A neutral density (ND) filter is a “grey” filter, a filter that transmits equal fractions of the incident radiation at all wavelengths. A perfectly neutral filter over a broad range of wavelengths is an idealized concept, and one very difficult to implement in practice. There are different approaches to making filters approximating colour neutrality. We here compare the spectral transmittance of of ND filters of three different types available for use on camera lenses and explain why the use of some of them can introduce strong colour casts in the photographs we take with them.
Last year an interesting post was published at the Formatt-Hitech website describing the evolution of the neutral density (ND) filters used in photography. The post focuses mostly on the ND filters the company has offered over the years. Below I add some additional material comparing a few other filters. As is done in the post linked to above, I will not focus on small differences among filters produced with similar technologies as I suspect that some of the differences between them from different high-end manufacturers cannot be assessed by comparing single copies of filters. One would need to compare samples from multiple batches of each filter type and manufacturer, making this an expensive and rather unrewarding exercise. On the other hand, as described in the blog post in the Formatt-Hitech website, differences among technologies are huge and worthwhile paying attention to. Additionally, as for any filter used for imaging, the imaging properties depend on the parallelism of the two surfaces and on the lack of surface and internal defects in the glass. Here I will focus only on colour cast issues, as I do not have an objective way of testing for presence of these other defects.
Neutral density filters that are neutral over a broad range of wavelengths are not new, but because of their high cost were mainly used for scientific research or other special uses. In recent years high end ND filters based on these more expensive technologies have become rather common for use in photography and cinematography. They are more expensive than “usual” ND filters but also much closer to being colour neutral. The asking price varies with brand, even within a given technology. Over the years I have used mostly “resin” ND filters from Cokin and Formatt-Hitech for imaging, and ND “gels” from Rosco for other uses. Below I give some example spectra.
The strength of filters can be measured as optical density (OD) which is also called absorbance, or as transmittance. Commercially, it is frequent to describe filters by the denominator of the fractional transmittance (T). A filter labelled ND16 transmits 1/16 or the incident radiation, and is equivalent to halving the flux 4 times, which in photography we call 4 EVs or 4 f-stops, as illustrated in the table.
|T||1/2 =0.5||1/4 = 0.25||1/8 = 0.125||1/16 = 0.062||1/64 = 0.0156|
Camera lens filters
Current cheaper ND filters and/or older ones at all price points are made using absorptive glass or plastic resin, which is almost impossible to produce with equal transmittance across a broad range of wavelengths. Some of the currently available high-end filters are in contrasts made by deposition of a very think metal film on the surface of clear glass and can provide a much more uniform light attenuating effect across different wavelengths.
This comparison is not about brands, but about technologies. We will compare one Firecrest ND filters from Formatt-Hitech (OD 1.2) made from optical glass with metal coating and two filters, one from Zomei made from plastic resin with light absorbing pigments. In 52 mm size the Firecrest filter costs 77 €, while the resin one costs 4 €. Zomei also sells Pro ND filters made from light absorbing optical glass at 18 to 19 € for ND8 and N64 densities. Equivalent ND filters from Heliopan sell at 50 to 55 €. I haven’t bought any filters based on this technology as they are rather expensive and tend to transmit more red and near infra-red than blue and green light resulting in colour casts. However, I have included Schott ND glass in the comparison as it can give a good idea of what is the spectrum for a high quality filter using absorptive optical glass.
A filter that is really neutral would have a perfectly flat transmittance spectrum, represented in the plots by the blue dashed line computed based on the nominal “strength” of each filter. The Firecrest filters approximate neutrality very well in the visible and near-infrared regions of the spectrum, ensuring minimal colour casts. The traditional filters exemplified by the Schott NG3 glass have a fairly flat spectrum between 450 and 650 nm. As filtered digital camera sensors, depending on the model and brand, can respond in the range 370 to 680 nm, a moderate colour cast can be expected, and a colour cast than can be well controlled by stacking an UV-IR cut filter (visible band-pass filter). In contras the cheap resin filter has a spectrum that is far from being flat, even within the visible region and may result in colour cast even after stacking it with an UV-IR cut filter. The total transmittance spectrum of an UV-IR cut filter is shown below.
We can simulate the effect of staking an UVIR cut filter. For the simulation I have used the Firecrest UV-IR cut filter with sharp cut-in and cut-off whose spectrum is plotted above.
The plots have been created in R using packages ‘photobiology’ and ‘ggspectra’. The spectral data is included in R package ‘photobiologyFilters’ (upcoming CRAN version). More information is available at https://www.r4photobiology.info/.