Photoshop tips: How to darken skin
Last week I showed you how to lighten skin in Photoshop and in this week’s video I show you how to darken facial skin tone.
Thursday, May 31, 2012
Wednesday, May 30, 2012
Editorial modeling (part 1)
Editorial modeling (part 1)
Photographer: John Fisher
Are there exceptions? Yes, Kate Moss is not 5’9″ (5’6″ is closer), Cindy Crawford at the height of her editorial career weighed… Well, let’s just say that she weighed more than 118 pounds. So why am I getting into all of this? In part, because most young people who consider modeling are familiar only with editorial models, and so very few should even contemplate an editorial career. Far more up-and-coming models would find more work if they chose commercial modeling instead of editorial (which was the subject of my previous post). But if you want to know about editorial fashion in New York City, here it is…
Commercial vs. editorial modeling
First, there are enormous differences between modeling commercially and editorial fashion models. There are actors, pilots, firefighters, housewives, and students who model commercially—some are very successful and make a good deal of money at it. But they are not commercial models in the same sense that editorial fashion models are editorial models. This is because you don’t build a “name” as a commercial model. You do build a reputation (you show up on time, wear proper attire, easy to work with, etc.) that helps an agency place you. But not a name, like the way an advertiser would wantCindy, Linda, or Kate. This “name” thing is a big deal. Think about it this way: If you’re not an industry insider, can you name a model that is not an editorial model? (Okay, I’m a commercial model and you know me! The big, dumb, bald, white guy who looks like a thug—not a name, just a description.)
The top fashion agencies give only exclusive contracts (usually two to five years for a “new face”). They have the contacts with the fashion magazines to help you build that “name,” and they expect to benefit from that relationship through this exclusive relationship. Their resources are directed solely to the
development of the models they represent, which is why you see the term “Model Management” in so many of the agency names. If you want Karolina Kurkova, you call Women (or Mega here in Miami), but not Ford. If you want Gisele Bündchen, call IMG, not Wilhelmina. The “inventory” of a commercial agency is its clients (e.g., Coke, Kodak, and Xerox), and the “inventory” of an editorial agency is its models (Kate, Gisele, Karolina, Adriana, etc.). In short, commercial agencies have clients and find models, but fashion agencies have models and find clients.
development of the models they represent, which is why you see the term “Model Management” in so many of the agency names. If you want Karolina Kurkova, you call Women (or Mega here in Miami), but not Ford. If you want Gisele Bündchen, call IMG, not Wilhelmina. The “inventory” of a commercial agency is its clients (e.g., Coke, Kodak, and Xerox), and the “inventory” of an editorial agency is its models (Kate, Gisele, Karolina, Adriana, etc.). In short, commercial agencies have clients and find models, but fashion agencies have models and find clients.
Live the life
Editorial models are expected (as someone here has said repeatedly) to live the “life”—you model, that’s it.
You may wait tables or something else part time to pay the rent when you start, but you still model as much as possible. Furthermore, keep in mind that when you start you’ll have some jobs and work with certain photographers for little or no pay—simply because these assignments or connections might build your name later on and give you exposure. I can think of no other career where the “prestige” jobs pay so little. Most in this field would be stunned to learn how little a model is paid for the cover of Vogue or Elle, or for the purely editorial layouts inside those magazines. So why do it? Because that all helps to builds a name. Then, when an advertiser calls the agency, they are not asking for a “type” (brunette, athletic, Asian, bald, etc.), they are asking for Gisele, Adriana, or Kate.
There may be a thousand beautiful blondes, but there is only one Karolina because of all of her magazine layouts and covers (not ads, but editorial layouts: the ad work comes later, after your name is established). Once your name and image are established, you go to the bank big time doing fashion ad work (commercial modeling). Why? Because the ad agency or designer wants Karolina, not a thin, busty blonde (lots of blondes, only one Karolina, and you pay to shoot Karolina). Every editorial model spends some time in the trenches: go here, go there, shoot with this guy, cut your hair, lose some weight, go to the agency, etc. Had a bad night? Tough. Went on six go-sees yesterday with no bookings? Too bad, here are four more. Live the life. Models do not “try” editorial fashion modeling; fashion tries you. It is hard, but it’s supposed to be hard. It’s great because it’s hard. If it were easy, everyone would do it.
I am posting this because there has been a lot of discussion about what agencies do and what models should expect. Some of the photographers here are full-time professionals (I’m in that group, full time, not sure about the professional part). Like modeling, this is not an easy business, and those that do it are passionate about what they do. You wouldn’t stay with this if you didn’t love it with an emotion that is hard to describe. However, depending on whichever side of the street you work on (commercial or editorial), your expectations of models and agents can be radically different. I work almost exclusively as a commercial photographer and represent myself as such, but I have worked with fashion agencies and fashion models. I like commercial models, they are gifted and talented people, and they want to be paid. I love fashion models, too. They always want great pictures, but if you can’t deliver, forget about it (trust me on this one, the world is full of fashion models who can’t remember my name).
These opinions and observations are the result of my experiences with both commercial and fashion models (and agencies) over the past twenty years. I hope you find them helpful.
Modeling news roundup
Modeling news roundup
This week’s highlights: Bar Rafaeli tops Maxim’s Hot 100 list; Radeo scores cover of Bizarre magazine; Leah Jung Scores cover of Tattoo1.Tribal; Lauren Calaway launches own magazine; and more!
Bar Rafaeli tops Maxim Hot 100 list
Israeli model Bar Rafaeli is ranked #1 on the Maxim Hot 100 list. Rafaeli is a popular face in the Sports Illustrated Swimsuit issue, and she is also known for dating Leonardo DiCaprio in the past. The article stated that although this ranking came as a bit of a surprise, Maxim readers like beautiful girls who are not afraid to have fun and who are approachable, and Bar Rafaeli fits that criteria. According to the article, she is very easy to talk to, people find they can relate to her and they believe she would be cool to hang out with. Did you ever think that perceived personality factors affect someone’s rank in Maxim’s Hot 100?
Radeo scores cover of Bizarre magazine
Model: Radeo; Photographer: Christian Saint
Radeo is yet another model who has landed the cover of a magazine. We would like to extend our congratulations to her for her achievement. Radeo is on the cover of Bizarre magazine’s June issue, and she was shot by Christian Saint. Radeo said, “shooting with Christian Saint for Bizarre was a blast. I don’t really shoot unless it’s something I know will be fun but I don’t think I’ve had that much fun on a shoot in a long time.”
We wish Radeo continued success and we look forward to seeing more great magazine features and covers from her.
Leah Jung scores cover of Tattoo1.Tribal
Model: Leah Jung; Photographer: Lady Lux Productions; Makeup Artist: makeup Cecret
A huge congratulations to Model Leah Jung on her recent cover of Tattoo1.Tribal magazine’s May/June issue. She was shot by Lady Lux Productions. Here is what she had to say about her recent achievement: “Model is what helped get my career started and I always recommend it to other aspiring models. My first magazine cover (15 and counting now!) was the Village Voice, America’s largest weekly newspaper, and they found me on Model. I am also writing two separate monthly columns. One in Tattoo’d Lifestyle Magazine, called ‘Leah Jung, Tattoo Jung-kie,’ and another for a Norwegian magazine InkStyle, called ‘Life of Leah,’ which they translate into Dutch! I have been flown to two different countries (Copenhagen, Denmark and Vancouver, BC) and to several states for photo shoots. I have even been published in some magazines that rarely depict tattooed people. Model gave me the tools to shine in the tattoo modeling world for the last two years. Thank you!”
Lauren Calaway launches own magazine
Model: Lauren Calaway
Lauren Calaway is no stranger to modeling. She is stunning, has been widely published, is represented by multiple agencies, and has shot with hundreds of photographers. Lauren is now taking on yet another venture in the industry–her own magazine, Nouveau Magazine, which features a lot of talent. Here is what she had to say about modeling: “Modeling is about believing in yourself. Every single day you face rejection; someone will tell you how you are not tall enough or pretty enough. It is how you face those rejections and keep fighting for your dream that make you a good model. I feel as if it was a long hard road for me, but I kept fighting. I kept trying to prove those people wrong, which is why I have a career now. And I continue to fight, even at this stage. You have to fight for your dreams.” We wish Lauren continued success, and we know she will continue to inspire us with her great photos and achievements in the industry.
Teen wins trip to Paris for modeling opportunity
And finally, Rachel Radzak will not be attending her high school graduation ceremony, because instead she will be traveling to Paris for a modeling showcase where she’ll get the chance to show off her talents for several large agencies. Rachel won this trip because she won a DiscoverMe contest, which she deemed as being low key. She got the most votes through texting, although she did not expect anything out of the contest when she entered. Although Rachel is new, she really understands the business. She understands how competitive and scary the industry can be if you’re a novice, as well as how much personal criticism one receives from strangers. She also understands the importance of signing with a legitimate agency and taking on legitimate work. Radzak is highly involved with school activities, so she really understands that modeling is something she could do, but that she should not count on it as the ticket to a life of luxury. She points out that the key for her is to try everything, to shoot high and go for your dreams, but don’t expect for things to be handed to you.
We want to celebrate the success of Members. Want to be in the next News Roundup? Send Aviva a message titled “ News” and let us know what you’ve done. (Include any relevant links and photos that you have permission to use.)
Thursday, May 24, 2012
An introduction to commercial modeling
An introduction to commercial modeling
Commercial modeling is a huge field, encompassing most forms
of print modeling (modeling for photographers), and modeling which
doesn’t involve photography. I will start by discussing the
non-photographic areas of modeling.
Photographer: John Fisher; Model: Yuka
Promotional modeling
At conventions or trade shows, models are used as greeters at booths: they hand out literature, handle promotional items such a hats, t-shirts, key chains, and sometimes answer basic questions such as when seminars or demonstrations are scheduled. Yes, the girls are sometimes eye candy, but any good planner will tell you that the right model can increase traffic through a booth substantially.
