These step-up adapter rings are the critical connection between any lens and the V5 Pro 82mm primary adapter ring. 

Please note that any V5 Pro kit includes a 77mm, 72mm and 67mm unit of this product. 

These can also be used as general purpose step rings. By using these step rings, you can use an 82mm circular filter on lenses with smaller thread sizes. 

The NiSi ND kits offer great value for money compared to purchasing the filters individually. This kit contains a 100x100mm 3-, 6-, 10- and 15-stop IRND as well as a 4-filter soft pouch, with a total value of R12 500.00. Please note that this kit does not include a holder system. 

NiSi is renowned as one of the world's top manufacturers of completely colour-neutral and vignette-free ND filters. Made from H-K9L optical proglass, it allows optimal light transmission to produce sharp and contrast rich images with true-to-life colour. 

Solid neutral density filters lengthen exposure by cutting out a specific amount of light. This is very useful for creative purposes, whether you want to blur a wave, waterfall, leopard or a street scene. They are available in many different densities, ranging from 2 to 20 stops, but the most popular are 3-, 6- and 10-stops. Please read the bullet points below to understand the purpose of each. 

• 3-Stop | 0.9 - This filter is used to add a slight blur to water before the sun has set or after it has risen. At f/16 and ISO100, it is impossible to achieve a slow enough shutterspeed to get the ideal amount of blur in the waves while the sun is up. Three stops of darkening will normally allow a shutterspeed of 1/10s to 1/2s during this golden sunlight phase, producing soft lines in the waves. 
• 6-Stop | 1.8 - This filter serves the same purpose as the 10-stop, but it is better suited for sunset and sunrise. When the sun is close to setting or rising, a 10-stop ND will require a very long shutterspeed at f/11-16 and ISO100 to produce the correct exposure - often as much as 5-10 minutes. A 6-stop ND is thus much more suited for capturing long exposures of 30-60s around sunset and sunrise. 
• 10-Stop | 3.0 - This filter is used primarily for blurring the sea to a flat mist and for blurring clouds into abstract lines. It can also be used to remove traffic and people from urban scenes by blurring the moving elements. At f/11-16 and ISO100, it usually produces a shutterspeed of 20-30s in early morning or late afternoon with strong sunlight. Example - Image #5
• 15-Stop | 4.5 - This filter is serious long exposure territory and will produce exposures times of 1-4 minutes in peak daylight and 5-30 minutes during golden hour. 

IR Blocking - This filter blocks out unwanted Infra-red light that can cause strange colours in undesired areas and rob images of critical shadow-contrast.

Nano Coating - This filter features a super tough scratch-resistant and hydrophobic nano coating that ensures that it lasts for years. It also ensures that any rain or spray from the ocean beads properly and is easy to wipe off so you can continue shooting the sunset.

NOT IN STOCK - FIRST STOCK ARRIVING MID FEBRUARY. THIS NOTICE WILL BE GONE ONCE READY TO SHIP

The new NiSi 100mm Filter Pouch PLUS for 9 Filters is designed for the NiSi 100mm system filters and will hold 4 x 100x100mm and 5 x 100x150mm.

It features an adjustable cross-body sling strap and can be carried as a shoulder bag, messenger bag or a waist bag.  It can be conveniently mounted on a tripod leg for easy access and use and is designed from a lightweight material that protects your filters from scratches.  The pouch features a flip-top design to keep the pouch open when in use.

The case is very light, tipping the scale at 350g while still small enough to fit into any camera bag that can accommodate a DSLR.

Specifications

• Physical dimensions - 190mm x 135mm x 80mm

The NiSi 100mm System Filter Holder For Laowa 10-18mm f/4.5-5.6 FE is designed specifically for the Laowa 10-18mm f/4.5-5.6 for Sony (FE Mount) and is made from light-weight aviation-grade aluminium.  The holder is compatible with 100x100mm or 100x150mm filters from NiSi and brands that feature 2mm thick filters.

