[81C] Professional photography usage. Solid and secure when attached. Crystal clear and easy to clean.

[81C] I use the 81B all the time on my DSLRs with the WB set to daylight, for scenics where it cuts haze, for flash, backlit and in-shade people-pictures, and in overcast. The light-loss is small and the effect seldom if ever too warm.

Incidentally other colour-correcting/-balancing filters are still useful, keeping the same daylight WB. That setting is right for interiors lit by incandescent or fluorescent, with an 80A or FL-Day over the lens. Those two really come into their own with mixed lighting, e.g. an interior with daylight coming through the windows.

B&H's price was reasonable and the shipping prompt and efficient.

[81C] this is a good filter. I've used 81A filters for years. I know lots of people don't like 'em but this helps punch up my images besides warming them a tad. I use these on most of my outside lenses.

[81C] A nice slim filter in new condition.


Contrary to what is often supposed by younger photographers, the 81B balancing filter is the best way of dealing with shade or overcast lighting in digital photography, as opposed to changing WB to accommodate those conditions. The human eye does not detect the blue, but it's there all the same. It also works well for backlit subjects that are effectively in shade, improving the tonality: the subject will be lightened & warmed, and to avoid overall overexposure gentle underexposure may be set. Pleasing people-pictures in what amounts to mixed lighting are one effect. The lighting in Interior shots is frequently shade, while any exterior lighting within the frame is sunlight or daylight, so the same remarks apply.


If the interior lighting is Fluorescent of course an FL-Day with WB set to Daylight works the same as a warming filter; but this is perhaps not quite the spot for that observation.


I use warming nowadays for all my c. 5000K landscape shots, not to cut UV to which the electronic sensor is insensitive, but to cut the haze in distance (which is by no means all visible to my eye-brain combo), define clouds and darken blue sky. That way what I saw is more nearly what I get.


The WB should of course be set to Daylight every time, the meter will take care of the quite modest factor.

[Aluminum] Really nice dark tone ; cuts the green and red really well and amplifies blue tones on b&w film. Perfect filter for RGB processing (with the green #58 and the red #25). The rigid plastic case that comes with it is also pretty useful.

[Aluminum] The 77mm 81A filter is a much better choice then a standard UV lens. Creates warmer tones and brighter colors on overcast days or when shooting with an electronic flash. I'm extremely happy with this filter. I'm using it on a Nikkor 12-24 1:4 G ED Lens.

[81C] I use the 81B all the time on my DSLRs with the WB set to daylight, for scenics where it cuts haze, for flash, backlit and in-shade people-pictures, and in overcast. The light-loss is small and the effect seldom if ever too warm.

Incidentally other colour-correcting/-balancing filters are still useful, keeping the same daylight WB. That setting is right for interiors lit by incandescent or fluorescent, with an 80A or FL-Day over the lens. Those two really come into their own with mixed lighting, e.g. an interior with daylight coming through the windows.

B&H's price was reasonable for this large size and the shipping prompt and efficient.

[81C] The use of an 81A warming filter was recommended to me by a pro photographer and this lens by Tiffen did not disappoint. It really enhanced the contrast between a blue sky and the images. With good lighting, the addition of this lens made some of the images appear as though it was 3-D. The lens was clear and crisp. This was a great addition.