HOYACatalog 09

HOYACatalog-THK09-1.qx 09.2.
5 0:00 PM Page 1
F I L T E R S
www.thkphoto.com
HOYACatalog-THK09-1.qx 09.2.5 0:00 PM Page 2
THE PRODUCTION PROCESS OF

HOYA FILTERS
Each Hoya filter is the result of research, know-how and complete
precision facilities backed by full quality control.
Before production starts, controls are first programmed into a

computer. Then the finest materials are carefully mixed by an
automatic V-blender for absolute uniformity. After being melted with
highly sophisticated equipment, this material is then precision
molded with automatic direct pressing equipment. The pressed
blanks are next slowly and continuously cooled to remove strain, and
are then polished by high-speed, double-surface polishing machines
that assure precise surface quality and perfect flatness.
Next is the coating process which improves the filter light

transmission ability. And the transmission characteristics are
checked by Spectro-Photometer, after which an ultrasonic cleaner
removes all foreign matter from the surfaces. Only after passing all of
Hoya's quality tests are the filters assembled, finished and made
ready for shipment to customers throughout the world.
HOYA SEES AND RESPONDS TO

THE NEEDS OF TODAY
HOYA Corporation has diversified its operations by capitalizing on
the potential of optoelectronic technologies since its establishment in
1941 as Japan's first specialty manufacturer of optical glass. Today,
Hoya is active in four fields of business: Information Technology business
makes mask blanks and photomasks for semiconductor devices and
liquid crystal panels, optical lenses, and glass memory disks for hard disk
drives. The Eye Care provides eyeglasses and operates contact lenses
retail shops, as well as makes intraocular lenses for cataract surgery. The
Life Care Business provides endoscopic system. The Imaging System
produces SLR/compact digital cameras and interchangeable lenses as
well as digital camera lens module and microlens.
O U T L I N E
INFOMATION TECHNOLOGY
EYE CARE
MEDICAL
IMAGING SYSTEM
CRYSTAL
F I LT E R S
Premium Performance in Lens Protection
and Image Enhancement
HARDENED GLASS
Hardened optical glass that has 4 times the breaking strength in
ANSI standardized testing (ANSI Z80.3 : 2001) where a steel balls of
varying size and weight were dropped from a height of 50 inches
onto the glass.
HIGH TRANSPARENCY POLARIZING FILM

The polarizing film is the same as that used in the latest high
definition LCD TV screens. It has 25% higher light transmission than
standard polarizing film used in current photographic filters.
HARDENED 8 LAYER WATERPROOF MULTI-COATING

THAT IS SCRATCH & STAIN RESISTANT
Newly developed industry leading 8-layer multi-coating yields an
average light transmission rate of 99.35% between 400 and 700nm
(visible spectrum). These coatings greatly reduce reflections off the
surface of the glass allowing you to capture more light in your photos.
As with all HOYA multi-coatings,HD HMC is applied in a furnace at
high heat, bonding the coating to the surface of the glass. This
process is called "hard coating" and it is far more durable than other
coating techniques. The chemistry of the top layer is formulated not
just to be more durable but to be resistant to oil stains. This means
that finger prints and other oils are much easier to remove.
3
UV
Best Quality Filter in History

HD GLASS
• High Density Sharp Cut UV Glass
• Chemically Enhanced Optical Glass is 4x Stronger
HD COATING
• 8-layer Anti-Reflective Multi-Coating
• Hardened 8-layer Multi-Coating is Easy to Clean
• Water & Oil Repellent, Scratch & Stain Resistant
HD FRAME
• Wide-Angle Lens Compatible Ultra Thin Frame
• Glass Mounted with High Pressure Press Technology
Multi-purpose all-wether filter

It's hardened optical glass make it better in dusty or sandy coniditions
while the water and stain resistant 8-layer Multi-coating allow it to
handle mist and spray with ease. This multi-purpose, all-weather
filter is capable of taking on the elements to protect expensive optics.
Absorbs the ultraviolet rays which often makes outdoor photographs
hazy and indistinct. The HOYA HD UV fitler can be left on at all times
to serves as a permanent lens protector.
Available sizes:
52mm 55mm 58mm 62mm 67mm 72mm 77mm 82mm
4
CIR-PL
Best Filter Performance in History

HD POLARIZING FILM
• High Transparency & High Durability UV Absorbing Film
• 25% Greater Light Transmission than Standard Polarizing Film
HD COATING
• 8-layer Anti-Reflective Multi-Coating
• Water & Oil Repellent, Scratch & Stain Resistant
HD FRAME
• Wide-Angle Lens Compatible Ultra Thin Frame
• Glass Mounted with High Pressure Press Technology
Color and contrast enhancement

Light rays which are reflected by any surface can become polarised
so polarising filters are used to select which light rays enter your
camera lens. CIR-PL filters allow you to remove unwanted reflections
from non-metallic surfaces such as water, glass etc. They also enable
colors to become more saturated and appear clearer with better
contrast. This effect is often used to increase the contrast and
saturation in blue skies and white clouds. HOYA's polarising filters do
not affect the overall color balance of a shot.
Available sizes:
5
for Digital PRO1 Digital Filter Series
D E S I G N E D E X C L U S I V E LY
F O R D I G I TA L C A M E R A S
K E Y F E AT U R E S
Digital Multi-Coated
Digital multi-coated filters greatly
reduce the appearance of lens flare
and ghosting caused by reflections.
Black Almite Frame

Filters feature a black matte
aluminum satin finish almite frame
which reduces reflections.
Black Rimmed Glass

These filters are equipped with black
rimmed glass to reduce the chance of
light reflecting off the edge.
Low Profile Frame

Ultra thin filter frames to help avoid
vignetting on super wide angle lenses
are also designed to hold a lens cap.
Knurling Edge Frame

