More choice, greater flexibility.
At the core of the LEE Filters system is the holder, which comes assembled with two filter slots but can easily be adapted to take up to four filters.
The holder is designed to be compatible with 100mm filters – our standard width. To fit the holder to the lens, an adaptor ring is required.
There are two types of LEE Filter adaptor ring:
one for general use, and one for wide-angle lenses.
The LEE Filters holder has been designed with almost every photographic eventuality and combination in mind.
Up to four filters of different types can be used in one holder. For instance you could combine Neutral Density and Warm-up Filters to respond to a specific lighting situation. Or if you shoot black and white you might select a red filter plus a Neutral Density Standard to darken blue skies and slow down the exposure.
Crucially, once fitted to the adaptor ring, the holder can be rotated to any angle. This permits the photographer to balance the exposure even when the brightest areas fall, say, within the top left hand 'triangle' of the scene.
The Foundation Kit takes standard 100mm filters, and can be constructed to take up to three filters at any one time. The Foundation Kit, like all others, clips onto the adaptor ring which, in turn, screws onto your camera's lens.Watch The Foundation Kit Video
The push-on filter holder has been specifically designed to fit straight to certain large format wide-angle lenses which otherwise will not take a filter system. It takes the standard 100mm filters and fits directly to lenses with an outside diameter of 100mm (filter thread often 95mm). It can be custom adapted to fit lenses or centre filters of smaller diameter, but is not generally the best option for sizes less than 86mm.
We have indexed over 500 lenses so you can quickly find the LEE System that's best for you.
Use our quick select menus to locate your lenses and discover which System we recommend for each lens and which Systems are compatible and not compatible. You'll also learn exactly what Adaptor Rings you'll need to get started.
Every month we ask a respected professional photographer to select and review five of the best user images we have received that month that use a LEE filter. Take a look at this month’s selections.
Send us your best work. Be original. Surprise us!
Colin Prior kindly made the selections this month. He is one of the world’s most respected landscape photographers. Born in Glasgow, his proximity to the Scottish Highlands shaped his passion for the outdoors and fostered his interest in photography. His photographs capture sublime moments of light and land, which are the result of meticulous planning and preparation and often take years to achieve. He is currently working on a four-year project in the Karakoram Mountains of Pakistan and nearer home on a new book entitled, Fragile. He is a Fellow of the Royal Photographic Society and President of the Association for the Protection of Rural Scotland.
Strong compositional lines here hold the eye firmly in the turbulent amphitheatre and the photographer has been careful to lead the eye through the image from the bottom right hand corner of the frame.
The Big Stopper has forced the long shutter speed turning the running water into a solid amorphous mass whilst in the sky, the opposite effect has been achieved with motion blur streaking the heavens. Also the cool pre-dawn colour temperature enhances the feeling of the freezing conditions and plays to the overall mood of the image. Not much here that I would have done differently. Colin Prior
The strength of this image is in its simplicity and the fact that it juxtaposes the two colour opposites - magenta and green. Personally, I would have considered cropping this to 3:4 - I find the 2:3 format on the upright orientation too long and thin.
Whilst the colours are very appealing, we need to be judicial in the amount of saturation applied, either globally or in specific channels, to ensure that the scene we are experiencing remains believable. The use of the Big Stopper has helped create a dynamic between the glass-like nature of the sea and the motion blur in the clouds which are complimentary. Colin Prior
This haunting image looks to have come straight from one of the fantasy landscapes in the Chronicles of Narnia. Again we have two colour opposites at work here - blue and yellow which have fused together harmoniously creating a feeling of peace and tranquillity. The warm backlighting picks up the icicles beautifully below the island, helping to create the ephemeral quality of the image.
Had I been there I wouldn't have changed much - perhaps shot a little tighter to give more emphasis to the backlit icicles and probably let the sun drop below the island (which I'm sure you've done) - I feel that there's competition between the hotspots and as we know from experience - in photography, less is more. A lovely image. Colin Prior
Despite the Big Stopper being used in this image it has created a feeling of movement rather than tranquillity. When I look at this image I experience a feeling of perpetual motion. We are drawn into the composition with the two parallel water flows which exist in one plane and are juxtaposed by the sea meeting this convergence on another. Above in the sky and in yet another plane, the moving clouds also contribute to this sense of movement which I don't think would have been quite so pronounced had the filter not been used. The low camera angle helps to create a powerful dynamic. All good. Colin Prior
A strong composition in this image with the mountain peaks being framed by the two islands. A lovely airy and high key picture with a feeling of a pristine environment.
