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Page Title

micro lter system

Introduction

Contents

Compact System Cameras have a high specification packed

into a small, portable body. Their design makes them the
perfect tool for both everyday and more creative photography.
The Seven5 filter system from LEE Filters follows the same
principles and helps photographers fully realise the potential
of their camera.

For many photographers, filters are the

mainstay of the image-making process.
Versatile and easy to use, they open up a
world of creativity be that balancing the
exposure between sky and foreground,
increasing the saturation of a blue sky,
ramping up the contrast of a black-andwhite image or lengthening an exposure
to introduce a sense of movement and the
passing of time.

Filters also aid the photographer in capturing

an image that reflects what they saw when
they released the shutter this means less
time spent in front of a computer during
postproduction and more time shooting.

How to use the Seven5 system

10

Neutral density filters

12
14

The polarising filter

The Big Stopper

16
26

Getting creative
Resin sets

29
32

Single graduated filters

Inspiring Professionals books

How to use the

Seven5

The Starter Kit

Lens Hood

The Seven5 Starter Kit comprises one filter

holder (which features two slots) and one
0.6ND hard grad. The adaptor ring needs to
be purchased separately.

The Seven5 system also features a lightweight

clip-on lens hood, to help control the effects
of flare.

Lightweight, simple and precision engineered, the Seven5

is extremely easy to set up and use.
Adaptor rings
You need only three things: an adaptor ring,
which screws onto the cameras lens; a
filter holder, which snaps onto the adaptor
ring; and a filter, which simply slides into the
filter holder.
Because the Seven5 filter holder features
two slots, you can also combine filters - for
example, a warm-up and an ND grad. In
addition, the polarising filter can be clipped
onto the front of the holder and rotated
independently, leaving the area covered by
the slot-in filters unaffected.

Adaptor rings are available for the

following lens thread sizes:

Closed

Middle

Open

The rubber hood has been designed with

three positive stop positions, allowing for
shading on lenses of many focal lengths.

37mm, 37.5mm, 39mm, 40mm, 40.5mm,

43mm, 46mm, 49mm, 52mm, 55mm,
58mm, 60mm, 62mm, 67mm, 72mm
and Fuji X100 / X100S.

The Seven5 polariser will fit easily inside the

hood when needed.

A quick way
to use an ND
graduated filter

A quick way
to use an ND
standard filter

07

/12

Without a filter, the sky in

this image is burnt out and
lacks detail.

Screw the adaptor ring onto

the front of your lens.

LEE

Clip the filter holder onto the

adaptor ring by releasing the
silver lug at the side.

.6N

DG

Slide the filter into the holder

in this case, a 0.6ND hard
grad. Place it in the guide
rails nearest to your lens.

Without a filter, the shutter

speed is too short to evoke
a sense of movement in this
waterfall.

If light levels are low, fit your

camera to a tripod to avoid
camera shake. Screw the
adaptor ring onto the front of
your lens.

Clip the filter holder onto the

adaptor ring by releasing the
silver lug at the side.

Slide the filter into the

holder in this case, an
ND standard. Place it in
the guide rails nearest to
your lens.

07

/12

-2

-1

-2

0
-1

30
15

-1

A
SCN

20
00
10 00
50 0
0
25

20
00
10 00
50 0
0
25

B
8

-1

30
15

12
5
60

30
15

-2

-2

The final picture. The 0.6ND

hard grad has balanced the
exposure, so the sky now
has depth and colour.

60

+1

If you are shooting in

Automatic mode, there
is no need to adjust your
exposure, as the camera will
do this automatically.

50 0
250
125

+2

If you do not have an

exposure compensation
dial on your camera, you
can adjust it via the menu
settings. The cameras screen
will display that you have set
your exposure to +2/3.

Fn
A

If you are shooting in

Manual mode, you should
adjust your shutter speed
to compensate for the filter.
Simply increase the length
of the shutter speed in
increments until the reading
on your cameras screen
is at 0.

