What does a polarizing filter do? A polarizing filter, or CPL, reduces glare from reflected surfaces. One of the most common uses is to reduce reflection from non-metallic surfaces such as glass, water, and other wet surfaces. Placing a polarizing filter onto your lens can also minimize haze, boost the saturation of blue skies, and achieve richer colours in vibrant foliage.

With NiSi True Color CPL

With NiSi True Color CPL

The NiSi True Colour CPL Filter does the job of any other polarizing filter, but with a few added features that makes it a must-have for photographers.

The main feature of this filter is in its name; True Colour. The addition of a filter can cause unwanted colour cast in images, an annoyance for photographers who must then spend time in post-processing to remove the blue or magenta hues. The True Colour CPL produces true-to-life colour reproduction, meaning if you take an image with and without this filter and compare them side by side, there will be no colour difference. This will save you time fiddling with your white balance in agitation on location and shave some time off post-processing.

This feature itself shows that NiSi has the photographer in mind when it comes to design and build.

The Pro Nano Double-sided Coating caters to photographers whose camera lenses are exposed to the forces of nature, including rain and waterfall spray, as well as clumsy-handed photographers whose fingers find their way onto the glass often.

The pro nano coating offers a waterproof and oil-resistant barrier, alongside easy removal of dust, water staining and fingerprints. Try and leave a crime scene on this filter if you dare! A simple cleaning cloth will remove all evidence of use, leaving the filter looking brand new. Do not worry, the cine-sealed technology will ensure nothing gets between that glass.

The NiSi True Colour CPL is all about ease of use. We have all experienced a stuck filter at some point. A polarizing filter can be awkward to remove because it has two rings, unlike other filters which have one. The first ring screws onto the lens and the second is the adjustable polarizing ring. There is nothing more frustrating than trying to twist a CPL filter off only to rotate the polarizing ring instead. Twist them on too tight, and they become stuck like glue!

With a clear distinction between the lens thread and the polarizing ring, there can be no confusion as to what you are twisting when applying or removing the NiSi True Colour CPL. The knurled grip texture allows for more control and ease of removal. A hassle-free experience!

If you are looking for a high-quality and well-thought-out circular polarizing filter, this is it. NiSi has established themselves over the years as a top-quality brand, boasting a range of products with one goal: to help you take the best images possible. Without a second thought, I would recommend the True Colour Pro CPL to any photographer looking for a new circular polarizing filter.

Here are a couple of image examples, taken with the NiSi True Colour CPL.

The post NiSi True Colour CPL Review appeared first on NiSi Filters and Lenses for Camera and Cine－Beyond imagination.

The NiSi V7 filter kit contains

• Filter Holder
• True Color CPL
• Main geared adapter ring threaded for 82mm
• Lens adapter rings for 67mm, 72mm 77mm
• Polarizer cap

The V7 100mm filter holder kit comes with the new True color NC Circular Polarizer (CPL) filter, and you can use up to 3 filters that are 2mm thick. The included adapter rings should cover most of the popular landscape lenses.

I went on a weekend trip to the mountains to test out the new filter kit. 

The one thing I noticed right away, the filter holder attachment and locking mechanism is now combined as one and is very easy to use. The pull and release locking pin helps to secure the connection and the lock will secure the frame into place so it can’t accidentally pull open.

Another change the new V7 filter holder offers, is no more thread for the polarizer. With previous V6 model, you had to thread in the CPL to the filter ring, which to me was challenging at times and it took a while to get it lined up right.

I am loving the improved “Point to Point” CPL design which allows a very easy installation of the CPL filter into the main adapter. You simply align the 3 white lines, drop the filter into place and turn the filter to the right to lock. This quick mount system will be extremely helpful in the cold Alberta winters and reduces the risk of accidently dropping the filter.

The new True color CPL features NiSi’s Pro Nano coating that provides an effective polarization amount of 99.5% which is more than most other polarizer available on the market today. In addition, NiSi uses an oil-resistant layer helps to easily remove water stains and fingerprints.

As a landscape photographer, colors are very important, and I noticed that some filters give a little bit of a yellow cast on my images, so I was especially curious to test out the new true color polarizer. The Nisi True Color CPL is true to its name. The colors naturally pop and I didn’t notice as a yellow cast as with other filters.

Without CPL Filter

With True Color CPL

Carmen MacLeod

The post Review of the NiSi V7 Filter Kit appeared first on NiSi Filters and Lenses for Camera and Cine－Beyond imagination.

Camera: Sony Alpha 7 IV

Lense: Sony 85mm 1.8

NiSi Cinema Black Mist Filter 1/8  1/4  1/2

67mm-82mm Adapter Ring

I had the pleasure of testing the Black Mist Cinema filters from NiSi. On this way again a heartfelt thank you. I was extremely happy to test the filters.

In the following review I would like to give you a brief insight into the handling and report on my experiences with the filters.

Unboxing

The filters got to me very quickly and without any problems. They were packaged well and securely. The adapter ring comes in a sturdy clear plastic box. The filters come in a very nice and extremely sturdy plastic bag with a zip.