For instance, one of the most successful models in the Washington market works two or three conventions or trade shows a month—she develops contacts with the marketing people who work the booths in order to get more print work. She has favorite clients and virtually all her print work comes from these contacts; she’s learned their product lines and is now considered an invaluable asset, often traveling (at corporate expense) to major cities for these companies when they are participating in a trade show. While most trade shows pay $100 to $300 a day, she now commands $500 a day plus coverage for certain expenses. Promotional modeling also includes passing out samples at cosmetic counters (often during the Christmas buying season) during special promotions arranged by the companies, and events like beer or liquor promotions (e.g., Bud Girls, Miller, or TQ Hot) at local watering holes. You must be 21 in most jurisdictions for these jobs.
Tea room modeling
This is typically a fashion show usually arranged by a local department store where clothes are shown in an informal atmosphere for select customers at the store or at a nearby restaurant. Sometimes the models are expected to be able to answer simple questions, like how comfortable the fabric feels, price points, and even cleaning instructions. Contacting department stores will allow a model to find out if these events occur in their area, as well as how they can apply to be considered for the work. Some of the major stores have teen boards, where local high school-aged models can find notices concerning local fashion shows. It’s a good way to get started, especially if you like fashion runway.
Now, the areas of commercial modeling that involve photography.
Commercial print modeling
Commercial print is what it sounds like—photographic advertising. Commercial print models can be any size, age, or body type, but they must be appropriate for the ad. While the vast majority of print models look like models (i.e., attractive), I worked in a print ad campaign where the art director told me they needed a thug, and, well, I looked like one! I also wound up in a movie because the roll called for a big, dumb, bald, white guy. It turns out that those qualifications are rather hard to find at your local agency.
Commercial print includes catalog modeling, beauty products, life style (such as models who appear in health club ads, vacation layouts, etc.), fashion ads (even those famous models doing Versace ads are doing commercial print, not editorial work), and anything where a model is used in an ad to sell a product or a service. Most glamour print modeling such as swimsuit calendars, posters, etc., are a form of commercial print work. The Sports Illustrated Swimsuit issue is editorial, and personally, I consider the Playboy centerfold (and only the Playboy centerfold) to be a form of editorial modeling, but more on that later.
Photographer: John Fisher; Model: Crystal Moyer
Most children are commercial models, and many industry observers consider the majority of male models to be commercial models. Models are used in television ads and instructional or corporate videos. This is a very specialized but lucrative area of modeling, which is why Malibu photographer Gino Cox often recommends getting involved in theater classes and school plays while you are still in school. You have to start somewhere, so why not while you are trapped in the educational system, anyway?
Commercial modeling is by far the largest and most diverse field of modeling, and while the average income of commercial models does not approach the levels of the top editorial models, many commercial models make very attractive incomes, and work steadily with long careers. In fact, in the U.S., the majority of agencies not located in New York are actually commercial agencies—this includes the branches of the majors like Ford and Elite (but don’t tell them I said so, they can be very touchy about this.)
Okay, this is a quick introduction to commercial modeling. I have hardly scratched the surface, but it will give you a sense of the breadth of the field.
Photographer: John Fisher; Model: Yuka
Promotional modeling
At conventions or trade shows, models are used as greeters at booths: they hand out literature, handle promotional items such a hats, t-shirts, key chains, and sometimes answer basic questions such as when seminars or demonstrations are scheduled. Yes, the girls are sometimes eye candy, but any good planner will tell you that the right model can increase traffic through a booth substantially.
For instance, one of the most successful models in the Washington market works two or three conventions or trade shows a month—she develops contacts with the marketing people who work the booths in order to get more print work. She has favorite clients and virtually all her print work comes from these contacts; she’s learned their product lines and is now considered an invaluable asset, often traveling (at corporate expense) to major cities for these companies when they are participating in a trade show. While most trade shows pay $100 to $300 a day, she now commands $500 a day plus coverage for certain expenses. Promotional modeling also includes passing out samples at cosmetic counters (often during the Christmas buying season) during special promotions arranged by the companies, and events like beer or liquor promotions (e.g., Bud Girls, Miller, or TQ Hot) at local watering holes. You must be 21 in most jurisdictions for these jobs.
Tea room modeling
This is typically a fashion show usually arranged by a local department store where clothes are shown in an informal atmosphere for select customers at the store or at a nearby restaurant. Sometimes the models are expected to be able to answer simple questions, like how comfortable the fabric feels, price points, and even cleaning instructions. Contacting department stores will allow a model to find out if these events occur in their area, as well as how they can apply to be considered for the work. Some of the major stores have teen boards, where local high school-aged models can find notices concerning local fashion shows. It’s a good way to get started, especially if you like fashion runway.
Now, the areas of commercial modeling that involve photography.
Commercial print modeling
Commercial print is what it sounds like—photographic advertising. Commercial print models can be any size, age, or body type, but they must be appropriate for the ad. While the vast majority of print models look like models (i.e., attractive), I worked in a print ad campaign where the art director told me they needed a thug, and, well, I looked like one! I also wound up in a movie because the roll called for a big, dumb, bald, white guy. It turns out that those qualifications are rather hard to find at your local agency.
Commercial print includes catalog modeling, beauty products, life style (such as models who appear in health club ads, vacation layouts, etc.), fashion ads (even those famous models doing Versace ads are doing commercial print, not editorial work), and anything where a model is used in an ad to sell a product or a service. Most glamour print modeling such as swimsuit calendars, posters, etc., are a form of commercial print work. The Sports Illustrated Swimsuit issue is editorial, and personally, I consider the Playboy centerfold (and only the Playboy centerfold) to be a form of editorial modeling, but more on that later.
Photographer: John Fisher; Model: Crystal Moyer
Most children are commercial models, and many industry observers consider the majority of male models to be commercial models. Models are used in television ads and instructional or corporate videos. This is a very specialized but lucrative area of modeling, which is why Malibu photographer Gino Cox often recommends getting involved in theater classes and school plays while you are still in school. You have to start somewhere, so why not while you are trapped in the educational system, anyway?
Commercial modeling is by far the largest and most diverse field of modeling, and while the average income of commercial models does not approach the levels of the top editorial models, many commercial models make very attractive incomes, and work steadily with long careers. In fact, in the U.S., the majority of agencies not located in New York are actually commercial agencies—this includes the branches of the majors like Ford and Elite (but don’t tell them I said so, they can be very touchy about this.)
Okay, this is a quick introduction to commercial modeling. I have hardly scratched the surface, but it will give you a sense of the breadth of the field.
How to tell if that internship is legal
How to tell if that internship is legal
(Please be advised that nothing stated below can take the
place of a good lawyer, or the advice of your local Employment
Development Department. If you believe you have been the victim of
unfair workplace practices, such as working for no pay, refusal of
overtime, or working in a workplace that does not offer worker’s comp
insurance, you should contact your state’s EDD and file charges against
your employer. If you are considering offering an unpaid internship you
should hire a lawyer to check and make sure that your internship will
meet the legal standards. If in doubt, you may want to consider offering
paid internships rather than unpaid ones.)
As the economy has gotten worse, the number of small and large businesses looking to save money has, of course, increased. As a result many people are offering what used to be paid positions to “interns.” Sidestepping the ethical question, we can consider the legal question of unpaid internships.
Internships used to be a very important part of a skilled laborer’s educational experience. However, interns were never supposed to take the place of a paid employee. There are two types of interns: paid and unpaid. If the internship you are being offered is paid at your state’s min wage, and your employer is keeping up their workman’s comp insurance and paying their part of the payroll taxes required by law, then your internship is legal. For the purposes of this article the term internship is only being applied to unpaid internships, not to ones that pay the min hourly wage as set forth by that state’s EDD.
Many of the newer people in the film and photo industry want to know how to graduate to paying assisting work. They believe that if they work unpaid for a few months that they will somehow magically find a way to go from unpaid intern to paid assistant. The fact is if people do not report the full time 2-3 month “internships” that are illegal, then the concept of paid assistants may go away forever. Already many jobs that were paying in the past are being done by unpaid “interns.” The old saying of “Why buy the cow when you can get the milk for free?” is sadly true in the case of being an unpaid intern.
Not all internships are without merit, which is why there is a difference between an illegal internship and a legal internship. Knowing that there are legal unpaid internships, how do you determine if the internship you see being offered is legal or illegal?
To start with, there are specific criteria that each internship offered in the USA must meet in order to be considered a legal internship. Should the internship not stand up to this scrutiny, the intern may be entitled to back pay, and/or large fines paid directly to the employee from the employer. In addition, should the internship provider be seen as trying to avoid paying not only the wages for the intern, but their payroll taxes, they could face large fines and/or criminal charges being leveled against them.
There’s a good letter from the Department of Labor that details those criteria. Note that you can report your employer on the web or by phone at 1-866-4-USWAGE. Or you can write a testimony to inform other potential interns at InternshipRatings.com or UltimateIntern.com. Even third parties can file a lawsuit against an employer that offers unfair internships.
Unpaid internships can be illegal in the United States if they don’t meet some of the following requirements from the Fair Labor Standards Act.
Also, internships that require 11+ hours of time a week could be logically seen to displace a regular employee.
The website below is filled with valuable, well-researched information, as well as some one-on-one help for people who feel they have been the victim of an illegal internship scam.
http://unfairinternships.wordpress.com/resources/
The biggest point this article is trying to make is that there are as many, or more, requirements for legal unpaid internships as for any paid job. You should always consult an attorney before deciding to offer an unpaid internship, or even a one day unpaid assisting job, to make sure you are not breaking any state or federal laws. If you feel you are working for, or have worked for, a company or individual as an unpaid intern, and the tasks you were required to do did not fit the standards set forth by law, I recommend contacting your local EDD or the Department of Labor.
–
DISCLAIMER: Legal information is not the same as legal advice. Information of a legal nature posted or made available on this website is not intended as legal advice. It is intended for general informational purposes only and you should not rely on it. It is not a substitute for consultation with an attorney licensed to practice in your jurisdiction.
As the economy has gotten worse, the number of small and large businesses looking to save money has, of course, increased. As a result many people are offering what used to be paid positions to “interns.” Sidestepping the ethical question, we can consider the legal question of unpaid internships.
Internships used to be a very important part of a skilled laborer’s educational experience. However, interns were never supposed to take the place of a paid employee. There are two types of interns: paid and unpaid. If the internship you are being offered is paid at your state’s min wage, and your employer is keeping up their workman’s comp insurance and paying their part of the payroll taxes required by law, then your internship is legal. For the purposes of this article the term internship is only being applied to unpaid internships, not to ones that pay the min hourly wage as set forth by that state’s EDD.
