The Tiffen 6.6 x 6.6" Pro-Mist 5 Filter helps to reduce the value of the highlights while noticeably lowering the overall contrast. This filter is especially useful for smoothing out and softening facial wrinkles and other blemishes. While designed for use with movies, this filter can also be used for fashion and beauty applications. Unlike a traditional diffusion or soft focus filter, Pro-Mist filters provide little loss of detail across the image. The 5 density provides more contrast and highlight reduction than the 4, while also allowing for a soft, pastel-like quality of light.

Tiffen filters are 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. This filter measures 6.6 x 6.6" / 167.6 x 167.6mm.

Reduces Highlights and Lowers Contrast    Softens Wrinkles and Blemishes    Creates a Soft Quality of Light    ColorCore Technology

Pro-Mist filters provide little loss of detail across the image compared to traditional diffusion and soft focus filters.

Especially useful for smoothing out and softening facial wrinkles and other blemishes.

Pro-Mist filters provide little loss of detail across the image compared to traditional diffusion and soft focus filters.

Related Questions and Answers

Q: 1. Does the Celestron StarPointer Pro Finderscope works on Celestron Omni XLT 150 Reflector telescope? Best

A: Yes I have it setup on an xlt 150. It fits just about any scope with a dovetail mount.

Q: 2. Does the Lumix S PRO 24-70mm f/2.8 work with a follow focus system? I'm wondering how the linear focus feature works, as it appears that the focus ring continues to turn past what would normally be hard stops. I use the Tilta Nucleus Nano, which has an auto-calibration mode that turns the focus ring to both extremes of the focus, and maps that to the control wheel. As the focus ring on the 24-70 lens keeps turning past the ends, I *could* manually set the follow focus, but I'm just not sure if it would be repeatable.

A: The Follow Focus points would need to be set manually as this is uses a fly by wire mechanism for the focusing. You may need to calibrate every time you turn on the camera as it is possible for this to shift.

Q: 3. Is the lens compatible with leica-t?

A: The Panasonic Lumix S PRO 70-200mm f/2.8 O.I.S. Lens with UV Filter Kit (B&H# PA7020028SFK) lens is not compatible with the Leica T Mirrorless Digital Camera (Black) (B&H# LETB).

Q: 4. Is this compatible with the Leica CL?

A: Yes, Panasonic Lumix S PRO 70-200mm f/2.8 O.I.S. lens and Leica CL Mirrorless Digital Camera share the same Leica L-mount. The lens is fully compatible with the camera.

Q: 5. Does this lens maintain the same length even when zooming to 200mm? So does it has internal zooming?

A: Panasonic Lumix S PRO 70-200mm f/2.8 O.I.S. Lens has internal zooming and does not change length as it zooms.

Q: 6. this lens+Leica SL2...how is the cont.shooting and video?...all good?...no message 'not enough batt.power' or something along that..

A: The Panasonic Lumix S PRO 24-70mm f/2.8 Lens is compatible with the Leica SL2 and does not seem to have issues that we see.

Q: 7. Will this work for 2019 iMac?

A: Yes it will.

Q: 8. Is there any vignetting at the wide angle side using this hood? Thanks!

A: The Vello HB-50F Lens Hood is specifically designed for the Nikon's AF-S NIKKOR 28300mm f/3.55.6G ED VR lens. When used with this lens there is no vignetting even at 28mm.

Q: 9. Is this lens made in Japan or China? I see pictures of early models with "made in Japan" printed on the side, but a lot of places now say this is made in China. Did Panasonic switch manufacturing to China?

A: Country of origin is Japan for Panasonic Lumix S PRO 24-70mm f/2.8 Lens

Q: 10. For video use, Is this a parfocal design, and does the image breathe when changing the focus?

A: From our tests, while not truly parfocal, the Lumix S PRO 24-70 f/2.8 performs very, very well when zooming from its wide to telephoto end and back. As far as focus breathing is concerned, we tested with subjects moving toward us and away from us and noticed a non-negligible amount. However, in our opinion, the severity and obviousness of it will really depend on your composition, subject matter, how the scene is set up, etc.