The inside of the filter bag is divided into 8 compartments, each for one filter. You can easily remove filters with one hand and put them back safely.

First I screwed the supplied adapter ring onto my Sony lens. The thread of the adapter makes a very high-quality impression and could be easily screwed onto the lens with little pressure. In the second step I turned the 1/8 filter onto the adapter ring. It was also very easy and smooth-running.

Test environment

Since I have never used filters in my work, I thought long and hard about what I wanted to test and in what light conditions. In the end I decided to take pictures in the evening in the setting sun in the background. This is where I feel most comfortable. The model is my son Henry, who is already used to being in front of the camera more often.

I positioned Henry and first took 2 pictures without a filter, then screwed the 1/8 filter onto the lens and photographed the scene, then with the 1/4 filter and finally with the 1/2 filter. This resulted in 3 scenes with 4 photos each.

No Filter

NiSi Black Mist 1/8

NiSi Black Mist 1/4

NiSi Black Mist 1/2

I’ll be honest, I wasn’t expecting much at first. But when I looked at the photos on the camera screen, I was impressed.

What did I see exactly?

• Highlights have been reduced.
• The shadows in the image have been lightened, reducing the contrast a bit.
• My son’s skin was pleasantly softened.

The sun in the background gets a slight GLOW EFFECT that increases significantly from filter stop to filter stop. (1/8,1/4,1/2) The filters create a warm, cinematic feel, which matches perfectly with the style of my photos.

I have to say, I’m an absolute lover of sunlight and love dramatic light in my photos. I was really impressed with the way the filters enhance the light in the image.

During the subsequent processing of the images in Lightroom and Photoshop, I did not notice any negative changes in the photos.

Because the light has this glow right away, I then need less time with the artificial light in Photoshop.

You can see a distinct difference in the different filter strengths. Sometimes there may be situations or customers who want less effect. This can be dosed perfectly by the stops of the filters.

Couclusion

The filters support me in my quest to create authentic, warm and lasting memories. They are a perfect match for my children’s portraits and family shootings. I could also imagine using them in newborn shoots to soften the baby’s skin and match it to the mother’s skin color. I hope I was able to show you a little insight into working with the NiSi Black Mist Filter. I can only recommend them and will continue to use them in my work.

Martina Schwer 

The post Review for NiSi Cinema Black Mist Filter appeared first on NiSi Filters and Lenses for Camera and Cine－Beyond imagination.

A couple of months ago I was approached by NiSi to review their new True Color ND-Vario filter. I was really curious about this filter because of the True Color technology, which we have seen in their polarizer filter, is very good! So I’ve agreed to make a review about this filter, even if I’m not a fan of Variable ND filters.

The reasons why I never used Variable ND filters are pretty simple:

– One of the most common problems you find with Variable ND filters is vignetting as you rotate the filter to add or subtract darkness.

– Another common problem found with Variable ND filters is the color cast. They should only darken your exposure, while rotating the filter, without changing the tint or temperature.

– The last common problem, that is also the most important when you work with video, is the polarization effect. Because a Variable ND filter is made with 2 rotating polarizer filters, there are high risks of unwanted increase or decrease of the saturation in your images.

After testing this Nisi True Color ND-Vario for almost 2 months, I can say that almost all the problems of Variable ND filters are solved with this new release!

A variable ND filter is a tool used very often by documentary videographers, because they don’t have the time to change fixed ND filters. While filming a documentary, every second counts. So it is very important to have tools that let you work as fast as possible, without the risks of compromising the images you’re capturing.

Luckily for all of us documentary videographers, with the Nisi True Color ND-Vario there’s no risk to introduce heavy vignetting, or X pattern, while we are adjusting the exposure of our video with the filter because the filter has hard stops both at ND 1 and ND 5.

Talking about the color cast, this Nisi True Color ND-Vario really reproduces true colors without any color cast. Both when you add the filter to your lens, or you rotate the filter to adjust the exposure level, there will not be a color shift in your  images.

What about the polarization issue? As expected, this Nisi True Color ND-Vario is performing pretty well, but because it’s using a double polarization technology, it’s not perfect.

Depending on where the light is coming from, you’ll notice some patterns where the colors will have increased or decreased saturation.

The good news about this problem is that I didn’t notice major problems with the skin tones. While I was rotating the filter, the main subject kept a good amount of saturation and contrast when exposed with frontal and backlight sources of lights. Anyway, If you really need to capture the best image quality possible and you have the time to swap ND filters, I suggest adding the Nisi IRND 8 & 64 in your kit to avoid the problem of polarization.

Talking about the rendering of the images, this filter doesn’t compromise the amount of sharpness or contrast of your lens. It also has a great flare resistance and it’s extremely easy to clean, thanks to the great coating of the filter.

The filter comes with a very well made textile pouch but also with a hard plastic protective case. In the box you can also find a lens cap and a screw in pin, to easily adjust the exposure level with a finger.

