SKU: 79038732702

Tiffen 82mm Low Contrast 1/2 Filter

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Description

Tiffen 82mm Low Contrast 1/2 FilterUseful for Reducing Contrast Helps Balance Highlights and Shadows Increases Illumination in Shadows Increases Detail in Shadows Halation Effect for Highlights ColorCore Technology 82mm Front Filter Threads Plastic Case The Tiffen 82mm Low Contrast 1 2 Filter can be applied to purposely reduce contrast while photographing an image or while recording video. By redistributing illumination from brighter to darker areas within a scene, this filter is

  • Useful for Reducing Contrast
  • Helps Balance Highlights and Shadows
  • Increases Illumination in Shadows
  • Increases Detail in Shadows
  • Halation Effect for Highlights
  • ColorCore Technology
  • 82mm Front Filter Threads
  • Plastic Case

The Tiffen 82mm Low Contrast 1/2 Filter can be applied to purposely reduce contrast while photographing an image or while recording video. By redistributing illumination from brighter to darker areas within a scene, this filter is useful in helping to balance the tonal range among highlights and shadows. Detail is increased within shadow regions while a halation effect around highlights is created which can further enhance a scene's appearance or produce a desired effect.

This filter has a grade of 1/2. Grades of 1/8, 1/4, 1, 2, 3, 4, and 5 are also available where this filter type's effect becomes approximately twice as strong with each grade number increase.

This filter is made using ColorCore technology, a process that involves laminating the filter substrate between 2 pieces of optical glass and grinding flat to a tolerance of 1/10,000th of an inch.

  • Reduces contrast for photography or while recording video
  • Redistributes illumination from highlights to shadows within a scene
  • Helps balance the tonal range among highlights and shadows
  • Increases shadow detail while creating halation effect around highlights
  • 82mm front filter threads allow for use with other filters
  • Plastic case included for storage and transport
UPC: 049383236323
In the Box
Tiffen 82mm Low Contrast 1/2 Filter
  • Filter Case
  • Limited 10-Year Warranty
Type Contrast control
Size 82 mm
Grade 1/2
Effect Reduces contrast within an image or scene; increases shadow detail; creates halation around highlights
Construction ColorCore technology
Front Filter Thread Size 82 mm
Front Lens Cap Size 82 mm
Packaging Info
Package Weight 0.2 lb
Box Dimensions (LxWxH) 4.6 x 3.9 x 0.8"
All product and company names are trademarks™ or registered® trademarks of their respective holders. Use of them does not imply any affiliation with or endorsement by them.
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SKU: 79038732702

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4.9 ★★★★★
Based on 8 reviews
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D
Verified Purchase
David R. Papke
Whiting, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
D
Verified Purchase
DoubtfulReader
Belleville, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 27, 2017
M
Verified Purchase
Matt M.
Birmingham, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 19, 2021
J
Verified Purchase
J. Christian
Dallas, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014
C
Verified Purchase
Classics professor
San Leandro, US
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 20, 2017

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