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Tripods
Purpose
Types
Transporting
Summary
Tripods are a tool for quality fanatics. Less so for those who just take
snapshots. And for some aspects of photography, they are indispensable.
I personally make extensive use of a tripod, but I have used relatively
few different makes or models in my years as a photographer, so this
will be less about the advantages and disadvantages or particular brands
and models and more about the basic types and, in particular their
practical use. I will be talking essentially about portable, 3-leg
tripods; studio, reproduction, lighting and other specialized tripods
and stands will not be covered here.
My first tripod, which was passed to me by my father, was a light
aluminum tripod with a non-interchangeable head. The legs could be
extended by three, the head was adjusted by means of two levers, and
the camera had to be attached by means of a small knurled wheel. I often
carried this tripod with me because it was so small and light, but I
rarely used it because
Years later, during which I became increasingly annoyed at my persistently
un-sharp images, my father bought a Manfrotto with a ball head. What a
difference ! The whole tripod weighed around 5 kg, or 11 pounds. The legs
were adjusted not by means of clamps, but rather by sensible rotary grips.
Once standing, neither wind nor a heavy camera could move the ensemble.
The ball head had a quick release: the camera could be placed on or
removed from the head in a second. And the head itself had silky smooth
motion in all directions and could be locked in position with a single
lever. From that second I knew: I need one of these things !
Out of cost considerations I opted not for the Manfrotto, but rather a
Cullmann. The legs have only a single extension, but it is extremely
stable, and the legs are also fixed using clamps. But what clamps ! The
whole thing cost around 150 Euro, and it accompanies me on all my
photographic outings and trips.
A tripod is always used when maximum sharpness is the goal. Especially
for images where great depth of field is desired and a small lens aperture
has to be selected (f/16 or f/22), exposure times of from ½ to over 1 s
may be necessary depending on film speed and light conditions. Sharp
exposures under these conditions demand a tripod.
But a tripod makes sense even for short exposure times, especially with
long focal length lenses. Think about how shaky things look through a
pair of unsupported binoculars. The same effect occurs with telephoto
lenses, naturally enough, but to a lesser extent the problem is there
with normal and even wide-angle lenses.
So in essence it makes sense to use a tripod in any situation where
time and the subject permit. After all, an enlargement costs the same
or requires the same effort regardless of whether it is sharp or fuzzy,
but it's particularly satisfying when you can make a poster-size
enlargement in which the only limitation is grain size, and not original
sharpness of the image.
Tripods differ essential in the material they are constructed of, the
number of leg sections possible, the center column and its operation,
the locking possibilities, the size, as well as possible "special
features". And of course the head, which generally can be selected
irrespective of the base.
Material
Most tripods are made of aluminum. Also used increasingly are lighter yet
rigid tripods made of titanium, magnesium alloys, and especially carbon
fiber. The wooden tripods made by the German company Berlebach represent
a special category. Ash has wonderful vibration-damping properties, which
is why this wood is also used for hammer shanks on pianos. If light
weight is not critical (as it would be for mountain hikes or bicycle
tours), I would opt not to invest in expensive materials and take
advantage of the solid weight provided by a good aluminum or wooden
tripod. Along with the mechanical stability, added weight is the surest
contributor to vibration-free operation.
Leg extensions
The legs on a tripod can be simply extended in up to four sections. The
more sections the tripod legs have, the greater the difference in length
between collapsed dimension and fully extended dimension. A short tripod
with just one extension will therefore remain relative short, whereas one
having 3 extensions can reach a considerable height.
The basic rule of thumb should be: as few sections as possible. Here's
why: a) Each additional section represents a joint between two tubes and
is less stable than the tube itself. More sections = less stability; b)
each section is a potential entry point for dirt. Fewer sections are
particularly advantageous in nature photography, where you can't always
pick your weather and surroundings. Fewer sections also minimize the risk
of mechanical damage; c) time: each section has to be loosened, pulled
out, and retightened. For three legs.
The direction of the extension also differs from system to system. As a
rule the main column is located on top, and the sections are pulled out
towards the bottom as needed. This means of course that the parts of the
section that end up closest to the ground and dirt are just the ones which
later disappear into the main tube and carry the dirt in with them. An
advantage of my relatively simple Cullmann tripod is that the outer tube
of each leg forms the base, i.e., the feet remain on the ground and the
section is pulled up. This protects the leg guides better against dirt
from the ground.