Please note that this holder does not have an integrated CPL like other NiSi holders.

The holder is slightly visible in the corners at 10mm – please see the video below for more info. 

The NiSi natural night filter removes unwanted light pollution in night photos by cutting out very specific wavelengths of light produced by artificial light sources. It removes all yellow light produced by sodium-vapor lamps, mercury-vapor lamps and low-CRI LED's. This ensures that night-time images are colour-accurate, sharp and rich in contrast. This unique new filter is an indispensable tool for any serious cityscape shooter. 

This filter drastically improves detail and contrast around bright light-sources.

This filter is also available in a circular screw-in version. 

Please note that the Natural Night filter is not compatible with the Lee holders - it slides out as there is not enough friction between the filter and the holder. You can solve the problem by applying some insulation tape to the edge of the filter, should you want to use it with your Lee holder. 

NiSi is the only company that offers their standard graduated neutral density filters in glass instead of resin. Made from H-K9L optical proglass, these filters transmit light much better than resin, producing true-to-life colour and optimal contrast and sharpness. 

Landscape photographers use graduated neutral density filters because the sky is usually brighter than the land – especially in dramatic sunset light. Graduated ND filters are dark on the top half and transparent on the bottom half. When the dark part is positioned over the sky of an image, it ‘reduces’ the amount of light allowed through that part of the frame and this results in a darkened exposure of the sky. On the left side of the image it shows the result without any filter and on the right it shows the result with the filter.

Graduated ND filters are available in soft, medium and hard and this determines the distance of the transition between the dark part and the transparent part. The softer the graduation, the more even the transition between the darkened area and the normal area. There are also reverse and horizon grads, which are a slight alteration. Read below to find out more or browse the product images to see classic examples of ideal situations for each grad type. 

• Soft Grad –These filters are typically for scenes with a very dynamic horizon, like landscapes with trees or high mountains. Soft grads are the most forgiving and easiest for beginners to use.

• Hard Grad - These filters are typically for scenes with a straight and uniform horizon, like the sea. If a hard grad is not positioned perfectly, it will be clearly noticeable in the image as a dark line below the horizon or a bright line above it. We advise that beginners stick to soft and medium grads. 

• Medium Grad – Medium grads are a newer product that most manufacturers only released in 2016/2017. Many photographers often found hard grads too hard and soft grads too soft and thus it was obvious that something in between was necessary. It is also the perfect solution for photographers that don’t want to commit to a hard or soft grad. Not everyone can afford to buy the full range of these filters and the medium grads are an excellent new compromise.

• Reverse Grad – These filters serve a very niche, but useful purpose. When shooting into a bright sunset/sunrise, the brightest area is right on the horizon and then the sky darkens towards the top. When using a normal graduated ND, it will result in a correctly exposed horizon, but the top part of the sky will be far too dark. A Reverse Grad also has a clear lower half, but it is darkest in the middle and then gets lighter towards the top. This allows one to more accurately balance those exposures that are brightest on the horizon. 

• Horizon Grad – This filter is very similar to a reverse grad, but there is one key difference: Above the darkened horizon, a reverse grad lightens very softly. A horizon grad however, lightens very quickly, changing back to transparent almost instantly. These two filters perform a similar task, but for different situations that nature can throw at you. Sometimes the bright area on the horizon is a gap below a dark cloud and the transition from bright to dark is sudden. Other times it’s just a soft graduation from a bright sun on the horizon to a darker sky above. *Horizon grads are only available from NiSi.

All the different types of grads are available in different densities, because light is dynamic and different scenes require a different amount of ‘darkening’ of the sky. We stock a variety of 0.3, 0.6, 0.9 and 1.2 (0.3 = 1 stop) in NiSi's various size ranges. The most popular densities are 0.6 and 0.9, but a 1.2 is becoming increasingly popular. 

If you’re unsure about which density is right for you, read below or check out product image #2.