00

4000
0
20 0 0
0
10

40

+1

+1

60

+2

50 0
250
125

Fn

+2

4000
0
20 0 0
0
10

Fn

If you want to use your

camera in Automatic mode,
set it to A. As a starting
point, dial in +2/3 exposure
compensation. This will be
sufficient for most situations,
but may vary depending on
the brightness of the scene
and how much the filter
covers it. You may want to
bracket to be sure.

With the graduated filter in

place, you are ready to take
your meter reading.

+2

Use the viewfinder or Live

View to position the filter so
that the graduated area is
over the horizon.

6
T

00

+1

5
8
4

40

8
4

S
A
P

Fn

12
5
60

7a

DG

C2

.6N

30
15

LEE

C1
M

If you are shooting in

Manual mode, you should
adjust your shutter speed
to compensate for the filter.
Simply increase the length
of the shutter speed in
increments until the reading
on your cameras screen
is at 0.

The final picture. The ND

standard filter has slowed
down the shutter speed, so
the image imparts a sense of
movement and softness.

A quick way
to use a
polariser

00

10

2000

4000

-1

00

10

2000

4000

-1

-1

-2

-2

40 00
20 00
00
10

500

-1

60

125
250

+1

Depending on the shutter

speed, you will probably
have to set your camera to
bulb (B).

+2

-2

+1

T
B

Slide the filter into the

holder. Place it in the guide
rails nearest to your lens and
make sure the filters foam
seal is facing the camera.

Release the shutter using

a remote or cable release.
Because the camera is in B
mode, you will need to count
your exposure either in your
head, or with a watch or
the timer on a smartphone.
Cover the viewfinder with
your hand to prevent light
leaks, being careful not to
knock the camera.

9
The ultra-slow shutter speed
has resulted in the water
appearing misty and ethereal.

+2

30

30
15

30

15

15

-2

-1

Fit your camera to a tripod

and set it to manual focus.
Take a light reading, then set
your aperture and make a
note of the shutter speed.

Fn

+1

30
15

12
5
60

20
00
10 00
50 0
0
25

Clip the filter holder onto the

adaptor ring by releasing the
silver lug at the side.

+2

The Big Stopper increases

the exposure by ten
stops, so you will need to
extend your shutter speed
accordingly. To calculate it,
use the card supplied with
the filter. For example, a
reading of 1/125sec at f/8
becomes eight seconds
at f/8. The filter has a
blue cast, which can be
corrected by increasing the
colour temperature of your
camera to 8,000-9,000K.
As each filter varies slightly,
you should take some test
images to determine the
ideal colour temperature
setting for your filter.

If you are shooting in

Manual mode, you should
adjust your shutter speed
to compensate for the filter.
Simply increase the length
of the shutter speed in
increments until the reading
on your cameras screen
is at 0.

30
15

7
The final picture. The
polariser has cut out the
reflections and contrast,
making a far more evenly
toned, pleasing image.

+1

If you are shooting in

Automatic mode, there
is no need to adjust your
exposure, as the camera will
do this automatically.

+2

+1

+2

250
125
60

sto
pp
er

Shu
1,0
tter
00
Ex
Spe
th
ed
po
50
0th
su
with
re
25
Big
0th
1 se Stoppe
Gui
12
cond r
de
5th
2 se
60
cond
Nor
th
4 se
mal
30
Shu
cond s
15
th
tter
8 se
th
Spe
ed
cond s
8th
15
with
seco s

Big
30
nd
1 mi Stoppe
s
seco

r
nu
nd
te
2 mi
s
1 se
nu
tes
4 mi
cond
2 se
nu
tes
8 mi
cond
nu
s
tes
16
minu
32
minu tes
tes

th

e
BIG
Nor

mal

50 0

Screw the adaptor ring onto

the front of your lens.

Fn
A

View the scene through your

cameras viewfinder and
rotate the polariser until you
achieve the desired effect.

0
00

5
4000
0
20 0 0
0
10

Clip the filter holder onto the

adaptor ring by releasing the
silver lug at the side.

8
4

or

Fn

Without a filter, there is

no sense of movement in
this scene.

50
0
250
125
60

4b

Holding the polariser up to

your eye, rotate the filter until
you achieve the desired effect.

