COKIN, ALMOST 40 YEARS OF CONTINUOUS INNOVATION The COKIN story is first and foremost the story of a man, its founder Jean Coquin, a renowned French photographer who worked for the best-known brands and whose career was marked by numerous innovations that revolutionized the world of photography. It is also the story of a team that has never ceased to keep his vision alive, anticipating the desires of photographers and videographers around the world. The creation of the Z-PRO system is the resulting outcome. 1972 1978 Jean Coquin creates the ﬁrst line of photographic ﬁlters in CR39®, the “RollsRoyce®” of organic glass used for corrective lenses in eyeglasses. Veritable material of the future –history would prove it! – , CR39® is light and unbreakable, has an extremely high optical transmission factor and is perfectly suited for tinting. It is the perfect base for making photographic ﬁlters, its precision surpassing that of mineral glass. These will eventually become the “CROMOFILTERS”, the ﬁrst graduated ﬁlters to appear on the market! Jean Coquin invents the SQUARE FILTER SYSTEM, devising a universal filterholder that will leave a permanent mark and has been often copied. It is still being sold almost 40 years later – a record in the world of photography! This clever filter-holder is completely unique and is then accompanied by a complete line of 80 creative filters. It is introduced with a colour brochure of 40 pages translated into 8 languages: the A system (67 mm) is born! Presented at “Photokina” in 1978 , the product will enjoy an enormous global success and will be immediately sold in more than 30 countries. 1982 In response to new, wide-angle lenses and increasingly brighter optics, COKIN launches its P system (84 mm) and improves upon its line of filters exceeding by then 120 models. 1985 The arrival of the auto-focus reflex camera put high-quality photography within reach of the entire public. The perfect timing of its arrival on the market, together with increasing demand for creative filters will boost COKIN’s sales above all hopes, so much so that, twenty years later, nearly 100 million COKIN filters have been sold in more than 100 countries. The A and P lines offer around 200 different filters. 1998 COKIN launches the X-PRO System in response to the keen interest of photographers in ultra-wide angle lenses. The system proves itself to be the perfect solution to the problem of vignetting. COKIN filters can now be mounted on the near totality of available lenses for photography, video and cinema. This new system comes to the aid of specific classes of users: professional cameramen and photographers working with large format cameras. 2005 At the end of two years of research and development, the COKIN team presents the Z-PRO System, a culmination of its technical knowledge, precision design and workmanship. Created to respond to the needs of professional photographers, it constitutes a practical, reliable and ergonomic solution to numerous filtering problems. The COKIN filter-holders cover most of the needs of the image creators. SUMMARY p 4 à 23p 4 à 23 COKIN SIGNATURE PHOTOS P 4 > P 23 These photographs well illustrate the current trend of the use of filters in photography: their purpose is to harmonize, improve, or refine the vision of the artist. At times, certain filters can even be combined to create even more remarkable visual effects. The range of COKIN Z-PRO products responds to all of these expectations and covers all types of photography: landscape, architecture, industrial, stilllife, portrait, fashion, beauty, wedding... THE COKIN Z-PRO SYSTEM P 16 > P 31 This system was intended for professional use. It is the ultimate culmination of technical knowledge acquired in four decades that COKIN has been in the business of manufacturing precision photographic ﬁlters. The Z-PRO System supports very speciﬁc professional applications and offers accessories that ﬁnd no equivalent elsewhere in the market. This system unmistakably facilitates the practice of producing images: the use of ﬁlters becomes swift, simple, and effective. THE RANGE OF Z-PRO FILTERS P 32 > P 48 This range contains close to 100 ﬁlters that cover the entire set of needs of image creators, experts, or professionals. It includes traditional technical ﬁlters, equivalent to the well-known Kodak® gelatins, but also ﬁlters that are speciﬁc to the COKIN® brand, such as the neutral densitys, blue and tobacco graduated ﬁlters (so often copied by others...), or the diffusion ﬁlters whose quality, variety and uniqueness are universally recognized. These ﬁlters are as useful in digital photography as they are with ﬁlm, as needed in photography as they are in HD video. They are the key to a creative universe limited only by your imagination! 1 Andrew Kime Llyn Trawsfynydd, Snowdonia, Northern Wales B orn in 1960, Andrew Kime discovered his passion for landscape photography at the age of 7, a passion that has been with him ever since. Today, he travels frequently but appreciates above all his native Wales, where he lives in the heart of Snowdonia National Park. This region, made up of lakes, peat bogs, deep forests and still-wild coasts, naturally offers him numerous opportunities to satisfy his passion. His images are the reﬂection of the profound respect that nature inspires in him and he hopes, in this way, to contribute to its protection. His photographs are frequently published in photo and nature magazines. Andrew Kime is an outspoken proponent of photographic ﬁltering which, according to him, intensiﬁes the creative process and allows him to spend more time surrounded by nature, rather than sitting in front of his computer... First snow in November, on the edge of a stream... The adjustment of the ND8 or the ND0.9 neutral grey graduated ﬁlter – the sky is darkened by 3 f/stops – is proven to be somewhat delicate: one must keep a maximum of details in the sky without obviously affecting the snowy part of the image. The strict neutrality of the COKIN neutral grey graduated ﬁlters is well demonstrated here. Such results can only be obtained by direct ﬁltering during the shoot and not during post-production! 121S Gradual Neutral Grey G2 Soft ND8 - 0.9 2 Daryl Benson Tonquin Valley, Jasper National Park, Alberta, Canada D 4 aryl Benson was born, raised, and currently lives in Alberta, Canada, surrounded on one side by 1,000 kilometers of wild prairies and, on the other, the highest summits of the Canadian Rockies. He has been a renowned landscape photographer for more than 25 years. The author of two wonderful books — a photographic guide to the Canadian countryside and another commemorating Alberta’s centennial — he is a regular contributor to Outdoor Photographer. Daryl’s photographs — taken on the ﬁve continents — are distributed by two photo agencies, including the famed Getty Images. He is a member of the Canadian Association for Photographic Art, the North American Nature Photography Association, and the International Association of Panoramic Photographers. He has exhibited his work around the world... in Auckland, New Zealand as well as in Yellowknife, in Canada’s Northwest Territories. He is a smart user of certain COKIN ﬁlters, including the polarizing and the Varicolor® ﬁlters. In landscape photography, one often has the opportunity to use the Blue/ Yellow Varicolor® ﬁlter as these two primary colours meet regularly in nature. On this particular morning the sun had suddenly pierced the cloud covering, lighting like a beacon the yellowed grass that spread out at my feet. This ﬁlter allowed me to intensify the contrast between the yellow grass and the blue background, thus reinforcing the impression of intense cold. Only the COKIN Varicolor® can produce such vivid images! Varicolor ® Blue/Yellow 173 5 Daryl Benson Devil’s Marbles, Continental Desert, Australia The day began radiantly and extremely hot, as always in the heart of the Australian desert. A little after breakfast the cirrus clouds began to form, stretching out rapidly on the horizon. Oriented 90° in relation to the sun, the polarizing ﬁlter allowed me to enhance the blue of the sky and to bring out the clouds. The isolated Eucalyptus detaches itself perfectly from the immensity of its surroundings. This lost corner of the earth goes by the enchanting name of The Devil’s Marbles. 6 To discover other images by Daryl Benson, visit his website www.darylbenson.com Circular Polarizer 164 7 Andrew Kime Llyn Tecwyn Isaf, Snowdonia, Northern Wales Peaceful autumn evening, on the edge of a pond... The wise choice of a neutral grey graduated ﬁlter allowed on the one hand, the balancing of the delicately setting sun... the last touch of light on the trees, and on the other hand, the grass in the foreground... situated in the shade. The addition of a warm-toned ﬁlter (81B) subtly reinforces the autumnal tints. Andrew Kime, like many other landscape photographers, prefers ﬁltration that only an experienced eye can perceive. No matter what your level of expertise with Photoshop® or other software, you simply cannot obtain renderings as subtle in digital post-production. Think also of the precious time that the use of ﬁlters at capture will save you... 027 Warm 81B 121S Gradual Neutral Grey G2 Soft ND8 - 0.9 8 Andrew Kime Harlech Dunes, Snowdonia, Northern Wales A beautiful landscape, but a real nightmare for ﬁlm or a digital sensor! First an ND8 neutral grey ﬁlter – giving 3 f/stops of light reduction – allows you to preserve detail in the sky and the background; a second ND2 neutral grey ﬁlter, less dense (1 stop), reduces the intensity of the light from the tuft of grass in the foreground, and, ﬁnally, a warm-tone ﬁlter (81B) emphasizes the hues of the warm evening light. Whether in digital or ﬁlm photography, it is clear that this type of effect is virtually impossible to achieve in the laboratory or in post-production. Only the choice of the right combination of ﬁlters mounted on a lens allows for the achievement of this kind of image quality! 10 121S Gradual Neutral Grey G2 Soft ND8 - 0.9 121L Gradual Neutral Grey G2 Light ND2 - 0.3 027 Warm 81B 11 Andrew Kime Barmouth, Snowdonia, Northern Wales Beach at Sunset, descending tide. The exposure was calculated for the highlights to make the play of shadow and light on this beach stand out. No need here for graduated filters... The hues of the setting sun are discretely sublimated through the use of a warm-tone filter. Andrew Kime demonstrates here that one can achieve results of great quality with very little means. The COKIN Z-PRO Filter System is intelligently designed and therefore quick to set up, giving you those few extra but crucial seconds when the light is changing very rapidly. To discover other images by Andrew Kime, visit his website www.imagesofsnowdonia.com 027 Warm 81B 12 Ariel Greco Elodie, Château de Villiers-le-Mahieu, February 2006 A riel Greco is a case apart in the world of fashion photography. Born in New York, this American divides his time between the U.S. and Paris, where he has lived for over a decade after having pursued his studies in Art Theory at UC Berkeley. He manages two simultaneous careers: Art Director and Fashion Photographer. As an Art Director, for over seven years he has helped to create or reinforce the 14 images of known brands by ﬁnding (or producting) the words, pictures or sounds that can transmit a subtle essence or intense feeling. As a Fashion Photographer – photography has inspired him since the age of 16 — he articulates his work digitally, proﬁting nonetheless from the best of “traditional” photographic equipment: the best lenses and the best creative ﬁlters... those of COKIN obviously! fashion photography, I seek to create images that reﬂect an atmosphere or Ihavenrelease a particular emotion. To succeed at this, all the participants in the shoot to be in the same emotional space. The COKIN diffuser ﬁlters set it up very easily. The outcome is visible in the viewﬁnder and we can all see it...all get into it. The objective is realized quickly (aided by small personal touches...) and deﬁnitively. To see what I imagined and be certain I’ve captured it, this is possible only with the COKIN System! 830 Diffuser 1 15 THE 7 STRONG POINTS OF THE Z-PRO SYSTEM 4 1 A UNIQUE POLARIZING FILTER UNIVERSAL & TIMELESS THE Z-PRO IS THE LOGICAL CHOICE FILM – DIGITAL – HD VIDEO The size of the Z-PRO ﬁlter-holder covers all current formats: 35 mm SLR, medium format, large format, and panoramic; digital backs; HD video cameras; for Cinema, both 16 or 35 mm ﬁlm cameras. The system is adaptable to all lenses up to 96 mm in diameter. Created almost 40 years ago, COKIN ﬁlter-holders defy time while being constantly perfected with each passing generation. The Z-PRO is the latest model and therefore beneﬁts from all of the knowledge accumulated by the ﬁrm over the past 40+ years. Opting for the COKIN Z-PRO System is an intelligent choice. No matter what lenses you may buy later, no matter what equipment you may use in the future, the durability and relevance of your investment in the system are assured! 