• 0.3 (1-stop) is for experienced shooters, usually to be combined with a 0.6 or 0.9.
• 0.6 (2-stop) is the most popular filter as a 2-stop difference between land and sky is most common. If you shoot a sunset/sunrise the 0.6 will be the all-rounder that best balances exposure between land and sky in most directions.
•  0.9 (3-stop) is the ideal if you like shooting into the sunset as the 0.6 isn’t always dark enough for into-the-sun shots. The issue with the 0.9 is that it will be too dark if shooting 90-degrees from the sun or with the sun at your back.
• 1.2 (4-stop) is for shooting directly into a very bright sunset/sunrise.

NiSi is the only company that offers their standard graduated neutral density filters in glass instead of resin. Made from H-K9L optical proglass, these filters transmit light much better than resin, producing true-to-life colour and optimal contrast and sharpness. 

Landscape photographers use graduated neutral density filters because the sky is usually brighter than the land – especially in dramatic sunset light. Graduated ND filters are dark on the top half and transparent on the bottom half. When the dark part is positioned over the sky of an image, it ‘reduces’ the amount of light allowed through that part of the frame and this results in a darkened exposure of the sky. On the left side of the image it shows the result without any filter and on the right it shows the result with the filter.

Graduated ND filters are available in soft, medium and hard and this determines the distance of the transition between the dark part and the transparent part. The softer the graduation, the more even the transition between the darkened area and the normal area. There are also reverse and horizon grads, which are a slight alteration. Read below to find out more or browse the product images to see classic examples of ideal situations for each grad type. 

• Soft Grad –These filters are typically for scenes with a very dynamic horizon, like landscapes with trees or high mountains. Soft grads are the most forgiving and easiest for beginners to use.

• Hard Grad - These filters are typically for scenes with a straight and uniform horizon, like the sea. If a hard grad is not positioned perfectly, it will be clearly noticeable in the image as a dark line below the horizon or a bright line above it. We advise that beginners stick to soft and medium grads. 

• Medium Grad – Medium grads are a newer product that most manufacturers only released in 2016/2017. Many photographers often found hard grads too hard and soft grads too soft and thus it was obvious that something in between was necessary. It is also the perfect solution for photographers that don’t want to commit to a hard or soft grad. Not everyone can afford to buy the full range of these filters and the medium grads are an excellent new compromise.

• Reverse Grad – These filters serve a very niche, but useful purpose. When shooting into a bright sunset/sunrise, the brightest area is right on the horizon and then the sky darkens towards the top. When using a normal graduated ND, it will result in a correctly exposed horizon, but the top part of the sky will be far too dark. A Reverse Grad also has a clear lower half, but it is darkest in the middle and then gets lighter towards the top. This allows one to more accurately balance those exposures that are brightest on the horizon. 

All the different types of grads are available in different densities, because light is dynamic and different scenes require a different amount of ‘darkening’ of the sky. We stock a variety of 0.3, 0.6, 0.9 and 1.2 (0.3 = 1 stop) in NiSi's various size ranges. The most popular densities are 0.6 and 0.9, but a 1.2 is becoming increasingly popular. 

If you’re unsure about which density is right for you, read below or check out product image #2.

• 0.3 (1-stop) is for experienced shooters, usually to be combined with a 0.6 or 0.9.
• 0.6 (2-stop) is the most popular filter as a 2-stop difference between land and sky is most common. If you shoot a sunset/sunrise the 0.6 will be the all-rounder that best balances exposure between land and sky in most directions.
•  0.9 (3-stop) is the ideal if you like shooting into the sunset as the 0.6 isn’t always dark enough for into-the-sun shots. The issue with the 0.9 is that it will be too dark if shooting 90-degrees from the sun or with the sun at your back.
• 1.2 (4-stop) is for shooting directly into a very bright sunset/sunrise.

NiSi is the only company that offers their standard graduated neutral density filters in glass instead of resin. Made from H-K9L optical proglass, these filters transmit light much better than resin, producing true-to-life colour and optimal contrast and sharpness. 

