3 Legged Thing (3LT) just announced the Charles 2.0, a new, more budget-friendly tripod in their Pro Range lineup, and Shutterbug had a chance to evaluate a sample for several weeks prior to introduction.

Based on the design of the very popular carbon fiber 3LT Winston 2.0, the new Charles 2.0 is a three-section tripod with legs and center column crafted from aerospace-grade magnesium alloy and is strong enough to support up to 88 pounds (40 kg) of camera gear. A versatile, heavy-service camera support, Charles 2.0 extends to nearly 2 meters (76.3 inches) with the optional 3LT AirHed Pro tripod ball head attached.  

Named “Charles” for naturalist and biologist Charles Darwin, Charles 2.0  joins travel tripods Leo 2.0 (Leonardo da Vinci) and Albert 2.0 (Albert Einstein), landscape and studio tripod Winston 2.0 (Winston Churchill), and travel-friendly monopod Alan 2.0 (Alan Turing) to expand 3LT’s range of exceptional camera stabilizing devices.

If you haven’t guessed, you’ve just entered a new dimension of the tripod universe. It’s not the Twilight Zone, but it is a unique cosmos where three-legged camera supports challenge our orthodox understanding of tripod nomenclature. And the stuff is way cool. Extraordinarily high quality production, extremely high-precision manufacturing and amazing cosmetic designs, combined with photographer-friendly features, are the top factors that predispose us to favor 3LT for camera support. And BTW, there is no Charles 1.0. Charles 2.0 is the first of its breed.

Shutterbug readers know that we’ve been aware of the highly reliable tripods our British-based friends at 3LT continuously introduce. Read our coverage of earlier models here and here. 3LT also manufactures an exceptional line of camera L-brackets (read about one here).

Key Features

• Maximum load capacity 88 pounds (40 kg)

• Three leg sections

• Legs constructed of aerospace-grade magnesium alloy

• Features 3LT’s proprietary Parallel Leg Locking System

• Leg diameter 29 mm (1.14 inches)

• Three independently adjustable leg angles 23°, 55° & 80°

• Interchangeable optional tripod foot accessories

• Maximum extended height (w/ball head) 76.3 inches (1.94 m)

• Minimum useable height 9 inches (23.1 cm) (w/ball head)

• Collapses to 24 inches (61 cm) for transport

• Weight 5.4 pounds (2.4 kg) with AirHed Pro ball head

In the Field
We tested the Darkness  version of Charles 2.0 (matte black with likewise black AirHed Pro ball head) outdoors on various types of terrain and indoors in a studio setup with our Fotodiox Pro LED light box. The Darkness finish is quite attractive and has a certain air of quality and seriousness about it.

The leg locking nuts are oversized and very easy to operate. Leg extension was smooth and flawless every time as was extension of the center column.

Although 3LT offers various tripod foot options, we found the rubber feet supplied with the standard configuration to perform satisfactorily throughout the trials. But if you have particular needs because of extreme ground surfaces, check out their extensive collection that includes the likes of Heelz, Clawz and Stilettoz (long stainless steel spikes shown below).

We especially liked the reliability of the AirHed Pro ball head. Once set it holds the camera steady and does not suffer from the micro-creep that plagues many other ball heads.

Charles 2.0 is about one pound heavier than Winston 2.0 (because the legs and center column are magnesium alloy instead of carbon fiber) and we found the slight extra weight a major plus when used in windy conditions and especially when deployed as a studio tripod.

Conclusion
Charles 2.0 is clearly another winner for 3 Legged Thing. We like how it works, we like how it looks and at a cost-conscious price it’s a sure hit that we can heartily recommend.

Price and Availability
The new tripod is available directly from 3LeggedThing.com and from your local camera shop. Prices are as follows: Charles 2.0 legs only, $299; Charles 2.0 bundled with the AirHed Pro ball head, $399. Charles 2.0 is also available with a lustrous matte black finish called Darkness following the same pricing schedule. Prices include a protective clamshell style case with detachable, adjustable shoulder strap.

How 3LT Describes Themselves
“Headquartered in a converted chicken shed (The Chicken Shed) on Kinsbourne Farm, in Stagsden, Bedfordshire, 3 Legged Thing is a small, British company of passionate people, creating and innovating camera support systems for photographers and videographers, and has a sibling brand, Toxic, that creates innovative bags for all people.”