2 Set in a patented notched ring, the polarizing Z-PRO ﬁlter ﬁts into the ﬁrst slot, independent of the rotation of the ﬁlter-holder. It is used without any special mount or additional accessory and can be combined, if necessary, with a graduated ﬁlter: you begin by adjusting the graduated ﬁlter (rotation and height), then proceed by rotating the polarizing ﬁlter with the index ﬁnger until the desired effect is obtained. This easy-to-use polarizing ﬁlter (available in linear or circular models) is much less costly and cumbersome than similar systems and is of an incontestable quality. Its chromatic neutrality is impeccable. In addition, because of its position in the ﬁrst slot of the ﬁlterholder, it produces no vignetting as do other polarizing ﬁlters that are positioned at the front their ﬁlter-holders, farther from the front element of lens. 5 PRACTICAL & WELL-CONCEIVED INDISPUTABLE OPTICAL & MECHANICAL QUALITY MODULAR – RELIABLE – LIGHT AND NON-CUMBERSOME Both the Z-PRO filter-holders and the specialized bellows are completely modular: without a single tool you can regulate, in next to no time, either the number of filters used simultaneously or their thickness (1.6 to 2 mm, or 4 mm). Both adapt to all configurations. The filter-holder’s coupling with an adapter ring that firmly clicks it into place is foolproof, instantaneous, and guards against accidental disengagement (during the insertion of a filter, for example). The Z-PRO filterholder is ultra-light (70 g) while remaining perfectly solid. Each square filter is in CR39® glass and is sold in an ultra-flat pouch (4 mm) which weights barely 20 g (30 g for graduated). Thus, a complete set of a dozen filters, together with its filterholder and two adapter rings, measures only 7.5 cm in width and weights less than 630 g. The Z-PRO System is a masterpiece of ingenuity and always finds its place in a shoulder bag... always ready to go to work... COMPLETE MASTERY OF CR39® – 40 YEARS OF EXPERIENCE COKIN is not only a manufacturer of “square” filters, but also its own organic CR39® glass. This guarantees the perfect mastery of optical quality. The remarkable optical transmission of the Z-PRO filters allows for their use not only in digital or film photography, but high-definition video (HD) as well. Beyond the production and treatment of organic glass in its own factories, COKIN works with numerous materials such as aluminum, mineral glass and high-tech PVC derivatives. This diverse knowledge – protected by numerous patents – is the fruit of 40 years of experience in optical mechanics. COKIN’s worldwide notoriety is indisputable; COKIN is even a proud supplier to NASA! 6 3 EXEMPT FROM VIGNETTING* INTEGRATED WIDE-ANGLE FILTER-HOLDER - REVERSIBLE * from 16 mm in 35 mm ﬁlm photography in the proper conﬁguration. Thanks to its well-researched design, the Z-PRO ﬁlter-holder in a 3-ﬁlter conﬁguration leaves only 24 mm of space between the ﬁlter and the front of the lens! Thus, in 35mm photography, there is no visible vignetting with a 20 mm lens. The thinness of the adapter rings helps to achieve this goal. For this reason, there is no need for special adapter rings for use with wide-angle lenses... In a single-ﬁlter conﬁguration, the ﬁlter sits 10 mm closer to the lens and the Z-PRO system is thus transformed into a veritable super wide-angle ﬁlter-holder. There is no need of a screwdriver nor the purchase of “special” wide-angle holder, ... In this way, the use of a 17~40mm zoom lens is free of any vignetting whatsoever. In extreme cases, as with an 18 mm lens, the Z-PRO ﬁlter-holders can be used in reversed position. This leaves a gap of only 13.5 mm between ﬁlter and lens! OPEN SYSTEM, AS TECHNICALLY PRECISE AS IT IS IMAGINATIVE PRO FORMAT – COMPLETE LINE IN CONSTANT EVOLUTION The 100 mm format (4’’) is the professional standard. Z-PRO ﬁlter-holders therefore allow for the use, beyond those of its own line, of numerous other ﬁlters of the same format (and sometimes, of different thicknesses) designed by manufacturers such as Lee®, Schneider® or Tiffen®. Your “ﬁlter” choice is thus virtually unlimited. Equipped with unrivaled ﬂexibility and adjustability, the Z-PRO ﬁlter-holder is accompanied – to date – by a line of nearly 100 ﬁlters, several of which appear on the brochure cover and are detailed on pages 32-48. New ﬁlters are currently in the testing phase and will be available shortly (consult the website www.cokin-pro.com for more information). 7 MODERN, PERFECTLY ADAPTED TO DIGITAL The COKIN Z-PRO System offers the best ratio optical quality/cost/versatility/efﬁciency Your best “filter” investment more than 1 Z-PRO filter- + holder 100 x 100/150 mm or 1 modular bellows with integrated filter-holder * plus all filters from other makers such as Lee®, Schneider®, Tiffen® COKIN 100 filters + * Z-PRO polarizing 1COKIN filter with separate and independant rotation to cover ALL your lenses up to Ø 96 mm 16 TIME-SAVING – EFFECTS UNATTAINABLE IN POST-PRODUCTION The nearly full-scale adoption of digital photography by professionals has considerably modified the production process of images. The time spent managing post-production has seen a vast increase. Filtering images at capture leads to a considerable time savings. Moreover, this streamlining of filtering workflow means that a good photographer is not forced to acquire the specialized knowledge necessary to use complicated image-retouching softwares... much less the expensive softwares themselves! Finally, certain effects are quite simply unattainable in post-production, like the elimination of reflections by using a polarizing filter, or the mastery of the difference in contrast between the sky and the foreground in landscape photography by using a neutral density graduated filter. Finally, no manipulation of curves or levels will ever allow you to recuperate a totally burned out sky, devoid of all visible content! 17 THE FILTER-HOLDER 10 APPLICATIONS– SLOTS – ASSEMBLY – USES – INSERTION OF FILTERS standard configuration for 3 filters You can set the Z-PRO ﬁlter- holder as you see ﬁt, in function of the thickness of the ﬁlters used and the number of ﬁlters employed simultaneously. Quick to set up and easy to use, COKIN Z-PRO ﬁlter-holder is conceived to facilitate the work of those who have made the judicious choice of ﬁltering directly, while shooting. Their lightness (70 g) and ﬂexibility of use offer two major beneﬁts: on one hand, they do not alter the ﬂuidity of manual focusing —crucial in cinema—, and on the other hand, it exerts no strain on the built-in motors of auto-focus or zoom lenses. The materials used in its manufacture resist large temperature changes and the ‘granite’ coating of the ﬁlter-holder is always agreeable to the touch, no matter what the working conditions. Although it may not be immediately apparent due to their simplicity, the Z-PRO ﬁlter-holder is a remarkable compilation of technologies and a fantastic industrial accomplishment! Review of details... from 1,6 to 2 mm Using the system’s standard components you can obtain up to 10 speciﬁc combinations, either for use with 4 mm thick ﬁlters, or for example, for working with super wide-angle zoom without risk of vignetting. These modiﬁcations are quick and easy to carry out without the use of supplementary tools. Front view 2 1 POSSIBLE COMBINATIONS OF ASSEMBLY* 3 special configuration for 2 filters 4 mm + 1 round filter wide-angle configuration for polarizer + 1 filter 4 * COKIN Z-PRO filter-holders are guaranteed for a lifetime against all manufacturing defects. Side view filter from 1,6 à 2 mm filter 4 mm reversed configuration for 1 filter spacer adaptor ring pola/varicolor filter GUIDELINES FOR USE 3b • Select the adapter ring corresponding to the diameter of your lens’ thread size. 7 For certain diameters, ring exist in different screw sizes: 0.50, 0.75, or 1.00. If unsure, consult your lens’ instructions. A 1 5 from 1,6 to 2 mm *(or more , using supplementary sections or spacers, supplied separately). Note: Always remember that, no matter what their intrinsic optical quality, superposing more than three ﬁlters at a time risks compromising the performance of your lens. 2 • Screw the adapter ring onto the lens. • Slide, from bottom to top, the back of the filter-holder onto the adapter ring until it 4 6 7 B makes contact with the sliding tab from above 2 . Suggestion : push it all the way to the back to ensure that you don’t scuff your ﬁlters. • Push the two sliding tabs all the way to the back from below so that they block the ring C and so that they don’t subsequently scuff the filter inserted in the middle slot. • Your filter-holder is ready for use. D Attention : Never insert a 100 mm rectangular ﬁlter into the slot closest to the lens. This slot is reserved for round ﬁlters (polarizing, for example) or for the adapter ring in reversed conﬁguration. 7 3 INSERTION OF FILTERS External width : 122 mm APPLICATION OF THE Z-PRO FILTER-HOLDER 1. Notches for easy adjustment of the polarizing ﬁlter (left or right-handed). 2. Sliding tab for blocking the adapter ring (adjustments down to 1/10 mm), ﬂexible and smooth rotation of ﬁlter-holder, accidental detachment impossible. Be careful not to scatch the ﬁlter during insertion into slot B. 3. Reversible knurled screw-nut (4) for dismantling the ﬂat sections of the ﬁlter-holder. Precise diameters to insure tight ﬁt of ﬁlters in the holder. 3b. 28 mm brass screw, reversible if necessary. 4. Fastening sprocket for accessories (to come). 5. Spring-tensioned slots to prevent ﬁlters from slipping out (2 sets of 4), calculated ﬂexibility for a linear and precise placement of the ﬁlters. Age-resistant materials used in order to guarantee the suppleness of slots for years to come. 6. Base Plate : base for the spring-tensioned slots, self-centering, conﬁgurable as needed and ﬁrmly held on by the 4 brass screws. 7. Spacer (4 supplied) increases the gap between two screws and allows for the use of mineral glass ﬁlters of 4 mm thickness, used often in ﬁlmmaking. The ﬂuidity of rotation of the polarizing ﬁlter in Slot B is also eased by employment of the spacer. 4 SLOTS FOR MULTIPLE USE A. Used normally, receives the adapter ring which is screwed onto the lens. This ring is inserted from the top. With reverse mounting (see p 31), it accepts a filter inserted from the bottom. B. In normal use, accepts a round filter (polarizing, for example), inserted from the top. In reverse mounting, it receives the adapter ring. C & D. In normal use, accepts 100 x 100 mm or 150 mm filters, from the top or bottom. 18 The insertion of a ﬁlter in the Z-PRO ﬁlter-holder is astonishingly fast, ﬂexible, and easy, especially if you compare it to the difﬁculties you might encounter when attempting to quickly fasten a screw-in ﬁlter on a large-diameter lens! The ﬂexibility of the springaction slots and the rotational versatility of the ﬁlter-holder are perfectly adapted to the careful adjustments required for the setting up of a graduated neutral density ﬁlter, for example. For more information on the ﬁlters or Z-PRO accessories, see pages 24-51. 19 Lee Frost Dunstanburgh Castle, Nortumberland, Great Britain B 20 orn in 1966 near Barnsley, in Southern Yorkshire (UK), Lee Frost has been enthralled with landscape photography from his earliest years. Since his ﬁrst Zenith® camera, he has used an impressive array of equipment in all formats, from 35 mm to 6 x 17’’ panoramic, always multiplying his creative experiences with the same passion and keen artistic sense. Endowed with a taste for pedagogy, he has written numerous books on photographic technique that have been trans- lated into number of languages including Korean, and Chinese. In addition, he has written a work entirely dedicated to ﬁlters in which he recognizes the merits of the COKIN Systems... He has also composed hundreds of articles regularly published in the English-speaking press over the last 15 years and written in an accessible style that has made him very popular. Amateur photographer turned professional, he is currently working on a book of creative digital photo techniques. Taken at dawn, this image presents a perfectly natural palette of colours. Lee Frost simply used a graduated ﬁlter to keep the sky within 3 stops and lend more detail to the pebbles in the foreground*. The very long exposure – 2 minutes at f/ 32 – is without doubt partly responsible for these astonishing colours, owing to the reciprocity of the Velvia® ﬁlm used. This English castle is situated 15 miles from Lee Frost’s home. He told us that this is one of the most astonishing sunrises that he has ever had the opportunity to photograph! To discover other images by Lee Frost, visit his website www.leefrost.co.uk 121S Gradual Neutral Grey G2 Soft ND8 - 0.9 23 POLARIZING FILTERS ADAPTER RINGS THREADED OR BAYONET RINGS – ULTRA THIN – UNIVERSAL COMPATIBILITY THREAD The COKIN Z-PRO System offers a variety of models of adapter rings, available in a set (opposite). Manufactured in France out of machined aluminum and black anodized to prevent reﬂections, these non-deformable rings are, with the exception of the Ø 95 and 96 mm, remarkably compact. Their rapid action threading is designed to not damage the threading of your lenses. They avoid vignetting on lenses up to 86 mm in diameter. However, due to their thickness, both the Ø 95 and 96mm rings can – with certain lenses – limit your angular ﬁeld. If you need to mount a Z-PRO ﬁlter-holder onto a lens with a diameter of less than 49 mm, COKIN offers step-down rings down to 24 mm. The ﬁlterholders ﬁt very snugly on the adapter rings, with no more than a few tenths of a millimeter of play, assuring the rapid, smooth rotation indispensable for the precise adjustments required by certain ﬁlters. Mounting a ﬁlter holder onto a lens equipped with the appropriate adapter ring is simple, sure and fast. Under these conditions changing lenses takes but a matter of seconds, assuming each lens has its own ring, obviously... This is the perfect set up, especially when the light is rapidly changing. Front view CO KIN - Ø (Ø x thread, in mm) 49 x 0.75 52 x 0.75 55 x 0.75 58 x 0.75 62 x 0.75 67 x 0.75 72 x 0.75 77 x 0.75 82 x 0.75 86 x 0.75 86 x 1.00 95 x 1.00 96 x 1.00 BAYONETS Hasselblad® B50 Hasselblad® B60 Hasselblad® B70 Rollei® VI For all other dimensions, please contact us. 77 CE RAN 5-F 0.7 th The adapter rings for the Z-PRO System are ultra-thin*: the body of the ring itself is only 1.7 mm thick! Perfectly rigid, they conform to the lens and cause no vignetting. This is why the Z-PRO System has no need of a “special wide-angle” adapter ring. LINEAR & CIRCULAR POLARIZERS VARICOLOR® BLUE/YELLOW The Z-PRO polarizing ﬁlters constitute one of the major advantages of the System. High-tech to the extreme (see opposite) they are inserted directly into the ﬁrst slot of the ﬁlter-holder and need no extraneous accessories. Placed very close to the lens, they produce no vignetting and are much better protected against reﬂections than when positioned further from the lens, as with certain other ﬁlter systems on the market. Moreover, in contrast to those “slim” screw-in polarizing ﬁlters lacking additional threading on their exterior side, one can add another ﬁlter to the conﬁguration if necessary. Finally, owing to the conception of the Z-PRO System, you will only need a single polarizing ﬁlter for all of your lenses, current