Many of the newer people in the film and photo industry want to know how to graduate to paying assisting work. They believe that if they work unpaid for a few months that they will somehow magically find a way to go from unpaid intern to paid assistant. The fact is if people do not report the full time 2-3 month “internships” that are illegal, then the concept of paid assistants may go away forever. Already many jobs that were paying in the past are being done by unpaid “interns.” The old saying of “Why buy the cow when you can get the milk for free?” is sadly true in the case of being an unpaid intern.
Not all internships are without merit, which is why there is a difference between an illegal internship and a legal internship. Knowing that there are legal unpaid internships, how do you determine if the internship you see being offered is legal or illegal?
To start with, there are specific criteria that each internship offered in the USA must meet in order to be considered a legal internship. Should the internship not stand up to this scrutiny, the intern may be entitled to back pay, and/or large fines paid directly to the employee from the employer. In addition, should the internship provider be seen as trying to avoid paying not only the wages for the intern, but their payroll taxes, they could face large fines and/or criminal charges being leveled against them.
There’s a good letter from the Department of Labor that details those criteria. Note that you can report your employer on the web or by phone at 1-866-4-USWAGE. Or you can write a testimony to inform other potential interns at InternshipRatings.com or UltimateIntern.com. Even third parties can file a lawsuit against an employer that offers unfair internships.
Unpaid internships can be illegal in the United States if they don’t meet some of the following requirements from the Fair Labor Standards Act.
- The training, even though it includes actual operations of the facilities of the employers, is similar to that which would be given in a vocational school.
- The training is for the benefit of the student.
- The student does not displace a regular employee, but works under the close observation of a regular employee or supervisor.
- The employer provides the training and derives no immediate advantage from the activities of the student; and on occasion, the operations may actually be impeded by the training.
- The student is not necessarily entitled to a job at the conclusion of the training period.
- The employer and the student understand that the student is not entitled to wages for the time spent training.
Also, internships that require 11+ hours of time a week could be logically seen to displace a regular employee.
The website below is filled with valuable, well-researched information, as well as some one-on-one help for people who feel they have been the victim of an illegal internship scam.
http://unfairinternships.wordpress.com/resources/
The biggest point this article is trying to make is that there are as many, or more, requirements for legal unpaid internships as for any paid job. You should always consult an attorney before deciding to offer an unpaid internship, or even a one day unpaid assisting job, to make sure you are not breaking any state or federal laws. If you feel you are working for, or have worked for, a company or individual as an unpaid intern, and the tasks you were required to do did not fit the standards set forth by law, I recommend contacting your local EDD or the Department of Labor.
–
DISCLAIMER: Legal information is not the same as legal advice. Information of a legal nature posted or made available on this website is not intended as legal advice. It is intended for general informational purposes only and you should not rely on it. It is not a substitute for consultation with an attorney licensed to practice in your jurisdiction.
Canon EOS Digital Rebel T3 review
Canon EOS Digital Rebel T3 review
Do you feel that your current camera has been limiting your
creative talent? If you have been using a point-and-shoot to capture all
of your artistic observations, but don’t quite feel sure about taking
the next big step into the dSLR (Digital Single Lens Reflex) world, then
Canon’s newest entry-level dSLR might be just what you’re looking for.
The EOS Rebel T3 is a great unit to get you started on a higher level of
photography. The T3 is the accolade of 2008′s EOS Rebel XS,
with all the fantastic features of the latter, plus with a string of
new highlights. Atop of an 12.2-Megapixel CMOS image sensor, improved
control layout, DIGIC 4 processor, Live View shooting mode, 63-zone
Dual-layering metering system, and 1280×720 video mode; Canon
supplements the T3 with a new Creative Auto shooting mode, a hands-on
guide offering detailed descriptions of settings, a 2.7-inch LCD, EF and
EF-S lens mount, and more. With all of these great features, Canon’s
new entry-level EOS Rebel T3 looks to be a great choice for a first
dSLR.
Presumably, the first characteristic you will notice about the T3 is its compact size. Pretty much the exact size of its brother, the EOS Rebel T3i, the T3 is approx. 5.1″ in width, 3.9″ in height, and 3.1″ in diameter. However, immediately you will notice that the T3 lacks the texturized grips of the T3i, which some may consider a negative. While we do enjoy the non-slip grips, the ergonomically shaped grip maintains a sufficient hold. Atop of the shooting hand grip is a natural-placed shutter release and a grooved control dial for fine-tuning the camera’s settings. Opposite, the left side of the camera houses the I/O ports that include a remote release, a USB/A/V, and a HDMI port; all of which is enclosed under a rubber cover.
Moving along the T3′s top are the retractable flash and the hot shoe (mount for flash accessory). The pop-up flash is automatic, or has a dedicated button next to the mode dial. Approximately the size of a nickel, the mode dial rests on the shooting hand side of the T3. The serrated edges and distinctive “clicks” between each setting, make using the mode dial a breeze. Like its predecessors, the T3 mode dial includes basic and advanced shooting modes, along with an automatic mode. A straightforward “on/off” power switch is right alongside the mode dial, which as simple as it sounds, is a definite plus. On the back, the control layout is well-spaced and well-labeled. The buttons and labels are fairly large and shaped according to design and function. The T3 is meant to be a first dSLR for the novice photographer, and if you are slightly overwhelmed at first by the “extra” buttons, don’t fret; with logical labeling and an on-screen guide, you will understand each button’s function quickly. The 4-way directional pad doubles as a direct adjustment for white balance, burst shooting, ISO, and auto focus.
Whether you’re a novice or an experienced photographer, the T3′s control layout is comprehensible. Additionally, if you are familiar with Canon’s earlier XS model, you will have no problem with the T3. The Menu and Disp. Buttons have a new, well-received location on the right side of the camera. This now allows for all the button manipulation to be accessible with just one hand. Not only are the buttons more thoughtfully placed on the T3, but they are larger than those on the XS as well; and this was accomplished without seeming cramped either.
Experts know, and novices will discover that one of the advantages of a dSLR is the Optical ViewFinder (OVF); and the T3 is no exception. Like the T3i, it uses a pentamirror OVF (as opposed to pentaprizm). The T3 OVF is somewhat less equipped than its superior brother. While the eye-level unit still offers a large and clear view of your subject, it is noted on Canon’s website that the T3 has approximately a 0.8x magnification; whereas the T3i is equipped with a 0.85x magnification. This slight deviation makes for a smaller picture in the OVF. If you have poor eyesight, it is important to note also that the T3 has a diopter adjustment from a -2.5 to + 0.5, whereas the T3i has a wider range of -3.0 to +1.0. Because of the lesser range of the T3′s diopter adjustments, it may be difficult for someone with weak vision to achieve a clear focus without glasses. However, where the T3 improves is on the eye relief from the OVF, or eyepoint. The eyepoint on the T3 moves out to 21mm (19mm on the T3i), which means you can hold your eye further away from the OVF and still see the whole frame. Although it is only a difference of 2mm, this improvement could help you acquire your subject more quickly. The Vertical/Horizontal still has coverage of about 95% of the image capture, which gives you 5% leeway around the edges. It is also worth mentioning that the rubber eye up is very comfortable, and blocks out most of the ambient light when your face is pressed against it. A good bit of exposure data is displayed in the Heads Up Display (HUD), allowing you to assess exposure info without taking your eye away from the viewfinder, and remain focused on your subject.
A nice feature carried directly from the XS to the T3 is the mode dial. Offering 14 shooting modes, this handy characteristic permits quick switching between shooting modes without having to go through the menu. The auto shooting modes are centered: Full Auto, Flash Off, and Creative Auto. Full Auto mode will automatically adjust the camera’s shooting settings for an optimal image capture. The new Creative Auto gives the user a little more control over exposure by granting an ambiance adjustment (vivid, soft, warm, etc.). For more specific shots, the mode dial contains 5 scene modes (portrait, landscape, close-up, sports, and night portrait) which have fine-tuning adjustments for each. If you are looking to get even more particular with a shot, the dial also presents 5 more modes. A Program mode that automatically sets the shutter speed and aperture, but other setting may be manually configured. Shutter or Aperture Priority modes help capture moving objects and backgrounds, while the Auto Depth-of-Field AE (A-DEP) maintains a focused foreground and background. Finally, for complete control, Manual mode gives the photographer total control over the image capture.
A handy feature Canon has decided to include from the XS is its convenient quick control menu. According to Canon’s website, the quick control (shooting) menu is accessible by giving you “instant access to the most common settings all in one place”. The menu is not much different from that on the XS, other than an improved look and a few additional adjustment options. An option to raise the built-in flash is added (even though there is a dedicated button for this function behind the control dial), as well as a flash level adjustment. An automatic brightness/contrast adjustment is also included which allows you to decide the level in which the camera will auto correct the brightness and contrast of each image. In Manual mode, the shooting settings menu will also give both aperture and shutter speed tweaking. All of these modifications can be done by the combination of the AV or “Q” button, the 4-way directional pad, and the control dial. It takes some playing around and getting used to the camera’s control manipulation, but you will quickly figure out a personal preference for making alterations. On top of this, Canon does allow you to change the operation of specific controls on the body, giving you a more tailored fit. Both the SET and Flash buttons can be customized via the Custom Functions menu.
Perhaps to keep the controls less cluttered, the Canon opted for a 2.7-inch LCD monitor instead of the 3.0-inch Vari-Angle monitor which is on the T3i. Though smaller, the LCD is still a capable size to easily view the menus, Live View, or picture/video playback. The pixel specification is a 230,000 dot display, and although it offers a clear view, it is significantly lower than that of the T3i; which boasts an incredible 1,040,000 dots. The number of dots simply refers only to the picture resolution of the LCD screen, not your images (therefore not affecting image quality). Utilizing a protective cover to prevent damage to the actual display, the screen does tend to collect fingerprints rather easily. This was clearly evident in the bright sunlight, which was compounded by a dim default backlight setting. Fortunately, the backlight can be brightened, which I brightened to its highest setting. The full display can be viewed up to 170°, but any further than that and on-screen information will begin to be cut off. Lastly, it is unfortunate that the T3 LCD does not have the Vari-Angle feature like that of the T3i. This feature allowed the LCD to be tilted to a viewable angle for those awkward low-to-the-ground or overhead shots. The lack of a Vari-Angle LCD on the T3 is not a negative, but rather a luxury for the T3i.