All in all I feel comfortable to recommend this Nisi True Color ND-Vario to every videographer that needs a good quality Variable ND filter. From all the Variable ND filters I’ve tried, this is definitely the best available in the market.

The post True Color ND-Vario 1-5 Stops reviews appeared first on NiSi Filters and Lenses for Camera and Cine－Beyond imagination.

INNOVATION

The design of filters systems has been a bit stagnant for many years now, but we are starting to see some really interesting innovation when it comes to their design. A trusted brand, and recommended by many of my fellow photographers, Nisi reached out to me and asked whether I would like to review their latest filter system. I said yes, because I like change, and I have been using the same filter system since 2014. It serves a purpose, but as you will see in my video review, there are many benefits in upgrading to the latest filter systems. It was time for an upgrade.

What’s new?

Nisi are on their seventh edition of this filter system, therefore its no surprise that it is well thought out and very practical to use. Its not a radical redesign of how filters are held in front of your lens, but small design changes means that you can get to the photography quicker. If you are coming from an ‘older’ filter holder, like I was, then there are two main differences; the locking mechanism that holds the system onto the lens, and the way that the polariser integrates with the system.

(Locking mechanism that allows quick release to the adaptor ring)

QUICK RELEASE

My older Hitech filter holder is a bit rudimentary, it has a bolt on the side that you tighten to clamp the filter holder in place. If it’s not tight enough it could come off, too tight and you could scratch or dent the adaptor ring. The Nisi filter in contrast has a spring loaded mechanism, indicated by the movement of the gold clip (see photo above), and you can twist the middle nut to ensure that you don’t accidentally release the holder. If you watch my review video, you will see that I manage to use the system and filters with thin gloves on, which is an achievement.

WHERE IS THE POLARISER?

Well, traditionally if you wanted to use a filter system with a polariser, that meant investing in a very large polarising filter, in the region of 105mm, which sits on an adaptor in front of all the other filters. Why does it need to be so big? Because the further you install filters away from the front of the lens, the greater the chance of vignetting. The solution is therefore to make the polariser massive, so that you can use wide angle lenses and the edge of the filter does not appear in your photos. This was the thinking behind the older systems anyway. Fast forward to 2022, and it seems obvious now, the polariser now sits at the beginning of the filters, closest to the lens. We don’t need such a large polarising filter anymore.

(Nisi True Color polariser mounted to the V7 filter holder)

(Slim profile of the polariser means no vignetting up to 15mm on a full frame camera)

Due to the super-slim profile of the polariser and adaptor ring, this system will certainly let you shoot at 16mm on a full frame, and Nisi claim up to 15mm (but I don’t have a lens to test this!). If you were concerned that putting the polariser first was going to be an issue when you slide in the other filters then fear not. There are two wheels/cogs on the side of the adaptor ring that allows you to turn the polariser and dial in how much polarisation you require.

WHAT’S IN THE BAG?

Included with the V7 kit is the adaptor ring, the filter holder (more on that below), step down rings (includes sizes 67, 72 and 77mm), 82mm is integrated into the adaptor ring itself, the True Color polariser a filter cap and a carry case.

(Photo shows the V7 filter system with the optional filter carry case)

Let’s start off with a bit of a surprise, the filter cap. It is such an inexpensive item when you consider most photography equipment – but the filter cap is such a time saver. One of the challenges with using filters, especially in cold weather, is screwing on the adaptor ring. It might sound trivial, but the thread does not always take, you stand there turning it and turning it and then you realise that you are not getting anywhere. Or worse, if you think it has gripped and you risk your filters falling off. Combine that with cold mornings, and you can see why some people opt not to use filters at all!

(Nisi filter cap – a massive time-saver)

Introduce a filter cap and now you don’t need to screw in filters anymore. You simply leave the filter adaptor on your favourite lens the whole time, with or without the polariser mounted, and you can transport it around with the filter cap. This will save time, plus it keeps the dust off your lenses when they are in your bag. It also doubles up as a handy rubberised grip to screw and unscrew the filter adaptor.

THE FILTER HOLDER

We have already discussed the quick release mechanism that allows the holder to clamp on and off the adaptor ring. Like most filter systems, this has several ‘slots’ for filters, out of the bag it allows for three – however you can add more at the risk of introducing vignetting. Even with the polariser and the three filters stacked, I was able to shoot at 16mm (full frame) without the filter system entering the composition. The filter holder is universal, therefore you are not tied to using Nisi filters, my Lee filters fitted just fine. The filter system is made of aluminium and comes in black or…… black.

IS IT ANY GOOD?

Having used the system for several weeks prior to making the review, it certainly felt like the evolution of the filter holder. It was a pleasure to use, quite fun actually, and I even managed to use it with a thin pair of gloves on. I always take off at least one glove to fit my older filter system, for fear of dropping it if the thread didn’t take. I haven’t used the V6 or earlier iterations, I couldn’t say whether you should upgrade from those models if you are a current owner, but the design certainly feels refined and I have no suggestions for improvements to the holder system at all. In my video review I commented on the amount of space that the filter holder case takes up in the camera bag and have suggested that this should be reviewed to save more space. I would give the V7 a 9 out of 10. I leave the remaining one for future innovation, but I would highly recommend it to anyone looking for a high quality and versatile filter system.