60

4a

Clip the polariser onto the

front of your filter holder.

500

Screw the adaptor ring onto

the front of your lens.

125

Without a filter, the reflections

are distracting and the image
has too much contrast.

250

-2

How to use the

Big Stopper

10

11

0.9 ND Standard

Neutral density
filters

ND filters for the Seven5 system are

available in 0.3, 0.6 and 0.9 strengths.
The 0.3ND reduces the amount of light
hitting the sensor by one stop, the 0.6ND
by two stops and the 0.9ND by three stops.

0.3 ND Hard Grad

0.9

0.6

0.3

Graduated ND filters
A graduated ND filter has the neutral density
tone covering just part of the filter. Half way
down the filter, the tone begins to dissolve,
until it leaves clear resin. In most situations,
the sky is brighter than the foreground of
a scene, so the graduated ND helps to
balance your exposure. The result is an
evenly lit scene, as opposed to one where
either the sky is burned out and white, or the
foreground is underexposed.
ND grads come in two types: hard and soft.
The hard grad has a much more defined
transition between neutral density and clear,
and is ideal when the area of transition in the
composition is defined a wall, or the seas
horizon, for example.
A soft grad, as its name suggests, features
a more gradual transition, and is the filter
type of choice when the line between sky
and foreground is less defined, such as an
undulating landscape.

0.9

0.6

In a standard ND filter, the neutral density

tone covers the entire filter. It can be used
either to slow down the shutter speed or to
widen the aperture. For example, if a meter
reading suggests 1/60 sec at f/8, fitting a
0.9ND (three-stop) standard filter would
allow you to slow your shutter speed to 1/8
sec at f/8, to impart a sense of movement to
the scene.

Alternatively, using the same reading of 1/60

sec at f/8, fitting a 0.9ND standard filter
would allow you to open up your aperture
to f/2.8. This gives you the opportunity to
focus more selectively and if shooting a
portrait, for example throw the background
out of focus for a more flattering and less
distracting result.

ProGlass filters
For photographers who prefer glass filters,
LEE has introduced the ProGlass range.
Manufactured from the highest-quality
glass, the ProGlass standard neutral density
filters are available in 0.6 and 0.9 strengths.
Optimised for use with digital cameras,
the ProGlass filters absorb more infrared
and ultraviolet light than their resin ND
counterparts, and can cope effectively with
adverse lighting conditions.

0.9 ND ProGlass
(Standard) Filter

0.6 ND ProGlass
(Standard) Filter

0.9 ND ProGlass

Their purpose is to reduce the amount of

light hitting the cameras sensor without
and this is crucial altering the colour of the
scene. They come in two types: graduated
and standard. Both standard and graduated

Standard ND filters
0.3

Neutral density (ND) filters form an invaluable part of any

creative photographers armoury.

12

13

The
polarising
filter

The polarising filter is an extremely versatile tool that can bring

depth and dimension to an image.

A polariser works by cutting out certain

waves of light from reflective surfaces,
making colours appear more saturated.
But there is more to this filter than simply
ramping up the colour of a blue sky.
It can be used more subtly, too.

LEE Filters has introduced a circular polariser

specifically for the Seven5 system.

Circular Polariser

While rotating the polariser fully will result

in the aforementioned deep blue sky with
clouds that appear to leap out of the
image, rotating it by just two thirds or three
quarters will give a slightly more delicate
and potentially more realistic result, with
less contrast between cloud and sky, and
an image that is more believable to the
human eye.

And its far from being a filter only for the

landscape photographer. Those with an
interest in architectural pictures also find it
invaluable, as it cuts reflections which can
render an image confusing and muddled
from glass and metallic surfaces.

This means it can be used in conjunction

with, for example, a warm-up filter or a
neutral density grad.
One point to remember is that you will have to
increase your exposure by 1 3/4 stops when
using a polariser. If you are combining it with
other filters, the increase may be even greater.

The beauty of the Seven5 polariser lies not

only in its simplicity (it snaps onto the filter
holder and is ready to use), but also in the
fact that it can be rotated independently of
any other filters.