Locking
From my own experience I am familiar with 3 types of locking mechanisms:
Which system is preferable is mostly a matter of taste. You should
however check the following points before purchasing:
Center column
The ideal would be no center column. Its function is namely to provide
height, not stability. Raising it simply lengthens the lever arm formed
by the camera without increasing the area. On the other hand height is
certainly a consideration, so the center column does in fact have an
important role to play. The things to look for in a center column are
its diameter, its guide element, the mechanism for moving it, as well
as the locking technique.
The thicker a center column is, the more convenient it is to use in my
experience. It will be more stable, usually also heavier, and easier to
clamp due to its larger circumference.
The guide, which is the piece in which the center column slides, should
be as long as possible to ensure good stability. But it should also be
well sealed against dirt, so that scratches do not compromise the bearing
surface. To prevent inadvertent turning while adjusting the height, many
center columns feature a slot which is engaged by a spring in the guide.
This is a very useful feature when after much trial and setting you have
the right view and just want to change the height.
Simple center columns are adjusted by hand, more elegant models using a
crank or even hydraulically. The right mechanism is a question of how
much you are willing to pay and the weight of the camera. A heavy
medium-format system can be handled much easier and more precisely with
a hydraulic or crank mechanism than by hand. But for 35mm systems with
normal lenses, manual adjustment works just fine. The important thing in
any case is that the center column not simply slide down after loosening
the lock and freefall into the positive stop. The center column can
probably take it, but not the camera.
Which brings us to the locking mechanism. Personally I have used only
systems with wing nuts and large adjusting rings around the column. The
simple system with wing nuts had the drawback that the column could
simply freefall after loosening if you weren't attentive and didn't
loosen the wing nuts v-e-e-e-ry carefully. The tightening ring offered
much better control; apparently the clamping mechanism releases so
slowly that a sudden drop is prevented.
The center column can perform other tasks as well depending on the system.
Most designs allow it to be removed and inverted to provide
low-to-the-ground support. Of course the photographer then finds
him/herself underneath the tripod, which is not the most convenient
position to be in. If you make a habit of photographing objects at
ground level, a tripod whose legs can also be spread horizontal would
be a better choice.
A special case is the Manfrotto MA 055 Pro B (Bogen - Manfrotto 3001-Pro
in the U.S.), which has a low-angle adapter built in the center column
for ground level shots. The tripod has an easily removed center column
that just as easily re-fits as a horizontal lateral arm. Not only does
this allow the camera to be offset from the leg position, it provides the
simplest way possible to shoot from directly overhead. Other companies
offer similar solutions, frequently under the name Macro or Repro set.
Size
Except for special tasks (macro, ground level tripod), a tripod should
always be as large as possible. The logical approach in sizing is to
measure your own height to eye level, subtract the camera including the
coupling plate, and use this value as the maximum practical size. Sounds
right, but the problem is that this calculation only applies to level
ground. But let's imagine a shot taken from the slope of a river bank:
2 legs are standing on a flat surface in the water, the third one is
fully retracted against the grassy incline, and we are standing above
that. What started out as a person-high tripod now barely extends above
knee level! On the other hand, many subjects require a raised camera
position, be it a trade show booth, a landscape or a building: here a
ladder is the only resort, and the photographer is happy if the tripod
can stand on its own legs instead of having to be raised even higher,
which is generally counterproductive in terms of stability.
If you consider all the points mentioned above, with the goals of a) few
leg extensions, b) high weight and c) large overall height, you will get
an idea of what to expect if you are an image sharpness fanatic: a tripod
that will only fit in a mini-van, has to be carried by a (non-existent)
assistant, and costs an arm and a leg (so to speak). And this isn't much
of an exaggeration !
If you're starting to wonder about the actual practicality of a tripod,
let me hasten to assure you that it's worth it. Everyone needs to decide
what he/she is willing to carry and pay for - there are smaller
alternatives - and most importantly the results will always be worth it.
The difference between images made with and without a tripod will be
evident even in a 5x7 enlargement, not to mention situations where
getting the shot is simply impossible without one.