The T3 menu interface is congruent to Canon’s Rebel series. Utilizing a logically organized, consistent, and easy to see and understand color-coded layout, a novice to the Rebel line will rapidly be able to efficiently navigate the camera. And, because the T3 employs a very similar menu from past Rebel cameras, a user familiar with them will feel right at home. Accomplished with either the control dial or the 4-way control, navigation through the menu interface is fast and simple. Additionally pressing the display button while in the menu, the T3 will bring you to the camera’s data such as memory, color space, screen timeout, etc. Menu text is also very readable with a modern appearance like you would typically find on a smartphone. Depending on which mode setting the camera is in, the menu will offer more or less options, yet maintaining a consistent order. Different menu categories (capture, playback, camera settings) are nicely separated by colors for fast identification and little confusion. Switching between modes via the mode dial expels a brief menu displaying the current menu and a short description of it. This element of the T3 is extremely handy, especially for a beginner to dSLR cameras as it guides the user with the camera’s full capabilities.
Like most all of Canon’s EOS Rebels, the T3 is a speedy performer. From power-on until the first shot averaged at 2-3/10 of a second! Waking the camera from Auto power off and capturing the first shot took about 4-5/10 second. When pre-focusing the camera, shutter lag is almost non-existent, measuring less than 1/10 second, while autofocus shutter lag averaged just 1/10 second using the Auto Selection:9-point AF mode. In single drive mode, the shot to shot varied depending on how I would depress the shutter release. When lifting my finger each time the delay averaged about 4-5/10 of a second between frames. However, by keeping the shutter half-pressed and just pressing it in fully as fast as I could, I was able to acquire shot to shot times of as fast as 3/10 of a second between frames; like the T3i, the T3 is fast!. The T3 also boasts burst shooting at up to 3fps at full resolution, which is about spot on. When shooting a series of 10 frames in burst, I saw a frame rate of about 3.2fps. When shooting a long string of 40 frames, the rate stayed at approx. 3fps (2.96fps to be exact). Canon claims a Maximum Burst of 830 frames when shooting JPEG images, or up to 5 shots in RAW mode. Obviously, the JPEG number requires you have the available space to record that many photos on your SC/SDHC card; not to mention the time to sit there for 830 shots. Putting the T3 into RAW mode did not effect standard shooting performance by much, however Burst mode does see some slowdown. On top of the max speed dropping down to about 2fps, that only lasts for about 5 frames. While many like to use RAW mode, if you are going to be shooting a string of burst images, we recommend you are in JPEG mode. All of our tests were done using the kit EF-S 18-135mm 3.5-5.6 IS II zoom lens at wide angle, SanDisk Ultra II 4GB SDHC memory card, Program mode, ISO Auto, ONE SHOT AF, Automatic point selection, Evaluative metering, Preview on, with all other settings at default. Times may vary depending on photographer response, lighting, camera settings, media used, etc.
When it comes to shooting performance in Live View mode, Canon’s models offer average results. Their Live View system has not really changed much over the years, and that can been seen in its shooting performance. While this may be a let down to some, we personally don’t see too many people using Live View on this camera as their main framing system. The OVF is a much better choice 95% of the time. We do however feel that using Live View is a great option for static subject type shooting, such as still life, macro, and product type photography, where you generally are using a tripod and “shot to shot” times are not as important. Entering LV mode takes about a second before the live image displays on the LCD, and you are ready to frame a shot. Shutter lag was about 1/10 of a second when pre-focused, however AF was as long a 3 seconds using the Live Mode AF setting, depending on several factors; amount of focus change required, lighting, etc. The best time we achieved with Live Mode AF was 1.6 seconds, which was at full wide angle under some good overhead fluorescent lighting. Like we’ve seen with past models, the camera will “hunt” for focus when in Live View mode, especially when shooting indoors or in marginal lighting. Outdoors, the AF is much faster (about 1 second), however it did still “hunt” quite often.
In low light, like expected from a dSLR, the T3 performed great. Using the OVF, the AF system acquired focus on the subject in less than ½ second with the pop-up flash employed for AF-assist, and almost a second if the pop-up flash is not ready. The intelligent Full Auto mode automatically deploys the flash in low light. In more advanced exposure modes (Program, Manual, etc) the flash will not automatically deploy; instead it must be manually activated if desired. Still, in these exposure control modes, the autofocus acquired focus in less than ½ second. Compared side-by-side with the Olympus E-P3, an EVIL (Electronic Viewfinder Interchangeable Lens) camera, in low light, the T3 was able to gain focus and snap a picture in a fraction of the time it took the E-P3 to do so. This ability to quickly obtain focus in low light is why many photogs opt for a dSLR over anything else.
Image quality from the T3 lives up to our expectations for an entry-level EOS dSLR. In most all situations, the T3 is able to capture sharp photos that reproduce natural looking colors. Fine detail is pleasing throughout the ISO range (even ISO 6400), and exposures are pleasing. I did notice that when shooting under some harsh summer sunlight, the T3 would tend to produce some strong exposures when using the camera’s AE modes (Auto, Program, Av, Tv, etc.); which is to be expected. However, it was able to retain good highlight details in these exposures. This can be corrected quite easily with a bit of negative exposure compensation, or by shooting in manual mode. Imager noise is well controlled from ISO 100 all the way up to ISO 3200. The 6400 setting does show a good amount of both chroma and luminous noise when viewing images at 25-100%, however you can still see a good amount of fine detail. While you may not want to print off huge prints from images captured using ISO 6400, I think they will be fine for normal sized prints right out of the camera. Shooting in RAW mode, and working with an image editor later will further enhance your ability to create enlargements from photos taken using the higher ISO settings of this camera.
After some practice, recording movies with the T3 is amusing. Filming with a dSLR gives more control, but requires more effort than that of a point-and-shoot. The T3 records HD movies in 720p at either 30 or 25 frames per second (adjusted in the movie menu). While 720p is fine for most, it’s sad to see that the T3 does no offer the full 1080p HD capabilities like that found on most all video equipped EOS dSLRs. While it is recommended to manually focus while filming, the T3 can auto focus as well. If you are using auto focus when shooting a movie, it is important to enable the “AF w/ shutter button during [recording]” in the movie menu, otherwise you would be up a creek without a paddle as far as focusing is concerned. That being said, once recording has commenced, half-pressing the shutter button will initiate the autofocus process. A drawback with this method is that when you playback your video, the focus motor can be heard. Consequentially, this is why manual focus is recommended for recording videos. Most likely, after some practice, you will discover how easily and quickly you will be able to zoom and focus movies. This added control becomes quite enjoyable for the photographer coming straight from a point-and-shoot camera. If filming with a point-and-shoot is like driving an automatic vehicle, filming with a dSLR would be like driving a manual transmission; more effort and control, but a lot more fun after understanding the equipment and operation.
Pros
Canon continues to produce powerful, yet affordable dSLRs for the masses, and the Canon EOS Rebel T3 is no exception. If you are looking for your first dSLR, the T3 is a worthy candidate that will offer you superior performance and image quality compared to your point-n-shoot, along with a broad range of exposure options that will help you further your photography skills. With a MSRP of just $599.99 US for the EOS Rebel T3 and EF-S 18-55mm IS II kit lens, the T3 is hard to beat in your are looking for an extremely affordable dSLR. If you love the T3, but would like a bit more versatility in both the still image and video departments, we highly recommend you look at its big brother, the Canon EOS Rebel T3i.
Read the full review of the Canon EOS Rebel T3i on Steve’s Digicams.
Presumably, the first characteristic you will notice about the T3 is its compact size. Pretty much the exact size of its brother, the EOS Rebel T3i, the T3 is approx. 5.1″ in width, 3.9″ in height, and 3.1″ in diameter. However, immediately you will notice that the T3 lacks the texturized grips of the T3i, which some may consider a negative. While we do enjoy the non-slip grips, the ergonomically shaped grip maintains a sufficient hold. Atop of the shooting hand grip is a natural-placed shutter release and a grooved control dial for fine-tuning the camera’s settings. Opposite, the left side of the camera houses the I/O ports that include a remote release, a USB/A/V, and a HDMI port; all of which is enclosed under a rubber cover.
Moving along the T3′s top are the retractable flash and the hot shoe (mount for flash accessory). The pop-up flash is automatic, or has a dedicated button next to the mode dial. Approximately the size of a nickel, the mode dial rests on the shooting hand side of the T3. The serrated edges and distinctive “clicks” between each setting, make using the mode dial a breeze. Like its predecessors, the T3 mode dial includes basic and advanced shooting modes, along with an automatic mode. A straightforward “on/off” power switch is right alongside the mode dial, which as simple as it sounds, is a definite plus. On the back, the control layout is well-spaced and well-labeled. The buttons and labels are fairly large and shaped according to design and function. The T3 is meant to be a first dSLR for the novice photographer, and if you are slightly overwhelmed at first by the “extra” buttons, don’t fret; with logical labeling and an on-screen guide, you will understand each button’s function quickly. The 4-way directional pad doubles as a direct adjustment for white balance, burst shooting, ISO, and auto focus.
Whether you’re a novice or an experienced photographer, the T3′s control layout is comprehensible. Additionally, if you are familiar with Canon’s earlier XS model, you will have no problem with the T3. The Menu and Disp. Buttons have a new, well-received location on the right side of the camera. This now allows for all the button manipulation to be accessible with just one hand. Not only are the buttons more thoughtfully placed on the T3, but they are larger than those on the XS as well; and this was accomplished without seeming cramped either.
