The genre of photography that excites me the most these days is landscapes. I can’t think of anything I enjoy shooting more than a drama filled natural landscape. I feel at peace doing this type of photography, truly content. In preparing for our recent photo safari to Namibia I was looking at getting a filter system to help me make the most of the landscape photo opportunities that we were going to encounter.

So why use filters when a lot of the effects they offer can be replicated in post production software like Photoshop or Lightroom? Well, firstly I don’t like to do things in post when they can be done in the camera. If there’s a recipe for making me fed up it involves me sitting behind a computer screen for hours tweaking pixels with masks and layers in software that requires a great deal of expertise to get the best results from (besides, I’m not playing the Adobe rent-a-shop game these days). Secondly, the sensors on digital cameras these days have pretty good dynamic range, but if you want to make the most of the digital information captured on those sensors, it’s probably best to avoid working with the extremes of DR. If you’re on the edge of blowing out the sky while lifting the foreground, why not just play it safe and protect the sky with a neutral density graduated filter?

Neutral density filters that block light in the same way that sunglasses do have long been used by photographers to slow down exposure times when using wider apertures in bright outdoor conditions, or to selectively reduce glare in parts of the frame. Doing this not only helps to minimise depth of field in situations where your shutter speed is hitting the limits of your camera’s ability, but it also helps to create drama in skies with moving clouds, or to give moving water the dreamy silk-like effect that we see so often in seascapes and photos of rivers and waterfalls. You can’t replicate those effects easily in Photoshop or any other image manipulation software.

So, now that I have convinced you to use filters to enhance your landscape photography, you have a couple of options if, like me, you are chasing down exciting landscape photography:

1) you can buy filters that screw onto your lens, which gets expensive if you have quite a few lenses with different filter thread sizes, or…

2) you can buy into a system of filters that can be used on any lens with an adapter.

I decided to look into the latter and the LEE filters Seven5 filter system that has been designed specifically for smaller mirrorless cameras like micro four thirds popped up on my radar.

The Lee Seven5 system is much like their well known bigger system of resin based rectangular filters that can be slotted into a holder, which is then attached to a lens by means of a lens adapter. The only real difference is that the Seven5 filters are smaller (they are 75mm wide whereas the bigger filters used on DSLR’s are 100mm wide). Assuming you are using a ND grad, once the filter is in position you can easily rotate the holder around your lens to darken certain parts of the frame. You can also slide the filter up or down inside the holder to adjust the part of the frame you need to darken. This can’t be done with a traditional screw-in filter.

I got a LEE Seven5 filter system that comprised the following bits:

LEE Seven5 filter holder (dual slots for filters)
46mm, 52mm & 58mm adapter rings
0.3, 0.6 & 0.9 ND hard grad filters
0.9 ND filter

The filter numbers indicate the number of stops of light that they cut out. For example, 0.3 is 1 stop and 0.9 is 3 stops.

These hand made filters come in handy micro-fibre pockets that can double as cleaning cloths, but they are also wrapped in a fine tissue like paper that I have often used to clean lenses with in the past. Unfortunately the tissue paper didn’t make it out of the desert intact…

The adapter rings are made of a black anodised metal and the filter holder simply snaps onto these, allowing you to easily rotate the holder with the filters in place. It’s a very neat, uncomplicated system.

So how does it work in the field?

Prior to this Namibian safari I had never used filters like this, so you could call me a complete filter system newbie. Fortunately there is a lot of information on the LEE Filters website, as well as guides on how to use their products, so before I went on the trip I spent some time reading up how to use them and it seemed to be a fairly straight forward process.

The first time I tried to use them was at Bloubergstrand in Cape Town where you get some amazing sunsets over the ocean. Initially I found it a little difficult to figure out where exactly the ND grad line was appearing on the Olympus E-M5 because even if you press the depth of field preview, the EVF automatically brightens itself. This is a setting somewhere that I simply didn’t have the time to go looking for, so I guessed where to place the filter. The results were interesting, but as I was still learning how to use the system, I needed to experiment a bit more.