These filters are equipped with a
straight knurling edge for non-slip,
easy attachment and removal.
UV Protected Case
Filter cases are UV protected to
further lengthen the life of filters.
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PRO1 Digital Filter Series for Digital
D I G I TA L C A M E R A S N E E D
M U LT I C OAT E D F I LT E R S
Digital camera CCD or CMOS sensors are highly
susceptible to reflections - this stray light can ruin your
photographs! Don't risk your valuable photos by using
bare-glass filters.
T H E C L E A R A D VA N TAG E
Take a bare glass filter, hold it so that light reflection off
the surface can be seen. Then take a long, very thin
object like a pin or the tip of a pen and hold it over the
filter so that its reflection can be seen. There will
actually be two reflections of the pin on the surface, one
a little more pronounced than the other. The more
pronounced reflection is from the front surface and the
lighter one is from light reflecting off the rear surface.
Now try it with a HOYA Digital Multi-Coated filter and
see how much more dim the reflection is, a dimmer
reflection means less light is reflected off the surface
of the glass.
mono-coated non-coated
DMC digital multi-coated
7
CIRCULAR PL
Color and contrast
enhancement
With CIRCULAR PL Filter
Without Filter
camera lens. CIRCULAR PL filters allow you to remove unwanted
reflections from non-metallic surfaces such as water, glass etc. They
also enable colors to become more saturated and appear clearer
with better contrast. This effect is often used to increase the contrast
and saturation in blue skies and white clouds. HOYA's polarising
filters do not affect the overall color balance of a shot.
8
Reduce Glare and Reflections with the CIRCULAR PL

Using the CIRCULAR PL filter, reflections and glare can be reduced
significantly from non-metallic surfaces. A camera angle of 30
degrees from the reflecting surface (glass, water, etc.) is ideal for
maximum effect.
With CIRCULAR PL Without Filter
Features:
Available sizes:
9
UV (0)
A multi-purpose
fine-weather filter
With UV Filter
With UV(0) Filter
Without Filter
hazy and indistinct. A multi-purpose, fine-weather filter for color
as well as black and white films. Also serves as a permanent lens
protector.
Features:
Available sizes:
10
PROTECTOR
Protect your valued lenses
With PROTECTOR Filter

This is the ultimate in clear filters. It will not affect the color
balance or performance of your lenses in the slightest. However,
constant use will protect your valued lenses from expensive
front element damage which could be caused by dirt, knocks or
scratches. A cracked filter costs nothing in comparison to a
cracked lens.
Features:
Available sizes:
11
ND4 • ND8
For wider apertures or
longer exposures
With ND4 Filter

Without Filter
With ND8 Filter Without Filter

These ND filters reduce the amount of light entering the lens so
wider apertures can be selected, which is perfect for portraiture to
reduce depth of field. Subject appears crisp and clear while the
background becomes a soft blur. Also widely used for photographs
of waterfalls and other nature scenes to emphasize movement.
Features:
Available sizes:
12
SOFTON-A
Clear focus and
soft gradation
With SOFTON-A Filter
Without Filter
Creates a picture with a clear focus and a soft gradation. This effect
is especially evident on an object with a point light source. A filter
randomly arranging minute lens shaped like drops of water on the
surface of a acrylic board scatters the light and results in a soft focus.
Features:
Available sizes:
13
STAR-4
Add a dramatic
four-cross flare
With STAR-4 Filter
Without Filter
The STAR-4 filter adds a dramatic four-cross flare to very bright
areas, giving a soft-focus effect. ldeal for photographs of night scene
illumination or other scenes with strong reflections.
Features:
Available sizes:
14
CLOSE-UP No.3
A world of new creativity
With CLOSE-UP No.3 Filter
Without Filter
The CLOSE-UP No.3 lens turns a normal lens into a macro by
reducing the lens, minimum focusing distance. Depth-of-field is
shallow so use as small an aperture as possible. CLOSE-UP NO.3
offers a world of new creativity.
Features:
Available sizes:
15
INDEX(Range table with size indication) See table opposite for sizes available.
Filter Page STANDRD HMC SUPER HMC PRO1
PRO1 DIGITAL FILTER SERIES
PRO1D CIRCULAR PL 8 52mm,55mm,58mm,62mm,67mm,72mm,77mm,82mm
PRO1D UV (0) 10 52mm,55mm,58mm,62mm,67mm,72mm,77mm
PRO1D PROTECTOR 11 52mm,55mm,58mm,62mm,67mm,72mm,77mm,82mm
PRO1D ND4, ND8 12 52mm,55mm,58mm,62mm,67mm,72mm,77mm
PRO1D SOFTON-A 13 52mm,55mm,58mm,62mm,67mm,72mm,77mm
PRO1D STAR-4 14 52mm,55mm,58mm,62mm,67mm,72mm,77mm
PRO1D CLOSE-UP No.3 15 52mm,55mm,58mm,62mm,67mm,72mm,77mm
GENERAL FILTERS
UV (0) 20 A I S S
NEUTRAL/CLEAR 20 H
SKYLIGHT 1B 21 A E S S
PL/PL-CIR 22 C I S S
UV-PL-CIR 25
COLORED FILTERS
RED ENHANCER 26 O
GREEN ENHANCER 27 O
BLUE ENHANCER 27 O
PROTRAIT 28 O
WARM 28 O O
FL-W, FL-DAY 29 D T
80A, B, C, 30 C M
82A, B, C 31 C M
81A, B, C 32 C M
85A, B, C 33 C M
K2, G, 25A 34 C M
XO, X1 35 O O
SPECIAL EFFECTS FILTERS
CENTER SPOT, SOFT-SPOT 36 P
COLOR-SPOT 37 N
MISTY-SPOT 38 W
SPLIT-FIELD 39 P
DUAL-IMAGE 39 O
STAR-4 40 B
STAR-6, STAR-8 40 J
VARIOCROSS, RAINBOW-SPOT 41 P
ND X2 42 C M
ND X4, ND X8 42 C E
ND X 400 43 T
HALF ND 43 V
FOG FILTER A,B A+B 44 A I S S
DIFFUSER 44 B
DUTO 44 K
SOFTNER A, B 45 T
SPECTRAL CROSS 45 O
MULTIVISION 46 O
VARI-MULTIVISION 46 W
COLOR-MULTIVISION 47 O
AC CLOSE-UP +3,+4, +5 48 V
CLOSE-UP (+1,+2,+3,+4) 48 L Q
CLOSE-UP (+1,+2,+4) 48 U Q
MACRO CLOSE-UP (+10) 49 W
SEPIA A, B 49 T
HALF-COLOR 50 S
POP FILTER SET 50 V
FANTASY COLOR SET 51 T
GRADUAL COLOR 51 R
TRICOLOR PARA, TRI 52 P
DUAL-COLOR 52 N
PL-COLOR,VARIO PL-COLOR 53 P
POL-CONVERSION 54 O
INFRARED (R72, RM90) 54 O
LENS ACCESSORIES 55
INFOMATION
Light Source Conversion 62
Filter Factors 63
Production Process 63
Transmission Curves 64
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17
HOYA offers a wide variety of superior quality filters for use in all imaging
applications such as 35mm SLR cameras, Medium Format, Large
Format,Video, Movie and Digital. It is important to select the best filters
for your needs, as choosing inferior brands can deteriorate the
performance of your high quality lenses. HOYA filters guarantee you the
highest standards so you can create the best images.
In order for you to fully understand the wide range which HOYA offers,
the three main categories, into which our filters are grouped, are
explained below:
GENERAL FILTERS
This group includes everyday filters which can be left on your lenses,
such as Skylight 1B, UV and Polarising. These are the first filters that
every photographer should ensure they own. Skylight and UV filters
should be constantly fitted to a lens to give improved clarity and color
balance as well as offering protection to your lens. Polarising filters have
several uses such as eliminating unwanted reflections, increasing color
saturation and enhancing contrast. As to whether you should use
Circular Polarising or Linear Polarising filters with your camera, we rec-
ommend that you refer to the detailed explanation later in this catalogue.
CREATIVE FILTERS
This is a new classification, exclusive to HOYA. Although similar to
general filters, they produce a subtle, but realistic result which may be
used to artistic effect. They are also suitable for use as everyday
protection filters and may be combined with other types such as
PL-Circular and UV for enhanced effect. In this case, we recommend the
use of PRO-1 or ULTRA series models which have thin rings and
multicoating to avoid vignetting and ghosting.
COLORED FILTERS
As their names suggests, these filters use HOYA colored glass. They are
used for color correction of different light sources when using color film,
or for controlling contrast with Black & White film. Color correction filters
are important as color films do not have the flexibility of the human eye
to automatically adjust to different situations. Black & White films register
colors as shades of grey and the rendition of each color in a scene is
important, so filters can be used to control this. The color of the glass
used in all these filters is carefully controlled and to reduce the possibili-
ty of color shift over a period of time, such high quality filters are coated
or multicoated on both sides. This maintains the desired effect and gives
a long service life.
SPECIAL EFFECT FILTERS