Circular Polariser

In use

There are two types of polariser: circular

and linear. These terms do not describe the
shape of the polariser, but the way in which
it works. In general terms, modern cameras
require circular polarisers, because the linear
type interferes with complex electronics.

14

15

The Big Stopper

The Big Stopper

In the past, creating a long exposure meant
a fiddly process of setting the lowest ISO
possible, stopping down to the smallest
aperture and then fitting a standard ND filter
or sometimes stacking one on top of the
other. Of course, shooting film meant taking
reciprocity failure into account, which further
increased the exposure.

Combining filters
For even more precise control of the image,
the Big Stopper can be used in conjunction
with other filters for example, an ND grad
or polarising filter.

Big Stopper

Big Stopper

In recent years, photographers

such as Jonathan Chritchley,
Michael Kenna and Rolfe
Horn have created a trend
for ultra-long exposures. The
result is a very particular style
of image that conveys a sense
of movement and the passing
of time.

However, LEE Filters chose to respond to

the trend in the simplest way possible, by
introducing the Big Stopper a filter that
lengthens the exposure by a full ten stops.
This means that a reading of 1/30 sec at
f/8 would extend to an exposure of 30
seconds at f/8. If you are shooting in low
light, and have a reading of, say, one second
at f/8, your shutter speed would become
an impressive 16 minutes. Adjusting the
aperture and ISO settings would allow it to
be lengthened even further.

It is a technique that is well suited to

seascapes or landscape images that feature
water, with sometimes fast-moving elements
of a composition being rendered apparently
still and milky white.

Remember to take the filter factor of any

other filters into account when setting your
exposure.

Exposure Guide
Your Big Stopper will have a density of
somewhere between 9 and 10 stops.
Before first use, please take a test image
to ensure correct exposure compensation
when in use.
Normal Shutter Speed

with Big Stopper

1,000th

1 second

500th

2 seconds

250th

4 seconds

125th

8 seconds

60th

15 seconds

30th

30 seconds

15th

1 minute

8th

2 minutes

4 minutes

8 minutes

1 second

16 minutes

2 seconds

32 minutes

16

17

One of the most enjoyable aspects of

shooting in cities is choosing which lens
to work with. A telephoto lens, or shooting
at the long end of a zoom, allows the
photographer to compress the perspective
of a scene, making structures appear closer
to each other than they actually are.

0.6 ND Hard Grad

Getting
creative

This is great for conveying the bustle of a

cityscape. A wider lens puts the building
into context and can convey drama when
shooting from a low angle pointing upwards.

Choosing your filter

Vibrant, colourful and often gritty, its not surprising so many

photographers find their inspiration in our cities. From studies
of architectural details, to quirky juxtapositions of buildings,
or playing with the scale differences between people and
structures, the creative possibilities are almost infinite.

Compact System Cameras are ideally

suited to this type of environment, where
a photographer, often working handheld,
needs to respond quickly to a fastunfolding scene. Its this kind of photography
that LEE Filters bore in mind when developing
the Seven5 system making it inconspicuous
and light enough to remain attached to the
lens at all times. All the photographer needs to
do is slide in or snap on the appropriate filter
and shoot.

Circular Polariser

Urban landscapes

Almost any filter goes in an urban

environment. A polariser reduces the
reflection from glass windows, while
increasing the saturation of a blue sky.
The polariser can be used alone or in
conjunction with other filters. More often than
not, the sky will give a brighter meter reading
than the foreground, so fitting an ND grad will
overcome this and balance out the exposure.
You might even like to slide a sunset filter or
a coral grad into the holder, to introduce an
element of warmth to the scene.
Its also possible to create unusual and
arresting images in cities using the Big
Stopper filter although it does, of course,
require a sturdy tripod if camera shake is to
be avoided.

The movement of clouds against a steadyas-a-rock building is often an attractive

juxtaposition, while extremely long
exposures in low light can render moving
figures invisible, resulting in an intriguing
scene that might appear to be devoid of
human presence.