Experts know, and novices will discover that one of the advantages of a dSLR is the Optical ViewFinder (OVF); and the T3 is no exception. Like the T3i, it uses a pentamirror OVF (as opposed to pentaprizm). The T3 OVF is somewhat less equipped than its superior brother. While the eye-level unit still offers a large and clear view of your subject, it is noted on Canon’s website that the T3 has approximately a 0.8x magnification; whereas the T3i is equipped with a 0.85x magnification. This slight deviation makes for a smaller picture in the OVF. If you have poor eyesight, it is important to note also that the T3 has a diopter adjustment from a -2.5 to + 0.5, whereas the T3i has a wider range of -3.0 to +1.0. Because of the lesser range of the T3′s diopter adjustments, it may be difficult for someone with weak vision to achieve a clear focus without glasses. However, where the T3 improves is on the eye relief from the OVF, or eyepoint. The eyepoint on the T3 moves out to 21mm (19mm on the T3i), which means you can hold your eye further away from the OVF and still see the whole frame. Although it is only a difference of 2mm, this improvement could help you acquire your subject more quickly. The Vertical/Horizontal still has coverage of about 95% of the image capture, which gives you 5% leeway around the edges. It is also worth mentioning that the rubber eye up is very comfortable, and blocks out most of the ambient light when your face is pressed against it. A good bit of exposure data is displayed in the Heads Up Display (HUD), allowing you to assess exposure info without taking your eye away from the viewfinder, and remain focused on your subject.
A nice feature carried directly from the XS to the T3 is the mode dial. Offering 14 shooting modes, this handy characteristic permits quick switching between shooting modes without having to go through the menu. The auto shooting modes are centered: Full Auto, Flash Off, and Creative Auto. Full Auto mode will automatically adjust the camera’s shooting settings for an optimal image capture. The new Creative Auto gives the user a little more control over exposure by granting an ambiance adjustment (vivid, soft, warm, etc.). For more specific shots, the mode dial contains 5 scene modes (portrait, landscape, close-up, sports, and night portrait) which have fine-tuning adjustments for each. If you are looking to get even more particular with a shot, the dial also presents 5 more modes. A Program mode that automatically sets the shutter speed and aperture, but other setting may be manually configured. Shutter or Aperture Priority modes help capture moving objects and backgrounds, while the Auto Depth-of-Field AE (A-DEP) maintains a focused foreground and background. Finally, for complete control, Manual mode gives the photographer total control over the image capture.
A handy feature Canon has decided to include from the XS is its convenient quick control menu. According to Canon’s website, the quick control (shooting) menu is accessible by giving you “instant access to the most common settings all in one place”. The menu is not much different from that on the XS, other than an improved look and a few additional adjustment options. An option to raise the built-in flash is added (even though there is a dedicated button for this function behind the control dial), as well as a flash level adjustment. An automatic brightness/contrast adjustment is also included which allows you to decide the level in which the camera will auto correct the brightness and contrast of each image. In Manual mode, the shooting settings menu will also give both aperture and shutter speed tweaking. All of these modifications can be done by the combination of the AV or “Q” button, the 4-way directional pad, and the control dial. It takes some playing around and getting used to the camera’s control manipulation, but you will quickly figure out a personal preference for making alterations. On top of this, Canon does allow you to change the operation of specific controls on the body, giving you a more tailored fit. Both the SET and Flash buttons can be customized via the Custom Functions menu.
Perhaps to keep the controls less cluttered, the Canon opted for a 2.7-inch LCD monitor instead of the 3.0-inch Vari-Angle monitor which is on the T3i. Though smaller, the LCD is still a capable size to easily view the menus, Live View, or picture/video playback. The pixel specification is a 230,000 dot display, and although it offers a clear view, it is significantly lower than that of the T3i; which boasts an incredible 1,040,000 dots. The number of dots simply refers only to the picture resolution of the LCD screen, not your images (therefore not affecting image quality). Utilizing a protective cover to prevent damage to the actual display, the screen does tend to collect fingerprints rather easily. This was clearly evident in the bright sunlight, which was compounded by a dim default backlight setting. Fortunately, the backlight can be brightened, which I brightened to its highest setting. The full display can be viewed up to 170°, but any further than that and on-screen information will begin to be cut off. Lastly, it is unfortunate that the T3 LCD does not have the Vari-Angle feature like that of the T3i. This feature allowed the LCD to be tilted to a viewable angle for those awkward low-to-the-ground or overhead shots. The lack of a Vari-Angle LCD on the T3 is not a negative, but rather a luxury for the T3i.
The T3 menu interface is congruent to Canon’s Rebel series. Utilizing a logically organized, consistent, and easy to see and understand color-coded layout, a novice to the Rebel line will rapidly be able to efficiently navigate the camera. And, because the T3 employs a very similar menu from past Rebel cameras, a user familiar with them will feel right at home. Accomplished with either the control dial or the 4-way control, navigation through the menu interface is fast and simple. Additionally pressing the display button while in the menu, the T3 will bring you to the camera’s data such as memory, color space, screen timeout, etc. Menu text is also very readable with a modern appearance like you would typically find on a smartphone. Depending on which mode setting the camera is in, the menu will offer more or less options, yet maintaining a consistent order. Different menu categories (capture, playback, camera settings) are nicely separated by colors for fast identification and little confusion. Switching between modes via the mode dial expels a brief menu displaying the current menu and a short description of it. This element of the T3 is extremely handy, especially for a beginner to dSLR cameras as it guides the user with the camera’s full capabilities.
Like most all of Canon’s EOS Rebels, the T3 is a speedy performer. From power-on until the first shot averaged at 2-3/10 of a second! Waking the camera from Auto power off and capturing the first shot took about 4-5/10 second. When pre-focusing the camera, shutter lag is almost non-existent, measuring less than 1/10 second, while autofocus shutter lag averaged just 1/10 second using the Auto Selection:9-point AF mode. In single drive mode, the shot to shot varied depending on how I would depress the shutter release. When lifting my finger each time the delay averaged about 4-5/10 of a second between frames. However, by keeping the shutter half-pressed and just pressing it in fully as fast as I could, I was able to acquire shot to shot times of as fast as 3/10 of a second between frames; like the T3i, the T3 is fast!. The T3 also boasts burst shooting at up to 3fps at full resolution, which is about spot on. When shooting a series of 10 frames in burst, I saw a frame rate of about 3.2fps. When shooting a long string of 40 frames, the rate stayed at approx. 3fps (2.96fps to be exact). Canon claims a Maximum Burst of 830 frames when shooting JPEG images, or up to 5 shots in RAW mode. Obviously, the JPEG number requires you have the available space to record that many photos on your SC/SDHC card; not to mention the time to sit there for 830 shots. Putting the T3 into RAW mode did not effect standard shooting performance by much, however Burst mode does see some slowdown. On top of the max speed dropping down to about 2fps, that only lasts for about 5 frames. While many like to use RAW mode, if you are going to be shooting a string of burst images, we recommend you are in JPEG mode. All of our tests were done using the kit EF-S 18-135mm 3.5-5.6 IS II zoom lens at wide angle, SanDisk Ultra II 4GB SDHC memory card, Program mode, ISO Auto, ONE SHOT AF, Automatic point selection, Evaluative metering, Preview on, with all other settings at default. Times may vary depending on photographer response, lighting, camera settings, media used, etc.
When it comes to shooting performance in Live View mode, Canon’s models offer average results. Their Live View system has not really changed much over the years, and that can been seen in its shooting performance. While this may be a let down to some, we personally don’t see too many people using Live View on this camera as their main framing system. The OVF is a much better choice 95% of the time. We do however feel that using Live View is a great option for static subject type shooting, such as still life, macro, and product type photography, where you generally are using a tripod and “shot to shot” times are not as important. Entering LV mode takes about a second before the live image displays on the LCD, and you are ready to frame a shot. Shutter lag was about 1/10 of a second when pre-focused, however AF was as long a 3 seconds using the Live Mode AF setting, depending on several factors; amount of focus change required, lighting, etc. The best time we achieved with Live Mode AF was 1.6 seconds, which was at full wide angle under some good overhead fluorescent lighting. Like we’ve seen with past models, the camera will “hunt” for focus when in Live View mode, especially when shooting indoors or in marginal lighting. Outdoors, the AF is much faster (about 1 second), however it did still “hunt” quite often.
In low light, like expected from a dSLR, the T3 performed great. Using the OVF, the AF system acquired focus on the subject in less than ½ second with the pop-up flash employed for AF-assist, and almost a second if the pop-up flash is not ready. The intelligent Full Auto mode automatically deploys the flash in low light. In more advanced exposure modes (Program, Manual, etc) the flash will not automatically deploy; instead it must be manually activated if desired. Still, in these exposure control modes, the autofocus acquired focus in less than ½ second. Compared side-by-side with the Olympus E-P3, an EVIL (Electronic Viewfinder Interchangeable Lens) camera, in low light, the T3 was able to gain focus and snap a picture in a fraction of the time it took the E-P3 to do so. This ability to quickly obtain focus in low light is why many photogs opt for a dSLR over anything else.
Image quality from the T3 lives up to our expectations for an entry-level EOS dSLR. In most all situations, the T3 is able to capture sharp photos that reproduce natural looking colors. Fine detail is pleasing throughout the ISO range (even ISO 6400), and exposures are pleasing. I did notice that when shooting under some harsh summer sunlight, the T3 would tend to produce some strong exposures when using the camera’s AE modes (Auto, Program, Av, Tv, etc.); which is to be expected. However, it was able to retain good highlight details in these exposures. This can be corrected quite easily with a bit of negative exposure compensation, or by shooting in manual mode. Imager noise is well controlled from ISO 100 all the way up to ISO 3200. The 6400 setting does show a good amount of both chroma and luminous noise when viewing images at 25-100%, however you can still see a good amount of fine detail. While you may not want to print off huge prints from images captured using ISO 6400, I think they will be fine for normal sized prints right out of the camera. Shooting in RAW mode, and working with an image editor later will further enhance your ability to create enlargements from photos taken using the higher ISO settings of this camera.