As you will see from the images later in this catalogue,HOYA makes it
possible to add many different special effects to your pictures, such as
star-bursts, close-ups, softening and multi-images. It is simple to achieve
outstanding creative or unusual results and take special photographs for
memorable occasions such as weddings, birthdays and holidays.
Why Coated?
There are three main reasons why filters should be coated. First, coating
enhances light transmission, second, it protects the surface of the filter
and third, it remove ghosting and flare, particularly between the rear of a
filter and the surface of a lens. In general, light transmission increases as
more layers of coating are applied.
Within these three groups, we offer a choice of grades with different
coatings as follows:
STANDARD
These filters offer both amateur and professional photographers HOYA's
famous quality at reasonable prices. They have coatings applied to both
surfaces to suppress reflection and increase light transmission. There are
a few exceptions in the special effects range which, due to the special
materials used in construction, do not have coatings applied.
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HMC (HOYA MULTI COATED)

These popular filters are renowned for their ability to minimise reflection
at the filter surfaces which reduces flare and ghosting. The result is an
average light transmission of over 97%, giving sharp contrast and well
balanced color. HOYA HMC filters are recommended for enhancing the
performance of today's multicoated lenses.
SUPER HMC
These outstanding filters offer revolutionary performance in light
transmission and color balance. 12 layers of Super Multicoating are
applied to the surfaces of the Skylight 1B and UV(0) models, which
produces an average transmission of 99.7%! Coupled with maximum
surface precision, this allows increased resistance to flare and stunning
images can be recorded at wide apertures without compromising the
performance of your lenses. Our ultra thin Circular Polarising filters have
seven layers of Multicoating applied to their rear surface to eliminate
internal reflections and ghosting. Advanced thin selective film is used to
guarantee perfectly polarised light with neutral color balance. Their slim
profile of just 5mm avoids any vignetting problems and makes them ideal
for use with wide angle lenses. There is no front female thread, but they
do accept our push-on lens caps.HOYA Super HMC filters will appeal to
the most demanding of photographers who require the ultimate in
performance.
PRO 1 DIGITAL FILTERS

Newly formulated multi-coating for digital camera CCD or CMOS
sensor. These image capture devices are highly susceptible to
reflections - this stray light can ruin your photographs! Don't risk your
valuable photos by using bare-glass filters.
19
for Film & Digital GENERAL FILTERS
UV (0)
A multi-purpose fine-weather filter
With UV Filter
Without Filter
hazy and indistinct. A multi-purpose, fine-weather filter for color
as well as black and white films. Also serves as a permanent lens
protector.
NEUTRAL/CLEAR
Ultimate in clear filters
Mounted in an ULTRA slim 3mm ring, this is the ultimate in clear
filters. Made from completely transparent superior grade optical
glass, it will not affect the color balance or performance of your
lenses in the slightest. However, constant use will protect your
valued lenses from expensive front element damage which could be
caused by dirt, knocks and scratches.
20
GENERAL FILTERS for Film & Digital
SKYLIGHT 1B
For outdoor color photography
With SKYLIGHT 1B Filter
Without Filter
Reduces excessive bluishness that frequently occurs in outdoor color
photography, especially in open shade under a clear, blue sky. The
absorption peak is in the range which corresponds to the film’s green
spectrum. This means outstanding outdoor shots with superb color
balance and clarity under all conditions. Also keeps skin tones free
of colored reflections from nearby objects such as the shade of trees.
21
PL/PL-CIR
Color and contrast enhancement
With PL Filter
Without Filter
What is a polarizing filter?
camera lens. CIRCULAR PL filters allow you to remove unwanted
reflections from non-metallic surfaces such as water, glass etc. They
also enable colors to become more saturated and appear clearer
with better contrast. This effect is often used to increase the contrast
and saturation in blue skies and white clouds. HOYA's polarising
filters do not affect the overall color balance of a shot.
22
How to select the correct Polarizing Filter