18

19

Choosing your filter

0.6 ND Soft Grad

Whether shooting family

snaps as mementoes, or
something more formal,
photographing people is an
endlessly fulfilling challenge.

Portraits
Capturing the essence of someones
personality while simultaneously placing
them at their ease and staying alert to the
split second when everything falls into place
certainly keeps a photographer on their toes.
The choice of filter when shooting portraits
depends on many factors, including
whether working indoors or outdoors, the
subjects skin tone and, of course, what
the photographer hopes to achieve with
the image. Like much of photography, its
all about experimenting, but here are a few
pointers to get started.

0.6 ND Standard

When shooting portraits outdoors in natural

light, you may encounter the same disparity
between sky and foreground, in terms of
exposure, as you would with landscape
photography. In cases such as these, an ND
grad is invaluable and reduces the need for
fiddly work at the computer in postproduction.

0.6 ND Soft Grad

Getting
creative

One of the classic techniques of portrait

photography is to use a wide aperture
around f/4 or even f/2.8 in order to
throw the background out of focus and
concentrate the viewers attention on the
subject, and render any potential distractions
blurred. However, bright sunshine can often
put paid to such an approach. In these
situations, a standard ND filter reduces the
amount of light hitting the sensor, permitting
the photographer to open up the aperture.

For example, a reading of 1/500 sec at f/11

is an ideal shutter speed, but not such a
great aperture. Fitting a standard 0.9ND filter
would result in an aperture of f/4, which is
preferable for portrait photography.

20

21

Getting
creative

Big Stopper

A shutter speed of 1/2 sec on a busy street

will capture a sense of movement and
bustle, while a two-minute exposure when
shooting a seascape will result in a smooth,
still image almost devoid of detail in the
moving areas of the frame.

Choosing your filter

One of the great joys of photography is that it gives us the

chance to experiment and nowhere is this more apparent than
with long exposures. They can be something of a trial and error,
but thats a big part of the fun.

When it comes to long exposures, the

standard ND is the filter you want to reach
for. Depending on the extent to which you
want to slow down your shutter speed, you
can pick anything from the 0.3ND, for just
one stop of compensation, through 0.6
(2 stops) and 0.9 (3 stops), right up to the
ten stops of the Big Stopper.
And because the Seven5 filter holder has
two slots, you can even stack filters, so a
combination of 0.6 and 0.9ND standards, would
give an extended exposure of five stops.

Long exposures
Success with long exposures relies on one
key item: a decent tripod. This means the
resulting photographs are blurred for the right
reasons and not because of camera shake.
Because theres no exact definition of what
constitutes a long exposure, the extent of
blur within an image is completely down to
the photographer.

0.9 ND Standard

Trial and error

Although one of the most enjoyable aspects
of long-exposure photography is its
unpredictability, if you want more controlled
results, its important to experiment. By
doing so, you will build up a mental library
of the effects of different shutter speeds on
the scene in front of you.

For instance, a long exposure doesnt have

to mean the moving part of the composition
is devoid of all detail. Many landscape
photographers feel the movement of a
waterfall, for instance, is best conveyed
when a little detail is retained in the water.
As such, they may use a shutter speed
of around 1/4 sec or 1/2 sec as opposed
to one of 30 seconds or more. Other
photographers, however, may prefer the
abstract results that arise from the longer
exposures there are no rules, after all!

22

23

Getting
creative

0.6 ND Hard Grad

Choosing your filter

When it comes to filters for landscape
photography, the choice is enormous and
can be confusing. Start by asking yourself
what you want a filter to add to your
image. Do you want it to dramatise what
is in front of you, adding a sense of the
hyper real? Or would you prefer the use of
filters to be imperceptible, their use simply
helping to replicate what can be seen with
the naked eye?

Landscapes
Despite this, however, landscape
photography can be tricky to master, and
conveying a true sense of place, time and
mood in an image is something that only
comes with practice.

Nothing is more crucial to the success of a

landscape image than the right light.
This usually means shooting at the very
beginning or end of the day, when the light
can be anything from understated and subtle
to dramatic and fiery, moulding the scene,
giving it colour, depth and atmosphere.