After some practice, recording movies with the T3 is amusing. Filming with a dSLR gives more control, but requires more effort than that of a point-and-shoot. The T3 records HD movies in 720p at either 30 or 25 frames per second (adjusted in the movie menu). While 720p is fine for most, it’s sad to see that the T3 does no offer the full 1080p HD capabilities like that found on most all video equipped EOS dSLRs. While it is recommended to manually focus while filming, the T3 can auto focus as well. If you are using auto focus when shooting a movie, it is important to enable the “AF w/ shutter button during [recording]” in the movie menu, otherwise you would be up a creek without a paddle as far as focusing is concerned. That being said, once recording has commenced, half-pressing the shutter button will initiate the autofocus process. A drawback with this method is that when you playback your video, the focus motor can be heard. Consequentially, this is why manual focus is recommended for recording videos. Most likely, after some practice, you will discover how easily and quickly you will be able to zoom and focus movies. This added control becomes quite enjoyable for the photographer coming straight from a point-and-shoot camera. If filming with a point-and-shoot is like driving an automatic vehicle, filming with a dSLR would be like driving a manual transmission; more effort and control, but a lot more fun after understanding the equipment and operation.
Pros
- Lightweight and compact body available in four colors; Black, Red, Metallic Gray, and Brown
- Loads of useful exposure options for Any user
- Image quality is excellent, both indoors and out
- Flash button in comfortable location
- Button customization for various controls; like the flash and Set buttons for instance
- Robust shooting performance
- Capable AF system, even in low-light to almost total darkness with flash as AF-assist lamp
- OVF is nice and comfortable
- Impressive high ISO performance
- Amazing low price of just $599 US with the EF-S 18-55mm IS II kit lens
- No full HD video mode
- Exposure can be a bit strong at times when shooting in the automatic exposure modes in bright sunlight
- No rubberized grip like the T3i
- LCD is a bit small (2.7-inches), but usable
- Live View shooting performance is still quite sluggish
- Autofocus during Live View is very poor, hunting for focus both indoors and out
- Power up to first image captured = 2-3/10 of a second
- Shutter lag when prefocused = less than 1/10 of a second
- Shutter lag with autofocus = approx. 1/10 of a second, depending on lens used and amount of focus change required
- Shot to shot delay wo/flash = 4-5/10 of a second; as fast a 3/10 of a second at times
- Sequential or burst mode= 3fps @ 12M (we captured 40 Large/Fine JPEGs with no slow down)
- GUI Navigation = responsive
- All tests were taken using a Sandisk Ultra II 4GB SDHC memory card, Program Mode, ISO Auto, Flash off, Review on, and all other settings at the factory defaults unless noted otherwise.
Canon continues to produce powerful, yet affordable dSLRs for the masses, and the Canon EOS Rebel T3 is no exception. If you are looking for your first dSLR, the T3 is a worthy candidate that will offer you superior performance and image quality compared to your point-n-shoot, along with a broad range of exposure options that will help you further your photography skills. With a MSRP of just $599.99 US for the EOS Rebel T3 and EF-S 18-55mm IS II kit lens, the T3 is hard to beat in your are looking for an extremely affordable dSLR. If you love the T3, but would like a bit more versatility in both the still image and video departments, we highly recommend you look at its big brother, the Canon EOS Rebel T3i.
Read the full review of the Canon EOS Rebel T3i on Steve’s Digicams.
How to capitalize on a group shoot
How to capitalize on a group shoot
This article is written by a member of our expert
community. It expresses that member’s views only. We welcome other
perspectives. Here’s how to contribute to EDU.
For beginning, intermediate and even advanced photographers and models, group shoot events can be a very beneficial and cost effective way of expanding your portfolio with impressive images. Location rental costs, permit requirements, parking and security expenses and equipment fees are always handled by the promoter of the event. This saves you loads of time and hundreds of dollars over handling those issues and expenses yourself.
Here are four tips for success:
1. Location
Find a local group shoot event being hosted at a unique and worthwhile location. A well organized promoter will invite a healthy number of promising and attractive (beginning & advanced) models for photographers to work with, while also inviting talented and creative photographers.
2. Ask the right questions
Contact the organizer of the event with whatever questions you may have concerning the way the event is structured, its cost, location, number of models and photographers attending and any possible equipment requirements. Reserve yourself a spot for the shoot.
3. Photographer to model ratio
The “photographer to model ratio” of whatever group shoot event you plan on attending is very important. I would not recommend attending any group shoot event where this ratio is higher than three photographers to one model. Make sure the organizer discloses this ratio to you before you attend the event. A two to one or even a one to one ratio is more ideal. These lower ratio events provide more “one on one” shooting time with whatever model or photographer you plan on working with, offering you a lot more opportunities of securing impressive images.
4. Networking
Make sure you provide your business card and forward lots of impressive images to those models who worked hard in assisting you with those great images. Getting referrals from them is in your best interest. Networking with other participants at these events is a terrific way of landing paid assignments and getting invitations to other similar group shoot events. Being congenial, having an upbeat personality and being “a team player” is paramount in succeeding at these types of functions, where the group benefits as a whole.
For beginning, intermediate and even advanced photographers and models, group shoot events can be a very beneficial and cost effective way of expanding your portfolio with impressive images. Location rental costs, permit requirements, parking and security expenses and equipment fees are always handled by the promoter of the event. This saves you loads of time and hundreds of dollars over handling those issues and expenses yourself.
Here are four tips for success:
1. Location
Find a local group shoot event being hosted at a unique and worthwhile location. A well organized promoter will invite a healthy number of promising and attractive (beginning & advanced) models for photographers to work with, while also inviting talented and creative photographers.
2. Ask the right questions
Contact the organizer of the event with whatever questions you may have concerning the way the event is structured, its cost, location, number of models and photographers attending and any possible equipment requirements. Reserve yourself a spot for the shoot.
3. Photographer to model ratio
The “photographer to model ratio” of whatever group shoot event you plan on attending is very important. I would not recommend attending any group shoot event where this ratio is higher than three photographers to one model. Make sure the organizer discloses this ratio to you before you attend the event. A two to one or even a one to one ratio is more ideal. These lower ratio events provide more “one on one” shooting time with whatever model or photographer you plan on working with, offering you a lot more opportunities of securing impressive images.
4. Networking
Make sure you provide your business card and forward lots of impressive images to those models who worked hard in assisting you with those great images. Getting referrals from them is in your best interest. Networking with other participants at these events is a terrific way of landing paid assignments and getting invitations to other similar group shoot events. Being congenial, having an upbeat personality and being “a team player” is paramount in succeeding at these types of functions, where the group benefits as a whole.
Interview: Clint Davis
Interview: Clint Davis
There are times when you discover and are truly inspired by a
great artist. Clint Davis was one of those people for me. Clint is a
freelance photographer, art director, and graphic designer. As an Art
Director he created magazine covers for Import Tuner, Lowrider, Turbo,
Sport Compact Car, and more. He has been featured in PDN and Advanced
Photoshop Magazine, among others.
Clint has some amazing work, and has some really great business ideas. His “Photo Box Campaign” took the concept of a self-promotion box a step further. As a former art director, he saw too many generic mailers and wanted to do something different. Using the slogan “Give Me A Shot”, Clint put together a box full of stuff tailored to the potential client including a disposable camera, business cards with his work, and information all wrapped up in a cool box. For more info, check out Clint’s blog post at http://www.clintdavis.net/blog/2010/09/getting-the-word-out.
He recently teamed up with Nick Saglimembi to produce a video tutorial series, “Master Compositing”, and create the world’s first 3D magazine, “WMDB 3D”. Watching him go through how he put together a few images was really inspiring for me… I even put together my own first composite.
When Client agreed to do this interview, I was ecstatic [Yes, I'm a nerd like that] as I had so many questions for him. This interview barely scratches the surface but I hope Clint inspires some of you the way he has inspired me!
Check him out at http://www.clintdavis.net.
Reuben Dixon: Who are you and what do you do?
My name is Clint Davis and I was raised by wild guinea pigs. Since then I moved on to be a freelance designer and photographer.
Reuben: What do you love talking about?
Clint: Personally? When I’m not working, I’m out riding my road bike with my friends… usually talking about dogs, girls, partying, and grand visions of the future.
Reuben: How did you get to where you are now?
Clint: I always enjoyed creating things, especially things that other people enjoy experiencing as well. Turns out I have a knack behind the camera and excessive patience for spending hours behind a computer.
Clint: Two come to mind. One would be my job as Art Director for Source Interlink Media (designing numerous International titles such as Import Tuner, Turbo, Honda Tuning, Lowrider, Sport Compact Car, etc.), which placed me around tons of creative people in Los Angeles. And the second would be moving on from that job and pursuing my own interests.
I felt I had garnered enough experience to be self-sufficient. Those first few weeks not working from 9-5 was pure creative freedom, and during those first few months I massively changed my portfolio.
Reuben: From a former Art Director’s perspective, what do you look for when you work with photographers and models?
Clint: For photographers, a unique look, AND being consistent with that look.
I see too many photographers combining weddings, cars, glamour and landscapes all into one portfolio. If you’re good, and you KNOW you’re good, keep bugging those Art Directors and Photo Editors to get work.
Of course be sure you’re barking up the right tree. I doubt a motorcycle magazine would hire somebody with a portfolio full of flowers.
Models? The best advice I can give is be real with yourself. The definition of beauty is subjective. There is a role for every body type, color and attitude out there. A common mistake is having a portfolio full of images that are Photoshoped so extensively they look fake. Any real professional in the position of hiring models can see straight through that curtain.
Clint: Don’t get comfortable. Keep learning. If your body is aching because you’ve been up late the night before and you’re being pushed for a deadline, good. Work hard while you’re young(er) and have the energy.
Reuben: Do you still use your “Photo Box Campaign”?
Clint: I haven’t sent out any new boxes, the response was well received, especially among fellow photographers. I halfway wanted to prove that there are inexpensive ways to get the word out.
Reuben: How did you choose who to send the boxes to and what were the strategic business reasons behind that? Why did you set things up that way and what emotion/reaction/response were you looking for?
Clint: I chose to send the boxes to magazine photo editors, college media directors and ad agencies. Of course I wanted them to be blown away, and be compelled to contact me. Considering the low number sent out, and the feedback received, the results were very satisfactory.
Clint: I got the idea of the box from Casey Templeton’s mailer. Copying an idea verbatim is very bad taste, put your own spin on any work you do.
Reuben: For local companies, did you bring in your portfolio instead?
Clint: Yes, I have my own printed portfolio to showcase for an in-person interview. After all, if I’m meeting in person they’ve probably already seen my work on the computer screen. Showing big, high resolution prints in person proves the images are high resolution. Maybe I’m old fashioned but there is just something special about holding a printed image as opposed to viewing on a computer screen. A printed image OWNS that particular page; however millions upon millions of images appear on a screen.