Two kinds of polarizing filters are the PL (Linear Polarizing) and
PL-CIR (Circular Polarizing) filters which have the same effect of
reducing glare, however, there are differences in the way each works
in combination with your specific camera so it is important to
research and choose the correct version of filter for your camera.
Many of today's cameras use semi-silvered mirrors or prisms to split

the light (a.k.a. beam) entering the viewfinder in order to
calculate exposure and focusing distance. PL filters can sometimes
interact with these light controlling devices to give unpredictable
exposure or focusing. If your camera, whether auto or manual, is
equipped with this kind of device, we recommend using a PL-CIR filter.
Both types of filters allow you not only to remove unwanted

reflections from non-metallic surfaces such as water, glass etc., but
also filter out atmospheric haze enabling colors to become more
saturated and appear clearer with a much sharper contrast.
these effects will prove to be invaluable to photographers at any level
of interest.
With PL-CIR Filter
Without Filter
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How to use a polarizing filter

PL filters achieve their greatest effect of eliminating glare when used
at a 30-40 degree angle to a reflective surface (like glass or water).
At midday when the sun is directly overhead, or at a 90 degree angle,
the filter will have the least effect. These effects are easily visible by
rotating the filter and looking through the viewfinder of the camera.
Keep in mind that you will first need to adjust the polarizing filter
before setting the exposure controls.
For deepening the color of the blue sky and making the clouds jump
out at you, hold the camera at a right angle to the sun and take the
photo when the sun is at a 30-40 degree angle in the sky.
When photographing distant subjects, scenery sometimes appears

bluish. This is also caused by light polarization. Using the polarizing
filter will help to greatly reduce the softness caused by atmospheric haze.
There are a variety of ways in which the use of polarizing filters can
help you capture that perfect shot. Reducing the haze and enhancing
colors may seem like simple effects, but once used, these effects will
prove to be invaluable to photographers at any level of interest.
Reduce Glare and Reflections with the CIRCULAR PL

Using the CIRCULAR PL filter, reflections and glare can be reduced
significantly from non-metallic surfaces. A camera angle of 30
degrees from the reflecting surface (glass, water, etc.) is ideal for
maximum effect.

24
UV-PL-CIR
A revolutionary “hybrid” design
With UV-PL-CIR Filter
Without Filter
A revolutionary ‘hybrid’ design which combines the effect of two
different filters in one ring. This filter eliminates ultraviolet rays to
remove haze from outdoor shots as well as polarizing the light to
remove reflections, and increase color saturation, without affecting
the overall color balance. Fitted in a slim rotating 5mm ring, this
filter is invaluable to landscape and other photographers who need
to avoid vignetting with wide angle lenses.
25
for Film & Digital COLORED FILTERS
RED ENHANCER (INTENSIFIER)

Enhance red, orange and brown
With RED ENHANCER Filter
Without Filter
Also known as a “didymium” filter, this is used to enhance red,
orange and brown subjects to give more color saturation and
contrast, while having very little effect on other colors. It can be used
in many situations such as architecture where certain building
features need emphasizing, or for landscapes to enhance foliage
and rocky features.
26
COLORED FILTERS for Film & Digital
GREEN ENHANCER (GREEN FIELD)

Improve outdoor shots
With GREEN ENHANCER

Without Filter
Intensifies and enhances colors in the Green region of the spectrum

without adversely affecting other colors. It is particularly useful for
improving outdoor shots which include nature, flowers, landscapes
and water. Combination use with PRO 1 UV (0) or PL-Circular is
recommended for increased contrast and sharpness.
BLUE ENHANCER (BLUE INTENSIFIER)

Brighten landscapes
With BLUE ENHANCER

Without Filter
Intensifies and enhances colors in the Blue region of the spectrum

without adversely affecting other colors. It is particularly useful for
brightening seascapes and pare or cloudy skies, but also suitable for
when, due to the sun’s direction, polarizing filters are ineffective in
increasing the saturation of a blue sky. Combination use with PRO
1 UV (0) or PL-Circular is recommended for increased contrast and
sharpness.
27
PORTRAIT
Make skin tones more vivid and clear
Without Filter
With PORTRAIT Filter
Enhances pink and reduces both yellow and orange to make human
skin tones more vivid and clear. Combination use with PRO 1 UV (0)
is ideal when shooting under fine blue skies.
WARM
Make skin tones more suntan
Without Filter
With WARM Filter
Reduces colors in the blue to green range of the spectrum and
makes the color of human skin look more sun-tanned. Combination
use with PRO 1 UV (0) is recommended for outdoor shooting.
28
COLORED FILTERS for Film Camera
FL-W
Correct greenish tones
With FL-W Filter

Without Filter
Used to correct the greenish tone that appears when daylight type
film is used under fluorescent lighting. FL-W is for use with warm
white or white type fluorescent lamps. It is recommended that
auxiliary light sources be used when long exposures become
necessary due to insufficient light.
FL-DAY
Correct greenish tones
With FL-DAY Filter

Without Filter
Used to correct the greenish tone that appears when daylight type
film is used under fluorescent lighting. FL-DAY is for use with
daylight type fluorescent lamps. It is recommended that auxiliary
light sources be used when long exposures become necessary due
to insufficient light.
29
for Film Camera COLORED FILTERS
80A • 80B • 80C

Light balancing filters
With 80A Filter
With 80B Filter
With 80C Filter
Without Filter
These are color conversion filters for the use of daylight type color film
with artificial light sources. 80A increases the color temperature from
3200ºK to 5500ºK for use with 3200ºK lamps. 80B increases the
color temperature from 3400ºK to 5500ºK for use with photoflood
lamps. 80C increases the color temperature from 3800ºK to 5500ºK
for use with clear flash bulbs.
30
82A • 82B • 82C

Light balancing filters
With 82A Filter
With 82B Filter
With 82C Filter
Without Filter
These are light balancing filters used to increase the color temperature
slightly for a cooler (bluer) tone. Corrects the tendency toward reddish
tones. As an example, select the 82B when using tungsten Type B
film (3200ºK) with ordinary household 100W electric bulbs (2900ºK).
These filters are also used to prevent the reddish tones in early morn-
ing or late evening light for natural skin tones. These filters can be
used together, but do not mix the 81 and 82 series filters since they
cancel each other out.
31
for Film Camera COLORED FILTERS
81A • 81B • 81C