0.6 ND Hard Grad + Big Stopper

Landscape photography consistently comes up as the most

popular subject among keen photographers. And its not
surprising. Getting out into the fresh air of the countryside
armed with nothing but a camera and with nothing to think
about other than making images is one of the best ways to
switch off from everyday pressures.

Whichever your preference, neutral density

grads, warm-up filters and a polariser
make a good starting point. For further
enhancement, you might want to add
sunset, coral and blue filters to your kit all
of which will enhance an otherwise dull sky,
without appearing overdone.

Choosing colours that complement rather

than clash with your composition is the key
to success.
The two-slot design of the Seven5 holder
means that the photographer can combine
filters, so a neutral density grad might
balance the exposure between sky and
foreground, for example, while a blue grad
would introduce tone into what might be an
otherwise featureless sky.

24

25

Getting
creative

As a result, they can be modified in the field,

avoiding the need to spend as much time on
the computer at the postproduction stage.

23A Light Red Filter

Choosing your filter

Black and white

Stripped of its colour, a scene takes on a
whole new mood and meaning, one that
is completely different from how it might
appear if shot in colour.
Many Compact System Cameras give the
photographer the option of capturing the
image in black and white, with the rear
monitor displaying it in monochrome.

This is an extremely useful aid in terms

of visualising in black and white. When
shooting in this mode, using filters can
enhance the picture, and the monitor means
the photographer can see the effect of
the filter instantly, rather than waiting until
the photographs are uploaded onto the
computer at home.

Neutral-density filters both standard

and graduated are also invaluable to the
photographer who works in black and white.
They should be used in the same way as
with colour photography, namely, to balance
exposure and to either slow down shutter
speed or afford the use of a wider aperture.
Last, but most definitely not least, the
Big Stopper is perfect for monochrome
photography, enhancing a pictures mood
and sense of the abstract.

The basic kit for the photographer who

shoots in black and white would include
yellow, orange and red filters. If shooting
a blue sky with white, puffy clouds, the
yellow filter would impart a slight increase in
contrast between the two, while a red filter
would have a far more dramatic effect. The
effect of an orange filter falls in between.
However, there are other factors to consider
when using these filters, because they
also brighten colours similar to their own.
For example, fitting a red filter when
photographing a typical red London bus
would result in the vehicle appearing almost
white in the final image.

0.6 ND Soft Grad

Recent years have seen a huge resurgence of interest in

black and white photography. This is thanks in no small part
to the introduction of digital technology and the ease with
which it allows the photographer to convert colour images
to monochrome. Black and white images have a quality all
of their own.

This filter also absorbs green, so it should be

used judiciously when shooting landscapes,
as any lush greenery can block up, losing
detail and contrast.

26

27

Resin sets

Neutral density
grad set
Filters

0.3 ND

The neutral density grad set comes in

both hard and soft grad versions. Each set
includes 0.3, 0.6 and 0.9 strength filters,
with the 0.3 grad equating to one stop
of exposure compensation, the 0.6 grad
equating to two, and the 0.9 grad giving
three stops. So, for example, if the meter
reading for the sky was 1/30 sec at f/8 and
the foreground 1/125 sec at f/8, you would

Resin sets are a great and economical introduction to filters.

Each LEE Filters set for the Seven5 system includes three
graduated filters, which are presented in a wrap that is easily
stored in a pocket or camera bag.

0.6 ND

0.9 ND

select a 0.6ND grad, which would even out

the exposure to 1/125 sec at f/8 across the
whole scene.
Dont forget, too, that the Seven5 systems
filter holder can be rotated, so grads of
any type can be used at an angle or even
upside down. For a full explanation of how
to use neutral density grads, see page 6.

Filtered

No filter
Filter
used
0.6 ND
Hard Grad

28

29

Single
graduated
filters

Black and white

set
Filters

Filters are an essential part of any black

and white photographers kit, and this
set reflects that. Made up of Yellow, Red
and Yellowish Green standard filters (not

No. 23A
Light Red

No. 11
Yellowish Green

grads), the first two filters will enhance the

contrast in a sky to varying degrees, while
the Yellowish Green both imparts contrast
and opens up the tones of green foliage.