Reuben: What photos make up a good portfolio and its presentation?
Clint: That’s all relative upon who you are presenting to. But for broad advice: You want to have a lot of variety of a consistent style. If one image is HDR, another is natural lighting, and the next high key, the interviewer is going to think he’s viewing someone with multiple personalities, and they don’t want that. Interviewers hire you for the look you bring to the table. Very rarely, if ever, will they request a style different from what you display within your portfolio.
Reuben: How did you learn compositing?
Clint: Through a progression of things. I had a job where I basically was a pen clipping monkey for a motorcycle magazine. Ever clip out a motorcycle with a pen tool? Yeah, takes damn forever. That made me quick with the tool. Then I started working for Import Tuner, who had the best car covers in the business, as far as I’m concerned. The pressure was on to make beautiful covers that usually consisted of a picture of a model, a car and a background, and the Editor says “put them together”. Covers typically took 3-4 days to make them just right.
Clint: Jim Fiscus, Nick Saglimbeni, Michael Muller, Dave Hill, Jeff Ludes, Rian Flynn, Douglas Sonders. A long merited list.
Reuben: What are some touch points and/or criteria you have when assessing the quality of a composited work?
Clint: One of the most overlooked rules of compositing is matching the direction of light. Second would be the quality of the cut out objects, and third I look at the consistency of color. Keep a close eye on those, and you should have a convincing composite.
Reuben: Why did you decide to make a compositing video series?
Clint: Basically Nick Saglimbeni, author of Mastering Retouching, asked me to do it, and I jumped on it. Nick’s a very respectable and acclaimed Photoshop user, so the answer was easy.
Clint: I literally take the viewer from start to finish on all of the composited images. As far as I know I’ve never seen that offered on other tutorials… well, with images as complex as the ones in the series. Each tutorial is one take of recording, just sped up in certain areas. That was a nerve-racking task. And before all of that I intensively go over the main tools on the first disc.
Reuben: So, what’s next? How do you keep learning and growing both as a compositor and photographer?
Clint: Like I said before, never get comfortable… unless you’re on vacation, then it’s acceptable. That, and practice, and seek out inspiration, a lot.
–
Clint was generous enough to offer $50 off his Master Compositing videos to Model Edu readers. Use the promo code CLINTREF50 to get you discount at http://masteringcompositing.com.
Wedding Photographer
Clint has some amazing work, and has some really great business ideas. His “Photo Box Campaign” took the concept of a self-promotion box a step further. As a former art director, he saw too many generic mailers and wanted to do something different. Using the slogan “Give Me A Shot”, Clint put together a box full of stuff tailored to the potential client including a disposable camera, business cards with his work, and information all wrapped up in a cool box. For more info, check out Clint’s blog post at http://www.clintdavis.net/blog/2010/09/getting-the-word-out.
He recently teamed up with Nick Saglimembi to produce a video tutorial series, “Master Compositing”, and create the world’s first 3D magazine, “WMDB 3D”. Watching him go through how he put together a few images was really inspiring for me… I even put together my own first composite.
When Client agreed to do this interview, I was ecstatic [Yes, I'm a nerd like that] as I had so many questions for him. This interview barely scratches the surface but I hope Clint inspires some of you the way he has inspired me!
Check him out at http://www.clintdavis.net.
Reuben Dixon: Who are you and what do you do?
My name is Clint Davis and I was raised by wild guinea pigs. Since then I moved on to be a freelance designer and photographer.
Reuben: What do you love talking about?
Clint: Personally? When I’m not working, I’m out riding my road bike with my friends… usually talking about dogs, girls, partying, and grand visions of the future.
Reuben: How did you get to where you are now?
Clint: I always enjoyed creating things, especially things that other people enjoy experiencing as well. Turns out I have a knack behind the camera and excessive patience for spending hours behind a computer.
“I always enjoyed creating things, especially things that other people enjoy experiencing as well.”Reuben: What are some turning points that really pushed you forward?
Clint: Two come to mind. One would be my job as Art Director for Source Interlink Media (designing numerous International titles such as Import Tuner, Turbo, Honda Tuning, Lowrider, Sport Compact Car, etc.), which placed me around tons of creative people in Los Angeles. And the second would be moving on from that job and pursuing my own interests.
I felt I had garnered enough experience to be self-sufficient. Those first few weeks not working from 9-5 was pure creative freedom, and during those first few months I massively changed my portfolio.
Reuben: From a former Art Director’s perspective, what do you look for when you work with photographers and models?
Clint: For photographers, a unique look, AND being consistent with that look.
I see too many photographers combining weddings, cars, glamour and landscapes all into one portfolio. If you’re good, and you KNOW you’re good, keep bugging those Art Directors and Photo Editors to get work.
Of course be sure you’re barking up the right tree. I doubt a motorcycle magazine would hire somebody with a portfolio full of flowers.
Models? The best advice I can give is be real with yourself. The definition of beauty is subjective. There is a role for every body type, color and attitude out there. A common mistake is having a portfolio full of images that are Photoshoped so extensively they look fake. Any real professional in the position of hiring models can see straight through that curtain.
“If you’re good, and you KNOW you’re good, keep bugging those Art Directors and Photo Editors to get work.”Reuben: Do you have any advice for up and coming photographers and models?
Clint: Don’t get comfortable. Keep learning. If your body is aching because you’ve been up late the night before and you’re being pushed for a deadline, good. Work hard while you’re young(er) and have the energy.
Reuben: Do you still use your “Photo Box Campaign”?
Clint: I haven’t sent out any new boxes, the response was well received, especially among fellow photographers. I halfway wanted to prove that there are inexpensive ways to get the word out.
Reuben: How did you choose who to send the boxes to and what were the strategic business reasons behind that? Why did you set things up that way and what emotion/reaction/response were you looking for?
Clint: I chose to send the boxes to magazine photo editors, college media directors and ad agencies. Of course I wanted them to be blown away, and be compelled to contact me. Considering the low number sent out, and the feedback received, the results were very satisfactory.
“Copying an idea verbatim is very bad taste, put your own spin on any work you do.”Reuben: What advice do you have for someone who wants to replicate the concept and make it their own?
Clint: I got the idea of the box from Casey Templeton’s mailer. Copying an idea verbatim is very bad taste, put your own spin on any work you do.
Reuben: For local companies, did you bring in your portfolio instead?
Clint: Yes, I have my own printed portfolio to showcase for an in-person interview. After all, if I’m meeting in person they’ve probably already seen my work on the computer screen. Showing big, high resolution prints in person proves the images are high resolution. Maybe I’m old fashioned but there is just something special about holding a printed image as opposed to viewing on a computer screen. A printed image OWNS that particular page; however millions upon millions of images appear on a screen.
Reuben: What photos make up a good portfolio and its presentation?
Clint: That’s all relative upon who you are presenting to. But for broad advice: You want to have a lot of variety of a consistent style. If one image is HDR, another is natural lighting, and the next high key, the interviewer is going to think he’s viewing someone with multiple personalities, and they don’t want that. Interviewers hire you for the look you bring to the table. Very rarely, if ever, will they request a style different from what you display within your portfolio.
Reuben: How did you learn compositing?
Clint: Through a progression of things. I had a job where I basically was a pen clipping monkey for a motorcycle magazine. Ever clip out a motorcycle with a pen tool? Yeah, takes damn forever. That made me quick with the tool. Then I started working for Import Tuner, who had the best car covers in the business, as far as I’m concerned. The pressure was on to make beautiful covers that usually consisted of a picture of a model, a car and a background, and the Editor says “put them together”. Covers typically took 3-4 days to make them just right.
“One of the most overlooked rules of compositing is matching the direction of light.”Reuben: Who do you look up to for their compositing work?
Clint: Jim Fiscus, Nick Saglimbeni, Michael Muller, Dave Hill, Jeff Ludes, Rian Flynn, Douglas Sonders. A long merited list.
Reuben: What are some touch points and/or criteria you have when assessing the quality of a composited work?
Clint: One of the most overlooked rules of compositing is matching the direction of light. Second would be the quality of the cut out objects, and third I look at the consistency of color. Keep a close eye on those, and you should have a convincing composite.
Reuben: Why did you decide to make a compositing video series?
Clint: Basically Nick Saglimbeni, author of Mastering Retouching, asked me to do it, and I jumped on it. Nick’s a very respectable and acclaimed Photoshop user, so the answer was easy.
“Second would be the quality of the cut out objects, and third I look at the consistency of color.”Reuben: What will people learn from it?
Clint: I literally take the viewer from start to finish on all of the composited images. As far as I know I’ve never seen that offered on other tutorials… well, with images as complex as the ones in the series. Each tutorial is one take of recording, just sped up in certain areas. That was a nerve-racking task. And before all of that I intensively go over the main tools on the first disc.
Reuben: So, what’s next? How do you keep learning and growing both as a compositor and photographer?
Clint: Like I said before, never get comfortable… unless you’re on vacation, then it’s acceptable. That, and practice, and seek out inspiration, a lot.
–
Clint was generous enough to offer $50 off his Master Compositing videos to Model Edu readers. Use the promo code CLINTREF50 to get you discount at http://masteringcompositing.com.
Wedding Photographer
Lytro Light Field Camera preview
Lytro Light Field Camera preview
That’s right, Lytro has finally announced their new Light
Field Camera. Likely the most unique looking camera we’ve ever seen, the
Lytro will come in three color/memory configurations; Red Hot (16GB –
750 pictures), Graphite (8GB – 350 pictures), and Electric Blue (8GB –
350 pictures).
Some of the specs include:
The Lytro Camera is available for pre-order and will retail for $399 USD for the 8GB models (Graphite and Electric Blue) or $499 USD for the 16GB model (Red Hot).
Some of the specs include:
- Unique rectangular body measures 1.61×1.61×4.41 inches
- Light Field Sensor; 11 Megarays
- Light Field Engine 1.0 processor
- 8x optical zoom lens
- Constant f/2.0 aperture
- Blazing fast speed thanks to no Autofocus
- 1.46-inch back-lit LCD screen
- Simple control layout; only uses Power and Shutter buttons, Zoom slide, and touchscreen LCD
- Li-ion battery with “long life”
The Lytro Camera is available for pre-order and will retail for $399 USD for the 8GB models (Graphite and Electric Blue) or $499 USD for the 16GB model (Red Hot).