Decrease color temperatures
With 81A Filter
With 81B Filter
With 81C Filter
Without Filter
These are light balancing filters used to decrease the color

temperature slightly for a warmer (redder) tone. Corrects the
tendency toward bluish tones. For example, the 81A should be
selected when using tungsten type B color film (3200ºK) with
photoflood lamps (3400ºK) These filters can be used together.
32
85 • 85B • 85C
Color conversion filters
With 85 Filter
With 85B Filter
With 85C Filter
Without Filter
These are color conversion filters for the use of tungsten type color
films in daylight. 85 decreases the color temperature from 5500ºK
to 3400ºK for the use of Type A color film. 85B decreases the color
temperature from 5500ºK to 3200ºK for the use of Type B color
film. 85C decreases the color temperature from 5500ºK to
3800ºK. The effect obtained is the same as with daylight type
color film used in daylight.
33
K2 (YELLOW)
For clear contrast
Without Filter
With K2 Filter
Especially useful for clear contrast between blue sky with clouds and
foreground. Provides a natural tonal rendition. Often used for
subjects at intermediate distances.
G (ORANGE)
For balancing contrast
Without Filter
With G Filter
Increases contrast between reds and yellows. Particularly useful for
distant outdoor shots taken with a telephoto lens. Also useful in
color photography for spectacular sunsets, seascapes, etc.
25A (RED)
Increases contrast
Without Filter
With 25A Filter
Especially effective for increasing contrast. Ideal for dramatic cloud
effects in landscapes. Can also be applied creatively in color and
infrared photography.
34
COLORED FILTERS for Film & Digital
X0 (YELLOW GREEN)
Great for outdoor portraits
Without Filter
With X0 Filter
Used primarily for black and white photography. X0 is highly effective
for outdoor portraits because red is rendered dark while green
appears lighter. Great for correcting skin tones, bringing out facial
expressions in close-ups and emphasizing the feeling of liveliness.
X1 (GREEN)
Great for indoor portraits
Without Filter
With X1 Filter
Used primarily for black and white photography. X1 is highly
effective for indoor portraits under tungsten lighting.
35
for Film & Digital SPECIAL EFFECTS FILTERS
CENTER-SPOT
Center focus for portraits
With CENTER-SPOT Filter
Without Filter
A close-up lens with a hole in the center. The periphery of the

picture is rendered a delicate, soft-focus effect while the central
image is sharply focused.
SOFT-SPOT (Sand screen & Soft screen)

Two types of center focus for portraits
With SAND SCREEN With SOFT SCREEN
Both have a clear center spot which makes the central image stand
out clearly. SAND SCREEN has a smoky appearance while SOFT
SCREEN has an irregularly uneven surface. With SOFT-SPOT, the
size of the clear part in the center of the picture varies depending on
the lens and aperture used.
36
SPECIAL EFFECTS FILTERS for Film & Digital
COLOR-SPOT
Adds color effects for portraits
With RED
With GREEN
With YELLOW
With GRAY
A colored glass filter with a hole in the center. Available in yellow,

green, red and gray. The central image stands out clearly while the
background appears the color of the filter.
37
MISTY-SPOT
Gradual, Breeze, Windmill & Halo
With Gradual With Breeze
With Windmill
With Halo
Available in four types: Gradual, Breeze, Windmill and Halo. They

have a sharp central image with a pleasant blurring of the outer field.
With Gradual, blurring that appears to emanate from the center.
Breeze has an unidirectional streaky blurring of the background.
With Windmill, blurring that appears to swirl about the center, and
with Halo, blur that appears to radiate from a single point at the edge
of the field. *The Misty Spot series are only available in select sizes (49, 52, 55mm)
38
SPLIT-FIELD
Half close-up special effect
With
SPLIT-FIELD
One-half of a close-up lens with the other half open. One-half of the
picture receives a close-up effect while the other half is normal. Both
very close and far subjects can be in focus at the same time.
Or one-half of the picture can be out of focus for special effects.
DUAL-IMAGE
Double exposure special effect
With DUAL-IMAGE
One half of dual-image is transparent while the other is black.

Used for producing special effects by taking double exposures.
For example, the same person can be photographed on both sides
of the same picture. When taking such photographs with this filter,
refer to the instruction manual of your camera. Use of a tripod is
recommended.
39
STAR-4 • STAR-6 • STAR-8

Add a dramatic cross flare
With STAR-4 Filter
With STAR-6 Filter
Without Filter
With STAR-8 Filter With STAR-8 Filter
STAR-4 adds a dramatic four-cross flare to very bright areas, giving
a soft-focus effect. Ideal for photographs of ladies wearing
jewelry or other objects with strong reflections. STAR-6 (six-pointed
light flares) and STAR-8 (eight-pointed star flares) can also be used
for a variety of effects.
40
VARIOCROSS
Variable cross flare
Two colorless glass plates with etched parallel

lines on each surface and set in independent
rotating frames. By rotating these frames, the
effect can be varied to produce any desired
expression for any highly reflective scene.
RAINBOW-SPOT
A rainbow of color effect
Made of glass and provided with rotating frames. 1,270 ultra-fine

parallel grooves per inch pick up and diffract each tiny point of light
into a rainbow of color.
41
ND(NEUTRAL DENSITY) X2 X4 X8
For wider apertures or longer exposures
With ND X8 Filter With ND X4 Filter
With ND X2 Filter Without Filter

Neutral Density filters are often ignored by photographers, but they have
several uses and offer the possibility to get otherwise unachievable
results. ND filters appear grey and reduce the amount of light
reaching the film. They have no affect on color balance. There four
main uses are:
1) To enable slow shutter speeds to be used, especially with fast
film, to record movement in subjects such as waterfalls, clouds,
cars, the sea, etc.
2) To decrease depth of field by allowing wider apertures to be used,
which helps separate subjects from their background.
3) To decrease the effective ISO of high speed film (i.e., above ISO
400) and allow it to be used outdoors in bright situations.
4) To allow movie and video cameras (which have fixed shutter
speeds) to film subjects such as snow, sand or other bright
scenes which would normally cause overexposure.
42
ND X400
Blurring time to create beauty
Without Filter
With ND X400 Filter