or future, up to 96 mm in diameter! Each Z-PRO polarizing ﬁlter is set in a patented notched frame (see below) that allows for precision rotational ﬁne-tuning with the index ﬁnger, independently of the ﬁlter-holder itself to be used in combination with a graduated ﬁlter, for example. Light and compact, a Z-PRO polarizing filter is astonishingly simple to use and renders extraordinary results, as much in terms of its optical quality as in the visual impact of your images themselves. Its chromatic neutrality is unquestionable (see page 49). One of those tools a serious photographer just can’t do without (*with the exception of the 95 mm and 96 mm rings) Diameter : 100 mm Side view Diameter : 100 mm UNIVERSAL, the COKIN Z-PRO System covers the entirety of professional image production tools, ﬁlm or digital, still or moving images, in all formats currently found on the professional market. Today and tomorrow, it will respond to your needs, guaranteeing the soundness of your investment for years to come. CIRCULAR OR LINEAR ? • Linear polarizing filters (Z160) risk – depending on the optical scheme of a given camera body – interfering with some auto-focus or exposure metering systems. Reserve Iit for large format lenses and for holder SLR Cameras with manual focus. Outside of this particularity, the photographic results will be identical with either model. • Circular polarizing ﬁlters (Z164) are perfectly compatible with auto-focus cameras and through-the-lens (TTL) metering systems. The circular model must be oriented correctly! you can check its orientation by observing a subject throught the ﬁlter. In order to appreciate this effect, simply rotate and examine how the image changes progressively, either in the viewﬁnder or with the naked eye. A Z-PRO polarizing ﬁlter is also very simple to use with a panoramic or rangeﬁnder camera. Expo. + 1~2 stops, according to the intensity of teh ﬁlter’s effects. VARICOLOR® BLUE/YELLOW (Z173) A COKIN exclusive, this ﬁlter can be compared to a bicolor blue and yellow polarizing ﬁlter. By rotating it in the ﬁlter-holder, the reﬂections of the image change subtly and continuously, then, after a quarter turn, jump suddenly over to the complementary colour. Even if not as often employed as some of the others, this unique filter offers compelling possibilities for use with those subjects that lend themselves to its magic! For example, if the two dominant colors in your composition are those of the filter itself, —such as a warm foreground and a background in tones of blue, like a harvest landscape against a blue sky, the Varicolor® blue/yellow will enrich your image with an astonishing palette of colours (see pages 6-7). 24 PEERLESS VERSATILITY Of all ﬁlters that can be employed at capture, the polarizing ﬁlter is without contest the one whose impact on your images will be most signiﬁcant; intensifying the blueness of the sky, saturating the entirety of the colour spectrum, ﬁnessing the intensity of bright lights and reﬂections! (see pages 6-7) • In sunny weather – and even more during morning or evening hours – and if you respect a right angle (90°) between the shooting axis and the position of the sun, a polarizing ﬁlter will darken the blue of the sky (sometimes making it almost black...), throwing the clouds into stark relief. • The intensity of its effect also depends on the ﬁlm used, or, in digital photography, on your level of saturation, but in either case its contribution remains crucial because there is more, real content to work with. • Note that with wide-angle lenses from 24mm and shorter (in 35mm photography terms) the side of the image which is farthest from the sun will be darker than the other. This is an inevitable optical phenomenon, independent of the polarizing ﬁlter, that must be corrected using a neutral density graduated ﬁlter. • Whether used in full sunlight or in overcast weather, polarizing ﬁlters signiﬁcantly improve the saturation of colours. You will obtain greener greens, richer reds and ever more brilliant yellows. You will be surprised to see how certain colours, dull to the naked eye, become vibrant and dazzling with this ﬁlter. • In all kinds of weather, polarizing ﬁlters reduce, eliminate, and deepen reﬂections on all non-metallic surfaces like water or windows. This capacity to work on all reﬂections and bright lights ﬁnds numerous photographic applications which one must be careful not to overuse... It brings transcendence to vegetation, transforms bodies of water, opens vistas... brings ﬁsh to the surface... nymphes even! Polarizing ﬁlters are often used in conjunction with other ﬁlters such as the 81 A or 81B warming ﬁlters (026, 027) or the neutral density graduated ﬁlters (121L, 121M, 121S). See pages 37 and 33. 25 ACCESSORIES MODULAR – FLEXIBLE – MAXIMUM PROTECTION Certain seemingly unimportant accessories are absolutely necessary for the everyday usage of ﬁlters, including accessories relating to their transport and cleaning. INDIVIDUAL SLEEVE– MULTI-STORAGE POUCH – CLEANING CLOTH When shooting images, no matter what the medium in question – photo, video or cinema – ﬂare remains a constant concern. Cameramen have long since mastered the problem with matte boxes, “ﬂags”, and other light shading devices... Photographers who work in large format have also always had a very useful shading tool: a bellows, which they carefully adjust before each trip of the shutter. Hasselblad® has popularized this accessory in medium format and for years COKIN has endowed its systems with excellent combinations of bellows and ﬁlter-holders (sometimes called a “compendium”). The Z-PRO System includes this optional accessory which has become rather indispensable, considering the extreme susceptibility of today’s digital sensors to ﬂare. PRO Z SERIES 100 mm BELLOWS Front view Z-PRO individual cloth ﬁlter sleeves Each Z-PRO ﬁlter is supplied in a separate, very thin, suede-like cloth ﬁlter sleeve which comes in a single size. It is lightweight and practical for use both in the studio or outdoors. Inserted ﬁlters are extremely accessible and, at the same time, very well-protected. Each ﬁlter sleeve is marked with the reference of the ﬁlter it contains for rapid retrieval of the correct ﬁlter. A well-adapted solution to occasional use which really limits the general burden of carrying a complete set of ﬁlters. dim. : 165 x 115 x 2 mm, 25 g (empty) The Z-PRO multi-storage carrying-pouch The Z350 This padded, waterproof case is made of tough “900 deniers” nylon and hold up to 7 ﬁlters, each individually protected by a soft, felt separator. Additionally, you can store two supplementary adapter rings. A zipper allows for complete and easy access. The inside of the carrying-case is detachable for other potential use and it comes equipped with strap and a belt loop. The Z-PRO multi-storage carrying-case is ideal for keeping all of the current ﬁlters close-at-hand, always ready and always protected between shots. Modular Bellows ensures maximum protection against flare Side view External dimensions : 175 x 145 x 38 ( w x h x d ) - ref : Z350 dim. : 147 x 192 x 44~107 mm (w x h x d), 250 g (without filter), ref. Z306 The COKIN PRO cleaning cloth 15 mm (folded) • Thanks to its compactness when closed and its superior 110 mm (unfolded) The Z-PRO bellows is supplied with an integrated ﬁlter-holder that remains fully functional: modularity (1, 2 or 3 slots, according to need), ﬂexible manipulation and precise rotation. • The bellows is manufactured from a high-tech ‘form memory’ material that doesn’t rely on support rails for extension, limits the weight and obstruction of the accessory, and allows for a higher degree of adjustability (favoring one side, for example, in order to accomodate the displacement of a view camera’s lens). • This “compendium” ensures, no matter what focal length is used, a maximum protection against ﬂare, the folds of the bellows being much better suited for stopping rays of light than the interior coating of a rigid lens hood. 26 extendibility, this lens hood has proven to be especially versatile: in 6 x 7, it is suitable for lens focal lengths from 50 mm to 250 mm. That means you only need a single lens hood for several lenses! • To improve its anti-reﬂective action you can slide optional mats onto the front of the bellows. They will allow you either to further increase its effectiveness with telephoto lenses (from 200 mm in medium-format), or to better adjust the extendable section of the lens hood to your photographic format (originally conceived for formats 4.5 x 6 and 6 x 7 cm, 4 x 5”; the two optional mats are intended either for 6 x 6 cameras, or for 35mm or 6 x 9 formats). With a bellows, the contrast and saturation of images are noticeably improved and, most of all, the devastating effects of flare – especially fatal in digital – are reduced to a minimum! Combined with the High-Tech COKIN PRO cleaning cloth, it blocks all entrance of ﬂare into the lens. Non-cumbersome when closed and light (210 g), this modular bellows adapts itself to all lenses (up to 96mm in diameter), except to super wide-angle lenses (risks of vignetting below 50mm in medium-format). Designed for the efficient but gentle cleaning of organic or mineral glass filters, this cloth can also be used for all sorts of optics. Constructed from anti-static, non-abrasive, non-shedding microfiber cloth (ultra-adept at capturing fine dust particles), and absolutely free of chemical residues harmful to the filter’s optical coating, it constitutes a real guarantee of longevity for your filters. It is machinewashable and delivered in a protective carry-case. Large in size (48 x 12 cm unfolded, 12 x 12 folded), this cloth can likewise serve as added protection against flare pouring through the filter-holder slots or the bellows itself: simply drape it over and its black color and opaqueness will block-out extraneous light. Simple, practical, and rather clever! dim. : 480 x 120 mm (w x l), ref. R908. Handling & Cleaning The Z-PRO Filters • With the exception of the polarizing and Varicolor® filters, Z-PRO filters are made in CR39® organic glass, an optical material of exceptional quality; virtually unbreakable and extremely long-lasting if they are handled with care and stored in a case with adequate protection. * It is true that these ﬁlters have proven to be a bit more sensitive to scratching than those made of mineral glass... But if you drop the latter on a hard surface or the ground, it will be without a doubt the last time that you will use them... As for their alleged propensity for attracting dust, this is not a concern if they are regularly cleaned with a dry anti-static cloth made of micro-ﬁber, like the COKIN PRO cleaning cloth. • Handle the filters by holding them by their edges to avoid fingerprints as much as possible and keep them in their individual sleeves when not in use. If you take care of them as you would your eyeglasses, they will stay like new for years to come. • To tidy up the ﬁlters, use a dry air spray (held vertically) or a gentle non-static paintbrush. • For fingerprints or water smudges, wash the filter in warm water, then rinse it in lukewarm clean water and dry sideways. Delicately remove possible residues from the lens with the cloth. 27 FILTERS LENS QUALITY – BENEFITS OF SQUARE FILTERING: FOR WHO, WHY? – RANGE AS TECHNICAL AS IT IS CREATIVE – 2 STARTER KITS BUILDING a line of professional ﬁlters is not an easy thing to do. Despite the constant need for quality, it is necessary to cover the gamut of user needs, whether technical or creative. Once the line is created, it is still necessary to follow the changes in the market – or, in the case of digital photography, you could even say revolution! Jean Coquin knew how to stay ahead of the curve, always pushing the optical envelope. Solid, innovative and of a decidedly modern concept, conceived by an optician and creator of images, COKIN came out ahead with the Z-PRO line and its remarkable ﬁlter-holder, a ﬁltering system perfectly adapted to the professional demands of the 21st century. Its efﬁciency, precision and fantastic savings of time has captured the loyalty of photographers who understand and have mastered image ﬁltering. It is and remains the only choice for creating some of the most advanced graphic effects. A lens of impeccable quality In 1972, COKIN became the ﬁrst worldwide maker of photographic ﬁlters to use CR39® organic glass in photography. This extraordinary material with an optical transmission greater than 95% offers a many major advantages, as much for the quality of its manufacturing as for its use. • For more than 40 years, COKIN worked on its own CR39®glass, from the beginning, using the purest resin, and has today mastered to perfection all the production stages of this difﬁcult fabrication: polymerization, casting, tailoring, cutting, colormetric operations, perfection of the material and control of its thickness to inﬁnitesimal parameters, parallelism of surfaces and rigorous ﬂatness, remarkable precision and homogeneity of tints – equal or superior to those of mineral glass. Everything possible is done to obtain irreproachable optical quality. • With COKIN ﬁlters, one will not see any alteration of optical sharpness, nor artifacts with digital captures. You can use up to 3 ﬁlters at the same time without degradation of the deﬁnition. The optical excellence of the Z-PRO ﬁlters allow for their use, not only in ﬁlm or digital photography, but also in high-deﬁnition digital video (HDV). • Organic glass ﬁlters are much lighter than their counterparts in mineral glass. They are unbreakable (and do not have threads, which can bend if dropped), intrinsically anti-UV (thanks to a patented process that incorporates the UV ﬁlter into the material of the COKIN CR39® glass), perfectly stable over time, easy to clean and much less expensive! • Finally, the precision of the positioning of the ﬁlter in the ﬁlter-holder, its ease of insertion or removal, the ﬂexibility of its adjustment, in height as well as rotation, all converge into a quality and a comfort of use without equal. 