AND THE FILTERS?

Nisi kindly sent me some of their filters to review also. They sent me a ten stop filter, two grad filters and a filter carry case. All of these filters are glass, and I cannot stress how nice it is to be using glass filters again!

(Nisi 10 stop True Color filter)

Starting with the ten stop filter, you will see from the above photo that the filter has a strong red appearance when reflecting light. This is the result of the coatings that the filters have, making them very resistant to dust and water droplets, something that I showed in the YouTube review when I was caught out by the rain one morning. Despite the red colour of the coatings, the colour cast is very well controlled by this filter. To make the comparisons as accurate as possible I created a photograph with no filters, using a custom white balance and a grey card. I then proceeded to create a long exposure using the ten stop filter and compared the two. Having used several ten stop filters (Lee, Freewell, Hitech, B+W and H&Y) I am happy to report that it was a very good performance from the Nisi ten stop. It wasn’t completely neutral, the colour cast was very subtle, but it was there. If you watch the YouTube review you can see the images side by side.

(Grad filters in use)

The two grad filters that they sent me to test were the two stop hard edge grad and the two stop soft edge grad. I wouldn’t expect these filters to create a colour cast, but I tested them in the same way as the ten stop filter and they were neutral. The filters, like most other brands, are 100mm wide by 150mm high, which allows you to position where you would like the graduation to affect your scene. Optically all of the filters on test here were excellent, I saw no degradation to the quality when comparing to the image with no filters. The filters have a small label on the front at the top, which is helpful to figure out which filter you have picked up. The filters come with a leather-effect pouch, which is well presented and has the potential to be transported with a very small footprint in your camera bag, however I was informed by Nisi that for the best protection the filters should be transported in a dedicated filter carrier.

ARE THEY PERFECT?

Optically, yes. Colour control, almost – the ten stop has a subtle colour tone which is very manageable. There is one suggestion that I have put to Nisi though, and that relates to taking the filters in and out of the carry case (either the supplied or the optional carry case). The filters are glass, they are beautiful but my greasy fingerprint will show up on them, despite the coating. In an ideal world I avoid touching the front or back of the filters and clamp them between my fingers from the sides. However the pouches have a snug fit and you are left with no choice but to pinch them in the middle with your fingers to get them out. This is easily rectified with a redesign of the carry case, this is not a fault of the filters themselves as most filters would have the same issue.

WOULD YOU GET THE WHOLE KIT?

It is great that you can mix and match filters and filter systems, but I wouldn’t want to go back to using resin filters now that I have been using glass. Although it might seem like a minor gain, the coatings on these filters performed so well when they were hit with rain and sea spray, that would be enough reason to get these if you shoot a lot of seascapes. I am used to cleaning my other filters when I get a bit of sea spray on them, a microfibre cloth usually smears the droplets across the filter and I end up using an alcohol wipe to actually get the salty water off the filter. Leave it ten seconds for the alcohol to evaporate and I can proceed to take the next photograph. The Nisi filter in comparison just wouldn’t tolerate the water staying on them, it was like magic! The filters are not cheap, but photography is an expensive hobby and I know that these filters will last me a long time; therefore it is a good investment to get the best filters that you can afford. The filters come with a highly recommended from me.

THANK YOU

For making it to the end of this blog, I hope that you found it useful, and thank you to Nisi for supporting my photography. If you have any questions then drop me a comment on the YouTube video.

by Ben Harvey

The post A new era of filters – NiSi V7 filter system appeared first on NiSi Filters and Lenses for Camera and Cine－Beyond imagination.

In the era of film, filters of various types have always been popular. These include basic ND filters, PL filters, color filters, streak effect filters as well as Mist/Diffusion filters. These filters have become a part of standard workflow for movies, TV series and TVC. The purpose of these filters can be roughly divided into two categories; 1) the director’s pursuit of image style 2) the director’s choice to express a dramatic effect on screen. I will discuss each of the two points separately.

The Director of Photography’s Pursuit of Style

Entering the 21st century has resulted in an irreversible trend toward digitalization. In this digital era, there are many more freedoms, however there are also some disadvantages.

The first is the high degree of convergence of shooting equipment. With the exception of the few directors and directors of photography who insist on using film for shooting, the cameras and lenses used for most movies, high-grade TV shows and TVCs we see today are provided by only a few manufacturers. Photography directors still have the option of using legacy products of the old era to reflect personal style. But in the field of cameras, ARRI is almost the only choice. According to statistics of the Oscar-winning works in the last ten years, ARRI cameras were used in 70-80% of these works. While highly convergent choice of equipment has improved the operating efficiency of the entire industry, it also limits the personal style of photography directors to a certain extent.

Below I will briefly introduce two popular domestic and foreign dramas. These both represent the use and embodiment of the Mist Filter on screen.