The ND 400 can be used in many
creative ways to achieve super slow
shutter speeds in daylight. It can
create beautiful blurred motion or
render moving subjects invisible.
Photographing solar eclipses and ultra-bright light sources can be
extremely dangerous. This filter reduces light values by 9 stops to less
than 1/500th of its original intensity and allows safe photography. It can
also be used to achieve super slow shutter speeds in daylight to render
moving subjects invisible.
HALF ND X4
Control bright/dark contrast
With HALF-ND X4 Filter

Without Filter
One half of this filter is NDX4 Neutral Density and the other half is
clear, with a soft boundary between the two. It is used to control
bright/dark contrast, by reducing half the shot by 2 stops.
Particularly useful in landscape photography, the rotating mount
allows bright skies to be easily controlled for dramatic effect.
43
BLACK MIST
A subtle softening filter
The Hoya Black Mist filter is a subtle softening filter that lowers
contrast and gives an over-all soft look to portraits.
44
WHITE MIST
Pleasing effect for softening portraits
The Hoya White Mist filter yields a very subtle, pleasing effect for
softening portraits. The white sheen of the filter gives strong
highlights a soft glow.
45
FOG FILTER
Produce the effect of dense fog
Without Filter
With FOG Filter
Lightly veils the entire picture in white. Available in a set of two: FOG
(A) and FOG (B). FOG (B) has a stronger effect than FOG (A). Both
can be used together to produce an effect similar to dense fog.
The effect can be varied by changing the aperture of the lens, but
stopping down too far will reduce the effect.
DIFFUSER • DUTO
The beauty of a Soft-focus effect
With DIFFUSER Filter With DUTO Filter

Both are diffusion type filters, but DIFFUSER gives a soft-focus effect
due to its irregularly uneven surface while DUTO has fine concentric
lines etched on its surface. The center of the picture is usually sharp
with DUTO, but DIFFUSER gives an overall soft-focus effect. Both
are particularly effective in portraiture and commercial
46
SOFTENER A • B
Scatters light for a soft-focus
With SOFTENER A Filter With SOFTENER B Filter

A filter with randomly arranged minute lenses shaped like drops of water
on an acrylic surface which scatters the light and results in a soft focus.
Creates a picture with a clear focus and a soft gradation. This effect is
especially evident with an object with a point light source. Color
reproduction is easy and there is no need for exposure adjustment.
SPECTRAL CROSS
Produce soft-focus and cross effects
Without Filter
With SPECTRAL CROSS
A filter made by sandwiching black gauze-like fiber between two
pieces of colorless, transparent optical glass in a rotating frame,
producing both soft focus and cross effects.
47
MULTIVISION
Create exotic compositions
With MULTIVISION 5F
Without Filter
Available in five types: (3PF), (3F), (5F), (6F) and (6PF). Made of
optical glass precisely cut into a variety of facets, MULTIVISION
helps create exotic, fantastic compositions of color patterns and
combinations. Effect is strongest with a relatively dark background
and at larger apertures. The multi-images appear closer together
with wide-angle lenses and farther apart with telephoto lenses.
VARI MULTIVISION
Create multi-images
With VARI MULTIVISION

Without Filter
Two 2-face MULTIVISION set in independent rotating frames create

multi-images that can be varied from 2 to 4-faces by rotating the
frames.
48
COLOR-MULTIVISION
Produces colorful multi-images
With 3F
With 3F
With 5F
With 5F
Available in two types: (3F) with three faces in blue, green and red;
and (5F) with five faces evenly divided into green and orange. These
filters produce the dynamic professional color multi-images often
seen in TV or commercial photography. Results are striking with
either still or movie cameras.
49
CLOSE-UP
A world of new creativity
With AC+5
With AC+4 With +1
With UV Filter+2 Without Filter

Available in +1, +2, +3, +4 and +5 diopters for close-up
photography. Depth-of-field is shallow so use as small an aperture
as possible. CLOSE-UPs offer a world of new creativity.
50
MACRO CLOSE-UP
Discover the art of nature
With MACRO CLOSE-UP

Without Filter
A lens of 2-element, 2-group construction and a +10 diopter rating.

Resolution is outstanding and focusing is possible at 10cm for super
close-ups of insects, flowers and other small objects. The magnification
is about 1:2 with a 50mm standard lens (35mm camera), roughly
equates to a 100mm telephoto lens. The lens should be stopped
down as much as possible to get maximum depth-of-field.
SEPIA
Give a nostalgic sepia color effect
With SEPIA Filter

Without Filter
These two filters give a nostalgic effect to otherwise ordinary color

photographs. Sepia tones are produced across the whole image, as
if taken many years ago in Black & White, having then discolored
with age. Sepia B has a stronger effect than Sepia A.
51
HALF COLOR
For dramatic color tones
With PINK With GREEN
With ORANGE With RED

Made by sandwiching a gelatin filter between two optical glass
plates. Similar to DUAL-COLOR except one-half is clear. Set in a
rotating frame for added effectiveness.
Color options: Pink, Yellow, Orange, Red, Emerald, Green, Brown,
Blue, Violet, Light Gray, Dark Gray
POP FILTER SET

For original color effects
With R+G+B Without Filter
With R+G+B
Available in a set of three color filters: red, green and blue. Used
individually or in combination, extremely original color effects can be
obtained. Also great for multi-exposure creativity.
52
FANTASY COLOR SET

Great for a special impact
With MOONLIGHT BLUE With VIVID PINK
With DEEP MAUVE Without Filter

