Wratten number

| Orthochromatic film

| Panchromatic film; later replaced by X1 (#11)

| Increase contrast of yellow objects

| Increase contrast of brown objects

| Increase contrast of red objects; commonly known as B

| Photograph blue as white; replaces C4 (#49) with a comparable filter factor as updated A and B2

| Blueprints; photograph red as white

| Green alternatives include 40, 40A, 56, 57, 57A, 59, 59A, 60, 61

| Blue alternatives include 45, 46, 47, 47A, 48, 48A, 49A, 49B, 49C

| For tungsten, consider 40 or 60

|

|

|

| Used singly or paired with H, G, or E to approximate monochromatic light with 510, 540, or 575 nm, respectively.

| Used singly or paired with H to approximate monochromatic light with 460 nm, respectively.

| Used singly or paired with H to approximate monochromatic light with 445 nm, respectively.

| Used paired with B to approximate monochromatic light with 575 nm, respectively.

| Used singly to approximate monochromatic light with 625 nm, respectively.

| Used singly or paired with B or H to approximate monochromatic light with 540 or 525 nm, respectively.

| Used singly or paired with B, C, D, or G to approximate monochromatic light with 510, 460, 445, or 525 nm, respectively.

| Used singly with tungsten light; replaces K1

| style="background:#22f;color:#fff;" | 80A

| style="background:#33f;color:#fff;" |

| style="background:#44f;color:#fff;" | 80B

| style="background:#55f;color:#fff;" |

| style="background:#66f;color:#fff;" |

| style="background:#77f;color:#fff;" | 80C

| style="background:#88f;color:#fff;" |

| style="background:#99f;" | 80D

| style="background:#aaf;" | 82C

| style="background:#bbf;" |

| style="background:#ccf;" | 82B

| style="background:#ddf;" | 82A

| style="background:#eef;" | 82

! Wratten

| style="background:#ffe5c9;" | 81

| style="background:#ffdcb5;" | 81A

| style="background:#ffd2a1;" | 81B, 81C

| style="background:#ffc98d;" | 81D

| style="background:#ffbf79;" | 81EF

| style="background:#ffb665;" |

| style="background:#ffad51;" |

| style="background:#ffa43d;" | 85C

| style="background:#ff9b29;" |

| style="background:#ff9215;" |

| style="background:#ff8800;" | 85

| style="background:#ec7e00;color:#fff;" |

| style="background:#d87300;color:#fff;" | 85B

! Wratten

| style="background:#ffe5c9;" | +10

| style="background:#ffdcb5;" | +20

| style="background:#ffd2a1;" | +30

| style="background:#ffc98d;" | +40

| style="background:#ffbf79;" | +50

| style="background:#ffb665;" | +60

| style="background:#ffad51;" | +70

| style="background:#ffa43d;" | +80

| style="background:#ff9b29;" | +90

| style="background:#ff9215;" | +100

| style="background:#ff8800;" | +110

| style="background:#ec7e00;color:#fff;" | +120

| style="background:#d87300;color:#fff;" | +130

! $\backslash Delta\; M$

| || || || Called a ‘skylight’ filter, this absorbs ultraviolet radiation, which reduces haze in outdoor color landscape photography; darkens the blue sky and by contrast lightens clouds

| pale yellow || || || Absorbs ultraviolet radiation, slightly less than #2A (letters out-of-order). Longpass filter blocking wavelengths shorter than 395 nm. Used for high-altitude photography.

| pale yellow || || || Absorbs ultraviolet radiation and heightens contrast of clouds against blue sky. Longpass filter blocking wavelengths shorter than 405 nm. Used for high-altitude photography.

| || || || Absorbs ultraviolet radiation. Longpass filter blocking wavelengths shorter than 390 nm. Used for high-altitude photography.

| pale yellow || || || Absorbs ultraviolet radiation, slightly more than #2A. Longpass filter blocking wavelengths shorter than 415 nm. Used for high-altitude photography.

! Visible
color

| light yellow || Aero No. 1 || || Absorbs excessive sky blue, making sky look slightly darker in black & white images. Can be used with carefully chosen color film, or with color balancing during printing, to heighten contrast of clouds against blue sky. Longpass filter blocking wavelengths shorter than 440 nm. Used for high-altitude photography, and in astronomy to mask achromatic lens color-fringing.

| yellow || Minus-violet || || Longpass filter blocking visible wavelengths shorter than 455 nm. Used for high-altitude photography, and in astronomy to mask achromatic lens color-fringing.

