,Neutral density set,Black & white set, Magenta set

46 Soft set, Colour temperatureadjustment lters

47 Neutral density lters,Combination lters

48 Fluorescent correction lters,Arc correction lters,

Ultraviolet absorbing lters

49 Tricolour lters, Infrared

50 Black & white photography

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Fine colour temperature set

Similar to the Colour TemperatureSet, above, this set is designed totackle less extreme colour shifts. Itcan also be used to introduce subtlewarming or cooling effects to thenal image.

Filter Conversion ApproxExposureIncrease

MiredShift

81D 3700K to 3200K / stop +42

81A 3400K to 3200K / stop +18

82A 3000K to 3200K / stop -21

82C 2800K to 3200K / stop -45

Daylight uorescent set

This set of lters ensures – whenshooting daylight-balanced lmunder uorescent light – that theresult is neutral. In addition, there is arange of lighting lters that balancesashlight, too. These are essential

because all light entering the cameramust be of the same spectral outputas the uorescent source, if the resultis to be corrected accurately.

Filter Function ApproxExposureIncrease

Flash

FL3600-DBalances

warm-white tubes1 / stops

/ CTO +

Plus Green

FL4300-DBalances

white tubes1 stop

/ CTO +

Plus Green

FL5700-DBalances daylight/

cool white tubes/ stop Plus Green

Colour temperature set

This four-lter set is designed tobalance the effect of any majorcolour temperature disparitiesbetween light source and lm orsensor. This avoids the appearanceof colour casts on the nal image.


MiredShift

85B 5500K to 3200K / stop +131

85C 5500K to 3800K / stop +81

80C 3800K to 5500K 1 stop -81

80A 3200K to 5500K 2 stops -131

Warm up set

Four lters of increasing intensity,primarily used for introducing warmthinto both landscapes and portraits.


MiredShift

81 3300K to 3200K / stop +9

81B 3500K to 3200K / stop +27

81D 3700K to 3200K / stop +42

85C 5500K to 3800K / stop +81

Polyester technical sets

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Neutral density set

The three lters in this set aredesigned to increase exposurewithout affecting the colour balanceof the picture. They are compatiblewith all standard lm types, anddigital sensors.

Filter Colour ApproxExposureIncrease

0.3 ND neutral density 1 stop

0.6 ND neutral density 2 stops

0.9 ND neutral density 3 stops


CC05M Magenta / stop





Magenta set

Five CC Magenta lters, which aredesigned to absorb the green castcreated by uorescent lighting.They can be stacked one on topof another for greater absorption,and used in conjunction with colour

temperature lters for completeaccuracy in colour balance.

Filter Function ApproxExposureIncrease

Flash

FL3600-BBalances

warm-white tubes/ stop

/ CTO +

Plus Green

FL4300-BBalances

white tubes1 stop

/ CTO +

Plus Green

FL5700-BBalances daylight/

cool white tubes1 / stops Plus Green

Tungsten uorescent set

A three-lter set to allow for shootingunder uorescent lighting whenshooting tungsten-balanced lm.As with the Daylight Fluorescent Set,there is a range of lighting lters toplace over a ashgun.


8 Yellow / stop

11 Yellow Green 1 / stops

21 Orange 1 stop

23a Light Red 2 stops

Black & white set

Four lters, each of which has adifferent effect on the tones in ablack & white image by absorbingdifferent quantities of colour in theblue and blue-green parts of thespectrum. These lters also can beused for special effects.

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(mired shift can be negative as well as positive)

Polyester technical sets

Colour control

Filter Type ApproxExposureIncrease

Lee Soft 1 Light soft focus not required

Lee Soft 2 Soft focus “ “



Lee Soft 5 Strong soft focus “ “

Soft set

Five lters, each of which graduallyincreases in soft-focus effect. This setis particularly suitable for landscapeand portrait photography, when adiffused, romantic result is desired.The soft effect is virtually unaffected byvariations in aperture and focal length.

