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JetMag Pro True Color CPL
The same True Color polarizing film as the screw-on NiSi polarizer, in a magnetic JetMag Pro filter. Snap it on, turn it to taste, stack it with the rest.
Get to know it
Why this polarizer
Two things had to be true: the film could not warm the scene, and the filter had to be quick enough that you actually use it.
01 / 08
Most circular polarizers push the scene warm or yellow, and you spend the edit pulling it back out. NiSi uses an exclusive True Color polarizing film here, so skies stay blue and foliage stays green while the reflection goes.
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The ring stays on the lens. The magnets pull the polarizer onto it and seat it square, so it goes on and comes off without threading, without cross-threading and without taking your eye off the light.
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Rotate the filter to pull reflections off water, wet rock, glass and foliage. Skies deepen, clouds gain separation, haze drops back, and what is under the surface of a pool comes through.
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A patented locking design holds the filter on the ring during the shoot. Point the camera down, hand the rig to somebody, walk with it on a strap: the polarizer stays where you set it.
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Put the polarizer under an ND, or a diffusion over both. Each JetMag Pro filter locks to the one beneath it, so a stack behaves like one piece of glass and travels as a single puck between caps.
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Every JetMag Pro filter has its own handle color and the polarizer's is silver. In a stack of four it is the one you can pick out without turning the camera around to read an engraving.
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The frame is ultra-slim, which is what keeps a polarizer off the corners of a wide lens. It matters more here than on most filters, because a polarizer usually has something else stacked on it.
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A low-reflective nano coating cuts internal reflections and repels water, oil and dust. Spray, drizzle and fingerprints stand up in beads on the surface and wipe off, instead of smearing across the front of the polarizer.
Filter on and off
These frames were photographed with the brass-frame build of the True Color CPL. The film is the one in this magnetic filter, and no frame is visible in a landscape photograph.
One photograph, split across the middle. Below the line is the bare lens: the sunlit face of the tower is a sheet of white glare with nothing in it. Above the line the polarizer takes that reflection down, so the glazing and the window frames come back and the sky holds an even blue.
On the left the shallows are a milky sheet of reflected cloud. On the right the polarizer takes that reflection off, and the pebble bed and the old fence posts running out into the water come through, with the blues left where they were.
Without the filter the pool holds a pale sheen of sky. With it, the rust-colored stones on the bottom come through and the wet rock stops shining.
Shallow water over rock, below a long escarpment. The filter takes the sky off the surface so the submerged boulders read, and deepens the sky at the same time.
No water in this one at all. This is the other half of what a polarizer does: a deeper sky, more separation in the cloud, richer color in the crop, and no shift in the tones that were already right.
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