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Above is a shot showing the sun setting over Robin Island with a bit of the shoreline in the frame. If I remember correctly I was using the 0.6 ND graduated filter here, but I might be wrong. The overall exposure between land, sea and sky seems to be nicely balanced, but there is a spot of flare from the sun in the frame. This is not a train smash as you can always clone it out, but because you’re using what is essentially an external element to your lens, the quality of the filter will affect the severity of flare if you have the sun in the frame, so keep this in mind if you get the notion of buying cheaper filters.

The next time I got to use the filters was a couple of weeks later when we found ourselves photographing landscapes inside the Sossussvlei, which is a spectacular dune reserve in the south western part of Namibia. This is a place where landscape photographers die and go to heaven. Wherever you turn there is majestic landscape waiting for you to capture it. On our second day in the area we stayed inside the reserve in one of the exclusive Namibia Wildlife Resorts which enabled us to stay in the reserve at the most important photographic times of the day, sunrise and sunset. We made the most of this and did a session near dune 42 in the fading light of late afternoon and then again the next morning before sunrise at the Deadvlei, which is about 60km from the lodge, right at the end of the asphalt road that runs through the reserve.

The afternoon session gave me some much needed time to play around with the ND grads using my Olympus OM-D E-M5 and 9-18mm lens. While our group were mostly photographing the massive dune in front of us, I turned around and looked at the landscape behind us. The sun was setting and the light was amazing, so I found some foreground interest and proceeded to experiment with the LEE Seven5 ND grad filters, trying them all, before finally finding my stride with the 0.6.

This first shot shows the landscape as the E-M5 captured it under evaluative metering without any filters. You can see that the sky is a little washed out and there isn’t much in the way of contrast.

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Then using the 0.6 ND grad to cover the sky, I exposed for the foreground and got something decidedly more interesting.

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The next shot shows what happens to the foreground when I exposed to retain detail in the sky without the ND grad. Very underexposed. Yes, you could probably bring this up in Lightroom or Photoshop, but by doing that you’re also going to amplify any noise you might have in the shadows.

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I then went looking for something a little more interesting than stones in the foreground and found this. This is a relatively un-touched image, only minor toning and the “punch” preset in Lightroom were used. I’m very happy with this one.

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The next morning three of us arose before the dawn and headed for a sunrise at the Deadvlei. This gave me yet more opportunities to try out the ND grads. Again the results were great!

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Here’s the set up as captured by my iPhone.

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The next time I got to try out the filters was in Swakopmund, but the sky was very washed out there and there weren’t any clouds, so for this particular shot I went with the 0.3 ND grad and positioned it just below the horizon to give some more definition to the tops of the dunes.

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I think that this little system of filters is indispensable to landscape photography. It’s been downsized for use with the smaller mirrorless systems, such as micro four thirds and Fuji X-trans, so it’s easy to carry around in a camera bag. I managed to find a $20 slimline Lowepro GPS case that fits the filters and adapter rings I have perfectly. The filter holder comes with a drawstring pouch that fits nicely into the side of my ThinkTank Retrospective 5 bag, which means I can bring along my entire m43 kit and a filter set without having to resort to a bigger bag.

There are quite a few filter options available for the Seven5 system, ranging from sunset, B&W, tobacco, chocolate and sepia grads to polarisers and even a lens hood to help minimise the flaring from light hitting the filters at oblique angles. All in all it’s fairly comprehensive as a system and should keep landscape shooters using smaller systems quite well prepared for many eventualities.

Price wise it’s not cheap, but it should be remembered that each filter is hand made, so you’re getting the very best it can be. For the set of 3 ND grads, a single 0.9 ND filter, holder and 3 adapter rings you’re looking at approximately US$396 excluding shipping. There are now also Singh-Ray filters that will fit the LEE Seven5 holder, but those cost even more than the LEE filters.

In my opinion if you’re into outdoor photography, especially if you want to keep weight down by using a small mirrorless system, you can’t beat this Seven5 system for convenience. Go get it if you can, it’s a worthwhile investment in your photography.