Tripod Photography Quotes

The hardest part is setting the camera on the tripod, or making the decision to bring the camera out of the car, or just raising the camera to your face, believing, by those actions, that whatever you find before you, whatever you find there, is going to be good.

The myth is tenderly parodied in a 1928 silent film, The Cameraman, which has an inept dreamy Buster Keaton vainly struggling with his dilapidated apparatus, knocking out windows and doors whenever he picks up his tripod, never managing to take one decent picture, yet finally getting some great footage (a photojournalist scoop of a tong war in New York’s Chinatown)—by inadvertence. It is the hero’s pet monkey who loads the camera with film and operates it part of the time.

The EOS rebel t7/2000d allows you to have 6 fps continuous shooting, and the camera will even work with a remote for live view shooting from a tripod

What sets my photos in this book apart from other similar works is that all these images were taken during my daily life. No big glitzy photo shoots. No big camera. No heavy bag with lots of lenses. No tripod...I photographed things I thought were beautiful, funny, ironic, spectacular, sad, interesting...

As a boy, I was fascinated by speed, the wild range of speeds in the world around me. People moved at different speeds; animals much more so. The wings of insects moved too fast to see, though one could judge their frequency by the tone they emitted—a hateful noise, a high E, with mosquitoes, or a lovely bass hum with the fat bumblebees that flew around the hollyhocks each summer. Our pet tortoise, which could take an entire day to cross the lawn, seemed to live in a different time frame altogether. But what then of the movement of plants? I would come down to the garden in the morning and find the hollyhocks a little higher, the roses more entwined around their trellis, but, however patient I was, I could never catch them moving. Experiences like this played a part in turning me to photography, which allowed me to alter the rate of motion, speed it up, slow it down, so I could see, adjusted to a human perceptual rate, details of movement or change otherwise beyond the power of the eye to register. Being fond of microscopes and telescopes (my older brothers, medical students and bird-watchers, kept theirs in the house), I thought of the slowing down or the speeding up of motion as a sort of temporal equivalent: slow motion as an enlargement, a microscopy of time, and speeded-up motion as a foreshortening, a telescopy of time. I experimented with photographing plants. Ferns, in particular, had many attractions for me, not least in their tightly wound crosiers or fiddleheads, tense with contained time, like watch springs, with the future all rolled up in them. So I would set my camera on a tripod in the garden and take photographs of fiddleheads at hourly intervals; I would develop the negatives, print them up, and bind a dozen or so prints together in a little flickbook. And then, as if by magic, I could see the fiddleheads unfurl like the curled-up paper trumpets one blew into at parties, taking a second or two for what, in real time, took a couple of days.

Sadly, the extra bit of time taken to unpack and set up a tripod tends to discourage some photographers. Yes, it certainly does take extra time. Nevertheless, isn’t it better to ensure a selection of sharper images after all the time spent heading into the woods, fields, rivers, mountains, oceans, or wherever else a photography muse leads? The tripod will certainly help to avoid coming home with blurred images (and possibly a few ticks or mosquito bites, too).

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