125F Gradual Tobacco T2 Full Advantages of square filters (rectangular) W hen COKIN ﬁrst began, most photographic ﬁlters were made of mineral glass and mounted in a threaded screw-in ring-frame. Then, in 1978, COKIN introduced the concept of a square ﬁlter and the use of CR39® glass. It was a veritable revolution and received worldwide acclaim. Millions of ﬁlters were sold and numerous copies came onto the market. • For each ﬁlter type, only a single ﬁlter is necessary to adapt to any number of different lenses, no matter what their diameter or thread size. As it is, square ﬁlters are already much lighter than their glass counterparts, but in addition, you do not need nearly as many! Plus, they are unbreakable, easy to handle, much quicker to use, and most of all, they have never-before-seen adjustment possibilities (in height and rotation)! What’s more, one can easily combine ﬁlters and adjust them independently! • As well, these ﬁlters come in a vast variety of tints, including a few that are completely original. The ﬁlters exceed technical standards by a creative leap and this fundamentally changes the spirit and intensity of their use. Because of the possibility of owning an entire system of ﬁlters at a much lower cost, square ﬁlters enjoy an unmatched popularity today. • Throughout the generations of ﬁlter- holders, the problem of vignetting has been considerably reduced to the point of being almost non-existent today, except in rare cases because of unavoidable optical laws. • In terms of efﬁciency, square ﬁlters in organic glass are clearly superior to screw-in ﬁlters. The optical differential being imperceptible in current use, one can understand why the best professionals always return to square ﬁlters, leaving behind uncoloured and anti-UV screw-in ﬁlters for square ﬁlters’ superiority in terms of lens protection. While on this subject, it is important to note that COKIN does also manufacture screw-in ﬁlters of mineral glass in numerous styles and diameters (from 25 to 86 mm) with the same eye to constant perfection. Consult your retailer or our website at www.cokin.com for more details. 28 Soft effect, Diffuser filter 1. Filtering: for whom and why? T he technical discussions and disagreements that photographers have often, involve the subject of image ﬁltering. • There are those who do not want to hear about ﬁlters, those who ﬁnd that ﬁlters distort the reality or their work, and those who think that ﬁlters degrade the quality of their optics (false!). There are also those who use ﬁlters but hope that no one can tell, and ﬁnally, those who use ﬁlters and hope that their use is obvious! • All of these photographers – even the ﬁrst cited – are or will eventually be concerned by the use of ﬁlters, whether it be to improve, correct or sublimate an image. With the exception of the ﬁrst group, all are correct. This shows the fantastic diversity in the world of imaging, ﬁxed or animated. For all of these groups, COKIN makes it a priority to offer as large a choice as possible, but with one constant : unquestionable manufacturing quality and originality. The “COKIN Touch”, the COKIN style! Today the trend is towards discrete use of ﬁlters to create images that combine naturalness, documentary quality and the personal vision of the artist. • The potential range of uses for ﬁlters can be as vast as the brands offered by the different manufacturers. One book —that of Lee Frost, The Photographer’s Guide to Filters published by David & Charles, —sufﬁces for describing them in detailed fashion so that each photographer can adapt his or her vision to that of the ﬁlter. Correct a dominant colour, reduce the contrast scale of an image, manage ﬂare, reduce the problem of reciprocity, access the infrared spectrum, bring colour to black and white, introduce a romantic, pictorial or quaint ambiance; There are many uses that ﬁlters execute instantly, upon capture (in digital), and without any alteration of the image quality! * including that of Lee Frost, published by David & Charles, “The Photographer’s Guide to Filters”. A line as technical as it is creative T he Z-PRO line has adopted the standard format of professional ﬁlters: 100 mm (4”) of width, the format imposed by Kodak® years ago... • Each COKIN ﬁlter responds to a speciﬁc photographic need, whether it be of a technical or creative aspect. The 100 or so ﬁlters in the line cover the basic essentials of problems encountered by photographers and ﬁlmmakers. In case of additional requirements, the Z-PRO System is perfectly compatible with the principal 100 mm systems on the market: Lee®, Tiffen® and Schneider®. • On the technical front, there are over 30 ﬁlters designed to correct colour drifts, either by correction or conversion, (ﬁlters of the series 80, 82, 81, and 85, pages 36-37), or by compensation (CC cyan magenta and yellow ﬁlters, pages 38-39); ﬁlters that allow for modulation of greys in black and white photography, or speciﬁc anti-UV ﬁlters for ﬂuorescent illumination or infrared photography (pages 40-41); and 15 graduated ﬁlters, colored on one part (neutral, blue or tobacco tones) and transparent on the other, or even the famous “sunset” ﬁlters (pages 32-35). The high-precision manufacturing technique devised by COKIN to create its graduated ﬁlters is of a remarkable regularity. COKIN offers numerous graduated options with their blue and tobacco ﬁlters. Their range of use goes beyond the purely technical domain, often becoming very creative! • On the speciﬁcally creative front, there are ﬁlters which allow for adding a sepia tone to images (page 48), as well as over 20 diffusion ﬁlters of diverse colours and intensities that offer a line of astonishingly varied effects (pages 42-47). Among them is the COKIN Diffuser and Pastel ﬁlters whose reputation cannot be beaten! You can see the entire Z-PRO line on the fold-out page at the end of this brochure. Because it is in constant evolution, you can keep up-to-date with the latest ﬁlters by visiting our website, www.cokin-pro.com. Once you have taken a few practice shots and mastered their action/effect, these ﬁlters will give you perfectly foreseeable results. Your work will be fail-safe, very rapid, and in the case of digital photography, you will save enormous time in post-production! > Photography Andrew Kime Two starter kits T start up advantageously with the Z-PRO System, COKIN offers two different starter kits including 1 Z-PRO ﬁlter-holder, 3 graduated ﬁlters and 1 carrying case (able to store up to 7 ﬁlters and 2 adapter rings, ref. Z306). • The ﬁrst, the PRO Grad kit, includes 3 graduated “light” ﬁlters, neutral density (121L), blue (123L) and tobacco (125L). ref. U960 • The second, the PRO Grad ND kit, NO FILTER WITH FILTER 830 combines 3 graduated neutral density ﬁlters from the line (121L, 121M and 121S). ref. U961 29 Does what Photoshop® can not and will not do ! FILTERS ALSO IN DIGITAL – BETTER THAN PHOTOSHOP® — VIDEO AND BROADCAST – EVERYDAY FILTERING Perfectly up-to-date for digital photography It is a common misconception that in digital photography there is no longer a need for ﬁlters because “one can do it all with Photoshop®.” Luckily, true professionals count on real experience and unremitting work to create their images! They well understand the advantage of using certain ﬁlters while shooting, even in digital photography. They also understand the limits of post-treatment and don’t expect “miracles”. Above all, they know the time that can be wasted and prefer a more efﬁcient method: that of ﬁltering at capture! • This proves to be true and cannot be more simple: ﬁlters function in digital photography exactly as in ﬁlm, with only very rare exceptions. Whether it is to correct or improve an image or to add a personal touch through use of a speciﬁc effect, the utilization and the philosophy of using ﬁlters remains the same. Many photographers such as Andrew Kime estimate, moreover, that the reﬂection associated with ﬁltering allows one to be more relevant in terms of composition and exposure, and to therefore improve the percentage of successful images. Much more so for digital photography, as it allows for instantaneous control of the image result when one is immersed in the subject,.. and not much later, when you are in front of a computer screen! • It is also important to keep in mind a fundamental rule of imaging, both still and motion: details or visual information not present on the ﬁlm – or on the memory card – is irretrievably lost! For example, with an overexposed, washed out sky, in ﬁlm-based photography no lab assistant can “burn-in“ non-existing details, just as no software can retouch it digitally. Yes, it is possible to recreate a portion of the image by pixel copy, but this technique is not very authentic and is much more timecostly than is the simple insertion of the appropriate ﬁlter on the ﬁlter-holder! Anticipation and ﬁltering at capture will therefore always remain preferable to a fastidious and lengthy correction by computer • In digital photography, certain ﬁlters quickly become “must-haves”: anti-UV ﬁlters (sensors are as sensitive as ﬁlm to this part of the spectrum), graduated ﬁlters (neutral or coloured), polarizing and Varicolor® ﬁlters, and neutral density ﬁlters. Others still remain very useful as diffusion ﬁlters (the blurredness generated by image-retouching software cannot even compare with images captured on site!) or conversion ﬁlters (certain photographers prefer blocking the balance of whites during daylight and use the ﬁlter corresponding to illumination: they ﬁnd it much more sure and simple). Even a simple colour compensator ﬁlter (CC series) requires – for its application in digital post-treatment – knowledge of the transposition of values in photographic density by percentage using Photoshop®! You will ﬁnd in the following pages the details of the respective actions (pages 32-48). • If you go over everyday digital retouching and reserve it for “extra special” effects and anticipate corrections or effects from capture time, the correct usage of ﬁlters remains more than ever up to date ! 30 Everyday ﬁlters The mounting of your lenses in the Z-PRO ﬁlter-holder takes but a matter of seconds, especially if each one of them is equipped with an adapter ring. The mastery of the different ﬁlters is also very rapid, the logic of their functioning is quite clear. With a little experience, you will know right away which one to use for each scene. A lthough it is incontestable that image retouch softwares in general – and Photoshop® in particular – greatly contributed to the success of digital photography, there remain a number of image corrections and effects that can only be obtained by ﬁltering at capture. Among them, here are four cases where software cannot be substituted for the use of a ﬁlter: In ﬁlm, when acquiring a new ﬁlter consider taking a few images with and without the ﬁlter to familiarize yourself with its action. In digital, the capture screen allows you to visualize the outcome instantaneously and directly. • In a landscape image with long distances, taken without an anti-UV ﬁlter, uncorrected atmospheric haze will introduce into the image characteristic defaults: dominant blue, reduction of contrast and alteration of the clarity. Using software, one can certainly eliminate the dominant, emphasize the contrast and improve the clarity; but, in any case, one can not recapture the clarity and level of brilliance that an anti-UV ﬁlter would bring, and all instantaneously... • In a number of landscapes one is often confronted with a wide brightness scale between the sky and the foreground. This type largely surpasses the restitution capabilities of the sensor. When this happens, you must either expose for the foreground —with the sky washed-out and lacking in detail—, or expose for the sky —with the foreground totally underexposed and much too dark. In either case, no manipulation using software will allow for the correct restoration of the image. Only the use of a neutral density graduated ﬁlter at capture allows for reducing the scale of contrast and retaining the detail of the sky and the foreground at the same time. You can thus compensate for 5 stops or even more. Plus, you can avoid re-copying the sky from one image and bringing it to another, with all of the difﬁculties and time that this assumes... • For eliminating reﬂections from non-metallic surfaces, a polarizing ﬁlter works easily by simple rotation. Trying to obtain the same result with image touch-up software becomes “mission impossible”! • When the light intensity of the subject does not allow you to use a shutter speed slow enough to obtain a blurred effect —on moving water, for example— a neutral density ﬁlter will allow you to obtain one, two, or even three shutter-speed settings slower! Here again, the effect can obviously not be recreated in digital post-treatment. Therefore, this is why anti-UV, neutral density, polarizing ﬁlters remain absolute “must-haves” in digital photography! They are not the only ones, as detailed in the following pages... Even when they are not absolutely necessary, ﬁlters still simplify achieving the desired corrections or effects so much that one would really be mistaken not to make use of them. SPECIFIC NEEDS OF VIDEO F or this unique market in full expansion and constant evolution, the Z-PRO System constitutes an interesting alternative. • First, the entire line of Z-PRO ﬁlters is compatible with the ﬁlter-holders of the 100 mm “matte-box” type (COKIN has launched one - the Z360). Taking into account their very competitive price and their excellent optical quality, these ﬁlters represent a very interesting option! • Next, the Z-PRO ﬁlter-holder adapts perfectly to all industry zooms up to 96 mm in diameter. Very light (no strain on the internal motors of lenses), non-cumbersome, usable in extra-ﬂat conﬁguration (absence of vignetting in very wide-angle zoom position), it responds to the • NO FILTER WITH FILTER 121M ET 027 > Photography Andrew Kime Angle changes without vignetting, according to the configuration. 1. original configuration for 3 filters. 2. standard configuration for 2 filters 3. wide-angle configuration for 1 filter. 