Description Filter Approx

Exposure

Increase

Conversion Mired

Shift

Resin

Grad

Resin

Standard

Polyester

Standard

Blue for major

adjustment

80A 2 3200K to 5500K -131 3 3 3

80B 1 / 3400K to 5500K -112 3 3 3

80C 1 3800K to 5500K -81 3 3 3

80D / 4200K to 5500K -56 3 3 3

Pale Blue for fine

adjustment

82C / 2800K to 3200K -45 3 3 3

82B / 2900K to 3200K -32 3 3 3

82A / 3000K to 3200K -21 3 3 3

82 / 3100K to 3200K -10 3 3 3

Pale Amber for fine

adjustment

81 / 3300K to 3200K +9 3 3 3

81A / 3400K to 3200K +18 3 3 3

81B / 3500K to 3200K +27 3 3 3

81C / 3600K to 3200K +35 3 3 3

81D / 3700K to 3200K +42 3 3 3

81EF / 3850K to 3200K +53 3 3 3

Amber for major

adjustment

85C / 5500K to 3800K +81 3 3 3

85 / 5500K to 3400K +112 3 3 3

85B / 5500K to 3200K +131 3 3 3

Colour temperature adjustment lters

These lters have a variety of uses. Although designed to convert the colourcharacteristics of a light source to balance with the lm type in use, they canalso be used deliberately to create a warm or cool overall colour cast.

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Neutral density lters reduce light transmission uniformly across the visibleregion of the spectrum, in incremental steps. Although used mainly in colourphotography for reducing light levels without altering the colour of the image,they can also be used in black & white photography. ND lters are particularlyuseful for compensating for too much light, in circumstances where alteringshutter speed, aperture or lm speed is not possible or desirable.

Additionally, ND lters can be used creatively to extend shutter speed times

when shooting, for example, running water or waterfalls – without adjustingthe aperture. Alternatively, the use of an ND lter allows the photographer toincrease their aperture by the stop value of the lter used. For example, if areading suggests an aperture of f/8, but the desired aperture is f/4, the additionof a 0.6 ND lter permits the photographer to open up to f/4.

Neutral

Density

Stop

Value

Transmission

%

Resin

Grad

Resin

Standard

Polyester

Standard

Glass

Standard

0.1 / 79.4 3

0.2 / 63.1 3

0.3 1 50.0 3 3 3

0.4 1 / 39.8 3

0.45 1 / 37.5 3 3

0.5 1 / 31.6 3

0.6 2 25.0 3 3 3 3

0.7 2 / 19.6 3

0.75 2 / 18.75 3 3

0.8 2 / 15.9 3

0.9 3 12.5 3 3 3 3

CT / ND Combination Approx Exposure

Increase

Conversion Mired

Shift

Resin

Standard

Polyester

Standard

85BN3, 85BN6, 85BN9 1 /, 2 /, 3 /, 5500K to 3200K +131 3 3

85N3, 85N6, 85N9 1 /, 2 /, 3 /, 5500K to 3400K +112 3 3

81EFN3, 81EFN6, 81EFN9 1 /, 2 /, 3 /, 3850K to 3200K +53 3 3

Combination lters

This range of lters which combines the characteristics of ND lters withselected colour temperature adjustments.

Neutral density lters

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Colour control

Fluorescent correction lters

This system combines colour temperature conversions and green absorptioninto one lter, making it suitable for use in various uorescent-lit conditions.The selection of lter depends on the lm in use and the type of uorescent light.

Film Type Filter Approx

Exposure

Light Source

Increase

Resin

Standard

Polyester

Standard

Tungsten (3200K)

FL 5700-B 1 / stops Cool White 5700K 3 3

FL 4300-B 1 stop White 4300K 3 3

FL 3600-B / stop Warm White 3600K 3 3

Daylight (5500K)

FL 5700-D / stop Cool White 5700K 3 3

FL 4300-D 1 stop White 4300K 3 3

FL 3600-D 1 / stops Warm White 3600K 3 3

Arc correction lters

These lters are designed to correct colour balance under mercury vapour

or high pressure sodium lighting. There are versions for both daylight andtungsten-balanced lm.

