A Viewfinder Darkly
Phil Northeast is Feature Writer for Photography at 
Stock photography by Phil Northeast is available from Ozimages International
Tripods and Monopods Reduce Camera Shake in Photography
Philip Northeast
Tripods and monopods steady the camera, reduce camera shake and allowing slower
shutter speeds. They also aid composition, as well as taking the load
of heavy lenses.
Early photographers relied on their tripods as
the old films were so insensitive, and required such long exposure
times, that it was impossible to hold the camera steady. The advent of
sensitive film and digital cameras makes acceptable results from hand
held shots common. Forms of image stabilization, or vibration
reduction, are becoming more common in lenses and cameras bodies.
While
these advances make it easier to get good results hand holding the
camera, for the very best, sharpest, clearest images a tripod is still
a valuable tool. A good tripod all but eliminates camera shake, except
for wind and vibration from the mirror.
How can they aid
composition? Because a tripod holds the camera in the same position,
this forces the photographer to think more about the best camera
position. The tripod make sit easy for small adjustments to the camera
position and angle that may take several minutes. This also ensures
that experiments with different settings or techniques are all
variations of the same shot.
The other common support device is
a tripod with one leg, or a monopod. These are the favorites of sports
photographers, even those using Canon and Nikon professional lens with
built in image stabilization. Using a monopod allows the photographer
more freedom to choose a slower shutter speed to suit the action, with
less emphasis on avoiding camera shake.
A monopod is also lighter and easier to move around than a tripod, making setting up a shot
quicker, this is important in fast paced sports environment. Sports
events can go all day and it is easier having a monopod to support the
camera and a long lens. The monopod also makes carrying everything
around easier, as you can balance the monopod on your shoulder with the
camera attached. In some locations, tripods are not allowed. However, a
monopod is not a not a tripod so it can help to get by some petty
regulations and restrictions.
On the top of a tripod or monopod
is the head. The head connects the pod to the camera and incorporates
devices for aiming the camera.
Although it is possible to screw
the pod directly into the base of the camera, the preferred method is a
quick release plate. The plate screws into the base of the camera and
then the plate fits into receptacle in the head and secures with a
lever operated locking mechanism. The camera can be attached or and
removed in a second.
Long lenses usually attach to the pod using
a collar in the same manner as the camera body. This provides better
balance, making it easier to aim the camera and reducing the tendency
of the lens to drop at the front.
There are two basic types of
head, ball, and pan and tilt. Ball heads are more flexible as the
camera can aim at any angle, locking in position with one control. Pan
and tilt heads have separate horizontal and vertical adjustments. This
makes them slower to use, although they are good for architecture shots
where precise horizontal or vertical adjustments are nequired.
The
main necessity for all types is strength and rigidity, although this
often can impose a weight penalty. Carbon fiber is a popular material
for top line pods as it combines light weight with high rigidity. A
good aluminum pod though will perform just as well but may weight a bit
more.
When choosing a pod make sure the legs are long enough so
you do not have to bend over to use the camera. This should be without
using wind up central posts, as they tend to be more unstable as they
go higher.
originally published at 