The head
The debate over tripod heads is endless; just take a look at the various
photography newsgroups on the Internet. Like many other aspects of
photography, the tripod head is a question of several factors:
I personally am familiar with the following head types:
The ball head is the simplest to operate. In the most basic
version, a wing screw or knurled knob is required to loosen or clamp the
head. In the loosened condition, you can move the camera in all directions
and clamp it again with just a turn. More expensive heads have an
additional, separate pan base for positioning the camera horizontally
without having to move the ball head. The icing on the cake is the
friction setting, a mechanism for separately controlling the ball
friction. This is especially important for heavy cameras or long lenses
to ensure that the equipment doesn't just flop over when the knob is
loosened.
The advantage of the ball head is its fast, uncomplicated operation,
making it popular for general photography, nature and portraits.
The drawbacks become apparent when precise orientation is required: since
loosening the knob allows every conceivable axis to be shifted at the same
time, it is not easy to achieve precise horizontal orientation; each
adjustment shifts all the other axes at the same time, however slightly.
And in the case of macro photography, it turns out that tightening the
knob almost always shifts the head slightly. It can drive you crazy when
you keep trying to aim just a little higher, then tighten the head, just
to find out that there was some slippage in another axis. On the other
hand, not all ball heads share this problem equally. The Manfrotto MA 308
(ProBall 308) is less susceptible to this than my inexpensive
Cullmann.
2D- and 3D pan-tilt heads are designed such that each axis can be
adjusted independently. As a rule the horizontal rotation is centrally
controlled and is clamped using a knurled knob or wing nut, whereas to
move and lock it in the other two axes you use a separate twist handle
with grip.
In the simple, non-geared models the head is adjusted directly using a
separate handle for each axis - a purely mechanical lever arm. Grip
movement corresponds exactly to camera movement, and as in the case of
the ball head tightening the handle or wing nut can cause a slight shift
in the position. Simpler heads like this are in my opinion better suited
for video filming, where swings around one axis have to be performed.
This is a less common situation in still photography, where separate
setting of the axes is needed especially if the camera position has to
be controlled with extreme accuracy, such as in macro-photography. If
this is your main interest, or if you're a gear head, sooner or later
you will probably discover geared heads.
Geared heads, generally considered the smoothest and most precisely
controllable of all the types of heads, employ manual wheels connected
to interior gear assemblies which drive the lateral and vertical movements.
Each wheel (one on the rear for tilt, one on the left for pan) has its
own choice of gear settings for tension (usually three) as well as a
neutral gear. The number of full 360-degree cranks of the wheel needed
to achieve your desired pan will vary depending on which gear you are in.
The great advantage of geared heads is that they can be used for
correcting angles very accurately by turning the handles clockwise or
counter-clockwise. They are particularly suited for architectural,
still-life and large-format photography.
Special equipment
The most useful accessory in my opinion is the quick release, which
makes the tripod ready for action in an instant. If you have to tediously
thread the camera on to the head every time you want to use it, the
probability that you'll actually use the tripod approaches zero (except
for fixed studio applications, or where the camera is always on the head).
A simple quick release can be had for as little as around $20.00. The
base module is threaded onto the tripod head and stays there. The actual
coupling is attached to the camera base. These parts are inexpensive,
so that you should actually buy one for each camera body. Then all you
have to do is slip the camera on the head and clamp it with a lever or
spring.
For transport or carrying, a bag and/or leg wraps are a
good idea. The tripod bag protects the tripod, but I have yet to find a
model which makes it easier to carry.
Leg wraps are like socks for the tripod legs, usually made of
neoprene. If you've ever carried a tripod over your shoulder for much
of a distance, you'll appreciate the padding these wraps provide. They
are make good insulators to prevent frostbite when handling the tripod
in winter! An advantage for nature photographers is that noises otherwise
caused by objects knocking against the legs are damped.
Manfrotto offers a tripod belt which is threaded into a threaded
socket on the head and whose other end you wrap around the legs. This
lets you carry the tripod on your back without having to pack it
separately.
To keep from having to put all the small parts like lens covers,
light meter and such directly on the ground, you can buy small
triangular pieces of nylon or cotton material that are attached between
the tripod legs and form a kind of shelf when the tripod is erected.
Often the rounded rubber end pieces on the legs can be replaced with
spikes, for a better grip on damp ground. In some models these spikes
are even built-in and can be pulled out through the rubber caps.
Depending on the model and the use there are additional accessories many
falling into the category of "helpers" that can be used to attach
speedlights, grips, etc. to the tripod.
This is the most difficult subject. I always want to have a tripod with
me, but I don't want to carry it. And since I don't have a porter to
strap it on his back for me, solutions are needed that ease the burden
as much as possible.
