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Photo Tips & Techniques

Graduated Neutral Density Filters by Russ Burden Some people think that if you shoot digitally, you don't need any filters.  But taking the ten seconds to slip a Graduated Neutral Density Filter on your lens can save you a lot of post-capture toil in Photoshop. Article rating: 8.02

I often give shows at local camera clubs in my area. One of my favorite presentations is a seasonal tour of Garden of the Gods, a scenic gem located about an hour south of where I live. It’s a two projector slide show with dissolves of one image into another. During a recent presentation, at the end of the show, one photographer got all excited that it was presented on film rather than digitally. This in turn prompted a question during the break from an individual who asked, “If I’m shooting digitally, what filters do I need?” This brings me to the point of this article. Why is there a mindset that if you’re a digital shooter, you don’t need filters? Although I’ve gone fully digital myself, I’m of the mindset that I want to capture the RAW information with as much perfection as possible. I don’t want Photoshop to become a “rescuer.” I want it to be an “optimizer.” Additionally, as I see myself as a photographer, not a mouse wrangler, the less time I spend perfecting the image after the fact, the more time it gives me to pursue other photographic endeavors.

I know there are multiple approaches to mimic the effect of a graduated neutral density filter using Photoshop, but all take time. The bottom line is it takes a lot more time than the ten seconds it takes me to slide a graduated neutral density filter in front of my lens. Also, I’m firmly of the belief that if the image is worthy of taking up flash card space, it should be captured properly from the get go. This is especially true if you’re still shooting film. I know that the slide or negative can be scanned and corrected, but all these extra steps mean you’re adding unwarranted time to your work flow.

As a photo tour leader to some of the most magnificent  locations in the US, much of the instructional work I do with my participants deals with scenics. With this in mind, there are two essential filters that I place on my list of required items for the tour. A graduated neutral density is one along with a polarizer. I recommend the grad filters to tame the contrast when shooting reflections and also to tame contrast at sunrise and sunset. By placing the dark part of the filter over the light part of the image area, the contrast range is tamed producing a more evenly lit photograph. Depending on the situation, it may call for a one, two, or three stop difference. Thankfully, these filters are made in each of these strengths. Additionally, there are soft and hard edge options. If the transition point between the light and dark area is abrupt, it calls for the hard edge variety. Conversely, if there’s a smooth gradation, the soft edge is more beneficial. To optimize their use, the end result should look improved in comparison to if one was not used but the result should look natural. A pet peeve of mine is when I see a graduated filter improperly used on a reflection. If the end result is a reflection that comes out lighter than the section of the image being reflected, the photographer used a filter that was too dark resulting in something that just isn’t natural.

To use a graduated ND filter properly, there are a few keys to keep in mind. The most important fact to remember is to use the DOF preview button to accurately position the dark part of the filter over the light area of the image. If you fail to do this, unless you shoot the scene at a wide open aperture, the aperture at which you’re shooting will impact the point of the dark to light transition. This is especially critical if you’re using the hard edge variety. Another factor to consider is exposure. Depending on the density of the filter, you’ll need to compensate accordingly. A common technique is to shoot in manual exposure mode and take a spot meter reading from a foreground area that will not be impacted by the filter. Lock this exposure into the camera. When the filter is subsequently dropped into the holder, the meter reading will change but you need to ignore it in that you’ve already based your exposure on the location you don’t want changed. 

Realize that the use of a graduated neutral density filter is not restricted to just sunrise and sunset. As this is a common belief, it’s lead to a thought process that a grad ND should always be used on the top portion of the frame. I’d like to bust this myth by pointing out the second set of images that accompany this article. These images were made on my photo tour to Hunts Mesa in Monument Valley. In the straight image on the top, the bright foreground rock is too bright. By placing a two stop grad over the lower section of the frame, I darkened it to lessen the contrast and bring the overall values closer together.

To learn more about this topic, join me on one of my Photographic Nature Tours. Visit www.russburdenphotography.com and click on the NATURE TOURS button for more information. Also, pick up a copy of my new book, Amphoto’s Complete Book of Photography. You can purchase a signed copy directly from me or visit your local book store or Amazon. Contact me at rburden@ecentral.com to order your signed copy.

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	Great info! Posted by: Donna Eaton Jul 28, 2007 @ 9:23 AM EST
	I found the article helpful, however there seems to be very little info on the web regarding nd filters. Such as different grades or degrees of intensity. It would be nice to see a more in depth article. Thanks Posted by: FRANK Aug 12, 2008 @ 11:37 PM EST

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