Film Type Filter Approx

Exposure

Increase

Light Source Resin

Standard

Polyester

Standard

Tungsten (3200K)HPS-B 2 stops High Pressure Sodium 3 3

MV-B 2 stops Mercury Vapour 3 3

Daylight (5500K)HPS-D 3 stops High Pressure Sodium 3 3

MV-D 2 / stops Mercury Vapour 3 3

Ultraviolet absorbing lters

This range of lters absorbs varying degrees of ultraviolet radiation, which isthe cause of haze and bluish casts in distant landscapes, water scenes andaerial photography.

Filter Description Resin

Standard

Polyester

Standard

1A Maximum absorption of 0.076A (84%) at 535 nanometres 3 3

1B Maximum absorption of 0.086A (82%) at 525 nanometres 3 32B UV Absorption greater than 0.72A (19%) at 400 nanometres 3 3

2C UV Absorption greater than 0.39A (40.5%) at 400 nanometres 3 3

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Tricolour lters

colour Filter description approx exposure

increase

Resin

Standard

Polyester

Standard

Tricolour Red 25

Separation filter. Maximum transmission

above 610 nanometres. Also used for

black & white contrast effects, haze

penetration in aerial photography, and

removing blue in infrared photography

2 / to 3 stops 3 3

Tricolour Blue 47BSeparation filter. Maximum transmission

at 440 nanometres2 / to 3 stops 3

Tricolour Green 58Separation filter. Maximum transmission

at 530 nanometres2 / to 3 stops 3

Infrared

colour Filter description Resin

Standard

Polyester

Standard

Infra-Red 87

This visually opaque filter is used in infrared photography to

absorb unwanted visible light. Transmission begins above

730 nanometres.

3

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Black and white photography

Filters for black & white photography

Filters are widely used by black & whitephotographers for creative effect – mostcommonly to increase contrast between skyand cloud. However, care should be taken,because as much as a black & white lterdarkens one colour, it lightens another –specically, any colour that is similar to itsown. A red lter, for example, makes a redpillar box appear almost white, and a bluesky as almost black. However, a red lteralso absorbs green, which would block upthe foreground of a verdant landscape.

The black & white lters in the LEE Filtersrange can be used in conjunction withothers, such as the polariser and neutraldensity standards and grads.

Don’t always reachautomatically for the red filterto enhance a sky. The resultsobtained from its orange or

yellow counterparts can be just as pleasing in their subtletyand, if desired, the sky can beburned in later – either in thedarkroom or in postproduction.

Colour Filter Description Approx

Exposure

Increase

Resin

Grad

Resin

Standard

Polyester

Standard

Light Yellow 3Partially corrects for excess blue in

aerial photography.none 3 3 3

Yellow 8Darkens sky, cloud and foliage to

reproduce correct tones.+/ 3 3 3

Yellow - Green 11

Used to alter the response of

panchromatic emulsions, to be

equivalent to the natural response

of the eye to objects under tungsten

illumination. Greens are reproduced

slightly lighter in daylight.

+1 / 3 3 3

Deep Yellow 12

Minus blue filter. Can be used to cancelblue light when infrared-sensitive films

are exposed. Also penetration of haze

during aerial photography.

+/ 3 3 3

Deep Yellow 15

Increases contrast between cloud

and sky greater than No.8, for over-

correction effect. Also used for copying

documents on yellowed paper.