Sunset

For a sunset effect when

shooting into a low sun.

The red portion of the

Sunset grad.

Sunset Yellow
The yellow portion of
the Sunset grad.

Sunset Orange
The orange portion of
the Sunset grad.

Straw
For a strong warm-up
effect when shooting
landscapes; accentuates
foregrounds when inverted.

Filter
used
No. 23A
Light Red

Yellow

Sunset Red

Red

Filtered

Orange

No filter

No. 8
Yellow

30

31

Real Blue

11

12

13

14

Enhances impression of
dawn and evening light
in skies; red sky at
night effect.

Accentuates brown
tones, such as autumn
leaves and stone.

Neutral Density
1

Darker and more red

than Chocolate and
Sepia filters, with a very
strong effect.

For a brown-tinted
monochrome
appearance, which is
less red than Chocolate.

A green-blue to bring
realistic colour into
flat skies.

Mahogany

Sepia

10

Sky Blue

Tobacco

Darker and more black

than Sky Blue, for a
stronger impact on skies.
6

Chocolate

0.9

Slightly pink warm-up

filter, more red than
81 series.

0.6

Coral

0.3

Single
graduated
filters

Reduces exposure in
selected areas without
affecting colour balance.

32

33

Books

Index

Page

Adaptor Rings
Big Stopper

Who better to learn from than the professional photographers

who use LEE Filters products every day?

With contributions from Joe Cornish,

Charlie Waite, David Ward, Mark Denton,
John Gravett, David Noton, Jeremy Walker,
Paul Gallagher and Tom Mackie, Inspiring
Professionals and Inspiring Professionals 2
are packed full of world-class photography
and invaluable hints on how to get the best
out of your LEE Filters products.

Inspiring Professionals 1

Inspiring Professionals 2

Neutral Density
Graduated Filter Set

27

9,14,21

Polariser

8,12,16

Black & White Filter Set

28

Portraits

18

Black & White Photography

24

Real Blue 1, 2, 3

31

Books

32

Resin Filter Sets

26

Chocolate 1, 2

30

Single Graduated Filters

29

Coral 1, 2 ,3 ,4 ,5 ,6 ,7, 8, 9,
10, 11, 12, 13, 14

30

Sepia 1, 2, 3

30

Sky Blue 1, 2, 3, 4, 5

31

Holder

Learn from
the professionals

Page

Inspiring Professionals 1 & 2

32

Starter Kit

Landscape Photography

22

Straw 1, 2, 3

29

Sunset Orange

29

Lens Hood

Long Exposures

20

Sunset Red

29

Mahogany 1, 2, 3

31

Sunset Yellow

29

Neutral Density Filters

10

Sunset 1, 2, 3

29

Tobacco 1, 2, 3

30

Urban Photography

16

Neutral Density
Graduated Filters

6,10,17,18
19,23,25,31

Neutral Density
Standard Filters

7,11,19,20

Neutral Density
ProGlass Filters

11

34

Contact
details

LEE Filters, Central Way,

Walworth Business Park,
Andover, Hampshire,
SP10 5AN UK
T: + 44 (0) 1264 366245
F: + 44 (0) 1264 355058
sales@leefilters.com
leefilters.com

LEE Filters USA,

2237 North Hollywood Way,
Burbank, CA 91505 USA
T: (800) 576 5055
F: (818) 238 1228
sales@leefiltersusa.com
leefilters.com
Contributing photographers:
Jonathan Chritchley
http://www.jonathanchritchley.net
Joe Cornish
http://www.joecornishgallery.co.uk
Paul Gallagher
http://www.paulgallagher.co.uk
Damien Lovegrove
http://www.lovegrovephotography.com
Charlie Waite
http://www.charliewaite.com
Jeremy Walker
http://www.jeremywalker.co.uk

Design and layout Trampoline Graphic Design.

www.trampolinedesign.net
Tel: 01962 864911

leefilters.com