Landscape photographers use graduated neutral density filters because the sky is usually brighter than the land – especially in dramatic sunset light. Graduated ND filters are dark on the top half and transparent on the bottom half. When the dark part is positioned over the sky of an image, it ‘reduces’ the amount of light allowed through that part of the frame and this results in a darkened exposure of the sky. On the left side of the image it shows the result without any filter and on the right it shows the result with the filter.

Graduated ND filters are available in soft, medium and hard and this determines the distance of the transition between the dark part and the transparent part. The softer the graduation, the more even the transition between the darkened area and the normal area. There are also reverse and horizon grads, which are a slight alteration. Read below to find out more or browse the product images to see classic examples of ideal situations for each grad type. 

• Soft Grad –These filters are typically for scenes with a very dynamic horizon, like landscapes with trees or high mountains. Soft grads are the most forgiving and easiest for beginners to use.

• Hard Grad - These filters are typically for scenes with a straight and uniform horizon, like the sea. If a hard grad is not positioned perfectly, it will be clearly noticeable in the image as a dark line below the horizon or a bright line above it. We advise that beginners stick to soft and medium grads. 

• Medium Grad – Medium grads are a newer product that most manufacturers only released in 2016/2017. Many photographers often found hard grads too hard and soft grads too soft and thus it was obvious that something in between was necessary. It is also the perfect solution for photographers that don’t want to commit to a hard or soft grad. Not everyone can afford to buy the full range of these filters and the medium grads are an excellent new compromise.

• Reverse Grad – These filters serve a very niche, but useful purpose. When shooting into a bright sunset/sunrise, the brightest area is right on the horizon and then the sky darkens towards the top. When using a normal graduated ND, it will result in a correctly exposed horizon, but the top part of the sky will be far too dark. A Reverse Grad also has a clear lower half, but it is darkest in the middle and then gets lighter towards the top. This allows one to more accurately balance those exposures that are brightest on the horizon. 

All the different types of grads are available in different densities, because light is dynamic and different scenes require a different amount of ‘darkening’ of the sky. We stock a variety of 0.3, 0.6, 0.9 and 1.2 (0.3 = 1 stop) in NiSi's various size ranges. The most popular densities are 0.6 and 0.9, but a 1.2 is becoming increasingly popular. 

If you’re unsure about which density is right for you, read below or check out product image #2.

• 0.3 (1-stop) is for experienced shooters, usually to be combined with a 0.6 or 0.9.
• 0.6 (2-stop) is the most popular filter as a 2-stop difference between land and sky is most common. If you shoot a sunset/sunrise the 0.6 will be the all-rounder that best balances exposure between land and sky in most directions.
•  0.9 (3-stop) is the ideal if you like shooting into the sunset as the 0.6 isn’t always dark enough for into-the-sun shots. The issue with the 0.9 is that it will be too dark if shooting 90-degrees from the sun or with the sun at your back.
• 1.2 (4-stop) is for shooting directly into a very bright sunset/sunrise.

NiSi is the only company that offers their standard graduated neutral density filters in glass instead of resin. Made from H-K9L optical proglass, these filters transmit light much better than resin, producing true-to-life colour and optimal contrast and sharpness. 

Landscape photographers use graduated neutral density filters because the sky is usually brighter than the land – especially in dramatic sunset light. Graduated ND filters are dark on the top half and transparent on the bottom half. When the dark part is positioned over the sky of an image, it ‘reduces’ the amount of light allowed through that part of the frame and this results in a darkened exposure of the sky. On the left side of the image it shows the result without any filter and on the right it shows the result with the filter.

Graduated ND filters are available in soft, medium and hard and this determines the distance of the transition between the dark part and the transparent part. The softer the graduation, the more even the transition between the darkened area and the normal area. There are also reverse and horizon grads, which are a slight alteration. Read below to find out more or browse the product images to see classic examples of ideal situations for each grad type. 