+/ 3 3 3

Yellow Orange 16Gives even greater over-correction than

No.15 Absorbs a small amount of green.+/ 3 3 3

Orange 21Contrast filter. Absorbs blue and

blue/green.+1 3 3 3

Light Red 23A Greater contrast effect than No.21. +2 3 3 3

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U n f l t e r e d

L i g h t y e l l o w 3

Y e l l o w / g r e e n 1 1

O r a n g e 2 1

L i g h t r e d 2 3 A

U n f l t e r e d

This sequence demonstrates how differentcolours are affected by different lters.

Darkens blue tones Lightens greens/darken reds

Lightens reds/darkenssome blue and blue/green

Dramatically lightensreds and darkens blue

and green

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Pouches and protection

Field pouchKeeping your lters dry and clean isas much of a priority for your grads,Stoppers and polariser as it is foryour lenses. Dust and smears onlters can degrade the quality of your

image, and create extra work at thepostproduction stage.

The Field Pouch holds 10 lters and canbe worn with either a shoulder strap orbelt loop. An additional tripod strapallows the pouch to be attached to a

tripod for easy access during use.

In order to keep your lters clean,safe and – above all – close to

hand so they’re there exactlywhen you need them, LEE Filtershas introduced the Field Pouch.A versatile accessory, it will soonbecome as essential as the ltersyou carry in it. Its concertina designpermits one slot per lter – up to amaximum of ten – and makes eachlter easily accessible.

The Field Pouch has three strapoptions: it can be worn over the

shoulder, on a belt loop, or it canbe attached to a tripod. As a result,your lters are easy to reach, whetheryou’re on the move or plan to be inone spot for an extended period oftime.

Available in black or sand, the FieldPouch is constructed of a tough,durable fabric that will withstandthe kind of wear and tear that theaverage outdoor photographer is

likely to subject it to.

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System accessoriesThe range of products compatiblewith the LEE Filters system includes:

• Tandem adaptors

• Mounts To permit the use of 84mm lters– both square and rectangular –within the LEE Filters system.

• Mounts For polyester lters – both

75x75mm and 100x100mm.• Holder guides

Guides for using extra lters.

• Screws Of varying lengths.

• Filter cleaning solution For use on resin and glass lters.

• Cleaning cloth A high quality cleaning cloth whichcan be used either dry or with thecleaning solution.

• Lens cap The lens cap allows you to leavethe adaptor ring attached at alltimes while keeping the frontelement clean and safe. They are

made of white polypropylene and,when attached, can be used towhite balance a digital SLR, or asa makeshift incident lightmeteron any camera. They can also bewritten on to identify lenses in thecamera bag.

• Rangender face blades These calibrated metal faceblades simply replace the existingfront blades on the Standard

LEE Filter holder, enabling quickand consistent positioning forgraduated lters when used onrangender cameras.

Accessories

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Pro-packThe LEE Filters Pro-Pack kit contains23 specially selected different sheetsof lter material, and represents aversatile package for the studio.

15 colour effect-lters used forlighting backgrounds and creatingspecial effects. Colours are yellow,straw, deep amber, orange, primaryred, dark pink, magenta, peacockblue, dark blue, fern green, darkgreen, mauve, medium blue, amered and deep lavender.

The four colour temperaturecorrection grades (Full and Half

Colour Temperature Blue, andFull and Half Colour TemperatureOrange) are used to balance colourtemperature when working in acombination of daylight and tungstenlighting conditions.

Two Neutral Density (0.3 ND and0.6 ND) grades can be usedto reduce the power of a ashhead or studio lamp, to balancethe intensities of lights or ash.

Completing the package are twowhite diffusers, for use on their ownor with other lters to eliminateshadows and soften the overalllighting effect.

Reector packContaining reectors in mirror gold,mirror silver, soft gold and soft silver,the sheets are all manufactured fromthe same high quality, lightweight

and exible material that you wouldexpect from LEE Filters. They canbe used as they are, or mountedon polystyrene or board for addedrigidity. They are ideal for use in boththe studio or out on location.

Pro-Pack and Reector packs aresupplied in 610mm x 530mm sheets.