One or two things I might have done differently here - I feel the saturation in the yellow/green channels has been increased beyond a point which looks (to me) natural and I would also have used the radial filter in Lightroom over the cloud on the mountain and in its reflection in the lake by removing some of the highlight values. This would have helped the viewer to navigate the image in the way intended and would help dissuade our eyes from moving instinctively to the centre of the image where the brightest portion of the image lies. Notwithstanding this, it's still a great image. Colin Prior
Send us your best work. Be original. Surprise us!
Jeremy Walker kindly made the selections this month. Brought up in the world of film, chemicals and darkrooms but now fully embracing digital photography, his awe inspiring panoramic images have earned him a reputation as one of Europe’s top landscape photographers. He shoots regularly for global ad agencies and corporate clients and represents Nikon as a UK ambassador. His easy going personality, inspirational photographs and love of the landscape make his workshops extremely popular for all levels of enthusiast. He is also a respected writer, guest speaker and lecturer.
An image with strong visual impact and it’s really refreshing to see a Big Stopper image that is not waves around a rock on a beach. A little thought has gone into the use of the Big Stopper and how it will impact on the final image and although some postproduction work has gone on it leaves the image with a unique look and feel.
The composition is strong and I love the way the clouds take the eye toward the centre of the image. The use of the polariser although not immediately obvious will also have had a big impact on the look of the glass in the skyscrapers and water in the fountain. Perhaps not a ‘normal’ Big Stopper or cityscape shot but it certainly stands out as a dramatic image. Jeremy Walker
A great viewpoint, I love the low angle, quirky composition (the thin slither of ocean is just perfect) and the muted colour palette. Some thought has gone into the use of the Big Stopper, the direction of the clouds and length of exposure playing a strong roll in the impact of the image by echoing the wooden boards in the foreground.
The Neutral Density 0.6 Hard Grad although essential for balancing the exposure has been used very subtly and the white cloud moving just off centre of the image breaks the sky up just enough to give a little interest in an otherwise grey sky. Jeremy Walker
A very simple, clean and tidy composition that shows how well the ‘Rule of Thirds’ can work (it’s a guideline, not a rule!) Not only is the composition strong but the black and white conversion and tonality of the image is excellent. An added bonus was the tide being out and so giving the pier the extra dark band at its base (or just good planning?)
The 0.9 Soft Grad has worked well where a Hard Grad will have been too strong. The Big Stopper effect is subtle although the people on the pier still appear sharp, possibly a double exposure? Personally I think the image would be stronger with no people in it. Jeremy Walker
A very strong, dark, brooding and moody landscape, that has plenty of depth and detail to it. Rocks, water and Big Stoppers do seem to go hand in hand and here the Big Stopper has created a ghostly fog of the water without it going too misty and milky. Retaining some detail and texture in the sea has helped the mood of the image, too much blur and motion and the strength of the image would be compromised.
The composition is also strong with the black boulders emerging from the sea with plenty of detail in them. Because of the strength of the foreground the mountains in the distance have become just background interest but this gives the image depth, often lacking in many landscapes. Jeremy Walker
I would normally start to worry if someone was using four filters to achieve their results but I do like the mood and feel of this shot. Possibly the clouds are very slightly over graded for my taste with both a 0.6 Medium Grad and a 0.6 Hard Grad and I’m not too sure how much effect the Polariser is having on the scene. However, as an image all the ingredients are there and it does still work, there is plenty of mood and atmosphere and the image has impact, what more could you ask for?