• Soft Grad –These filters are typically for scenes with a very dynamic horizon, like landscapes with trees or high mountains. Soft grads are the most forgiving and easiest for beginners to use.

• Hard Grad - These filters are typically for scenes with a straight and uniform horizon, like the sea. If a hard grad is not positioned perfectly, it will be clearly noticeable in the image as a dark line below the horizon or a bright line above it. We advise that beginners stick to soft and medium grads. 

• Medium Grad – Medium grads are a newer product that most manufacturers only released in 2016/2017. Many photographers often found hard grads too hard and soft grads too soft and thus it was obvious that something in between was necessary. It is also the perfect solution for photographers that don’t want to commit to a hard or soft grad. Not everyone can afford to buy the full range of these filters and the medium grads are an excellent new compromise.

• Reverse Grad – These filters serve a very niche, but useful purpose. When shooting into a bright sunset/sunrise, the brightest area is right on the horizon and then the sky darkens towards the top. When using a normal graduated ND, it will result in a correctly exposed horizon, but the top part of the sky will be far too dark. A Reverse Grad also has a clear lower half, but it is darkest in the middle and then gets lighter towards the top. This allows one to more accurately balance those exposures that are brightest on the horizon. 

All the different types of grads are available in different densities, because light is dynamic and different scenes require a different amount of ‘darkening’ of the sky. We stock a variety of 0.3, 0.6, 0.9 and 1.2 (0.3 = 1 stop) in NiSi's various size ranges. The most popular densities are 0.6 and 0.9, but a 1.2 is becoming increasingly popular. 

If you’re unsure about which density is right for you, read below or check out product image #2.

• 0.3 (1-stop) is for experienced shooters, usually to be combined with a 0.6 or 0.9.
• 0.6 (2-stop) is the most popular filter as a 2-stop difference between land and sky is most common. If you shoot a sunset/sunrise the 0.6 will be the all-rounder that best balances exposure between land and sky in most directions.
•  0.9 (3-stop) is the ideal if you like shooting into the sunset as the 0.6 isn’t always dark enough for into-the-sun shots. The issue with the 0.9 is that it will be too dark if shooting 90-degrees from the sun or with the sun at your back.
• 1.2 (4-stop) is for shooting directly into a very bright sunset/sunrise.

NiSi is the only company that offers their standard graduated neutral density filters in glass instead of resin. Made from H-K9L optical proglass, these filters transmit light much better than resin, producing true-to-life colour and optimal contrast and sharpness. 

Landscape photographers use graduated neutral density filters because the sky is usually brighter than the land – especially in dramatic sunset light. Graduated ND filters are dark on the top half and transparent on the bottom half. When the dark part is positioned over the sky of an image, it ‘reduces’ the amount of light allowed through that part of the frame and this results in a darkened exposure of the sky. On the left side of the image it shows the result without any filter and on the right it shows the result with the filter.

Graduated ND filters are available in soft, medium and hard and this determines the distance of the transition between the dark part and the transparent part. The softer the graduation, the more even the transition between the darkened area and the normal area. There are also reverse and horizon grads, which are a slight alteration. Read below to find out more or browse the product images to see classic examples of ideal situations for each grad type. 

• Soft Grad –These filters are typically for scenes with a very dynamic horizon, like landscapes with trees or high mountains. Soft grads are the most forgiving and easiest for beginners to use.

• Hard Grad - These filters are typically for scenes with a straight and uniform horizon, like the sea. If a hard grad is not positioned perfectly, it will be clearly noticeable in the image as a dark line below the horizon or a bright line above it. We advise that beginners stick to soft and medium grads. 

• Medium Grad – Medium grads are a newer product that most manufacturers only released in 2016/2017. Many photographers often found hard grads too hard and soft grads too soft and thus it was obvious that something in between was necessary. It is also the perfect solution for photographers that don’t want to commit to a hard or soft grad. Not everyone can afford to buy the full range of these filters and the medium grads are an excellent new compromise.