This set of three strongly colored filters in Moonlight Blue, Vivid Pink
and Deep Mauve can be used to give a single color effect over the
whole of a picture. Used in daylight, the Moonlight Blue filter gives
the effect of a nighttime moonlit scene whilst the other two filters
allow graphic and unusual images to be produced for special impact.
GRADUAL COLOR
Gives dramatic color gradations
With BLUE Without Filter
Acrylic filters similar to half-color, except that color density gradually

decreases near the center of the filter allowing emphasis of
foregrounds or backgrounds. Mounted in a rotating frame, 7 colors
are available. Pink, Yellow, Emerald, Tobacco, Blue, Mauve and
Gray. Their color gradually fades out so the boundary between the
colored and transparent sections will not become apparent even
with the lens aperture stopped down.
53
TRICOLOR
For original color compositions
With TRICOLOR-PARA With TRICOLOR-TRI
Divided into three color sections (PARA: blue, yellow and pink, TRI:
blue, green and red) for imaginative three-tone effects. Available in
two types: Parallel and Triangle. The effect varies depending on the
focal length of the lens used and the aperture.
DUAL-COLOR
For an original artistic touch
With R/B With O/G
With Y/P
Available in three types: O/G (orange/green), Y/P (yellow/purple) and
R/B (red/blue). Made by sandwiching gelatin filters between two
pieces of optical glass, DUAL-COLOR is available in a variety of
two-color combinations. Contrasting foreground and background,
land and sea, are only a few of the fantastic possibilities.
54
PL-COLOR
For dramatic color creation
➔
➔
➔
Available in four types: B(blue), Y(yellow), O(orange) and R(red). A

combination of gray and colored polarizing filters. Any color from
gray to the full color of the filter can be obtained by rotating the
filter frame.
VARIO PL-COLOR
Many color possibilities
➔
➔
➔
➔
Available in five types: Y/B, Y/G, Y/R, R/B and R/G. This filter is a
combination of one gray polarizing filter and two colored polarizing
filters. The color can be varied by rotating the filter frames. Many
color possibilities help create new emotional effects never seen
before.
55
POL-CONVERSION
Eliminates undesirable reflections
With POL-CONVERSION
Without Filter
A linear polarizing sheet is sandwiched between one transparent

optical glass and one color conversion filter (85B). Enables tungsten
film to be used in daylight and also has the effect of a regular
polarizing filter. Eliminates undesirable reflections from water,
windows and non-metallic surfaces. Also serves to darken the sky
as well as increasing color saturation in general. Mounted in a
rotating frame.
INFRARED
(R72,RM90)
With R72 With RM90
Without Filter Without Filter

Used for photography with infrared film. Infrared film is also sensitive
to ultraviolet rays and the shorter wavelengths of the visible
spectrum so it is necessary to filter out all but the infrared rays. R72
passes only infrared rays above 720nm; RM90 passes only that
above 900nm. Often used in crime detection, medical photography,
detection of distribution of vegetation, etc. In ordinary photography
with infrared film or infrared color film, the Y (K2), O(G), R(25A) and
other filters can also be used to change the contrast or color effect.
56
LENS ACCESSORIES for Film & Digital
LENS ACCESSORIES
57
A L L F I L T E R S A R E
How another Large Manufacturer

makes Filters
Imagine a sandwich made with a thin gel or even colored glue
between two pieces of regular glass, similar to the glass used in
windowpanes. This is how some other brands of optical filters are
made. These types of filters are cheap to produce, but inferior for
several reasons:
Regular Glass
Colored Gel Laminate
Not to scale Regular Glass
1. Over time, the expansion and contraction of the different

materials can lead to delamination, which is a separation of the
different materials. This will show up as bubbling, peeling, or
discoloration, rendering the filter useless.
2. The color of the gel can shift or fade over a relatively short period
of time and will not yield the same color rendition.
3. If all six surfaces, three layers, two surfaces each, are not perfectly
flat and perfectly parallel, the filter causes a “lens effect” which
degrades the optical performance, or in extreme cases, shift or
limit the focus of the lens it is used with.
How Hoya Makes Filter Glass
Not to scale Uniformly Colored Glass
To make it’s filters, Hoya adds different raw elements, like gold, and
chemicals compounds to its optical glass silicates while mixing in a
molten state. To insure consistency in glass manufacturing, Hoya uses
a furnace called an Automatic V blender to mix the different materials
continuously at a highly controlled rate. This ensures that Hoya filter
glass is uniformly colored all the way through. There is never any risk
of uneven coloration, shifting or fading of the color, or delamination.
The two surfaces are ground and polished for perfect flatness.
58
N O T C R E A T E D E Q U A L !
Hoya Coating and Multi-Coating,

the Quality Difference.
Hoya manufactures a full line of filters in both standard and Hoya
multi-coated. The difference between Hoya’s standard line and that
of other manufacturers is that Hoya standard filters have a layer of
anti-reflective coating bonded to each surface of the glass. Many
other manufacturers standard filters are bare glass, and bare glass
can reflect as much as 10% of the light hitting it. This greatly increases
the risks of flare and ghosting and reflections.
4.5%
Total of 9%
Light Ray 4.5%
Glass
Hoya’s single layer coating decreases light reflection off the

surface from approx. 10% down to 4-5%.
Multi-Coating, Clearly Different
2 to 2.5%
Total of 4 to 5%
2 to 2.5%
Light Ray
Single Layer-coating
Glass
To provide photographers with a higher quality professionals require,

Hoya created the Multi-coated line of filters. These filters have a 3
layer coating system that further reduces light reflections off the
surfaces of the glass, the average is only 1-2%. This means that
98-99% of the light striking the filter is going through it, into the
camera lens and onto the film. These layers of anti-reflective
coating are bonded to the surface of the glass in a furnace at a
temperature of up to 800 degrees F, so there is never any chance of
the coatings coming off through normal use.
Light Ray 1 to 2%
Multi-coated
Glass
You should beware!

Some other manufacturers claim to have “coated” filters. But this
coating is often only applied to the front side of the glass, not both
sides like Hoya filters. Also, the coating on some filters is “painted” on
or applied as a cold spray that wares off or can even flake off easily.
59
T H E D I F F E R E N C E
Best of the Best

In 1996 Hoya introduced Super Multi-coated filters to the
photographic world. Consisting of a Skylight, 1B, UV (0), ND 2X,
ND4X, and a low profile Circular Polarizer, this line of filters has a 5+1
layering system on each side of the glass: 5 layers of anti-reflective
coating and a transparent easy-clean top coat. This reduces light
reflections off the filter surface to an average of just 0.3%, meaning
99.7% of the light striking the filter is transmitted into the glass.
This is the lowest reflective rate available, from any filter manufacturer.
The only exceptions are Polarizer and Circular Polarizer filters.

