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Why you need a tripod or two

I love tripods. No one else seems to but I love super sharp pictures. It’s odd, my fellow professional photographers will shoot images with 2-300mm expensive telephoto lenses and not get sharp results. Even with image stabilization and fast shutter speeds.

I’ll shoot the same subjects but use a tripod and the results are so sharp that I could almost shave myself with them. Almost.

The problem with tripods is that they are awkward and sometimes heavy. If you indoors with a group of people, you’re asking for trouble to have a tripod in the middle of the group. Not only is someone going to trip over it, and break your camera but they may break something as well. So if you want to use a tripod be very aware of where to place it to avoid problems. In the open, it usually isn’t a problem and having a stationary camera is a way to create discipline in camera usage. It will force you to think about what your want to photograph and why from that angle.

My favorite combination is a tripod with a pistol grip and quick release plate. The pistol grip is squeezed to release the position and release to lock the tripod head at whatever angle you want. This works for light weight camera/lens combination. If you have a big heavy lens, not only does the lens have its own mount to attach to the tripod but it will also have a tripod collar with a locking knurled screw The mount provides the best balancing point of the camera and lens combination to avoid stressing the camera by having a lens heavy combination. The tripod collar screw is released slightly to allow the lens and camera to rotate from horizontal to vertical so it’s a snap to change the image format. If you changed the pistol grips position to the side it would likely sag with a heavy lens and be difficult to work with. A collar is clearly preferable.

The quick release plates are really useful. For example, if you’re shooting a wedding you’ll place the flash near the back of the church and run back to into for the recessional. You can quickly mount your telephoto camera to it and shoot the bride and groom as the leave the church. If you left a camera mounted, it could vanish! These plates are of a standard size on higher grade tripod heads so if you have two cameras with plates attached to the cameras you can mount either in seconds.

Try an experiment. Get you favorite telephoto lens and take some test pictures at 1/30th to 1/125th of a second. Then repeat the pictures with a moderate cost tripod you can buy for $3o at Wal Mart. You’ll be suprised at how much sharper the tripod pictures are. Now, I not really recommending a $30 or $40 tripod but you can always take it with you as weight won’t be a problem. If you actually get a heavier tripod you’ll see better results as it will be more resistant to flexing.

I’ve tried monopods (a single legged “tripod”} but get iffy results. Tripods are much better, although the monopod does double duty as an off camera flash pole. You can attach your strobe to it and hold the combination high into  the air for interesting results, but that’s another post.

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The strobe experiment

Here’s what you may be seeing in my previous post. First of all you need to know that the camera manufacturer states that the strobe’s maximum sync speed is 1/500th for this camera. That actually isn’t true as you can see. The full, underexposed frame, even at 1/4000th., is fully if somewhat underexposed.  What is the truth about this experiment?

1     Well Nikon needs for it’s strobes, that are mounted atop the camera, time to communicate with the camera to set the exposure according to its processor. And any speed much faster than 1/500th of a second it is too brief a time for this to happen consistently. So they are very conservative. If you place the strobe atop the camera, you cannot even set the shutter speed faster that 1/500th. You can actually bypass this limitation if you put some Scotch tape over 2 pins on the flash thus stopping the camera from detecting the flash’s automatic system from working. It will then allow any manual setting you want to use but still trigger the flash when you press the shutter release.

2     You will see that when the shutter speed is slower than the correct exposure, 1/500th, the image actually becomes overexposed a little even though the pictures were taken in a very dark room. And you will easily see that very brief exposures severely underexpose the images. Why?

It depends on the strobe. I was using a studio strobe for these illustrations. By careful observation you can see that the flash does not instantly output all of its light, but takes time to discharge its energy. Only a fraction of its light was generated at 1/2000-1/4000th. And most available at 1/1000th and slower.

You can actually manipulate the power output of a flash by changing the shutter speed. If you want to increase the apparent power, set the shutter speed to 1/125th. If you want to severely limit it use 1/4000th. You just have to experiment. My Nikon SB-800 discharges it light must faster than the studion strobe so I has a bias to the correct manual exposure at 1/2000th.

In real life you can easily turn day into night. Just set the shutter speed to 1/4000th. Use your flash close to your subject so it will be exposed properly and play with your aperture to provide the right amount of illumination of the background. The higher the f/stop number, the darker the background. Atht he right combination, you can make mid-day at the beach like mid-night.

The key to getting better as a photographer is to experiment. With digital equipment, no cost photography is the rule. And you even get to see the results instantly and can takes a series of shots to get the result you want. Try it.

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