‘My Best Friend’s Story’ launched at the end of 2020 and stars Chen Daoming and Ni Ni. It is directed by Shen Yan, and the director of photography is Li Xi. In 2019, Mr Li Xi won the Magnolia Award for Best Photography in the 25th Shanghai TV Festival for his work on “The Rise of Phoenixes”.

Let’s take a look at a still from the studio. The details of the picture are rich and the tone is natural. It is a well-balanced and qualified still. The picture textures of most of the domestic dramas we usually come into contact with are also similar to this still, with sharp and excellent contrast.

The following is a still frame taken from the positive film. It contains similar lighting with the rear window as the main light source. The female character is also used as the main body of the picture, but the natural blooming in the highlights increases the effect of the picture. The slightly lower contrast level brings a touch of the old film era’s softer atmosphere. This picture style runs through the entire series from beginning to end. When presented with the rare opportunity to watch ‘My Best Friend’s Story’ clips, its rare picture style immediately left a deep impression on me.

The screenshot below better reflects Li Xi’s picture style. My opinion is that the use of natural blooming highlights and medium-to-low contrast level are perfectly suited for shooting Ni Ni in this beautiful role.

In this last picture, the blurring of point light sources such as street lights in the distance clearly shows the effect of Mist/Diffusion filters.

The picture style of ‘My Best Friend’s Story’ is so special that it left a deep impression on me when I saw it for the first time. In recent years, there have been other TV dramas which have made me feel this way, such as the anamorphic wide-screen picture style of ‘Like a Flowing River’ and the excellent art director style in ‘The Longest Day in Chang’an’.

The following American drama ‘The Falcon and the Winter Soldier’ may be more popular among younger audiences.

My interpretation of the footage is that the photography director for ‘The Falcon and the Winter Soldier’ uses a restrained and mature style to create the atmosphere of the series. It utilizes Panavision’s T-series anamorphic widescreen lens, which adds some cinematic atmosphere to the picture. In this particular large indoor scene, the smoke generator and lighting were used to create a very interesting volumetric light texture.

From the two still-frame screenshots above, we can see hints of use of a Mist/Diffusion filter. We can also experience the photography director’s idea for using this filter. An important purpose of the Mist/Diffusion filter is to smudge highlights such that excessive point sources of highlights do not distract the audience from the main body of the image nor the atmosphere of the scene.

In the following two screenshots, the effect of the Mist/Diffusion filter to avoid excessive interference of highlights on the picture is made clearer.

The Director’s pursuit of style 

It is the director of photography’s responsibility to create the style of the picture. By inference, any elements of style should serve the director’s own artistic expression. Below, I will give two examples to briefly explain how the Mist/Diffusion filter can meet these goals.

The first example is the film Minority Report, a science-fiction film directed by Spielberg in 2002. The core narrative of the movie utilizes “dreams” to warn of future criminal activities.

Mist/Diffusion filters are extensively used throughout the film to emphasize the element of “dreams”, reflecting the unreality of “dreams”, and the sense of alienation between the future society and the real society.

Another example is the TVC of the famous German software company SAP. In order to depart from the stereotype of high-tech companies, Frederick Gomoll did not choose high-key, cool, and sharp picture styles, but chose Zeiss Supreme Primes. In addition to this high-quality lens, a large number of high-end Black Mist and other filters were also used to create a distinct atmosphere.

The discussion above are my own thoughts regarding the practical application of effect filters, especially Mist/Diffusion filters. There may be deficiencies and differences of opinion which I am more than happy for readers to question. I am also hopeful that NiSi will continue to provide more effect filters in the future.

By Eric Lyu

The post Effect filters-the typical style and application status of Mist/Diffusion filters appeared first on NiSi Filters and Lenses for Camera and Cine－Beyond imagination.

I was very surprised when NISI launched a new product, not an optical product for cameras but a Macro Focusing Rail sled. This rarely happens, but now we know if NISI is committed to its strong support for Macro Photography. Very much appreciated.
And, I was very happy when NISI sent me a new product, the Macro Focusing Rail NM-180 series. Mainly because I’m doing more and more extreme macro with my pet, Jumping Spiders.
Macro photography, especially extreme macro, must bring sharpness to the photo object. One of the biggest challenges in doing so is getting all parts of the object in the same sharp focus. It is necessary to stack photos before posting production photos.

The macro focusing rail helps me a lot when I focus my stacking photos. Capturing the moment more smoothly & easily in every part, my macro photos are better than ever.
The rail is designed with a small knob and this feature is very practical so it is easy to use.
I do one photo session faster too.

Easy on your hand.
With fine workmanship and simple design, elegant & classy.
I like this new article because it is lightweight and can quickly mount this on my camera.

NISI CLOSE UP LENS 58mm

A new series of close up filters will come out. This accommodates the needs of macro photographers with a 58mm type lens. NISI expands the close-up lens series with a smaller dimension.

Beautifully crafted products and high quality macro lenses are very easy to attach to your lens.

Once attached to your lens, you will no doubt be able to make great photos.