Finishing the scene off well is the use of the LEE Mist Grad (I have and use both the Mist Grad and the Mist Stripe.) These Mist filters used in the right conditions and used subtly can help create a mood or atmosphere in an image where none previously existed and this shot shows how well they can work. Jeremy Walker
Mark Bauer is one of the UK’s leading landscape photographers. Having first become interested in photography while living abroad, he is now renowned for his evocative images of his home county of Dorset, and other locations throughout the South West of England.Submit your image now
Every month we ask a respected professional photographer to select and review five of the best user images we have received that month. Selected images are featured in this gallery along with the pro's comments. It's a great opportunity to show your best work to the world.
Next month's images selected by: Mark Bauer
Get up to speed fast with our videos that explain the LEE Filter System and how to use it
The adaptor ring screws onto the camera's lens and, in turn, the filter holder clips onto the adaptor ring.
The adaptor ring screws onto the lens with a fluid action, thanks to the sturdy construction and Aluminium screw thread.
49, 52, 55, 58, 62, 67, 72, 77, 82, 86, 93, 95 and 105mm, as well as Rollei IV, and 50, 60 and 70mm bayonet fitting for Hasselblad lenses.
49, 52, 55, 58, 62, 67, 72, 77, 82mm.
The standard adaptor ring is suitable for use with lenses up to a moderate wide-angle. It sits in front of the lens's front thread. The standard adaptor ring is compatible with lens focal lengths of approximately 28mm (35mm SLR equivalent) and upwards.
For accurate ring selection please refer to our
System Match Tool, which will recommend the appropriate ring for your needs.
The wide-angle adaptor ring is suitable for use with wide-angle lenses. It differs from the standard adaptor ring by sitting closer to the front element of the camera's lens. As a result, the likelihood of vignetting is dramatically reduced.
Our System Match Tool, will advise when this ring is the best choice.
This is a unique 100mm adaptor ring designed specifically for the Olympus 7-14mm Pro f2.8 lens. Click through the slides to learn how to assemble it. Once fitted the adaptor ring remains on the lens at all times.
Canon EOS 5D Mark III, TS-E17mm f/4L
0.9ND Soft Grad + Big Stopper
Both photos by David Newton
Canon EOS 5D Mark III, TS-E17mm f/4L
0.9ND Hard Grad + 0.6ND Soft Grad
Versatile and lightweight, the Seven5 System is the ultimate take-everywhere filter set-up for the Compact System Camera user.
Reimagined for tablets these new eBooks take you through stunning landscape photos and the exact filters and techniques used.
An all new design fits an ever expanding range of ultra-wideangle lenses. Full range of filters including Polariser and Big Stopper.
Photographers using large diameter lenses on mirrorless cameras may need to use the 100mm system (as opposed to the Seven5 System designed for these cameras).
Because the sensor is smaller on these cameras the graduated part of the filter should be tighter. To achieve this with the 100mm system simply choose a harder grad than normal.
The Seven5 System is designed for mirrorless cameras and our Neutral Density Grads for this system have tighter areas of transition than the larger-sized filters of the 100mm and SW150 Systems.
This results in a comparable effect between a 100mm Grad on a full frame camera and a Seven5 Grad on a mirrorless camera with a crop sensor.
Thanks to their flexibility, these hoods can be used at varying angles, so can selectively shade parts of the image, or even match the movements of a large format camera – making them a versatile addition to the photographers' kit bag.
All LEE Filters lens hoods are self-supporting – a feature unique to us. This means, quite simply, they have no need for rails or guides in order to be adjusted or maintain their structure.
As a result, they are compact and light, so don't become a hindrance to the landscape photographer who prefers to travel light.Watch The Lens Hoods Video
Designed to suit the needs of most photographers this works as both a simple lens shade, and in conjunction with filters. It comes assembled with two filter slots, but can also be configured to take different filter combinations. It is ideal for shading wide-angle lenses on DSLR, 35mm SLR and medium format cameras.
The much larger bellows that are a characteristic of the Wide-angle Hood mean it can be used in conjunction with wide or very large lenses – reducing the chances of vignetting that would arise if a standard hood were to be used.
* Adaptor Ring not included
If you’re new to the LEE Filters system,
this is what you’ll need to set you on your way.*
* Adaptor Ring not included
Get everything you need to get creative with your landscape photography and control a wide range of lighting conditions.*
You can view all our videos with Closed Captions and Translations on our YouTube Channel LEEfiltersTV