So. Filters.
Walk into any camera shop and you’ll see walls of them—polarizing filters, UV filters, neutral density filters, graduated ND filters, and color filters in every shade. The salesperson will probably tell you that you need at least three of them right now.
You might not.
I’ve been shooting for 16 years, and I’m pretty selective about camera filters. But the ones I do use solve problems that editing can’t fix later. That’s the key—filters aren’t about making your photos look cool (though they can). They’re about capturing light in ways your camera can’t manage on its own, or protecting photography gear you’ve invested in.
Let me walk you through the main types of camera lens filters and when they’re actually worth the investment.
UV Filters: The Lens Protection I Don’t Skip
I keep a UV filter on every lens I own, all the time.
Technically, UV filters block ultraviolet light. That mattered in film photography—UV light could create haze in your images. With digital camera sensors, it’s basically a non-issue.
So why do I use them?
Lens protection. That front lens element on your camera lens is expensive and exposed. Scratches, dust, fingerprints from curious kids at family portrait sessions, the occasional bump—a UV filter takes the hit instead of your glass. And just as important, it protects the lens coatings on your lens. Those coatings are what make modern lenses sharp and reduce flare, and once they’re damaged, you can’t fix them.
I’ve had filters get scratched and dinged over the years. Replacing a $50-100 filter hurts way less than replacing a $1,500 lens or living with damaged coatings that affect every shot.
You need good quality filters. A cheap UV filter can degrade your image quality with soft focus, color casts or lens flare. If you’re going to put glass in front of your expensive lens, it needs to be quality glass. I stick with brands like B+W, Hoya, or Tiffen.
Neutral Density Filters: Slowing Down Time with ND Filters
Neutral density (ND) filters are like sunglasses for your camera. They reduce the amount of light hitting your sensor without changing the color.
Why would you want less light?
Because sometimes you want a slow shutter speed in bright conditions. Think:
- Silky, blurred waterfalls in midday sun
- Long exposure photography that turns moving crowds into ghosts
- Shooting wide open (f/1.8, f/2.8) in bright light without overexposing
I use mine at the beach—specifically at piers where I want that silky water effect. Bright daylight would normally force a fast shutter speed, but the ND filter lets me slow it down enough to blur the water into that smooth, dreamy look.
ND filters come in different strengths (measured in stops of light). A 3-stop ND filter is mild. A 10-stop ND filter is so dark you can barely see through it, but it lets you do 30-second exposures in daylight.
If you love landscape photography or want to experiment with motion blur, ND filters open up creative possibilities you can’t get any other way.
Polarizing Filters: Cutting Glare and Deepening Skies
A polarizing filter (also called a circular polarizer or CPL filter) does two things really well: it cuts glare and deepens blue skies. Rotate it while you’re looking through your viewfinder, and you’ll see reflections on water or glass just… disappear. Clouds pop against darker blue skies. Colors get richer.
They’re popular for:
- Outdoor photography sessions when there’s water nearby
- Landscape photography where you want dramatic skies
- Any situation with annoying reflections you can’t avoid
The catch? A polarizing filter eats about 1-2 stops of light, so you’ll need to adjust your exposure settings. And it won’t do much on overcast days or when you’re shooting toward the sun.
But for what it does, nothing in post-processing comes close (though Lightroom is getting a lot better at removing reflections).
Graduated Neutral Density Filters: For Tricky Skies
Graduated ND filters (GND filters) are dark on one half and clear on the other, with a gradual transition in between.
They’re designed for one specific problem: when your sky is way brighter than your foreground, and your camera can’t handle the dynamic range.
You position the dark half over the bright sky, and it evens out the exposure so you don’t blow out the highlights or lose detail in the shadows.
Here’s where I stand on these: they’re mostly obsolete for digital photography.
Why? Because you can bracket exposures (take multiple shots at different exposures) and blend them in post-processing. Or shoot in RAW format and recover a surprising amount of detail in both highlights and shadows. If you shoot to expose to the right of your histogram without making your blinkies go crazy, you can recover the darkened foreground in post.
GND filters were essential in film photography days. Now, they’re a niche tool. If you shoot a lot of sunrise and sunset landscape photography and want to get it right in-camera, they still have a place. But for most photographers, modern editing tools are more flexible.
Color Filters: Red, Blue, Yellow, and the Rest
Color filters work by selectively blocking or transmitting certain wavelengths of light, which changes how colors are rendered in your image.
In black and white film photography, they were crucial for controlling contrast. A red filter blocks blue and green light—darkening blue skies and making clouds pop dramatically. A yellow filter blocks some blue light, slightly darkening skies and improving contrast. A blue filter blocks red and green, lightening blue tones and darkening reds. A green filter enhances foliage by lightening greens and darkening reds.
The filter cuts certain colors from entering the camera, which changes how those colors are rendered in the final image.
In digital photography, you can replicate all of these effects in Lightroom or Photoshop with way more control and flexibility.
So do you need color filters? Almost certainly not.
The one exception might be if you’re shooting film for creative or nostalgic reasons, or if you want to commit to a specific look in-camera and avoid post-processing. Some photographers still use physical filters to control light before it hits the sensor, especially in specialized work like infrared photography or UV photography.
But for most digital photographers, color filters are a solution to a problem that no longer exists.
What Camera Filters Should You Actually Buy?
If you’re just starting out with photography, don’t rush to buy filters. Learn your camera first. Understand exposure, composition, and light.
When you’re ready, here’s my honest recommendation:
- Start with a UV filter for lens protection if you shoot in unpredictable environments or want peace of mind. Invest in quality—cheap filters will hurt your image quality.
- Consider an ND filter if you want creative control over motion and long exposures—silky water, blurred crowds, shooting wide open in bright light.
- Add a polarizing filter if you shoot outdoors and want to cut glare or deepen skies. It’s the one filter that does things editing can’t replicate.
- Skip graduated ND and color filters unless you have a very specific reason to use them.
And remember: if you buy camera filters, buy good ones. Cheap filters can introduce color casts, reduce sharpness, and create flare. It’s worth the investment in quality glass.
Camera Filters Are Tools, Not Magic
Here’s what I want you to remember: filters won’t make you a better photographer. They’re photography tools that solve specific problems.
If you don’t have the problem, you don’t need the tool.
I keep UV filters on my lenses because I’ve learned the hard way that gear protection matters. I reach for my ND filter when I want that silky water at the beach. I skip the rest because they don’t fit my work.
The key is knowing when to reach for them—and when to just focus on the light, the moment, and the story you’re trying to tell.
Because that’s what matters most.
Have questions about camera filters or want to learn more about getting the most out of your camera? I teach photography classes at the ArtsCenter in Carrboro, North Carolina, covering everything from camera basics to advanced editing in Lightroom. Check my website at sourwoodphotography.com for upcoming photography workshops and classes, or reach out if you’d like to chat about what might work for your photography journey.
Heather is a professional photographer and photography instructor in Chapel Hill, North Carolina, with 16 years of experience teaching beginning and advanced photographers how to master their cameras and create better images.