Tiffen 77GG1 77mm Glimmer Glass 1 Filter

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Sometimes the result is similar to what the Orton effect is achieving, the major difference is, that the Orton effect affects bright and dark parts of the frame alike, whereas the diffusion filters emphasize the brighter parts. The Glimmerglass series of filters also has a benefit of sparkling when viewed, which can add reassurance to your talent when shooting beauty; that way you can fully concentrate on the look of your shot." Books On My Desk: Robert Adams’ Photographs ( not in the way you think I mean) and Bruce Conner’s Attic

Tiffen Glimmer Glass 1 is the least extreme filter, it gives a small amount of bloom and pulls down highlight contrast slightly, but shadows seems to be the same. Good for all around subjects like portraits where you don’t want a too extreme look, but still want to soften those strong highlights. In each of the image pairs that follow the Glimmerglass image is first, followed by the unfiltered image. One is not better than the other, one desirable, the other not. They are just different possibilities. Tiffen is indeed a lot better at what it does. No wonder they are quite known in movie scenes. I do have Glimmerglass 2 and it does effect only highlights as well, while retaining sharpness and contrast over all other image parts. The effect is a bit stronger than the glimmer glass 1 that you used. That’s why the errors occur but why do they keep them? Why doesn’t the director of the film just reshoot the scene, especially with a big-budget film? The reason is that sharpness is not the be-all, end-all deciding factor in the success of a scene. There are a host of things going on and a little unsharpness can be easily overlooked if the overall sense of the scene is powerful, if the actors did something really special, if all of the complex camera movements, lighting, everything, all came together to cast some magical spell, some primordial connection between the filmmaker and the audience. Or sometimes filmmakers just didn’t notice (they review scenes during the shooting on monitors that are much smaller than the big screen) or they noticed but they’d already moved on to something else.More Samples Sony A7III | 28mm | Tiffen Glimmerglass1 Sony A7III | 28mm | Tiffen Glimmerglass1 Sony A7III | 28mm | Tiffen Glimmerglass1 Sony A7III | Laowa 35mm 0.95 | f/0.95 | K&F Diffusion 1/2 Sony A7III | Laowa 35mm 0.95 | f/0.95 | K&F Diffusion 1/2 Sony A7III | Laowa 35mm 0.95 | f/0.95 | K&F Diffusion 1/2 Sony A7III | Laowa 35mm 0.95 | f/2.8 | K&F Diffusion 1/2 Sony A7III | Laowa 35mm 0.95 | f/0.95 | K&F Diffusion 1/2 Further Reading

The Moon in this image dominates the composition and the difference between the Glimmerglass-filtered image and the straight image couldn’t be starker. They are different photographs. The dark foreground areas of the photograph look identical in each and yet in one the diffuse glow around the Moon renders a different Moon entirely. Again, one is not better than the other—that depends on the photographer’s intent and the viewer’s taste—but the different possibilities are clearly, and literally, illuminated.But there are situations where doing everything in software isn‘t viable or simply not wanted. First, if you shoot video, it will cause very heavy workloads in post. Second, if you shoot on film…well, that‘s obvious. Third, if you‘re a purist and don‘t want to treat every image in post, or if you try to improve your “analogue” photographic skills. There’s a slight mist in the air here—actual water vapor, not residual smoke from the forest fires—which gives its own diffusion filter effect in the light. This is greatly augmented by the filter, as you can see, creating a glow all across the houses in this small town. It’s worth noting that Glimmerglass comes in several strengths—the one I am using here is the weakest. Feeling is what matters, more than technical perfection. Sometimes ultra-sharpness contributes to that feeling. Sometimes a softness in the image contributes to that feeling. That’s where the Glimmerglass filter comes in. This filter, made by Tiffen, is one of a number of diffusion filters that do not simply “fuzz” the image but do something far more interesting. I bought one in a size to fit the new fast Fuji 50mm f/1.0 and thought it might be worthwhile to shoot this lens, which already has a sort of diffusion look built-in when shot at f/1.0, and to see what the combination would produce. And sharp they are. Lenses are judged now by enlarging an image on a screen to 100%—image pixel per screen pixel—at a size and a viewing distance few images are ever seen at—and the best lenses pass the test, exhibiting a crystal clear resolution that can bring childish mirth to your face. It’s fun, in a way, to see that little detail in the photo now clearly visible after tapping the zoom-in button. It makes you want to zoom in on every image, test every lens to see how sharp it is under maximum magnification. That small dot between the bloom of the Moon and the flare spot is not another flare spot. It is Mars, a little over-exposed into white but hints of red remain at its edges. As this time Mars rises with the night and Jupiter and Saturn pair up higher in the sky—you can see several of Jupiter’s moons and Saturn’s rings with ordinary binoculars—the Moon racing by them and then leaving them as the month goes on.