• Reverse Grad – These filters serve a very niche, but useful purpose. When shooting into a bright sunset/sunrise, the brightest area is right on the horizon and then the sky darkens towards the top. When using a normal graduated ND, it will result in a correctly exposed horizon, but the top part of the sky will be far too dark. A Reverse Grad also has a clear lower half, but it is darkest in the middle and then gets lighter towards the top. This allows one to more accurately balance those exposures that are brightest on the horizon. 

All the different types of grads are available in different densities, because light is dynamic and different scenes require a different amount of ‘darkening’ of the sky. We stock a variety of 0.3, 0.6, 0.9 and 1.2 (0.3 = 1 stop) in NiSi's various size ranges. The most popular densities are 0.6 and 0.9, but a 1.2 is becoming increasingly popular. 

If you’re unsure about which density is right for you, read below or check out product image #2.

• 0.3 (1-stop) is for experienced shooters, usually to be combined with a 0.6 or 0.9.
• 0.6 (2-stop) is the most popular filter as a 2-stop difference between land and sky is most common. If you shoot a sunset/sunrise the 0.6 will be the all-rounder that best balances exposure between land and sky in most directions.
•  0.9 (3-stop) is the ideal if you like shooting into the sunset as the 0.6 isn’t always dark enough for into-the-sun shots. The issue with the 0.9 is that it will be too dark if shooting 90-degrees from the sun or with the sun at your back.
• 1.2 (4-stop) is for shooting directly into a very bright sunset/sunrise.

NiSi is renowned as one of the world's top manufacturers of completely colour-neutral and vignette-free ND filters. Made from H-K9L optical proglass, it allows optimal light transmission to produce sharp and contrast rich images with true-to-life colour. 

Solid neutral density filters lengthen exposure by cutting out a specific amount of light. This is very useful for creative purposes, whether you want to blur a wave, waterfall, leopard or a street scene. They are available in many different densities, ranging from 2 to 20 stops, but the most popular are 3-, 6- and 10-stops. Please read the bullet points below to understand the purpose of each. 

IR Blocking - This filter blocks out unwanted Infra-red light that can cause strange colours in undesired areas and rob images of critical shadow-contrast.

Nano Coating - This filter features a super tough scratch-resistant and hydrophobic nano coating that ensures that it lasts for years. It also ensures that any rain or spray from the ocean beads properly and is easy to wipe off so you can continue shooting the sunset.

*This filter is also available in 2,4,5,7,8,9 and11 stops. Please get in touch via the contact page if you would like to order one of these densities.

NiSi is renowned as one of the world's top manufacturers of completely colour-neutral and vignette-free ND filters. Made from H-K9L optical proglass, it allows optimal light transmission to produce sharp and contrast rich images with true-to-life colour. 

Solid neutral density filters lengthen exposure by cutting out a specific amount of light. This is very useful for creative purposes, whether you want to blur a wave, waterfall, leopard or a street scene. They are available in many different densities, ranging from 2 to 20 stops, but the most popular are 3-, 6- and 10-stops. Please read the bullet points below to understand the purpose of each. 

• 3-Stop | 0.9 - This filter is used to add a slight blur to water before the sun has set or after it has risen. At f/16 and ISO100, it is impossible to achieve a slow enough shutterspeed to get the ideal amount of blur in the waves while the sun is up. Three stops of darkening will normally allow a shutterspeed of 1/10s to 1/2s during this golden sunlight phase, producing soft lines in the waves. 
• 6-Stop | 1.8 - This filter serves the same purpose as the 10-stop, but it is better suited for sunset and sunrise. When the sun is close to setting or rising, a 10-stop ND will require a very long shutterspeed at f/11-16 and ISO100 to produce the correct exposure - often as much as 5-10 minutes. A 6-stop ND is thus much more suited for capturing long exposures of 30-60s around sunset and sunrise. 
• 10-Stop | 3.0 - This filter is used primarily for blurring the sea to a flat mist and for blurring clouds into abstract lines. It can also be used to remove traffic and people from urban scenes by blurring the moving elements. At f/11-16 and ISO100, it usually produces a shutterspeed of 20-30s in early morning or late afternoon with strong sunlight. 
• 15-Stop | 4.5 - This filter is serious long exposure territory and will produce exposures times of 1-4 minutes in peak daylight and 5-30 minutes during golden hour. 