Manual focus adjuster to move back and forth as you shoot and get precise focus and smooth composition and tone.

For the best and sharpest image quality, I highly recommend using it with a tripod.
When using it with any kit lens you need a step down or step up ring to attach it.

For this macro lens, I combined it with my Canon MPE lens which has the splendor of 5: 1 from the scale of the actual object. So, this macro filter is perfect for photographing very small photo objects or very small creatures.

NISI’s products for macro photography, both Close up and Rail are well-known manufacturers of high quality photographic equipment. You recently invested in a superior product to create your macro photo by purchasing this eye-catching product. Highly recommended.

by Shikhei Goh

The post NISI MACRO FOCUSING RAIL NM-180&Close Up Lens 58mm Review appeared first on NiSi Filters and Lenses for Camera and Cine－Beyond imagination.

• Camera: Nikon Z50 with FTZ adapter

• Lenses:

  Nikon AF-S VR Micro-NIKKOR 105mm f/2.8G IF- ED
  Nikon AF-S NIKKOR 80-400mm f/4.5-5.6G ED VR

• Flash: Nikon SB-5000 Speed light

• Diffusers: MK Diffuser, Cygnustech Diffuser

• Tripod: Sirui Pro Tripod R-2214X Tripod with K-30ll Ball head

• Magnification: 58mm NiSi Close-up lens kit NC

• Focusing rail: Macro focusing rail NM-180

First Impression

Close-up lens

Behind the Scene © Nightfall Photography

My first impressions on the 58mm NiSi Close-up lens are fantastic and it’s very similar to the previous 77mm NiSi Close-up lens. I really enjoy how much closer this thing gets; in Macro photography this is key to capturing the magical moments. The size of it is very impressive, much nicer than the 77mm on my true Macro lens. On the larger lens it sits nicely with a step-up ring on a 77 mm thread on the 80-400mm Nikon standard lens. Image quality on both Macro and standard lens are excellent. Build quality is exceptional, solid and amazing glass. I always enjoy how NiSi supplies it with a beautiful protective case, that’s an added bonus. It has a lens cap which is even better, as it sits primarily on my Nikon 105 mm macro lens now.

Lady Bug – Macro Lens with 58mm Close Up Lens Kit NC © 2020 Nightfall Photography

Rail

Behind the Scene © Nightfall Photography

The macro focusing rail is a great product, smooth light and very easy to use. The rail is equipped with an integrated Arca-type compatible quick release clamp and also includes an Arca-type plate so it mounts beautifully onto your NiSi Macro focusing rail. I like how you can swivel it 360-degree by the unwinding of a little knob, this feature is handy in all forms of photography. It’s very sturdy and comes with another lovely case to protect it from getting marks on it. I was able to quickly mount this on my camera and get close enough to a butterfly, and with a few winds and clicks of the shutter I was able to capture some amazing subjects. I’m really looking forward to spring and capturing some close-ups of flowers. It has four feet at the base so that you can actually sit it on the ground. I found this okay on a steady surface but on an uneven one it was quite challenging. Even though you can deliver some wonderful results this way too.

Butterfly – Macro Lens with 58mm Close Up Lens Kit NC + Focus Rail © 2020 Nightfall Photography

Tips Close-up lens

• Always use manual focus.
• Use an aperture around f14 to f22 for the best results.
• I like to use a rocking method which means I focus on the subject at the required zoom then I move backwards and forwards slightly, you will soon see the subject in Focus.
• With a standard lens I find it best to shoot around 120mm to 200mm this being on a crop sensor camera, which includes APS-C and micro 4/3 systems.
• Always try to focus on your subjects’ eyes especially on insects.
• Use a flash and a diffuser. This will help you freeze your subjects better depth of field, there will be less highlights from natural sunlight. (Hot spots from bright sun)
• A standard lens will always give you better depth of field than a macro lens.
• Try to focus stack your images (blending multiple images together) once again thisheaps your depth of field (advanced users)

Behind the Scene © Nightfall Photography

Rail

Tips with Macro focusing rail.

• Have an idea in your mind of how you would like to compose the image.
• Try to keep the tripod and Macro focusing rail level
• Start with the camera in the centre of the rail
• I like to shoot from the back of my subject and wind handle, moving clockwise so the macro rail is moving back towards me. Depending on your subject sometimes your best to focus on the eyes first, just in case it flies away – at least you get a clean shot.
• I like to use the set timer on my camera whilst winding the handle with my left hand (this stops movement, which causes a blurry image) if you can, use a cable or remote release for the best results.
• For the sharpest results when photographing still subjects, nothing beats a camera mounted on a sturdy tripod with the image stabilizer turned off.
• Always have the Macro focusing rail pre attached to your tripod. This way you’re not rushed with the setup.