No matter the brand or quality, they all are made of a polarizing film,
or a polarizing film plus quarter wave plate in the case of the Circular
Polarizer, sandwiched between two layers of what should be clear
optical glass.
We’ve Been Framed!

Hoya believes the filter frame is an extremely important part of the
filter as well. Hoya created precision machined aluminum frames to
hold their high quality glass. They prefer aluminum to other materials
because it is strong enough to hold up to years of use. Some say
that brass is the best material to use. However, Hoya doesn’t hold
that view and here is why; brass is a far more rigid material than
either aluminum, or other materials that are being use in today’s lens
barrels. This means that, should the front of the lens get hit, the rigid
brass filter ring will transfer almost all the force of the shock to the
lens barrels and mechanics within the lens. An aluminum filter frame
will absorb some of the shock by bending, and at a certain point the
glass will chip or break, which is what the filter is supposed to do,
protect the lens! Replacing a filter is always preferable to getting a
lens repaired.
60
I S C L E A R !
The Value in a Hoya Multi-coated filter

Wide aperture professional lenses are very expensive, and all
photographers want to get the most speed, optical performance,
and dollar performance from their investment.
Look at it this way, a customer pays $800.00 for a 80-200mm f/2.8

lens. Then, to protect this investment the customer buys a cheap
bare glass filter, which has a light reflection rate of 10%. This filter is
literally slowing the lens down by 10% because that reflected light is
not getting to the lens, or effectively turning an $800 f/2.8 lens into
the equivalent of a slower f/3.0 lens with a corresponding value of
$720. The value of the lens, along with the light, drops 10% when
you put the cheap filter on it. The cost savings of the less expensive
filter do not off set the loss of lens speed.
Also, this does not address the possible loss of sharpness or focus
shift, which can have a detrimental impact on picture quality. For
these reasons, Hoya multi-coated filters present the best value in
filters available today.
Testing, 1, 2, 3…
Take a bare glass filter, hold it so that light reflection off the surface
can be seen. Then take a long very thin object like a pin or the tip
of a pen and hold it over the filter so that its reflection can be seen.
There will actually be two reflections of the pin on the surface, one a
little more pronounced than the other. The more pronounced reflection
is from the front surface and the lighter one is from light reflecting off the
rear surface. Now try it with a HOYA Multi-coated filter and see how
much more dim the reflection is, a dimmer reflection means less light is
reflected off the surface of the glass.
mono-coated non-coated
multi-coated
61
Reference data H O W T O S E L E C T C O L O R F I LT E R S
62
FILTER FACTORS Reference data
63
Reference data TRANSMISSION CURVES
64
TRANSMISSION CURVES Reference data
65
Reference data TRANSMISSION CURVES
66
TRANSMISSION CURVES Reference data
67
F I L T E R S
Important Information:
1) When using color negative film with certain special-effect filters intended
to give a false color to your pictures (Sepia, Fantasy Color, Dual Color,
etc.), please ensure you inform your processing lab that these filters
have been used. Otherwise, their equipment will automatically
attempt to correct the colors and remove the desired effect.
(NB: This will not be of concern when using color slide film).
2) Certain ultra wide angle lenses have very convex front elements. In
such cases, it is possible that a filter could make contact with the
optics and cause damage. If in doubt, please place a small piece of
paper between your lens and the filter when you first attempt to fit it.
This will allow you to check if there is likely to be any contact, without
the risk of any damage occurring.
3) Using filters with ultra wide-angle lenses can sometimes lead to

vignetting, where the filter ring is seen as a shadow in each corner of
the picture. To avoid this, we recommend that you choose ULTRA
Series or Super HMC PL-CIR filters which have rings of just 3mm or
5mm thickness
7642 Woodwind Drive, Huntington Beach, CA 92647

Tel: (714) 849-5700 Fax: (714) 849-5677
www.thkphoto.com
“HOYA” is the registered trademark of HOYA CORPORATION in Japan.

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HOYACatalog-THK09-1.qx 09.2.

THE PRODUCTION PROCESS OF

Before production starts, controls are first programmed into a

Next is the coating process which improves the filter light

HOYA SEES AND RESPONDS TO

HIGH TRANSPARENCY POLARIZING FILM

HARDENED 8 LAYER WATERPROOF MULTI-COATING

Best Quality Filter in History

Multi-purpose all-wether filter

Best Filter Performance in History

Color and contrast enhancement

for Digital PRO1 Digital Filter Series

Black Almite Frame

Black Rimmed Glass

Low Profile Frame

Knurling Edge Frame

PRO1 Digital Filter Series for Digital

DMC digital multi-coated

for Digital PRO1 Digital Filter Series

With CIRCULAR PL Filter

PRO1 Digital Filter Series for Digital

Reduce Glare and Reflections with the CIRCULAR PL

With CIRCULAR PL Without Filter

With CIRCULAR PL Without Filter

for Digital PRO1 Digital Filter Series

PRO1 Digital Filter Series for Digital

With PROTECTOR Filter

for Digital PRO1 Digital Filter Series

With ND4 Filter

With ND8 Filter Without Filter

PRO1 Digital Filter Series for Digital

With SOFTON-A Filter

for Digital PRO1 Digital Filter Series

With STAR-4 Filter

PRO1 Digital Filter Series for Digital

With CLOSE-UP No.3 Filter

SPECIAL EFFECT FILTERS

HMC (HOYA MULTI COATED)

PRO 1 DIGITAL FILTERS

for Film & Digital GENERAL FILTERS

GENERAL FILTERS for Film & Digital

With SKYLIGHT 1B Filter

for Film & Digital GENERAL FILTERS

GENERAL FILTERS for Film & Digital

How to select the correct Polarizing Filter

Many of today's cameras use semi-silvered mirrors or prisms to split

Both types of filters allow you not only to remove unwanted

With PL-CIR Filter

for Film & Digital GENERAL FILTERS

How to use a polarizing filter

When photographing distant subjects, scenery sometimes appears

Reduce Glare and Reflections with the CIRCULAR PL

With CIRCULAR PL Without Filter

GENERAL FILTERS for Film & Digital

With UV-PL-CIR Filter

for Film & Digital COLORED FILTERS

RED ENHANCER (INTENSIFIER)

With RED ENHANCER Filter

COLORED FILTERS for Film & Digital