IR Blocking - This filter blocks out unwanted Infra-red light that can cause strange colours in undesired areas and rob images of critical shadow-contrast.

Nano Coating - This filter features a super tough scratch-resistant and hydrophobic nano coating that ensures that it lasts for years. It also ensures that any rain or spray from the ocean beads properly and is easy to wipe off so you can continue shooting the sunset.

*This filter is also available in 2,4,5,7,8,9 and11 stops. Please get in touch via the contact page if you would like to order one of these densities.

NiSi is renowned as one of the world's top manufacturers of completely colour-neutral and vignette-free ND filters. Made from H-K9L optical proglass, it allows optimal light transmission to produce sharp and contrast rich images with true-to-life colour. 

Solid neutral density filters lengthen exposure by cutting out a specific amount of light. This is very useful for creative purposes, whether you want to blur a wave, waterfall, leopard or a street scene. They are available in many different densities, ranging from 2 to 20 stops, but the most popular are 3-, 6- and 10-stops. Please read the bullet points below to understand the purpose of each. 

• 3-Stop | 0.9 - This filter is used to add a slight blur to water before the sun has set or after it has risen. At f/16 and ISO100, it is impossible to achieve a slow enough shutterspeed to get the ideal amount of blur in the waves while the sun is up. Three stops of darkening will normally allow a shutterspeed of 1/10s to 1/2s during this golden sunlight phase, producing soft lines in the waves. 
• 6-Stop | 1.8 - This filter serves the same purpose as the 10-stop, but it is better suited for sunset and sunrise. When the sun is close to setting or rising, a 10-stop ND will require a very long shutterspeed at f/11-16 and ISO100 to produce the correct exposure - often as much as 5-10 minutes. A 6-stop ND is thus much more suited for capturing long exposures of 30-60s around sunset and sunrise. 
• 10-Stop | 3.0 - This filter is used primarily for blurring the sea to a flat mist and for blurring clouds into abstract lines. It can also be used to remove traffic and people from urban scenes by blurring the moving elements. At f/11-16 and ISO100, it usually produces a shutterspeed of 20-30s in early morning or late afternoon with strong sunlight. 
• 15-Stop | 4.5 - This filter is serious long exposure territory and will produce exposures times of 1-4 minutes in peak daylight and 5-30 minutes during golden hour. 

IR Blocking - This filter blocks out unwanted Infra-red light that can cause strange colours in undesired areas and rob images of critical shadow-contrast.

Nano Coating - This filter features a super tough scratch-resistant and hydrophobic nano coating that ensures that it lasts for years. It also ensures that any rain or spray from the ocean beads properly and is easy to wipe off so you can continue shooting the sunset.

*This filter is also available in 2,4,5,7,8,9 and11 stops. Please get in touch via the contact page if you would like to order one of these densities.

NiSi is renowned as one of the world's top manufacturers of completely colour-neutral and vignette-free ND filters. Made from H-K9L optical proglass, it allows optimal light transmission to produce sharp and contrast rich images with true-to-life colour. 

Solid neutral density filters lengthen exposure by cutting out a specific amount of light. This is very useful for creative purposes, whether you want to blur a wave, waterfall, leopard or a street scene. They are available in many different densities, ranging from 2 to 20 stops, but the most popular are 3-, 6- and 10-stops. Please read the bullet points below to understand the purpose of each. 