1 2 3 AND BROADCASTING gamut of criteria required by cameramen. In addition, it is completely modular and can easily be dismounted and reset in order to accept ﬁlters of 4 mm thickness, often used in ﬁlmmaking and video-broadcasting (see page 19). For everyday use, we recommend conﬁguration of two slots to reduce the risk of vignetting in wide-angle position with a transstandard zoom. You can also use a polarizing ﬁlter (in the ﬁrst slot of the ﬁlter-holder) and a graduated ﬁlter (in the second slot) at the same time, and separately adjust each ﬁlter to its correct rotation degree. With some extremely wide-angles, you may need to conﬁgurate to only one slot. The fastest way is to mount the ﬁlterholder in its reverse position (see the diagram opposite). In this case, you must return the sliding tabs to the up-wards position (it moves easily by insertion of a ball-point in its center groove). With one ﬁlter, but especially. • Even though they are unbreakable, mount your ﬁlters with caution – especially avoiding ﬁngerprints – and clean them carefully between each use with the Z-PRO hightech antistatic cleaning cloth. If you follow this advice, they will retain their newness for long . • There are two possibilities for determining exposures with your ﬁlters: either your camera is equipped with through-the-lens (TTL) metering and automatically gives the correct settings, or you measure the light with a separate exposure meter and you then apply an exposure factor, depending upon the ﬁlter used. This general rule has a few exceptions: the polarizing ﬁlter (its absorption depends on its rotation) and the graduated ﬁlters for which you do not take into account a factor because its action only bears on the sky (adjust the exposure on the foreground). In case of doubt, open halfway (in slide or digital) or by one stop (in negative ﬁlm) to be sure of the result. • The vast choice of the Z-PRO line covers at once both the technical and creative needs of cameramen. If need be, they can also use the 100 mm (4’’) ﬁlters of other brands, such as Tiffen® or Schneider®. • Last, but certainly not least, the price of Z-PRO ﬁlters is proven to be extremely advantageous! And now, on the creative side... 31 NEUTRAL DENSITY FILTERS UNIFORM – GRADUATED SHADING – NEUTRALITY – TRANSITION – ADJUSTMENT DESIGNED so that absolutely no colour from the entire visible spectrum prevails, the COKIN® neutral density ﬁlters can be used in many different contexts, depending on which type is used : uniform shading (square) or graduated shading (rectangular). Here is a type of image impossible to achieve without ND Gradual filters. It was made with a 121 M and a 121 S overlay; the discrepancy between the sky and the foreground is 5 stops. One can thus capture the harmony of the entire composition, the darkening of the trees on the right – linked with the usage of filters – rests very acceptable.. > Photography A. Kime In the ﬁrst case, they uniformly reduce the quantity of light that reaches the ﬁlm – or the sensor – increasing the exposure time. The ﬁlters have 3 main practical applications: emphasizing the ﬂow of movement, reducing the depth of ﬁeld or avoiding overexposure. In the second case, they are used to reduce the contrast difference of a composition in ﬁlm as well as in digital photography. They allow for a well-balanced image; they are the ﬁlters most used by landscape «pro» photographers to yield both harmonious skies and detailed foregrounds at once. In both cases, they are offered in 3 gradations – equal to 1, 2 or 3 stops – and can be used individually or combined as necessary in order to extend their range, whether shooting in black and white or colour. With these ﬁlters, images can be created which are impossible to obtain in digital post-processing. When an excess in contrast has produced a sky whose level is set to 255, no software ﬁlter will ever bring back either pixels or detail. The neutral density ﬁlters are also currently used in ﬁlmmaking and video. When they are not simply irreplaceable, the need to maintain a constant shutter speed compels their use. Faithfully NEUTRAL Thanks to their exclusive tinting procedures and their continuous and rigorous quality control during the entire manufacturing process, COKIN is able to offer absolute neutrality for the entire visible spectrum with each of its professional neutral filters. > Photography Lee Frost Prolonging the exposure by 1, 2 or 3 stops is very useful for emphasizing the ﬂuidity of water, accentuating the movement of waves, suggesting the rustling of wheat ﬁelds or capturing the bustle of passers-by... Thus, an ND4 (0.6) ﬁlter slows the shutter speed down from 1/15 to 1 second, a considerable amount. • The reduction of the light intensity allows for saving of 1, 2 or 3 stops and reduces the depth of ﬁeld by just as much, thus focusing the attention on the principal subject. • In digital , certain sensors are very sensitive to the diffraction whose effects become visible as from f/11. A neutral density ﬁlter can prove to be very useful for avoiding optical loss! 32 Neutral Grey 153 ND4 - 0.6 Neutral Grey 154 ND8 - 0.9 FILTERS 121M ET 121S These filters offer on the one hand, a zone of density that is rigorously neutral – absorbing 1, 2 or 3 diaphragms – and on the other hand, a completely transparent part, separated from each other by a transition zone that can be short or long. They are used either way, alone or combined, depending on the requirements of the composition. One can also combine them to other ﬁlters, such as a polarizing or warm ﬁlter (see pages 25 and 37). • The neutral density gradual ﬁlter lets you bring the difference in contrast down to the limit of tonalities that ﬁlm or sensor can record. When the accuracy of the exposure with 12-bit digital SLR cameras is Gradual 121L Neutral Grey Light ND2 - 0.3 Filter 153 Neutral Grey 152 ND2 - 0.3 NO FILTER NEUTRAL DENSITY GRADUAL FILTERS UNIFORM NEUTRAL DENSITY FILTERS • In ﬁlmmaking and video, these ﬁlters are often used because the shutter speed is, apart from variable shutters, dependant on how quickly shots are taken. If one wishes to be able to play with the depth of ﬁeld, or avoid overexposure under intense lighting, they provide a unique solution as simple as it is effective. • Finally, in certain very bright environments, at high altitudes for example, and with a sensitive ISO, only a neutral density ﬁlter allows for the correct exposure. With a catadioptric lens, this type of ﬁlter is the only safeguard against overexposure. COKIN also offers numerous other filters of neutral density for industrial or scientific use, as in the control of long processes or sun photography. For more information please contact your local distributor or contact COKIN directly. • NEUTRAL GREY ND2 : neutral optical density 0.3, factor 2, expo + 1 stops, for fine adjustment. • NEUTRAL GREY ND4 : neutral optical density 0.6, factor 4, expo + 2 stops, everyday use. • NEUTRAL GREY ND8 : neutral optical density 0.9, factor 8, expo + 3 stops, very useful in video. Gradual 121M Neutral Grey Medium ND4 - 0.6 Gradual 121S Neutral Grey Soft ND8 - 0.9 as essential as with slide ﬁlm, one immediately grasps the importance of these ﬁlters from the time of the shooting. • The remarkable efﬁciency of these ﬁlters is accompanied by the reliability of optical performance as well as the absolute neutrality of the chromatic balance of the image. When well-handled, this type of ﬁltering is undetectable to the untrained eye. If their best-known use is in controlling the brightness of skies, these ﬁlters ﬁnd their justiﬁcation each time that the light level of one part of the image surpasses the range of tints reproducible by the recording medium : a partially lit street or a ray of light piercing the undergrowth, for example. Even a grey sky can beneﬁt from the action of a neutral density gradual ﬁlter! These ﬁlters can also favour the effect of blurred movement in one part of the image, alike uniform neutral density ﬁlters. • GRADUAL GREY ND2 : neutral optical density 0.3 (upper part), factor 2, expo compensated for around 1 stop on the upper part, long transition, an additional choice for touch-ups. • GRADUAL GREY ND4 : neutral optical density 0.6 (upper part), factor 4, expo compensated for around 2 stops on the upper part, long transition, the usual choice for slide. • GRADUAL GREY SOFT ND8 : neutral optical density 0,9 (upper part), factor 8, expo compensated for around 3 stops on the upper part, long transition, the right choice for negatives film or digital. TRANSITION Long or short ? With long transition ﬁlters (all the Z-PRO graduated ﬁlters except the 124 & 125), passage from density to transparency is very gradual, while with the short transition ﬁlters, it is much more abrupt. The ﬁrst ﬁlters, by far the most often used, are more tolerant as to their placement and adapt themselves to subjects where the break in contrast is irregular or not well deﬁned; thus, the ﬁlters of the second type are reserved more for images whose «horizons» breath are well-marked. Their adjustment, both vertical and horizontal, must be more precise. HOW TO CHOOSE and USE a COKIN Neutral Density Gradual ﬁlter • To decide which ﬁlter density to use, you just need to measure – preferably in manual mode, spot measuring with the TTL of your SLR camera or with a separate spot-meter – the clear zone where you wish to keep the detail and the zone that will be used for the ﬁnal exposure. Then count the number of stops difference – at constant speed – and round up to the lesser normalized value. Thus, 21⁄2 stops will be rounded to 2; you will then need a density of 0.6 (ND4). Take care however to modulate your effect depending on the subject; for example, a reﬂection must be less bright than its source. Case in point: a snow-covered mountain that is reﬂected in a lake and becomes duller than its reﬂection! Finally, depending on the way that the zone separating light and shadow presents itself, you will choose either a short or long transition zone ﬁlter, the latter being by far the most frequent. In our example, this will be a 121M long transition ﬁlter. • You must then adjust the ﬁlter – close the diaphragm as much as possible by pressing the depth of ﬁeld preview button to better see the transition zone in the viewﬁnder while adjusting the ﬁlter vertically (in its groove) until its transition zone corresponds perfectly with the light intensity line of your framing. This test must be carried out in the viewﬁnder, as the effect of the ﬁlter – while visible to the naked eye – depends both on the lens and on the diaphragm setting. The more the aperture is reduced, the more the effect of the graduated shading will be noticeable. Note that the type of ﬁlm – like capture settings in digital photography – has an impact on what the ﬁlter can do. • Reset the diaphragm and expose for the foreground. Note that modern SLR cameras perfectly manage this type of ﬁlter via their matrix metering. With experience, you will determine at a glance the ﬁlter you need to use and it will only take you a few seconds to adjust it efﬁciently with precision. Until then, if you’re just starting out, systematically take photos both with and without ﬁlters to familiarize yourself with their use... In practice, the ideal is to use the 3 available densities (special sets are available from COKIN). 33 COLOURED GRADUATED FILTERS BLUE – TOBACCO – SUNSET WHEN the sky is not as blue as one wishes, the setting sun not as radiant, or if one wishes to add a touch of personal colour, the coloured graduated ﬁlters are the right answer. They darken one part of the image (most often the upper part) by adding the appropriate tint, blue, tobacco, or “sunset”. The gradual blue ﬁlters are available in 5 models for optimal adjustment of the correction level desired. They can be very useful for enhancing a grey and lacklustre sky by giving it a sunnier aspect, something that a polarizing ﬁlter cannot do under these circumstances. It is perfect for those who do not want a ﬁlter effect to be apparent! The gradual tobacco respond to the exact opposite logic: their pronounced effect adds a very special touch to the image, a touch that delights some photographers. Here again, they exist in 5 versions, adaptable to everyone’s taste or need. With the COKIN “sunset” ﬁlters, the sun sets right when you need it to and its intensity is assured! Place these ﬁlters as close as possible to the lens in order not to alter their transition zone. If necessary, these ﬁlters can also be used in reversed position, either alone – to bring out the hyacinths in a forest for example – or together head-to-tail, one working on the upper part of the image, the other on the foreground. Thus a gradual blue ﬁlter can enhance a sky that is too dull, while a tobacco ﬁlter in reverse position can intensify the colour of the reeds in the foreground. NO FILTER FILTERS 125L, 121M AND 027 GRADUAL TOBACCO FILTERS Created by Jean Coquin in the early 1970s, the COKIN gradual tobacco ﬁlters – the famous “CROMOFILTERS” – have had a worldwide success. Today, they remain the ideal tool for many – in particular commercial photographers – but can also be used “discreetly” as seen in the example above. Thus, to accentuate the “tobacco” effect while avoiding a tint that is too pronounced, Andrew Kime has cleverly combined a 125L with a neutral density gradual ﬁlter – a 121M in this case – plus a 027 warm tone. FILTER 123 > Photography Andrew Kime • Based on the same basic tint, the 5 gradual tobacco ﬁlters available differ by their intensity and their structure, as is clearly shown in the icons below. To adjust the exposure and the transition zone, consult the instructions for the gradual blue ﬁlters which are the same for the tobacco ﬁlters. Pay special attention to the transition zone of the Z124/Z125 ﬁlter, short and a bit trickier to use. > Photography Daryl Benson THE GRADUAL BLUE FILTERS These 5 filters differ distinctly either by their intensity or by their structure, as you can see in the icons below. • To adjust the exposure, you can either measure the foreground without a ﬁlter and apply that value, or – with SLR cameras that feature matrix metering – measure the exposure directly with the ﬁlter in place. • Note that placing the ﬁlter’s transition zone in the image requires the same attention as for the neutral density gradual ﬁlters (see page 