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Three years ago, near the start of the pandemic, my photography ground to a halt. There’s still a gap in my Lightroom catalog where May and June 2020 should be. I’m glad that my break was temporary, but it crystalized to me that there’s more to being a good photographer than just pressing the shutter button at the right time.

Photoshop’s Luminosity Masks and Blend-in tools are similar and often used to accomplish the same tasks, and photographers often confuse the two methods and wonder when they should use one over the other. The quick tutorial below answers that question so you can make the right choice when editing your work.

Nino Batista is a photo-retouching expert and popular instructor with an avid following on his YouTube channel. In barely six minutes he clears up all the confusion between these two powerful tools, discusses their differences, and explains how and when to use them.

Batista illustrates that both easy-to-use tools may provide the same results with his outdoor image of a pretty model. So why does it matter which one you use? You’ll see that Blend-If offers more flexibility and control with some tasks than does a Luminosity Mask—but that doesn’t means it’s always the superior method.

According to Batista, here’s the difference: A Luminosity Mask involves “tangible pixels” and this approach is a “destructive” method; i.e. if you make a mistake you don’t get a do-over. By comparison, he says, “Blend-If is just an instruction with a set of parameters, not actual tangible raster data, that tells Photoshop to do something.”

He further explains that the Blend-If tool works by “paying attention to the luminosity of the underlying layer and applies the layer in question to that luminosity.” That’s quite a mouthful, but what does it actually mean in practical terms?

Put another way, when you put a Curves (or any other exposure modification) layer under the Blend-If layer, for example, this is what happens: “When I brighten and/or darken I change the range because the Blend-If instructions are telling that layer to match the parameters.” Conversely, if you put the same Curves adjustment below a Luminosity Mask the range that you set doesn’t change when you brighten or darken.

All this will makes far more sense when you’re watching the video and observing Batista illustrate the difference. Bottom line: Neither of these tools is better than the other. It’s all about the task at hand and understanding the limitations involved.

There’s much more to see and learn on Batista’s popular YouTube channel, so make sure to pay a visit.

We also suggest you watch another editing tutorial we posted, explaining what one expert says is “the best effects plugin for Photoshop and Lightroom.”

There’s nothing wrong with being a beginner because, let’s face it, all great photographers have been there. But here’s the deal: You needn’t make unavoidable mistakes that prove your novice status to the world.

The intent of the video below is to reveal a handful of common beginner errors and explain how to avoid them. The pro tips you’ll learn in barely 13 minutes will accelerate your learning curve and improve your imagery by leaps and bounds.

Instructor Joshua Peg is an accomplished outdoor photographer, who says one of his goals is “to share my passion with others in an engaging, straightforward way.” And best yet, he does so with tutorials that don’t require the latest and greatest gear.

Peg begins with this blunt statement that likely contradicts what you’ve heard in the past: “Don’t shoot in Manual mode.” What? Conventional wisdom is that switching the mode dial to M when first starting out is the best way to learn how a camera works and understand the interaction between various settings.

According to Peg there are several good reasons for letting your camera to the heavy lifting at the onset of your evolution. He explains why using easy automated modes is nothing to be ashamed of, and will keep you from making a bunch of bad photos early on that may destroy your confidence. In his mind, the time by switch to Manual is after you’ve made some progress.

Another mistake that Pegs says he sees all the time is waiting for perfect conditions. This one is controversial too because we frequently preach the importance of patience and waiting for the right light. While this tactic delivers optimum results for intermediate and advanced shooters, Peg explains why it can be counter-productive for beginners.

Another potential danger for those getting started is paying too much attention to social media trends. In other words, ignore what’s cool at the moment. Peg puts it like this: “If you’re constantly chasing a trend, rather than what fills you creatively, it’s really easy to get burned out.”

The other tips provided by Peg are equally powerful, understandable, and easy to put in practice and are sure to set you on the right path for becoming s better photographer and making images that prove it.

There’s more great advice on Peg’s instructional YouTube channel, especially for landscape, nature, and wildlife photographers. So make it a point to pay a visit.

And speaking of tips for novices, don’t miss the earlier tutorial we posted with a complete beginner’s guide to using Layer Masks in Photoshop.