• 3-Stop | 0.9 - This filter is used to add a slight blur to water before the sun has set or after it has risen. At f/16 and ISO100, it is impossible to achieve a slow enough shutterspeed to get the ideal amount of blur in the waves while the sun is up. Three stops of darkening will normally allow a shutterspeed of 1/10s to 1/2s during this golden sunlight phase, producing soft lines in the waves. 
• 6-Stop | 1.8 - This filter serves the same purpose as the 10-stop, but it is better suited for sunset and sunrise. When the sun is close to setting or rising, a 10-stop ND will require a very long shutterspeed at f/11-16 and ISO100 to produce the correct exposure - often as much as 5-10 minutes. A 6-stop ND is thus much more suited for capturing long exposures of 30-60s around sunset and sunrise. 
• 10-Stop | 3.0 - This filter is used primarily for blurring the sea to a flat mist and for blurring clouds into abstract lines. It can also be used to remove traffic and people from urban scenes by blurring the moving elements. At f/11-16 and ISO100, it usually produces a shutterspeed of 20-30s in early morning or late afternoon with strong sunlight. 
• 15-Stop | 4.5 - This filter is serious long exposure territory and will produce exposures times of 1-4 minutes in peak daylight and 5-30 minutes during golden hour. 

IR Blocking - This filter blocks out unwanted Infra-red light that can cause strange colours in undesired areas and rob images of critical shadow-contrast.

Nano Coating - This filter features a super tough scratch-resistant and hydrophobic nano coating that ensures that it lasts for years. It also ensures that any rain or spray from the ocean beads properly and is easy to wipe off so you can continue shooting the sunset.

*This filter is also available in 2,4,5,7,8,9 and11 stops. Please get in touch via the contact page if you would like to order one of these densities.

NiSi is renowned as one of the world's top manufacturers of completely colour-neutral and vignette-free ND filters. Made from H-K9L optical proglass, it allows optimal light transmission to produce sharp and contrast rich images with true-to-life colour. 

Solid neutral density filters lengthen exposure by cutting out a specific amount of light. This is very useful for creative purposes, whether you want to blur a wave, waterfall, leopard or a street scene. They are available in many different densities, ranging from 2 to 20 stops, but the most popular are 3-, 6- and 10-stops. Please read the bullet points below to understand the purpose of each. 

• 3-Stop | 0.9 - This filter is used to add a slight blur to water before the sun has set or after it has risen. At f/16 and ISO100, it is impossible to achieve a slow enough shutterspeed to get the ideal amount of blur in the waves while the sun is up. Three stops of darkening will normally allow a shutterspeed of 1/10s to 1/2s during this golden sunlight phase, producing soft lines in the waves. 
• 6-Stop | 1.8 - This filter serves the same purpose as the 10-stop, but it is better suited for sunset and sunrise. When the sun is close to setting or rising, a 10-stop ND will require a very long shutterspeed at f/11-16 and ISO100 to produce the correct exposure - often as much as 5-10 minutes. A 6-stop ND is thus much more suited for capturing long exposures of 30-60s around sunset and sunrise. 
• 10-Stop | 3.0 - This filter is used primarily for blurring the sea to a flat mist and for blurring clouds into abstract lines. It can also be used to remove traffic and people from urban scenes by blurring the moving elements. At f/11-16 and ISO100, it usually produces a shutterspeed of 20-30s in early morning or late afternoon with strong sunlight.
• 15-Stop | 4.5 - This filter is serious long exposure territory and will produce exposures times of 1-4 minutes in peak daylight and 5-30 minutes during golden hour. 

IR Blocking - This filter blocks out unwanted Infra-red light that can cause strange colours in undesired areas and rob images of critical shadow-contrast.

Nano Coating - This filter features a super tough scratch-resistant and hydrophobic nano coating that ensures that it lasts for years. It also ensures that any rain or spray from the ocean beads properly and is easy to wipe off so you can continue shooting the sunset.

*This filter is also available in 2,4,5,7,8,9 and11 stops. Please get in touch via the contact page if you would like to order one of these densities.