| light yellow || K1 || || Not a longpass filter

| yellow || K2 || 1 || Absorbs more blue than #3. Longpass filter blocking visible wavelengths shorter than 465 nm

| deep yellow || K3 || || Absorbs more blue than #8. Longpass filter blocking visible wavelengths shorter than 470 nm

| yellowish-green || X1 || 2 || Heightens contrast of skin tones in black & white photography. Not a longpass filter

| deep yellow || Minus-blue || {{sfrac|1|1|3}} || Minus-blue filter; complements #32 minus-green and #44A minus-red. Used with Ektachrome or Aerochrome Infrared films to obtain false-color results. Used in ophthalmology and optometry in conjunction with a slit-lamp and a cobalt blue light to improve contrast when assessing the health of the cornea and the fit of contact lenses. Longpass filter blocking visible wavelengths shorter than 500 nm

| green || X2 || 2 || Color enhancement. Not a long-pass filter

| deep yellow || G || {{sfrac|1|2|3}} || Profoundly darkens the sky in black & white outdoor photography. Longpass filter blocking visible wavelengths shorter than 510 nm

| yellow-orange || || {{sfrac|1|2|3}} || Performs like #15, but more so. Longpass filter blocking visible wavelengths shorter than about 520 nm

| visually opaque || || || Based on Wood's glass, transmits small bands of ultraviolet radiation and infrared radiation. Used to block visible light from UV lamps.

| very deep violet || || || Similar to 18A but with wider bands of transmittance in both the ultraviolet and infrared, a less 'pure' filter.

! Visible
color

| orange || YA3|| 2 || Contrast filter for blue and blue-green absorption. Longpass filter blocking visible wavelengths shorter than 530 nm

| deep orange || E2 || {{sfrac|2|1|3}} || Contrast filter, greater effect than #21. Longpass filter blocking visible wavelengths shorter than 550 nm

| light red || E Red (light) || || Longpass filter blocking visible wavelengths shorter than 550 nm

| red || Projection red || || Used for color separation of Kodachrome transparency film, complements #47B and #61. Longpass filter blocking visible wavelengths shorter than 575 nm. Red for 'two color photography' (daylight or tungsten). White flame arc tri-color projection.{{cite book |title=Kodak Wratten Filters |edition=4th |year=1969 |publisher=Kodak Ltd. |place=London, UK}}

| red
tricolor || A (Tricolor Red) || 3 || Used for color separation and infrared photography. Longpass filter blocking short of 580 nm

| red || Stereo Red || || Longpass filter blocking short of 585 nm

| deep red || F || 4 || Used for color separation, complements #47 and #61. In black and white outdoor photography makes blue skies look very dark, almost black. In infrared photography, blocks much visible light, increasing the effect of the infrared frequencies on the picture. Longpass filter blocking short of 600 nm.

! Visible
color

| magenta || Minus-Green 3 || || Minus-green. Complements #12 minus-blue and #44A minus-red

| magenta || || || Contrast filter for strongest green absorption. For photomechanical color masking

| Indigo || D (light) || ||

| violet || D || || Used for minus-green and plus-blue separation

| Navy || D || ||

! Visible
color

| blue || || || Absorbs red, some UV, and some green light

| light green || Cine Green 1 || || Green, for 'two color photography' (tungsten).

| light blue-green || Minus-Red 4 || || Minus-red filter with substantial UV absorption

| light blue-green || Minus-Red 5 || || Complements #12 minus-blue, and #32 minus-green

| blue
tricolor || C5 || || Used for color separation. Complements #29 and #61

| light blue || Stage Blue || || By removing much light that is not blue, blue and purple objects show a broader range of colors. Used for medical applications that involve making dyes fluoresce

| deep blue
tricolor || || || Used for color separation. It is also commonly used to calibrate video monitors while using SMPTE color bars.{{cite book |title=Filming the Fantastic |first=Mark |last=Sawicki |publisher=Focal Press |date=1 June 2007 |isbn=9780240809151 |id=ISMB 0240809157 |via=Google Books |url=https://books.google.com/books?id=9l6QxEjldjIC&dq=%22Wratten+47B%22&pg=PA265}}

| deep blue || LG or L || ||

! Visible
color

| light green || B3 || ||

| green || B2 (light) || || Green for daylight 'two color photography'.

| green
tricolor || B2 || || Color separation.

| green || P || || Green for 'two color photography' (tungsten).

| deep green
tricolor || N || || Color separation, complements #29 and #47.

! Visible
color

| red || α-(contrast R) || || Used for color separation and infrared photography; longpass filter blocking short of 650 nm.

| dark green
monochromat || ε || || Transmits 10% of green radiation and virtually no yellow radiation from mercury-vapor illumination.{{cite report |title=Handbook of Kodak Photographic Filters |page=127 |id=Pub B‑3, Cat 1528108 |isbn=0-87985-658-0 |chapter=Transmission of Wratten filters |editor-first=Allie C. Jr. |editor-last=Peed |publisher=Eastman Kodak Co. |date=n.d. |chapter-url=http://www.karmalimbo.com/aro/pics/filters/transmision%20of%20wratten%20filters.pdf |via=karmalimbo.com}}

