Wratten number

Description

Filter Factor

Detais
1A Skylight 0 Skylight filter. It absorbs UV radiation, and reduces haze.
2A pale yellow 1.5 Absorbs UV radiation. Darkens skies in B&W
2B pale yellow 1.5 Slightly lighter than #2A.
2C pale yellow 1.5 Slightly lighter than #2B.
2E pale yellow 1.5 Slightly darker than #2A.
3 light yellow 1.5 Minus blue. Darkens skies in B&W more than 2A.
4 yellow 1.5 Slightly darker than #3
6 light yellow 1.5 Slightly lighter than #6.
8 yellow 2 Slightly darker than #3
8-11 Yellow -green 2 Darkens skies and without darkening foliage as much
9 deep yellow 2 Slightly darker than #8.
11 yellow-green 2 Color Correction.
12 deep yellow 2 Minus blue filter; complements #32 minus-green and #44A minus-red. Color Separation filter.
13 Green 2 Darkens skies and lightens foliage in B&W
15 deep yellow 2 Darkens the sky in black and white outdoor photography.
16 yellow-orange 2.5 Like #15, but more so.
18A     Based on Wood's glass.
21 orange 2.5 Very dark skies, darkens foliage.
22 deep orange 3 Slightly darker than #21.
23 light red 3 Dark Yellow Filter 023 (15) [SCHOTT OG 530] The even greater blue suppression and the attenuation into the blue-green range leads to a further increase in the effects described above. Interesting for snow scenes under a blue sky, because the darkened blue shadows in the snow make the shapes of the landscape look more dimensional. Freckles and skin blemishes are diminished strongly, but lips are rendered more pale (to compensate for you may use a dark lipstick!). f/stop 3
23A red 3 Very dark sky and water, darkens foliage
24 red 3 Slightly darker that #23A
25 red tricolor 3 Used for color separation and infrared photography.
25A red 3 Nearly black skies in B&W
26 red 3 Slightly darker than #25A.
29 deep red 4 Primarily used for Infrared
32 magenta   Minus-green. Complements #12 minus-blue and #44A minus-red.
34A violet   Used for minus-green and plus-blue separation.
38A blue   Absorbs red, some UV and some green light.
44 light blue-green   minus-red filter with much UV absorption.
44A light blue-green   minus-red, complements #12 is minus-blue and #32 minus-green.
47 blue tricolor   Used for color separation. Complements #29 and #61.
47A light blue   By removing lots of light that is not blue, blue and purple objects show a broader range of colors. Used for medical applications that involve making dyes fluoresce.
47B deep blue tricolor   Color separation. This Dark blue filter lightens blue objects for detail. Although originally intended for use with black and white film, these filters can also be used as a creative tool in color imaging.
50 deep blue    
56 light green   darkens sky, good flesh tones, pan films only
58 green tricolor   Color separation. By removing light that isn't green, green objects like foliage show a broader range of colors.
61 deep green tricolor   Color separation, complements #29 and #47.
80A blue   Color Conversion. Raises the color temperature, causing a 3200 K tungsten-lit scene to appear to be daylight lit, approximately 5500 K. This allows use of a daylight balanced film with tungsten lighting. f/stop 2
80B blue   Similar to 80A; 3400 K to 5500 K. f/stop 1+2/3
80C blue   Similar to 80A; 3800 K to 5500 K. Typically used so that old-style flashbulbs can be used on a daylight film. f/stop 1
80D blue   Similar to 80A; 4200 K to 5500 K. f/stop 1/3
81A pale orange   Warming filter to increase the color temperature slightly; this can also be used when shooting tungsten type B film (3200 K) with 3400 K photoflood lights. The opposite of 82A. f/stop 1/3
81B pale orange   Warming filter, slightly stronger than 81A. The opposite of 82B. f/stop 1/3
81C pale orange   Warming filter, slightly stronger than 81B, opposite of 82C. f/stop 1/3
81D pale orange   Warming filter, slightly stronger than 81C.
81EF pale orange   Warming filter, stronger than 81D. f/stop 1/3
82     100 deg K increase
82A pale blue   Cooling filter to decrease the color temperature slightly. The opposite of 81A. f/stop 1/3
82B pale blue   Cooling filter, slightly stronger than 82A and opposite of 81B. Can also be used when shooting tungsten type B film (3200 K) with household 100W electric bulbs (2900 K). f/stop 2/3
82C pale blue   Cooling filter, slightly stronger than 82B and opposite of 81C. f/stop 2/3
85 amber   Color conversion, the opposite of the 80A; this is a warming filter that takes an outdoor scene lit by sunlight (which has a color temperature around 5500 kelvins) and makes it appear to be lit by tungsten incandescent bulbs around 3400 K. This allows an indoor balanced film to be used to photograph outdoors. f/stop 2/3
85B amber   Similar to 85; converts 5500 K to 3200 K. f/stop 2/3
85C amber   Similar to 85; converts 5500 K to 3800 K.
85N3 amber   Neutral Density of 1 stop + Color conversion, the opposite of the 80A; this is a warming filter that takes an outdoor scene lit by sunlight (which has a color temperature around 5500 kelvin) and makes it appear to be lit by tungsten incandescent bulbs around 3400 K. This allows an indoor balanced film to be used to photograph outdoors.
85N6 amber   Neutral Density of 2 stops + Color conversion, the opposite of the 80A; this is a warming filter that takes an outdoor scene lit by sunlight (which has a color temperature around 5500 kelvin) and makes it appear to be lit by tungsten incandescent bulbs around 3400 K. This allows an indoor balanced film to be used to photograph outdoors.
85N9 amber   Neutral Density of 3 stops + Color conversion, the opposite of the 80A; this is a warming filter that takes an outdoor scene lit by sunlight (which has a color temperature around 5500 kelvin) and makes it appear to be lit by tungsten incandescent bulbs around 3400 K. This allows an indoor balanced film to be used to photograph outdoors.
85     for infrared film only, no visual transmission
87C IR opaque   Passes infrared but not visible frequencies.
89B IR near-opaque   Passes infrared, blocks visible wavelengths below 720 nm (very dark red). Aerial photography is one use.
90 dark grayish amber   Used for viewing scenes without color before photographing them.
92 red   color densitometry.
96 grayish   neutral density filter. Blocks all frequencies of light evenly, making scene darker overall. Available in many different values, distinguished by optical density or by f/stop.
98 blue   Like a #47B plus a #2B filter.
99 green   Like a #61 plus a #16 filter.
102 yellow-green   Color Conversion; makes a barrier-level type photocell respond as a human eye would.
106 amber   Color Conversions; makes an S-4 type photocell respond as a human eye would.
  Circular Polarizer   Polarizers provide color and contrast enhancement. Reflected light often shows up as whitish glare that washes out color in an image. A Polarizer corrects this problem producing deep, dramatically blue skies. It also removes glare from non-metallic surfaces
  Linear Polarizer   Not for digital cameras
  Warm Polarizer   Combines the benefits of the Linear Polarizer with the warming effect of the 812 Color Warming filter