Strap
Just as with a rifle, there is an accessory strap for some tripods that
allows it to be carried on one's back. This does make it ready to use
and easy to shoulder, but there are at least two drawbacks. First, there
has never been an ergonomically designed tripod, and after a while stiff
shoulders and even bruises can be the result of a longer tour. Second,
your back is then already 'occupied', with no more room for additional
items (like a backpack). A strap makes the best sense when you are walking
a shorter distance from the car and can carry your equipment bag in your
hand.
Camera backpacks
Many camera backpacks, especially the larger ones, have a tripod pocket
or an integrated tripod strap. I believe this is the best solution if
you take frequent trips or nature hikes. The tripod is strapped on the
side in a vertical position or lies diagonally across the pack, and the
inside of the pack contains all your camera gear and even some personal
belongings. Good backpacks are not inexpensive, and in this they are no
different from normal hiking backpacks, but they are worth the price.
Things to look for in a camera backpack are a wide hip strap to take up
part of the load, even distribution of the load, a way of ventilating
the back, and compartments to prevent the load (that's your gear!) from
shifting. There is no holy grail of backpacks, and each individual needs
to select one which fits his/her stature and needs.
Car
Since the best tripod in the world is useless if left at home, I usually
keep mine in the trunk of the car. Just make sure that it's not allowed
to bounce around back there - this can damage both the car and your
tripod. It should also be protected from dirt, preferably in a bag or
plastic sleeve.
Bicycle
For bicycle touring the optimum tripod is relatively useless. Here you
have to find a compromise between weight and size on one hand and what
you can actually take on a tour. Another solution is to use the bicycle
itself as a support. You can buy small clamp-on tripods which are attached
to the handlebar. These also accommodate a ball head and quick release,
so that you don't have to sacrifice those conveniences. One problem may
be the absence of height adjustment. A low camera position can be achieved
by placing the bicycle on its side, but it's virtually impossible to
achieve a position higher than the handlebar. On the other hand, there
is hardly a touring-compatible tripod made which is higher than this
handlebar position, so that at lease small, light cameras can be supported
easily with this solution.
I already noted in the introduction when a tripod is called for. But
equally important is how it is used, so that the greatest possible effect
is achieved.
Stance and support
The heaviest and most solid tripod will do you little good if it's
standing on a platform in a sports stadium that shakes and vibrates
under the trampling of countless feet. A solid ground support is essential,
even if this involves a little climbing sometimes to reach it.
The legs and center column (in this order) should be pulled out only as
far as necessary. The more compact the unit remains, the less susceptible
it will be to vibration.
Also pay attention to keeping it as vertical as possible. I watched once
as my entire tripod cum camera fell over in a gust of wind because it
wasn't nice and vertical, but rather one leg was extended too far and
the whole thing got out of balance. I was lucky that time: the camera
landed right on my jacket and was spared any damage, but it could have
turned out much differently.
Stabilizing
In addition to a solid base and a stance that doesn't demonstrate certain
laws of physics in disastrous ways, there are other ways to stabilize the
tripod. This is especially critical when the wind is strong. The simplest
approach is a cloth bag or a net filled with sand and stones suspended
from beneath the tripod. The weight stabilizes the assembly and reduces
vibration.
Alternately a tripod can be stabilized using a tent peg and strap. Simply
drive the peg into the ground, attach the free end of the strap to the
tripod, and tighten the strap.
If you're leery of all the technology, the additional weight and the
effort and expense that can be involved, don't worry. I don't take a
monster tripod with me on business trips either, but rather a small cheap
plastic thing that cost me just a few Euro, as small as a pencil, which
if push comes to shove can be teamed with my little Olympus mju-II
(called Stylus Epic in the USA) to get the shot.
But if you are a dedicated photographer, you will accumulate more than
one tripod over the years: the "correct" but heavy one for a photo tour,
the small travel tripod for family vacations, and the mini-tripod for
your briefcase. And the Leitz table-top tripod for close-to-the-ground
shots. And and and
.there's no limit for the technology-oriented
photography buff.
A lot of additional information on this topic and numerous answers to
model-specific questions can be found in the German- and English-language
forums at www.nikonians.org,
or at www.photo.net, which is
brand-neutral camera-wise.
Would you like to know when new things are added to this site? Just send
me a message, and I'll send you a short
e-mail at each update.
Thanks for reading !