How to create the hazy look
How to create the hazy look
This article is written by a member of our expert
community. It expresses that member’s views only. We welcome other
perspectives. Here’s how to contribute to EDU.
The hazy, washed-out look is in right now and, judging by the amount of questions I see floating around the Internet, it has got a lot of photographers confused as to how to go about creating it. As we will see, it’s a look that’s easy and quick to get in post production.
Here is the color before image of Talisa that we will be working on.
Next is the image after applying a black and white adjustment layer. I just adjusted the sliders to get a pleasing conversion. You can use any B&W conversion you want for this step.
I then added a curves adjustment layer and pulled the left anchor point up quite a bit. When you pull the left anchor point up you will start to see the hazy effect appear in the shadows and in the mid tones.
Next I added a couple new anchor points around the shadows and pulled them down a bit. As you do this move you will see the hazy effect manifest itself more in the shadows as the shadow contrast is further reduced, and you will also see some amount of contrast return to the mid tones.
The final curves adjustment involves putting a couple of anchor points near the highlights and pushing them up just a bit. This served to lighten the mid tones and to reduce the contrast in the extreme highlights, which makes the highlight transition areas appear smoother.
And that’s it for the hazy look. I should note that I did a couple more artistic tweaks on the final image that is above.
As with most operations in Photoshop, there is usually more than one way to do things while still getting very similar results. Using the offset slider in an Exposure adjustment layer, and the black point output slider in a Levels adjustment layer, are two additional ways to get a similar effect. The Exposure and Levels methods are, however, significantly more limiting than using a curves layer. You can always get the same results using curves that you can get using an Exposure or Levels Layer, but not vice versa. With the Levels and Exposure methods you have just one slider to play with, but with the Curves method you can add up to 16 points to the curve, and tweak them however you want.
Below are examples of the image with Exposure and Level adjustments. I circled the relevant slider on each of the layers, and also included a curves adjustment below each of them to show you how you would create a Curve layer to get a similar result.
Exposure
Levels
The hazy, washed-out look is in right now and, judging by the amount of questions I see floating around the Internet, it has got a lot of photographers confused as to how to go about creating it. As we will see, it’s a look that’s easy and quick to get in post production.
Here is the color before image of Talisa that we will be working on.
Next is the image after applying a black and white adjustment layer. I just adjusted the sliders to get a pleasing conversion. You can use any B&W conversion you want for this step.
I then added a curves adjustment layer and pulled the left anchor point up quite a bit. When you pull the left anchor point up you will start to see the hazy effect appear in the shadows and in the mid tones.
Next I added a couple new anchor points around the shadows and pulled them down a bit. As you do this move you will see the hazy effect manifest itself more in the shadows as the shadow contrast is further reduced, and you will also see some amount of contrast return to the mid tones.
The final curves adjustment involves putting a couple of anchor points near the highlights and pushing them up just a bit. This served to lighten the mid tones and to reduce the contrast in the extreme highlights, which makes the highlight transition areas appear smoother.
And that’s it for the hazy look. I should note that I did a couple more artistic tweaks on the final image that is above.
As with most operations in Photoshop, there is usually more than one way to do things while still getting very similar results. Using the offset slider in an Exposure adjustment layer, and the black point output slider in a Levels adjustment layer, are two additional ways to get a similar effect. The Exposure and Levels methods are, however, significantly more limiting than using a curves layer. You can always get the same results using curves that you can get using an Exposure or Levels Layer, but not vice versa. With the Levels and Exposure methods you have just one slider to play with, but with the Curves method you can add up to 16 points to the curve, and tweak them however you want.
Below are examples of the image with Exposure and Level adjustments. I circled the relevant slider on each of the layers, and also included a curves adjustment below each of them to show you how you would create a Curve layer to get a similar result.
Exposure
Levels
DIY lighting: Cheap modifiers and beauty dishes
DIY lighting: Cheap modifiers and beauty dishes
This article is written by a member of our expert
community. It expresses that member’s views only. We welcome other
perspectives. Here’s how to contribute to EDU.
I recently found myself looking back on all that Model has given me (numerous laughs, a few headaches, mad curve ball skillz, fuel for my creativity, creative people with whom to shoot and lessons galore), I have started thinking, “What have I given back?”
Now, I’m rarely given to New Agey concepts of paying it back or forward, but in an effort to not be a selfish p***k, here are a few things I’ve made and I’d like to share. I hate buying the latest gadgets (actually, I love it but can rarely afford it), so I’ve learned a few shortcuts to modifying lights on a thin wallet. Use them if you want, or not. They are worth every penny.
First: The sheet metal, roofing, and vent hood section of Home Depot is FULL of things that can be modified, cut, and used. Dremel tools cut anything. JB Weld rocks.
If you try anything here and it doesn’t work for you, you cut yourself, glue your hand somewhere you shouldn’t, etc., DON’T blame me. This is for information only. Try the projects below at your OWN risk. Be safe. Be smart.
Have Alien Bees? You’ll find some things to help stretch a buck.
These are speedlight modifiers (Canon 540ez) made from plastic mixing bowls, flat white or black spray paint, a vent cap for the front, and baling wire. A port for light was cut with a Dremel. One is a background scoop for even lighting (speedlight saved), and the other is a beauty dish (used with a cord, usually).
An earlier attempt with an old Danish cookie tin:
Trader Joe’s coffee cans make great snoots, already silver lined. Just cut off the bottom and presto! The top ring fits AB mounting hooks, and the opaque cap diffuses if you want it to. Or it can hold on CTB/CTO, etc.
Another option is to cut the cap in the shape of a speedlight, and voilà, you have a speedlight snoot.
An old rusty china hat (an alley or doorway light?) turned into a beauty dish.
Cut off the back and attach your own speedring, paint, etc. The inner cap is a vent hood cap with 2 pieces of sheet metal. JB Weld holds ANYTHING.
Speaking of speedrings, this is a flashing cap, again, from Home Depot. Attach with JB Weld to whatever. Drill a hole for an umbrella if you’d like. Fits AB perfectly. Great for brolly boxes and umbrellas to minimize spill.
Someone on Ebay sells these for 25 a pop. More power to him, but they are 9.99 at the Depot. Acrylic light shades. I cut one up and painted it as a background cove light. Nice falloff. Leave it intact for a large soft source or use gaffer’s tape to shape it where you want it. It fits ABs.
Finally, I don’t have 4 bills to blow on an ABR 800 ringflash. I did, however, have a few cheap flashes lying around. Power is low and unchangeable. Both PC cords are wired together through a wein safe sync.
Interior without 216 on the front
Closeup of crappy flash:
The process:
You’re wondering about the results:
Bob is 5 feet from the backing. This was shot at ISO 100 f/6.3 from about 6 feet away. It ain’t a great ringlight, but it took 2 hours’ work, 2 flower pots, and 2 crappy flashes. I’ll use it a bunch later on, I think. Unretouched, lg JPG uploaded to flickr. Any compression is from the uploading, but the halo was actually pretty distinct.
I recently found myself looking back on all that Model has given me (numerous laughs, a few headaches, mad curve ball skillz, fuel for my creativity, creative people with whom to shoot and lessons galore), I have started thinking, “What have I given back?”
Now, I’m rarely given to New Agey concepts of paying it back or forward, but in an effort to not be a selfish p***k, here are a few things I’ve made and I’d like to share. I hate buying the latest gadgets (actually, I love it but can rarely afford it), so I’ve learned a few shortcuts to modifying lights on a thin wallet. Use them if you want, or not. They are worth every penny.
First: The sheet metal, roofing, and vent hood section of Home Depot is FULL of things that can be modified, cut, and used. Dremel tools cut anything. JB Weld rocks.
If you try anything here and it doesn’t work for you, you cut yourself, glue your hand somewhere you shouldn’t, etc., DON’T blame me. This is for information only. Try the projects below at your OWN risk. Be safe. Be smart.
Have Alien Bees? You’ll find some things to help stretch a buck.
These are speedlight modifiers (Canon 540ez) made from plastic mixing bowls, flat white or black spray paint, a vent cap for the front, and baling wire. A port for light was cut with a Dremel. One is a background scoop for even lighting (speedlight saved), and the other is a beauty dish (used with a cord, usually).
An earlier attempt with an old Danish cookie tin:
Trader Joe’s coffee cans make great snoots, already silver lined. Just cut off the bottom and presto! The top ring fits AB mounting hooks, and the opaque cap diffuses if you want it to. Or it can hold on CTB/CTO, etc.
Another option is to cut the cap in the shape of a speedlight, and voilà, you have a speedlight snoot.
An old rusty china hat (an alley or doorway light?) turned into a beauty dish.
Cut off the back and attach your own speedring, paint, etc. The inner cap is a vent hood cap with 2 pieces of sheet metal. JB Weld holds ANYTHING.
Speaking of speedrings, this is a flashing cap, again, from Home Depot. Attach with JB Weld to whatever. Drill a hole for an umbrella if you’d like. Fits AB perfectly. Great for brolly boxes and umbrellas to minimize spill.
Someone on Ebay sells these for 25 a pop. More power to him, but they are 9.99 at the Depot. Acrylic light shades. I cut one up and painted it as a background cove light. Nice falloff. Leave it intact for a large soft source or use gaffer’s tape to shape it where you want it. It fits ABs.
Finally, I don’t have 4 bills to blow on an ABR 800 ringflash. I did, however, have a few cheap flashes lying around. Power is low and unchangeable. Both PC cords are wired together through a wein safe sync.
Interior without 216 on the front
Closeup of crappy flash:
The process:
You’re wondering about the results:
Bob is 5 feet from the backing. This was shot at ISO 100 f/6.3 from about 6 feet away. It ain’t a great ringlight, but it took 2 hours’ work, 2 flower pots, and 2 crappy flashes. I’ll use it a bunch later on, I think. Unretouched, lg JPG uploaded to flickr. Any compression is from the uploading, but the halo was actually pretty distinct.
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