! Visible
color

| blue || 4 || 2 || Raises the scene's color temperature from 3200 K to approximately 5500 K, which allows use of daylight balanced film with tungsten lighting. Results in mired shift of -131.{{rp|37}}

| blue || 3 || {{sfrac|1|2|3}} || Similar to 80A; 3400 K→5500 K. Results in mired shift of -112.{{rp|37}}

| blue || 2 || 1 || Similar to 80A; 3800 K→5500 K. Typically used so that old-style flashbulbs could be used on a daylight film. Results in mired shift of -81.{{rp|37}}

| blue || 1.5 || {{sfrac|1|3}} || Similar to 80A; 4200 K→5500 K. Results in mired shift of -56.{{rp|37}}

| pale orange || 1.4 || {{sfrac|1|3}} || Warming filter to decrease the color temperature slightly. Can be used when shooting with type B film balanced for tungsten lighting (3200 K) with 3400 K photoflood lights. The opposite of 82A. Results in mired shift of +18.{{rp|38}}

| pale orange || 1.4 || {{sfrac|1|3}} || Warming filter, slightly stronger than 81A. The opposite of 82B. Results in mired shift of +27.{{rp|38}}

| pale orange || 1.5 || {{sfrac|1|3}} || Warming filter, slightly stronger than 81B. The opposite of 82C. Results in mired shift of +35.{{rp|38}}

| pale orange || || {{sfrac|2|3}} || Warming filter, slightly stronger than 81C. Results in mired shift of +42.{{rp|38}}

| pale orange || || {{sfrac|2|3}} || Warming filter, stronger than 81D. Results in mired shift of +52.{{rp|38}}

| pale blue || 1.3 || {{sfrac|1|3}} || Cooling filter to increase the color temperature slightly. The opposite of 81A. Results in mired shift of -21.{{rp|38}}

| pale blue || 1.4 || {{sfrac|2|3}} || Cooling filter, slightly stronger than 82A and opposite of 81B. Can also be used when shooting tungsten type B film (3200 K) with household 100 W electric bulbs (2900 K). Results in mired shift of -32.{{rp|38}}

| pale blue || 1.5 || {{sfrac|2|3}} || Cooling filter, slightly stronger than 82B and opposite of 81C. Results in mired shift of -45.{{rp|38}}

| amber || 1.5 || {{sfrac|2|3}} || Color conversion, the opposite of the 80B; this is a warming filter that takes an outdoor scene lit by sunlight (which has a color temperature around 5500 K) and makes it appear to be lit by tungsten incandescent bulbs around 3400 K. This allows an indoor balanced film to be used to photograph outdoors. These filters were used in Super 8 movie cameras that were designed to use Tungsten film. Results in mired shift of +112.{{rp|37}}

| amber || 1.5 || {{sfrac|2|3}} || Similar to 85; converts 5500 K→3200 K. Results in mired shift of +131.{{rp|37}}

| amber || 1.5 || {{sfrac|1|3}} || Similar to 85; converts 5500 K→3800 K. Results in mired shift of +81.{{rp|37}}

| amber || || || Neutral density of 1 stop + color conversion, the opposite of the 80A; this is a warming filter that takes an outdoor scene lit by sunlight (which has a color temperature around 5500 K) and makes it appear to be lit by tungsten incandescent bulbs around 3400 K. This allows an indoor balanced film to be used to photograph outdoors.

| amber || || || Neutral density of 2 stops + color conversion, the opposite of the 80A; this is a warming filter that takes an outdoor scene lit by sunlight (which has a color temperature around 5500 K) and makes it appear to be lit by tungsten incandescent bulbs around 3400 K. This allows an indoor balanced film to be used to photograph outdoors.

| amber || || || Neutral density of 3 stops + color conversion, the opposite of the 80A; this is a warming filter that takes an outdoor scene lit by sunlight (which has a color temperature around 5500 K) and makes it appear to be lit by tungsten incandescent bulbs around 3400 K. This allows an indoor balanced film to be used to photograph outdoors.

! Visible
color

| opaque || || || Passes infrared but not visible frequencies. Blocks wavelengths shorter than 740 nm

| opaque || || || Passes infrared but not visible frequencies. Blocks wavelengths shorter than 880 nm

| opaque || || || Passes infrared, blocks visible frequencies. Blocks wavelengths shorter than 820 nm

| opaque || || || Passes infrared, blocks visible frequencies. Blocks wavelengths shorter than 790 nm

| opaque || || || Passes infrared, blocks visible wavelengths shorter than 700 nm.

| opaque || || || Passes infrared, blocks visible wavelengths shorter than 720 nm.

| near-opaque red || R72 || || Passes infrared, longpass filter blocking visible wavelengths shorter than 690 nm (very deep red). Aerial photography is one use.

| dark grayish amber || || || Used for viewing scenes without color, before photographing them, in order to assess the brightness values. Not used for actual photography.

| red || || || Color densitometry. Longpass filter blocking visible wavelengths shorter than 625 nm

| green || || || Color densitometry.

| blue || || || Color densitometry.

| gray || || varies || Neutral density filter. Blocks all frequencies of visible light approximately evenly, making scene darker overall. Available in many different values, distinguished by optical density or by filter factor.

| blue || || || Like a #47B plus a #2B filter.

| green || || || Like a #61 plus a #16 filter.

| yellow-green || || || Color conversion for photometry: Makes a barrier-level type photocell respond as a human eye would.

| amber || || || Color conversion for photometry: Makes a type S‑4 photocell respond as a human eye would.