Behind the Scene © Nightfall Photography

Objective Summary

Close-up

I personally really enjoy using the NiSi Close-up lens. It’s super sharp and gets you that extra magnification that all Macro photographers need. (You can never be close enough in Macro). I enjoy using it particularly on my dedicated Macro lens. Used on a standard lens has an added bonus especially when travelling and you’re restricted on space in your bag. Depth of field is excellent on all lenses, I used it with. There’s a greater benefit again of use with my dedicated Macro lens, given that most of my photos are image-stacked. This is a real credit to the NiSi Close-up lens.

Honey Bee 3 – Standard Lens with 58mm Close Up Lens Kit NC © 2020 Nightfall Photography

Macro rail

I really enjoyed the Macro focusing rail, as I am a hand-held stacker this is something very different. I can picture this being a part of my kit as well. A fantastic rail, and for a first time build I believe that this is a solid new step forward for NiSi. Once setup the results are wonderful, as long as your subject doesn’t move too much. I have to say that with any fixed object shooting, this is a must have especially for the price.

Honey Bee – Macro Lens with 58mm Close Up Lens Kit NC + Focus Rail © 2020 Nightfall Photography

Comparison

Behind the Scene © Nightfall Photography

Close-up

I do use a Raynox 250 extreme Macro add-on. I find the Raynox 250 not as sharp around the edges as the NiSi. The NiSi hasn’t got as much magnification as the Raynox 250, but it gets close enough with sharpness being excellent. I also own the NiSi 77mm and found that the NiSi 58mm had more magnification than the 77mm and also had better light. Light compared to Raynox 250 was very much the same.

Macro rail

I own only one other manual Macro rail. It’s the Sunwayfoto MFR-150 which is a fine rail but after time I found that the movement wasn’t very accurate. The build quality is okay but compared to the new NiSi Macro focusing rail it doesn’t even come close. Only time will tell to see how well the rail wears, for now it’s definitely got it over the Sunwayfoto MFR-150. Both come with lovely covers however the Sunwayfoto MFR-150 doesn’t swivel at all, and it’s very hard to clip into your Swiss mounting plate. The NiSi just clips in like a standard clip does into your tripod.

Author：Aaron Molenkamp

The post Review for NiSi 58mm Close Up Lens Kit NC+Macro Focusing Rail NM-180 appeared first on NiSi Filters and Lenses for Camera and Cine－Beyond imagination.

It is a really interesting period in the field of macro photography. In recent months many new and interesting products are coming out since this photographic technique is spreading a lot. This is because if before the macro was a not very simple technique and used by a niche audience now thanks to new and effective products, both as lenses and camera bodies and as accessories it is becoming increasingly manageable even for non-experts of the genre.

This is the case of the new slide of NiSi, a well-known manufacturer of high quality photographic filters that is now investing in excellent products dedicated to macro-photography.

I received the new MACRO FOCUSING RAIL, a sled that helps us a lot in focusing and in the realization of focus stacking.

Until a few years ago the only focus stacking term even for photography enthusiasts was semi unknown. Now everyone, or almost everyone, knows about this technique which allows us to extend the physical limit of depth of field. One of the greatest difficulties in macro at high magnifications is precisely the very limited depth of field, i.e. the perceived sharp part of our photography, which is increasingly reduced as the magnification of the subjects taken increases.

By realizing a focus stacking, that is the union of several shots in different focus planes, you can overcome the limit of the PDC of the single shot to have the sharpness on all our or our subjects shot.

I was a forerunner of this technique and from the beginning I understood that, especially for small subjects such as insects or flower details, multiple shots were needed to have them completely in focus and with a high detail. In fact, if we shoot with very closed apertures we extend the depth of field more but we run into a physical phenomenon called diffraction which, especially in the macro, causes us to lose a lot of definition in the images taken.

So I started taking more photos and combining them in post production. One of the first problems that came up to me was managing the focus. At high magnifications, shifting the focus a tenth of a millimeter or less can be tricky if we haven’t done much practice.

Just to eliminate this problem with our friend Roberto Aldrovandi, we built a sled that allowed very precise movements of focus by moving the entire machine instead of changing the focus with the lens ring. One of the advantages of changing the focus with a slide is the constant maintenance of the reproduction ratio or the magnification obtained by the lens. If, on the other hand, we change the focus even with a macro lens, we are also changing the magnification obtained.

With the slide, the magnification is left constant and the combination of focus staking returns images generally of higher resolution than what can be done by moving the focus physically with the ring on the lens. The focus stacking can be carried out with both techniques but with the sled the native resolution of our camera will be better preserved without final cutouts due to the crops created by the photo merging software to match the different reproduction ratios obtained in the focus stacking performed without sled.

Over the years, several companies have started offering macro sleds of various kinds but have never been able to create what is the ideal sled for me. I’m not telling you how much money I threw in search of the perfect sled. Once on the market they were almost impossible to find, now instead various manufacturers have made their macro sleds.

As for the optics, the slides also have various ways of use and this NiSi is a slide made mainly for macro subjects from small to very small, being equipped with an endless sliding screw. This allows the focus plane to be moved with extreme precision. With other types of slides, for example those with a rack, the change of the focal plane is done much faster but with less precision and therefore there is a risk of missing focus planes between the various shots.