Polariser (lighting)This is available in a 430mm by300mm sheet and is intended foruse with light sources. Care must betaken not to position the lter tooclose to a hot lamp.

Lighting filters

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Colourmagic

The CTB and the CTO and their derivatives are designed to change the colour temperature of the light source on which they are placed. See LEE Filters lighting brochure for further information.

The LEE Filters colourMAGIC series is a set of eight individual packs each containinga selection of 12 lters (250mm x 300mm), related to a particular aspect of lightingand studio work. colourMAGIC offers an opportunity to get to know the performanceof the various lters on offer in a cost-effective way.

Original pack

a specic selection ofcolours that can be usedtogether to create a rangeof additional colours.

Contents - yellow, medium blue green,light blue, fern green, mauve, bright pink,heavy frost, no colour blue, chrome orange,dark lavender, esh pink, brushed silk.

Light tint pack

paler shades to give moresubtle effects and to lterwhite light from the lamp.

Contents - lavender tint,pale yellow, pale amber gold, light pink,mist blue, pale blue, straw, pale rose,bastard amber, lilac tint, white ame green,hollywood frost.

Studio pack

a range of technical lters forbasic light source control.

Contents - 2x full CTB, 2x

three quarters CTB, 2x fullCTO, 2x three quarters CTO, 0.15 neutraldensity, 0.3 neutral density, 0.6 neutraldensity, 0.9 neutral density.

Tint pack

lighting lters whichcomplement the originalcolour magic pack to createalternative shades.

Contents - rose pink, rose purple, limegreen, spring yellow, english rose, marineblue, pink, ame red, dark steel blue,brushed silk, half white diffusion, violet.

Studio plus pack

a range of technical lters forne control of light sources.

Contents - 2x half CTB,2x quarter CTB, 2x eighthCTB, 2x half CTO, 2x quarter CTO, 2xeighth CTO.

Complementary pack

a starter pack for exploringthe basics of colour additionand subtraction.

Contents - ame red, darkgreen, dark blue, loving amber, dark steelblue, pale green, yellow, peacock blue,bright pink, pale yellow, steel blue, light pink.

Saturates pack

a selection of strongand vibrant colours formore intense colourcombinations.

Contents - medium red, yellow, orange,medium blue green, deep blue, mauve, heavy

frost, deep golden amber, primary green,congo blue, light red, special rose pink.

Arc correction pack

a selection of technicallters for colour correction.

Contents - 2x half CTO,2x quarter CTO, Leeuorescent green, Lee uorescent 5700K,Lee uorescent 4300K, Lee uorescent3600K, 2x full plus green,2x half plus green.