33). Gradual Tobacco T1 124 Gradual 125 Tobacco T2 Gradual 125L Tobacco T2 Light Gradual 125S Tobacco T2 Soft Gradual 125F Tobacco T2 Full • GRADUAL TOBACCO T1 : around 2 stops on upper part, long transition, the right choice for a real but discreet tobacco effect. • GRADUAL TOBACCO T2 : around 3 stops on upper part, short transition, very pronounced “tobacco” effect, with a sharp border. • GRADUAL TOBACCO T2 LIGHT : around 2 stops on upper part, long transition, the choice for a subtle “tobacco” effect. • GRADUAL TOBACCO T2 SOFT : around 2 stops on upper part, long transition, pronounced “tobacco”, adapted for irregular horizons. • GRADUAL TOBACCO T2 FULL: around 2 stops on upper part, extra long transition, pronounced “tobacco” effect on the entire image. FILTER 198 SUNSET FILTERS > Photography : D. Benson These Gradual Blue B1 122 Gradual Blue B2 123 Gradual 123L Blue B2 Light Gradual 123S Blue B2 Soft Gradual 123F Blue B2 Full filters allow you to intensify or simulate a realistic sunset. Their speciﬁc tint is graduated from top to bottom: the upper part, more coloured, intensiﬁes the effect of the sky; the GRADUAL BLUE B1 : around 12/3 stop on upper part, long transition, the best choice for a subtle effect. GRADUAL BLUE B2 : around 2 stops on upper part, long transition, more pronounced effect. GRADUAL BLUE B2 LIGHT : around 2/3 stop on upper part, the perfectionist’s choice for touch-ups. GRADUAL BLUE B2 SOFT : around 12/3 stop on upper part, long transition, the other standard choice with easier positioning for irregular horizons. • GRADUAL BLUE B2 FULL : around 21/3 stops on upper part, long transition, the ﬁlter for images where the sky predominates. • • • • Sunset 1 34 197 Sunset 2 198 lower part, paler, gives the rest of the image the early evening effect desired. • The 2 available models differ only by the intensity of their tint: they will increase the exposure setting by 2/3 or 1 stop, delivering an effect that is much more pronounced. They excel for backlighting or silhouette effects • If, at dusk, there is little or no sunlight, this kind of ﬁlter is sure to give you a fantastic helping hand. • SUNSET 1 : around 2/3 stops on upper part, long transition, the right choice for a moderate effect. • SUNSET 2 : around 1 stop on upper part, long transition, the ﬁlter for radiant sunsets. Even allows for the creation of a sunset in the middle of the day! 35 FILTERS FOR LIGHT BALANCE CORRECTION AND COLOUR-CONVERSION SERIES 80 – 82 – 81 – 85 WARM-TONE CORRECTION FILTERS SÉRIES 81 As everyone knows, the colour warmth of daylight constantly varies, from dawn to dusk. Our eyes do not notice this, thanks to an automatic phenomenon of adaptation. It is the same with artiﬁcial light, which varies considerably according to the emitting source – electronic ﬂash or tungsten lamp, for example. The emulsion immediately reacts to these differences, which translate into prevailing colours that are more or less pronounced depending on the light source and the type of ﬁlm. The colour correction or conversion ﬁlters are available to correct these shifts in colour. In digital they remain a more sure, precise and predictable solution than the white balance setting included with digital cameras, whether it be automatic or pre-adjusted to generic values. These ﬁlters belong to two families – blue or orange – depending on whether they cool down or warm up the light. In each family they come in various intensities intended either for strong colour conversions or for ﬁne adjustments. Each ﬁlter carries out a very precise shift in warmth, expressed in Kelvins or in Mireds (see the table opposite). A few amongst them are essential, such as the 026 and 027 (81A and B), while the others have very speciﬁc uses. For example, shots using tungsten lamps of 3,200 Kelvins with a daylight ﬁlm. The Z-PRO ﬁlters are perfectly calibrated, to the nearest Mired, to answer the most speciﬁc professional demands. For precise ﬁltering, a colour meter has lost none of its usefulness, not even in this age of digital photography! FILTER BLUE 80A > Photography Lee Frost BLUE CONVERSION FILTERS SERIES 80 The 3 blue ﬁlters of series 80 are technical conversion ﬁlters for use with daylight ﬁlms under artiﬁcial lighting with tungsten lamps or other warm sources. The most powerful conversion is that of ﬁlter 020 (80A), each ﬁlter of the series lessening in intensity from there. • Even when one works with “artiﬁcial light” ﬁlms, these ﬁlters can help correct, for example, the prevailing colours of tungsten bulbs. For indoor shoots, stop before completely correcting the dominant warm tone so as to maintain the ambiance! NO FILTER Blue 80A 020 WITH FILTER 020 Blue 80B 021 Blue 80C On the other hand, the series 80 filters – especially the 020 (80A) – can be used in the middle of the day to yield a very strong prevailing blue, giving the illusion of a night-time shoot. This is the famous “Day for night” filter, invaluable to filmmakers! 022 • BLUE (80A) : conversion of 3,000 K to 3,200 K. + around 2/3 stop • BLUE (80B) : conversion of 2,900 K to 3,200 K. + around 12/3 stop • BLUE (80C) : conversion of 2,800 K to 3,200 K. + around 1 stop These 3 filters produce subtle corrections in colour temperature in order to reduce or eliminate certain warm colours that dominate the image; for example to get a more neutral depiction of a façade illuminated by the setting sun, or to make skin look less tan when under a hot light. Used less frequently than the Series 81 ﬁlters, these are often used in a context contrary to their intended purpose – to reinforce the prevailing natural blue colour of some shots, in misty or snowy weather, before a sunrise or in the rain – so as to emphasize the atmosphere. 36 023 Blue 82B 024 Blue 82C 025 all the colour conversion ﬁlters the Series 81 ﬁlters are the best for everyday use. Available in 5 intensities, from the weakest – the 026 – to the strongest – the 037 – they warm up light gradually, thus responding well to lighting conditions which photographers confront most often. • So, on cloudy days, a 026 ﬁlter (81A) or a 027 (81B) will add a light touch by counterbalancing the bluish part of the light. But in good weather, they will enhance your subject with a pleasing shade of tan. • For a stronger effect, the 028 (81C) and 035 (81D) ﬁlters reinforce warm lights, such as those at dawn or dusk, especially if the subject is well-suited for it, like an autumn forest or wheat ﬁelds. • As for the 037 (81EF), reserve its use for special cases: a pale sunset which you wish to reinforce or when you want a very noticeable effect! • Finally, with the 039 (81Z), your subject will instantly gain the effect of 6 UV cabin tanning sessions! For light-skinned models, the effect is guaranteed... and less dangerous! For landscapes, each autumn forest will turn immediately into an “Indian summer”. This is an effect ﬁlter that deserves the name! FILTER 035 > Photography Lee Frost With experience and practice, you will know right away which filter to use. Avoid potential overcorrections which can often be unpleasant: yellow-tinted clouds suggest pollution, and a model with skin that’s too yellow looks jaundiced! Warm 81A 026 Warm 81B 027 Warm 81C Warm 81D 035 Warm 81EF 037 Warm 81Z These filters combine very well with diffuser or pastel filters (see pages 42 and 43). Three of these combinations exist as specific COKIN filters, the Warm Diffusers (see page 46). • WARM (81A) : conversion of 3,400 K to 3,200 K. + around 1/3 stop • WARM (81B) : conversion of 3,500 K to 3,200 K. + around 1/3 stop • WARM (81C) : conversion of 3,600 K to 3,200 K. + around 1/3 stop 028 • WARM (81D) : conversion of 3,700 K to 3,200 K. + around 2/3 stop • WARM (81EF) : conversion of 3,850 K to 3,200 K. + around 2/3 stop • WARM (81Z) : conversion of 3,450 K to 3,400 K. + around 1/3 stop 039 ORANGE CONVERSION FILTERS SERIES 85 These BLUE CORRECTION FILTERS SERIES 82 Blue 82A Of • BLUE (82A) : conversion of 3,000 K to 3,200 K. + around 1/3 stop • BLUE (82B) : conversion of 2,900 K to 3,200 K. + around 2/3 stop • BLUE (82C) : conversion of 2,800 K to 3,200 K. + around 2/3 stop 3 filters are either “super” warmers or conversion filters with a specificity: their respective intensity does not increase, as with other filters of the series, but is irregular; the 030 is the strongest, the 031 the weakest, and the 029 falls between the two. On one hand, they correct, for example, the strong dominant blue of shaded places in sunlit exteriors • (029) or on cloudy days (031). These ﬁlters are great for reinforcing, very naturally, a sunset or a landscape of dunes or autumn undergrowth with backlighting, thus giving the full measure of their effects. They also combine marvellously with soft ﬁlters. • On the other hand, they allow for the use, during full daylight with films balanced for artificial lights, of type A (029) or B (030) filters, without the dominant inherent blue. Orange 85A 029 Orange 85B 030 Orange 85C 031 • ORANGE (85A) : conversion of 5,500 K to 3,400 K. + around 2/3 stop • ORANGE (85B) : conversion of 5,500 K to 3,200 K. + around 2/3 stop • ORANGE (85C) : conversion of 5,500 K to 3,800 K. + around 1/3 stop 37 CYAN – MAGENTA – YELLOW SERIES CONTRARY to the 80 Series ﬁlters (blue or orange) which are designed to rectify prevailing chromatic tints coming from the differences in colour temperature between the ﬁlm and that of the light source(s), the colour compensating ﬁlters (cyan, magenta and yellow) correct dominant monochromatic colours, linked to various causes, from intrusive reﬂections/glare/undesired rays to reciprocity failure. Originated from the famous Kodak® Wratten gels, the COKIN CC filters are equivalent to them chromatically, but have proven to be much more rugged/resistant in the long term. Working on the principle of subtractive syntheses of colours, these filters – each available in 6 different intensities that can be combined as necessary – allow for correction of any chromatic discrepancy. Their uses are numerous and varied : balancing a mixture of light sources, compensating an aging flash tube, rectifying the occurrence of intrusive reflections/glare/an undesired ray, correcting the colour discrepancy in B mode that comes from reciprocity failure, removing the chromatic variation of certain films, etc. Their use is a matter of experience and attention, check of the film manufacturers’ instructions, knowledge of the light sources, and – with the latter – the use of a three-channel colour meter, such as the Minolta® III F, which measures ambient colour temperature and works directly with the CC filters. Besides these purely technical uses (that often come up in commercial, industrial, or architecture photography), these filters can also play a very interesting creative role by introducing a dominant colour, subtle or pronounced, according to the type of filter used. One can also discreetly emphasize the tint of certain pale subjects with a filter of density 05 or 10 in the appropriate colour. with the kind authorization of the Château de Villiers-le-Mahieu. COLOUR COMPENSATING FILTERS FILTERS 700 AND 711 > Photography Ariel Greco CC MAGENTA SERIES •These filters let red, blue and magenta tones pass, but block (absorb) greens. CC CYAN SERIES •These filters let blue, green and cyan tones pass, but block (absorb) reds. CC 05C CC 30C 700 705 CC 10C CC 40C 701 707 CC 20C CC 50C • CC 05C : cyan density 5 + around 0 stop • CC 10C : cyan density 10 + around 1/3 stop • CC 20C : cyan density 20 + around 1/3 stop 703 • CC 30C : cyan density 30 + around 1/3 stop • CC 40C : cyan density 40 + around 2/3 stop • CC 50C : cyan density 50 + around 2/3 stop 709 RECIPROCITY FAILURE For each combination of diaphragm and speed, there is a corresponding quantity of light that reaches the ﬁlm or the sensor. The “reciprocity law” implies that if one increases the exposure length by one setting while closing the diaphragm by one value, this quantity of light remains constant. However, this law does not take effect neither for very long exposures nor for those which are extremely short. This is what’s known as “reciprocity failure” (also called the “Schwarzschild effect”). In practice, you only need to worry about this for exposure times faster than 1/10,000th of a second or slower than 1, 10 to 100 seconds, depending on the type of ﬁlm used. Film sensitivity diminishes then 38 rapidly, requiring, on one hand, an additional increase in exposure time and, on the other hand, a speciﬁc ﬁltering. All ﬁlm manufacturers publish technical brochures – not only for this kind of ﬁlm, but also by emulsion type – which specify the conditions of use of their products according to the exposure time used. The ﬁltering needed under these conditions requires CC ﬁlters. As than example, the Fuji® Velvia® requires an exposure correction of + 2/3 stop for 10 seconds of exposure as well as a CC 10M ﬁlter. In some cases, the prevailing tints that come from these discrepancies are absolutely astonishing. Depending on your tastes – or the demands of your clients – you can either consider them as creative or... attempt to correct them ! > Photography Jean-François Alexandre FILTER 721 CC 05M 710 CC 10M 711 CC 20M CC 30M 715 CC 40M 717 CC 50M • CC 05M : magenta density 5 + around 0 stop • CC 10M : magenta density 10 + around 1/3 stop • CC 20M : magenta density 20 + around 1/3 stop 713 • CC 30M : magenta density 30 + around 2/3 stop • CC 40M : magenta density 40 + around 2/3 stop • CC 50M : magenta density 50 + around 1 stop 719 CC YELLOW SERIES •These ﬁlters let red, green and yellow tones pass but block (absorb) blues. CC 05Y 720 CC 10Y 721 CC 20Y CC 30Y 725 CC 40Y 727 CC 50Y • CC 05Y : yellow density 5 + around 0 stop • CC 10Y : yellow density 10 + around 0 stop • CC 20Y : yellow density 20 + around 1/3 stop 723 • CC 30Y : yellow density 30 + around 1/3 stop • CC 40Y : yellow density 40 + around 1/3 stop • CC 50Y : yellow density 50 + around 1/3 stop 729 With digital shooting, the use of these ﬁlters is still relevant, as much for the simplicity and time gain that they bring in practice, as for the sureness and predictability of their results. Yes, an automatic white balance can work well, but in the large majority of difﬁcult situations, good ﬁltering during the shooting remains and will always be preferable. One can certainly attempt to apply the same correction to the image during post-processing, but the time spent will not be the same, by far! And you must still know how and be able to do it, for you risk not being able to correct the dominant unwanted tints, because in this case you must add colours. 