"Getting The Most Out Of Your Tripod"

By: Scott Bourne

Last year I was teaching basic photography tips at a workshop when a student asked me how to properly use a tripod. It occurred to me that no one had ever actually asked me that question before. I also realized that no one had ever actually "taught" me how to use a tripod. I developed tripod technique based on trial and error. Here is what I have learned.

FIRST THINGS FIRST

Buy the biggest and best tripod you can afford!

Actually, I recommend buying more than one tripod. (You have more than one lens don't you?) Not every tripod is perfect for every situation. My big, beefy Bogen 3051 is perfect for the studio. But the beast is overkill on a hike through the Olympic National Park. My Gitzo 1127 is just right for my Hasselblad xPan but not nearly enough tripod for my Canon 1DMK II with a 300 mm /f4 lens. My everyday road warrior is the Gitzo 1348 MKII. It's just right for heavy-duty 35mm work but light enough to pack into the forest.

Look at your equipment and the type of shooting that you do. Then match your tripod to the task. Test several tripods and buy something based on how it suits you.

When you select a tripod, make sure that you underestimate how much weight it can really handle. Tripod manufacturers are notorious for rating their equipment on the plus side of the scale. So if your tripod maker says their model can handle nine pounds worth of equipment, impose a four and one half pound limit. If you cut their specs in half you are usually closer to the truth. And even if they are accurate, technique plays a part in the success or failure of a tripod. By underestimating the weight a tripod can carry, you create an insurance policy that protects you against bad technique.

Also try to select a tripod that will get low to the ground. The theory is that the lower to the ground the tripod goes, the more stable it is. Also, opt for tripods with three sections rather than four. While four section tripods will pack up smaller and be easier to pack into the field, they are not as stable.

SET UP

When you set your tripod up, look for a level space. This will help minimize vibrations caused by legs jutting out at awkward angles. Keep things balanced. The top platform should be horizontal and as level as possible. If you're shooting on a slope, you should shorten the uphill leg, angling it farther from vertical so it points into the hillside.

Depending on the shot you want to make, keep your tripod as close to the ground as possible to minimize the effects of wind and vibration. Try spreading the legs a little wider. You can go too far and make the whole thing unstable, but remember that a fat pyramid will be more stable than a thin one. Less extension always means greater stability. At all costs, try to avoid raising your tripod's center column. This actually destabilizes the tripod. If you need more height, try moving to higher ground. Of course the higher you go, the more likely you will have to deal with the wind.

Always try to set your tripod up so that wind is not a factor. Use something to block the wind. Stand behind a vehicle or a tree. Get your friends and family to block the wind by forming a human wall. Anything that you can do to minimize wind interference will help steady the tripod.

OPERATION

Using a cable release (or your self-timer if you don't have a cable release) will help reduce camera shake. Also, if you use a Single Lens Reflex (SLR) camera, lock up your mirror at speeds between one second and 1/60th of a second to eliminate mirror flap, another common cause of vibration.

Also be sure to lock everything down tightly. Make sure all the leg extensions are tight and double check to make sure that your tripod head controls are all tightened so that you don't risk camera flop or extra vibration.

Another tool to make the operation of your tripod smooth is the use of an "L" bracket. The "L" bracket allows you to mount the camera in either a horizontal or vertical orientation without having to tilt the tripod head on its side. When you tilt the tripod head over on one side to shoot a vertical format picture, the weight of the camera is no longer distributed over the center of the tripod. This can make the tripod seriously off-balanced. The "L" bracket allows the camera to be placed in a vertical orientation and remain centered over the tripod. This is vastly more stable than tilting the tripod and camera head over to one side, especially if you are using a lightweight tripod. It also makes going from horizontal to vertical and back again a breeze.

To learn more about "L" brackets, go to www.kirkphoto.com.

Most tripods have rubber feet for a firm grip on hard floors. Some models offer reversible feet. The feet can be turned over to reveal a sharp spike that goes into the ground for extra stability when photographing outside. A spike base is also effective when using a tripod on carpet. Not all models have such convertible feet, but if your tripod does, be sure to use them for extra stability. (And whatever you do, make sure your wife doesn't see the spikes going into the carpet!)

If you use a tripod on dry sand, snow or loose soil, the legs will usually sink in. To combat this problem, create a wider foot that acts like a snowshoe, spreading the load over a larger area. A good homemade solution is to cut two tennis balls in half, and mount them around the tripod's feet. The cut-in-half tennis balls store easily when cupped together, and you'll be glad you have them if you do allot of work outside. Some tripods can be purchased with interchangeable wide feet for use on unstable surfaces.

LONG LENS TECHNIQUE

If you are using a long lens on your camera, always try to use a tripod collar. This is a device that helps move the center of gravity forward on your lens and takes pressure off the lens mounting plate. This will reduce vibration at the film plane. Take it a step further if you can and buy a gimbal mount. I use the Wimberley Head - (http://www.tripodhead.com.) Gimbals are like power steering for your car. They make it incredibly easy to position and balance large lenses. This creates a more stable shooting platform and maximizes the sturdiness of the tripod. While they are expensive and heavy, gimbal heads are a must have item for wildlife, bird and sports photographers.

If you can't afford a gimbal, there are less expensive methods to stabilize the camera on the tripod. Drape a jacket over the camera or place a beanbag on top of the lens. This also helps avoid vibration. Another trick I have used is to strap a bungee cord to the lens and the tripod's crown. I don't make it so tight that I can't move the lens, and I only use this approach when working with static subjects. By keeping some tension on the cord, I reduce vibrations that might otherwise reach the lens.

I have also heard that people like to hang a weight from the bottom of the center column to create downward pressure on the legs. The idea is that this makes the tripod more stable. I don't use this method because if it is windy, the counter weight's motion will induce rather than reduce vibration. You can hook a bungee cord to the center column and anchor it to the ground somehow to create the same effect without the sway.

CONCLUSION

Get in the habit of tightening and checking all the tripod and head knobs in exactly the same order every time you set up and break down your tripod. Practice setting it up and mounting a camera to it during times when you haven't been shooting for a while. Above all, carry your tripod everywhere you go with your camera. No matter how stable, how solid or how perfect your tripod, it can't help you if you don't bring it along.

----

ABOUT THE AUTHOR

Scott Bourne is a professional photographer, author, teacher and pioneer in the digital imaging field. His career started in the early 70s as a stringer covering motor sports for Associated Press in Indiana. Since then, he has shot commercial, portrait, wedding, magazine and fine art assignments. His new passion is wildlife photography.

Scott is the author of "88 Secrets to Selling & Publishing Your Photography" and "88 Secrets to Photoshop for Photographers." Both are available from Olympic Mountain School Press, http://www.mountainschoolpress.com. His work has also appeared in books, magazines, galleries, calendars, on greeting cards, web sites and on posters.

Scott regularly lectures on a variety of photo and media-related subjects. He's appeared on national television and radio programs and has written columns for several national magazines. He is the publisher of Photofocus.com, an online magazine for serious photographers and also serves as the executive director of the Olympic Mountain School of Photography in Gig Harbor, WA.

Article Source: http://EzineArticles.com/