Starting to analyze the macro NiSi slide, you can immediately notice the high quality of the product starting from the packaging. This in fact has foam shapes that contain and protect the slide and inside we also find the camera attachment plate made with the Arca Swiss standard and a protective bag for when we will transport the slide together with the rest of our photographic equipment.

The sled to the touch is robust and well cared for. It is entirely in metal like the plate for the camera. The length is 18 cm and its field of use or its extension for the realization of focus stacking is 160mm, well above my generic field of use. When I do focus stacking of insects or very small subjects I generally do not exceed 50mm.

The advancement of the slide is clearly visible with a millimeter scale and with a small marker under the plate indicating the millimeter on which it is positioned.
The sliding of the slide is managed by a metal knob located at the beginning of the slide. This is also equipped with a retractable knob that facilitates rotation if we have to make rapid movements.

Normally a micrometric slide like this must be positioned on the stand and even better if we have a micrometric head together with the stand. The type of attack is always Arca Swiss. If we are not equipped with this attachment, we can always screw the slide over the stand or onto another plate using the classic thread. NiSi has also thought of inserting an adapter inside the attachment hole in order to use both the 3/8 “and 1/4” standards.

The ideal always remains to use the Arca attachment which allows us to quickly position the sled at the distance that best suits us from our subject and then use the front knob for precision focusing and for any focus stacking.

NiSi has also thought of using the sled above a support surface and for this reason it has equipped the sled with 4 feet that can be screwed under it to be able to rest and use it without a stand.

A technique for realizing focus stacking is in fact to move the machine back and forth resting it on a table, but obviously with a slide like this the micro movements are much simpler than what we could do simply by placing the camera on the table.

The sled also has a 360 ° rotatable attachment head giving us much more freedom in attaching the camera and using it.

The head also has a millimeter scale that extends 20mm both in one direction and the opposite.

With the rotating head and with the sliding plate, also move the machine laterally to improve the framing of the subject or to create a mosaic of images to increase the resolution of the final image.

The plate supplied (not always in the sleds of other brands we find in the package the attachment plates to the camera which must be paid separately) in the package is made very well, with a beautiful screw anchoring to the camera that can be mounted either by hand or through Allen.

The support part to the camera has two rubber shapes that allow not to mark or scratch the rear of the camera and increase its grip.

Wanting to look for some defects, the worm screw, like all the other sleds I have tried, has a slight greasing and if we dirty or dust the sled it could knead making the sliding less fluid.

By purchasing 2 sleds we could create a sophisticated bunk sled with sliding on two axes.

The price is really very good and at the moment it is € 119 on the official website www.nisifilters.it

I take this opportunity to say that NiSi has also presented a new version of the now known close-up lens for converting normal optics into macro with a 58mm thread.

The performances are the same as the 77mm older sister but it has a lower cost and is more suitable for optics with 58mm or less threads. The kit also includes adapter rings for 52mm and 49mm lenses.

The complete review of the 77mm model can be found here:
Prova Nisi Close Up Lens

The original review link : NiSi Macro Focusing Rail

The post NiSi Macro focusing rail review and 58mm close up lens review-Alberto Ghizzi Panizza appeared first on NiSi Filters and Lenses for Camera and Cine－Beyond imagination.

Top notch quality

The Nisi Vario ND filter consists of two polarizers that rotate one on top of another. You can rotate the filter at a selected position in order to reduce the light of a certain amount and slow down the shutterspeed. The NiSi Vario filter offers between 1.5 stops and 5 stop of density variation. Very suitable for moderate long exposures. The ND effect is adjusted with a practical handle that turns the filter. Really ease to use. This high quality filter does not produce the dreaded X-effect other variable filters produce. Optical performance is as usual from Nisi top notch, and there is no color cast or loss of finer details. The nano coating makes it really easy to wipe off water droplets. The filter also comes in a neat padded box for safe storage.

Easy to use

This filter is really easy to use. Just turn the knob. Thats it. I have tested this filter using one basic setting in aperture mode. In the example images below I have used an aperture of f 11, iso 200 and shutterspeed on auto. I have taken all the shots with this setting, only turned the nd filter to get different shutterspeeds. Thats it. Super easy.  This way you can easily experiment to get exactly the shutterspeed the scene need. When it comes to moving water a shutter speed between 1/8 of a sec to 1 sec is usually what you want to get the right motion blurred water, but with enough texture. The Nisi Vario is the perfect tool to achieve that. Its the easiest way to do long exposure.

Fujifilm XT 2, 10-24 mm, iso 200, f 11, 1/4 sec.

Fujifilm XT 2, 10-24 mm, iso 200, f 11, 1.6 sec.

Fujifilm XT 2, 10-24 mm, iso 200, f 11, 1/8 sec.

Fujifilm XT 2, 10-24 mm, iso 200, f 11, 1/4 sec.

Fujifilm XT 2, 10-24 mm, iso 200, f 11, 1/2 sec.

Fujifilm XT 2, 10-24 mm, iso 200, f 11, 1,6 sec.

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