39 SPECIAL FILTERS ULTRA VIOLET – FLUO – INFRARED UV & SKYLIGHT FILTERS These PR ﬁlters are in fact ultraviolet blockers, light rays whose wavelength is below 400 nm and to which our eyes are not at all (or just barely) sensitive. But that significantly affects films as well as photo or video sensors. It results in a characteristic prevailing blue, particularly evident at high altitudes – where the UV rays are very intense – at sea level, and in aerial photography. • These ﬁlters visibly reduce atmospheric haze at far distances and cut SC R EW THE down this dominant blue. They only intercept UV rays and therefore For those who wish -I N in theory add no colouration of their own. In practice, this is geto permanently protect the nerally not the case! front part of their lenses from dust, • The neutral UV N (230) really is neutral: the Skylight 1A scratches and various projectiles, COKIN (232) introduces a dominant rose and makes the images a also offers protection ﬁlters of a very high little warmer, without completely attaining the effect of quality, in mineral or organic glass depending an 81A, for example, while the UV Y (231), very light yellow, on the model, in standard or thin (“slim”) screw diminishes the dominant blue very often associated with mounting, in over 20 diameters from 25 to 86 mm UV rays. These three ﬁlters improve the sheen of images and in 7 different types: three UV (standard, neutral and none of them requires exposure consideration. or multi-layer coating), and four Skylights, 1A and EC OT 231 S UV-Y ER UV-N 230 Sky Neutral 1B (each available as standard or multi-layer coating). Now you can satisfy all your needs and ensure the long life of your precious optical components. TION FIL T You should know that the COKIN CR39® filter has the inherent capacity to screen out UV light – the cutoff point is at 400 nm – so it is not necessary to add one of these 3 filters if you are already using any other Z-PRO filter. • UV Sky Neutral : chromatically neutral anti-UV filter. + 0 stop • UV Y : presents a very light yellow tone, ideal for diminishing dominant blues. + 0 stop • Skylight 1B : presents a rose tone, Skylight 1B 232 makes colours a little warmer in shady or cloudy weather. + 0 stop FLUO FILTERS Fluorescent tubes – which come in various models and which therefore can wear out to varying degrees – emit a discontinuous spectrum of light characterized by a very strong proportion of green. With a film balanced for daylight, this translates into a very characteristic prevailing greenish tint that, while it adds a certain look to images that some people appreciate, can be very difficult to remove completely ... • In the absence of colour compensating filters (CC, see page 39), perfectly adapted to this type of lighting, a more simple solution consists in opting for filters designed specifically for use with fluorescent lighting and which exist in 2 types: FLD for films balanced for daylight, and FLW for those that compensate for artificial light. Combining a colour warmth conversion action with a correction of the specific dominant tint, these filters strike a balance as best they can among the range of situations that can present themselves. When one is confronted with mixed lighting – and this is often the case - we can either resort to tedious preparation (filtering the windows or the floors one by one with special gels), or choosing a specific graduated filters, FLD or FLW, depending on the type of film used. The upper part of these filters is intended to work with “neon” lighting, and the bottom part is neutral. Correctly positioned, they constitute a solution as rapid as it is elegant and easy to implement for solving problems created by many of these mixed lighting situations. FILTER 046 > Photography V. Diamy FLW 036 FLD FILTER 007 > Photography José Joaquin Castro INFRARED FILTER Beyond the spectrum of light visible to the human eye – which is roughly between 400 and 700 nm – one finds infrared light, which we can perceive by way of special films, black and white as well as colour, and today, via digital sensors, at least those without anti-IR filters (or with removable ones). • In order for these different media to fully record the effect of the inner spectrum of infrared light, one needs a ﬁlter that blocks the visible spectrum and lets infrared light pass through. That is precisely what the 007 ﬁlter does, in the same way as the Kodak® Wratten® 89B ﬁlter. • The resulting image will vary considerably depending on the ﬁlm or sensor used. In black and white with a professional ﬁlm such as Kodak’s® “High Speed Infrared”, the image taken with COKIN 007 ﬁlter will have a characteristic aspect: blue skies will become almost black and vegetation will take on various shades of white, giving it a surreal appearance. In colour, with an emulsion such as the Kodak® ”Ektachrome Professional Infrared EIR”, the image will present absolutely surrealistic tones, varying between magentas and blues with a yellow ﬁlter (001), shifting over to yellows and reds with an orange (002) or red (003) ﬁlter, and reaching its maximum effect with the IR ﬁlter (007). WORKING BEYOND THE VISIBLE Auto-focus and exposure meters are here completely The infrared ﬁlter is an endless source of research unnecessary! and inspiration. Think about shifting the focus forward to the infrared mark of The arrival of digital cameras has further sustained your lens (if there is one!) and adjust the aperture as much as possible. the keen interest in creative infrared photography. For the exposure, taking the indexes on the technical brochure The basic effect is close to that obtained in black and of the ﬁlm as a starting point – in digital, push the sensitivity white ﬁlm, but the possibilities of post-processing but not beyond 400 ISO – measure the exposure manually, with open the door to virtually limitless creative possibilities. the ﬁlter in place; take a number of shots (2 to 4 stops over the Once you have assured yourself that your sensor can calculated exposure) by increments of one stop; do preliminary tests before starting to shoot... record the inner spectrum of infrared light, think of Finally, work preferably with a tripod to avoid all fuzziness lincarrying out a speciﬁc white balance beforehand with ked to prolonged exposures! the IR ﬁlter in place for best results. 046 • FLW : for films balanced for artificial light. + 0 stop • Gradual FLW : for ﬁlms balanced for artiﬁcial light and in case of mixed sources. + 1 stop • FLD : for ﬁlms balanced for daylight, for use preferably with mixed sources. + 2/3 stop • Gradual FLD : : for ﬁlms balanced for daylight and with mixed sources. + 2/3 stop Infrared : blocks all visible light up to 650 nm, allows 50% of light to 720 nm and more than 90% of the infrared beyond. + 6 stops Gradual FLW 40 138 Gradual FLD 139 Infrared (89B) 007 Working with infrared imagery is quite demanding. Among other issues, the ﬁlm must be loaded in complete darkness and must be kept cool at all times, numerous tries are necessary, and the results can be unpredictable. But they are worth the effort put into them! In digital, the effort goes into the time spent in postproduction! Time-consuming but so captiviting!! Basically, one opens the ﬁle, the image being in brown-red tones; change it over to black and white by completely desaturating the colour image (avoid using greyscale); ﬁnally adjust the light/colour setting until obtaining the desired result. And practice makes perfect, as usual, for creation of images that are out of the ordinary, even magical. 41 DIFFUSION FILTERS DIFFUSERS – PASTELS – NET When one wishes to bring a romantic or mysterious atmosphere to an image, to put an often disappointing reality in its best light, or to give the image a visibly painterly appearance, every image creator must need, at one time or another, a diffusion ﬁlter whose effect is either barely perceivable, or that lends a somewhat dreamlike form to the image. In this area, the choices COKIN offers are as vast as its worldwide reputation. The Z-PRO line offers 20 ﬁlters of this kind, presented in the 6 following pages. According to whim or necessity, in numerous photographic domains (portrait, fashion, nature or landscape, to name but a few), photographers and ﬁlmmakers time and again choose the COKIN soft diffusion because of their variety paired with such remarkable quality. Diffuser and Pastel ﬁlters are among the most difﬁcult to manufacture. Indeed, toning down an image is not the same as making it out of focus... It is all a matter of balance and mastery of the diffusion of light, as engineers of specialized optics well know. These types of ﬁlters transmit, depending on their degree of diffusion, 70 to 90% of the image’s original sharpness, and use other processes to obtain the effect of diffusion for the rest of the spectrum, playing either on the sharpness or the contrast, or both. DIFFUSER FILTERS The outstanding images taken with a COKIN diffuser ﬁlter are now too numerous to mention ! These ﬁlters use an exclusive COKIN process created by its founder and kept carefully secret ever since in the company laboratories. It’s the way they diffuse the light from the luminous points of the image that gives shots that characteristic aspect. Copied numerous times but never equaled, the Z-PRO diffuser ﬁlters exist in 4 intensities, from the most subtle to the most marked. There is nothing else like them on the market. • The Diffuser Light (820) is best for landscape photography and intimate portraiture. There is no equal for reducing facial wrinkles and small imperfections of the skin and is almost unperceivable. • With the Diffuser 1 (830) and especially the Diffuser 2 (840), you can literally make the years melt away as if by magic, leaving behind only radiance and glow. As for nature shots, they will have a completely different dimension! Discovering these ﬁlters means entering into a world of images that were the mark of an era, and when one ﬂips through a current fashion magazine, it’s clear that they’re back in style! • The Diffuser 3 (850) offers such a great diffusing potential that it virtually transforms itself into a shower curtain and you are propelled into Brian de Palma’s “Dressed to Kill”. The nude remains its subject of choice. • Diffuser light : subtle diffusion • Diffuseur 1 : visible diffusion • Diffuseur 2 : marked diffusion • Diffuseur 3 : total diffusion Diffuser Light 820 Diffuser 1 830 Diffuser 2 840 Diffuser 3 850 No exposure change. > Photography Ariel Greco FILTER 830 FILTER 820 FILTER 840 FILTER 086 FILTER 145 PASTEL FILTERS With these filters you enter right into a romantic atmosphere, so strong is their effect on the image. They add a soft, unique touch to portraits; hair flows like silk, skin is warm and expressions languid. As for still lifes, they come close to the appearance of a painting, attaining an incomparable atmosphere that is delicate and fresh. • These two ﬁlters – the second being simply stronger than the ﬁrst – bring out lively colours and intense lights, diffusing and treating them like an artist. These filters give superb outdoor results, in cloudy weather, and indoors when light is coming sideways from a window. The exposure is sometimes a delicate issue. Double, even triple your exposures by overexposing at intervals of 1⁄2 or 1 stops. Finally, these filters combine wonderfully with coloured orange or blue filters to create a specific look, or even with graduated colour filters. Even if the most recent software versions have made great strides in the area of out-of-focus shots, one must still keep in mind that they canno’t recreate the quality and the variety of diffusion effects with ﬁlters. Consider that, with ﬁlters, results are obtained instantly, they are perfectly predictable and you can change them very simply and as many times as you need until you obtain your desired result. In one case you are in front of your model, in the other, in front of your computer screen... • Pastel 1 : strong effect, portraits, still lifes, landscapes. • Pastel 2 : very strong effect, portraits, still lifes Pastel 1 086 Pastel 2 087 No exposure change. THE NET FILTERS Used on an everyday basis in cinema for some time now, the net ﬁlters diffuse and disperse reﬂected light. The Z-PRO line offers four net ﬁlters. Depending on their tonality, they conserve and contrast (blacks), or diminish (whites), reducing the power and the saturation of tints. According to the ﬁneness of their mesh, their effect can be marked or discreet: the tighter the mesh is, the more pronounced the diffusion. • In portraiture, these ﬁlters reduce or eliminate undesired reﬂections on the skin, such as on the nose, the chin or the forehead, whether they be due to the sun, to ﬂashes, or to spotlights. In landscapes, they ensure a harmonious distribution of light when using backlighting, bringing their unique touch to the image. IN PRACTICE, the results obtained with diffuser ﬁlters are closely linked to the intensity and the quality of light used. Think of overexposing by 1/3 or 1⁄2 of a stop to accentuate their effect. You will then see that bright lights take on a completely different dimension! In addition, the effect is in general much more pronounced than with an open diaphragm. Finally, do not forget that with certain ﬁlters, auto focus will stop working... As a general rule, one can say that their effects are strong for small details while uniform surfaces are only slightly affected. Always place them in the ﬁrst groove and do not go past an aperture of 4 or 5.6 while working, especially if you’re using a wide-angle lens, otherwise you risk having their structure appear on the image. They are in essence wide-aperture ﬁlters which means that they may raise a few difﬁculties for use with landscapes where a wide depth of ﬁeld is required. Net Filter 142 