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Index

80A 44, 46

80B 46

80C 44, 46

80D 46

81 44, 46

81A 44, 46

81B 44, 46

81C 46

81D 44, 46

81EF 46

81EFN3, 81EFN6, 81EFN9 47

82 46

82A 44, 46

82B 46

82C 44, 46

85 46

85BN3, 85BN6, 85BN9 4785N3, 85N6, 85N9 47

Accessories 54

Adaptor rings 14

Arc correction lters (CC/CT) 48

Autumn tint set 34

Big Stopper 24

Black & white set 45

Black & white lters (CC/CT) 50

Blue pop 38, 40

Canon 17mm TS-E 15 Adaptor Ring

Chocolate 1 40

Chocolate 2 34, 40

Colour control lters 46Colour grad set 37

ColourMAGIC series 56

Colour temperatureadjustment lters 46

Colour temperature set 44

Combination lters 21, 47

Coral 1, 3, 5, 7, 8, 9,10, 11, 12, 13, 14 40

Coral 2 36, 40

Coral 4 36, 40

Coral 6 36, 40Coral set 36

Coral stripe 34, 40

Cyan 37, 41

Daylight uorescent set 44

Digital starter kit 4

Field Pouch 52

Fine colour temperature set 44

FL 3600-B 45, 48

FL 3600-D 44, 48

FL 4300-B 45, 48

FL 4300-D 44, 48

FL 5700-B 45, 48

FL 5700-D 44, 48

Fluorescent correctionlters (CC/CT) 48

Fog 1, 2, 3, 4, 5 42

Foundation kit 7, 12

Glass lters 19

Green 1 37,40

Green pop 38, 40

Hard graduated lters 20

HPS-B 48HPS-D 48

Holders 12

Infrared (IR) 49

Inspiring professionals 8

Landscape Polariser 31

Landscape set 35

Lens hoods 16

Lighting lters 55

Little Stopper 24

Low contrast 1/4, 1/2, 3/4,1, 11/2 42

Magenta 37, 41

Magenta set 45

Mahogany 1 35, 41

Mahogany 2 41

Mahogany 3 37, 41

Mist graduated 38, 42

Mist clear spot 38, 42

Mist set 38

Mist stripe 38, 42

Multi-lter pouch 53

MV-B 48

MV-D 48

Net black 1 38, 42

Net black 2 38, 42Net set 38

Net white 38, 42

Neutral density0.3 (resin) 22, 42



Neutral density

0.75 (resin) 22, 42Neutral density0.9 (resin) 22, 42

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Index

Neutral density lters(polyester) 47

Neutral densitygraduated 22, 33

Neutral density set(polyester) 45

Neutral density set (resin) 33

Neutral density single lters

(polyester) 47Neutral density singlelters (resin) 42

Neutral density standard 23

Pale coral stripe 37, 39

Pale tint set 37

Pink 1 37, 41

Pink stripe 41

Polariser (lighting) 55Polarising lters 28

Polyester lters 19, 43

Pop blue 38, 40

Pop green 38, 40

Pop red 38, 39

Pop set 38

Pouches 52

Professional kit 13

ProGlass lters 23

Pro-pack 55

Push-on lter holder 13

Real blue 1 41

Real blue 2 35, 41

Real blue 3 41

Red pop 38, 39

Reector pack 55

Resin lters 19, 32

Selective star set 38

Sepia 1, 3 40

Sepia 2 35, 40

Single effect resin lters 39, 40, 41, 42

Sky blue 1, 2 36, 41

Sky blue 3 34, 36, 41

Sky blue 4, 5 41

Sky blue set 36

Sky set 34

Soft graduated lters 20

Soft set 46

Starter kit 13

Star eight point 38, 42

Star four point 38, 42

Star six point 38, 42

Stopper Case 53

Straw 1 39

Straw 2 35, 39

Straw 3 35, 39

Straw stripe 35, 39

Sunrise set 35

Sunset 1, 3 39

Sunset 2 34, 39

Sunset orange 37, 39

Sunset red 37, 39

Sunset set 37

Sunset yellow 37, 39

System accessories 54

Technical lters 43

Technical lter sets 44

Tobacco 1, 3 40

Tobacco 2 34, 40

Tricolour lters (TR) 49

Tungsten uorescent set 45

Twilight 37, 41

Twilight set 37

Ultraviolet absorbinglters (CC/CT) 48

Universal lens hood 7, 17

Upgrade kit 13

Warm-up set 44

Wideangle lens hood 17

Xposure Magazine 8

Yellow 37, 39

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LEE Filters, Central Way,Walworth Business Park, Andover,Hampshire, SP10 5AN UK

T: + 44 (0) 1264 366245F: + 44 (0) 1264 [email protected]

LEE Filters USA,

2237 North Hollywood Way,Burbank, CA 91505 USA

T: (800) 576 5055F: (818) 238 [email protected] leelters.com

Contact details

Contributing photographers: Mark Bauer (markbauerphotography.com), Joe Cornish (joecornishgallery.co.uk),Jonathon Chritchley (jonathanchritchley.com), John Gravett (lakelandphotohols.com), David Noton (davidnoton.com)and Jeremy Walker (jeremywalker.co.uk)

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Documents

Lee System 100