Net Filter 143 1 White 1 Black • Net ﬁlter 1 White : marked diffusion effect, diminished contrasts. + 1/3 stop • Net ﬁlter 1 Black : marked diffusion effect, retained contrasts. + 1/3 stop • Net ﬁlter 2 White : discreet diffusion effect, diminished contrasts. + 1/3 stop Net Filter 144 Net Filter 145 • Net ﬁlter 2 Black : discreet diffusion effect, retained contrasts. + 1/3 stop 2 White 2 Black 44 45 THE CENTER-SPOT FILTERS THE WARM DIFFUSER FILTERS SUNSOFT — SOFTWARM — DIFFUSER WARM UNCOLORED – GREY – OVAL WHEN one wants to both often an image and make it warmer, the Z-PRO line offers three ﬁlters suited to the task: the warm diffusers. Their double effect lends itself to numerous applications: portraits, weddings, beauty photos, still lifes, landscapes, etc. There are many subjects to which these ﬁlters add a touch of seductive romanticism – very seductive at that ! For portraits, these 3 ﬁlters have in common the capacity to smooth away physical imperfections, make skin more beautiful and illuminate faces when the subject is back-lit. For landscapes with warm tones – autumn forests or a countryside at harvest time, for example – these 3 ﬁlters reinforce the seasonal colours and produce a welcoming atmosphere whose effects can go beyond the image. These are just a few subjects where the association of a certain degree of soft focus and a more or less pronounced warming up of the light can be quite useful! In practice, think about shifting to manual focus if you work with an auto-focus reﬂex... As a general rule, these 3 ﬁlters accommodate themselves better, outdoors, to bright lights that they transform into gentle morning or late-afternoon lighting. WHEN the idea is to enhance the subject while isolating it within a lightly blurred border, the CenterSpot ﬁlters are the appropriate response. There are 6 of these ﬁlters in the Z-PRO line; they form a coherent set with multiple possibilities, in which each ﬁlter has its distinct personality. The central zone of sharpness can be small and round, or much larger and of oval shape; their peripheral power of diffusion declines, depending on the model, in 2 densities; their use is optimised for wide-angle lenses of 20 to 35 mm (with 35mm ﬁlm, Center-Spots WA). Created essentially for use with portraits, the Uncolored and Grey Center-Spots can also lend their speciﬁc touch to still lifes or some landscapes. As for the Oval Center-Spots, they are designed for use with full-length portraits or two-shots, they are used most typically in wedding photography. The apparent size of the zone of sharpness is a function of the focal distance used (think of the conversion filter factor of APS sensors!); the shorter the focal length is, the more visible the zone will be. As for the transition from sharp to soft , it depends on the aperture: the wider it is, the more diffuse the transition will be. For a correct adjustment with auto-focus reflex cameras, the choice of an AF central collimator is obviously required... FILTER 072 > Photography Ariel Greco THE SUNSOFT FILTER Created for the 10th anniversary of the company, already more than 20 years ago, this ﬁlter combines a very strong capacity for «warming» tones up – in fact, it is the equivalent of a 81EF (037) ﬁlter – with a good level of diffusion, that of Diffuser 1 (830). THE SOFTWARM FILTER Sunsoft 694 This ﬁlter offers the lowest level of diffusion – that of Diffuser Light (820) – and warms tones less, in the way an 81B (027) does. Its result is more natural. THE WARM DIFFUSER FILTER It warms tints as would a beautiful evening light (or a 039 filter...) and delivers a level of soft focus that is ideal for faces. It is without a doubt one of the most appropriate filters for “glamour” portraits. Softwarm 696 • Sunsoft : combination of ﬁlters 830 and 037. + 1 stop • Softwarm : combination of ﬁlters 820 and 027. + 1/3 stop • Diffuser Warm : combines a salmon tint (0.39) and a light blur. + 1/3 stop FILTER 694 Diffuser Warm 697 > Photography Ariel Greco UNCOLORED CENTER-SPOT FILTERS These ﬁlters create blur around the central subject in a completely natural-looking way, giving the subject prominence in the image. We recommend working with apertures of ƒ/5.6 or ƒ/8 in order to keep a sufﬁciently blurry transitional zone. A strong backlight – balanced if need be with a small ﬂash or a reﬂector – brightens the effect of the ﬁlter. The surrounding blur is much stronger with the 071 ﬁlter. These 2 ﬁlters are to be used preferably with focal points between 20 and 35 mm (in 24 x 36). C. Spot 070 C.Spot 071 WA Incolored 1 WA I Incolored 2 • Center-Spot WA Incolored 1 : the ideal filter for beginners. + 0 stop • Center-Spot WA Incolored 2 : more pronounced blurred perimeter. + 2/3 stop GREY CENTER-SPOT FILTERS These ﬁlters work by blurring and darkening the periphery of the image in a more or less noticeable way. The intensity and the quality of the central subject’s lighting are clearly emphasized. Use the same instructions as for the Uncolored Center-Spot ﬁlters for the aperture and focal points. The periphery of the 073 ﬁlter is darker, reinforcing its effect. Be sure to adapt the choice of your Center-Spots to the general tonality of your image to make it more harmonious. C. Spot 072 C.Spot 073 WA Grey 1 WA Grey 2 • Center-Spot WA Grey 1 : good fusion level of fore and backgrounds. + 11/3 stop • Center-Spot WA Grey 2 : more marked peripheral shadowing. + 2 stops OVAL CENTER-SPOT FILTERS For larger or taller subjects, you should opt for the oval Center-Spots which come in 2 tonalities for the surrounding blur, clear white or charcoal grey. • If wedding photography is still their main use, it’s because these ﬁlters help to make unsightly settings less noticeable, centering the attention on the happy Oval 140 Oval 141 couple. They can also be used in numerous other situations requiring the same C.Spot White C.Spot Black effect: still lifes, landscapes, or even sometimes sports. • Oval Center-Spot White : peripheral blur in white tones. + 1/3 stop • Oval Center-Spot Black : peripheral blur in charcoal grey. + 1/3 stop 47 FILTERS FOR BLACK & WHITE AND SEPIA PHOTOGRAPHY COKIN WATCHWORDS: SERVICE & QUALITY THE SPECTRAL sensitivity of panchromatic black & white ﬁlms deviates from that of the human eye, especially in artiﬁcial light. The black & white speciﬁc ﬁlters allow for the differentiation of colors translated into excessively close nuances of grey. As for the sepia ﬁlters, they are the answer for those wishing to recreate the images from times past. FILTERS FOR BLACK & WHITE PHOTOGRAPHY These COKIN filters are completely unique. They are not exactly the same as their Wratten® or Kodak® counterparts, but are optimized to obtain the best graphic effects possible in each of the 5 tints of the line. Used in colour, they generate effects that are absolutely spectacular! • For understanding which ﬁlter to use with black & white photography, there is one simple rule : to brighten a colour you must choose a ﬁlter of the same colour, and, to darken, you must use a ﬁlter of complementary colour. Thus, a green ﬁlter will brighten vegetation and a yellow or orange ﬁlter will darken the sky. In black & white, everything being a question of nuances and contrasts, these ﬁlters constitute a powerful method of expression, no matter what the subject is. > Photography Wilson Castaneda FILTER 003 NO FILTER Yellow Orange Red Green Yellow-Green • Yellow : darkens blues, brings out clouds well, diminishes atmospheric haze. + 2/3 stop • Orange : brightens reds, darkens violets and blues, reinforces contrasts in landscapes and architecture photography, ideal for outdoor nudes. + 12/3 stop • Red : strongly brightens reds, darkens blues and greens, creates spectacular stormy skies. + 31/3 stop • Green : clearly brightens greens and darkens reds, ideal for nature photography. + 22/3 stop • Yellow-Green : darkens blues and brightens green tones, very good ﬁlter in general for landscapes, works wonderfully with portraits. + 2/3 stop SEPIA FILTERS Sepia tones are perfect for the creation of images from times past. For suitable subjects (portraits, landscapes or still lifes, for example) you can either photograph them directly – with colour ﬁlm or digitally – with one or the other of the two ﬁlters available, or re-shoot black and white images (on the copy stand, if needed) with the 005 ﬁlter – in colour, obviously. • In both cases, using a ﬁlter is without a doubt the most rapid and efﬁcient method for obtaining images in pleasant sepia tones, rather than subjecting yourself to long and tedious work with ﬁlm or digital. THE COKIN GROUP has some 80 employees, works with around 250 subcontractors, and its global network has more than 100 exclusive distributors. Whether it is research & development, manufacturing, marketing, sales or product distribution, each of the players in this human-sized company keeps a daily watch on the ﬁrm’s rigorous quality standards and works to ensure the best possible service for its customers. COKIN represents a wonderful demonstration of what happens when an outstanding manufacturer enhances its recognized know-how by taking the opinions and comments of its numerous professional customers into account. The quality of the company’s products and its references are its greatest assets. Impeccable workmanship Experienced photographer and brilliant inventor, Jean Coquin is also at the origin of an industrial process that distinguishes itself in many special ways. First – astonishing in this era of globalisation – all of the optical products in the Z-PRO line are manufactured in France. Second, COKIN makes itself what constitutes its raw material – plates of CR39® glass – in one of the company factories in Alsace, France. This approach, carried out at each level of production, constitutes the best guarantee of constant quality throughout the entire manufacturing process. • The quality controls at COKIN are the same that one encounters throughout the precision optics industry; every ﬁlter is individually inspected at least 4 times, every ﬁlter-holder 7 to 8 times. The human eye remains in each case the decisive element in this constant search for quality! • The manufacturing of ﬁlters alternates between manual and machine operations. Behind COKIN’s industrial achievements, there are still women and men, shaped by a remarkable company culture. In addition, the qualiﬁed company personnel have an average of 25 years on the job... An immense store of know-how, a constant will to do the job well, a special dyeing process carefully kept secret – these are just some of the numerous assets that explain the excellence of COKIN products. > Photography Jean-François Alexandre FILTER 005 COKIN USERS Sepia 005 Sepialight 045 • Sepia : pronounced tonality, ideal for reshooting black & white photos on the copy stand. + 32/3 stop • Sepialight : lighter tonality, recommended for direct shoots. + 3 stop 48 are numerous and prestigious, and include... NASA’s Space Shuttle program: use of special ﬁlters for their telescopes. CINEMA, Akira Kurosawa, director; Fabrice Rousselot, head cameraman; and many others have chosen COKIN ﬁlters for their ﬁlms. COKIN, leading-edge Research & Development for more than 40 years COKIN is one of the rare companies that really lends an attentive ear to the wishes and the questions of its users. • It is also one of the rare brands to manufacture products conceived and created by professionals, FOR professionals. The Z-PRO line is a remarkable example! • The Z-PRO ﬁlter-holders are a combination of technology and industrial accomplishment: each component, each material, each piece, each coating is a response to an astonishingly complex set of speciﬁcations. Thus, in this case alone, the choice of a rather ﬂexible high-tech material for the strips used to tighten the ﬁlters, and that of another material, more rigid for the large plate, requires the expertise of numerous specialists... • When one realizes that over the years COKIN has seen over twenty imitations of its products and today there remain but one or two, it becomes clear that COKIN has achieved an extraordinary feat. Guaranteed worldwide distribution The over 100 COKIN distributors worldwide provide a permanent dialogue with image craftsmen, photographers or cameramen, no matter where they are on earth, to satisfy and if possible anticipate their needs. • The majority of COKIN distributors have been doing so for many years and have a perfect knowledge of the products. One could almost say that, anywhere you go on this vast planet, you will ﬁnd your preferred ﬁlters. And when one is a “pro”, this counts for a lot! A VERY HIGH-TECH POLARIZING FILTER The properties of a polarizing ﬁlter come from the effect of an aceto-butyrate ﬁlm on polarized light. This ﬁlm is extremely fragile and is often not completely ﬂat when applied. It is therefore pressed between 2 mineral glass lenses of very high optical precision. The reasons behind the exceptional optical quality of the COKIN Z-PRO polarizing ﬁlters can be seen in the details of how this process is carried out. • The polarizing ﬁlm is bonded by machine to the two mineral glass lenses with a special optical glue, then vacuum-sealed at a speciﬁc temperature. This method assures its ﬂatness and eliminates micro-bubbles sometimes resulting from gluing, in the same way that soaking slides in oil before placing them on a drum scanner allows for elimination of possible scuffs and imperfections. The seal is assembled at the edges to insure its durability and it is polished all once again to guarantee optimal quality. • This method also means that the number of air-to-glass surfaces , —a troublesome source of ﬂare— is reduced: rather than six air-to-glass surfaces, you have only two, improving the performance of the optical transmission. Subjected to a continuous and rigorous quality control, the COKIN manufacturing process guarantees you uncompromising image quality. • From the very ﬁrst image taken, the beneﬁts of using this exceptional ﬁlter will be obvious: absence of any dominant tints (greenish, for example), absolute neutrality, sharpness and reinforced colour saturation. All clear signs of the durability and quality of the COKIN PRO polarizing ﬁlters.