American photogpraher Benn Mitchell wearing a sandwich board in London. COURTESY PHOTO

Photographers live by an extreme version of carpe diem; it’s a second that they look to seize. The good ones can read the tea leaves and sense that moment before it arrives.

For 17-year-old Benn Mitchell, it is the moment a squinting Humphrey Bogart in a pinstripe suit holds a cigarette between his puckered lips, half of his face in shadows, that is worth printing.

Mitchell picked this instant over the climactic moments of ignition and exhale.

Every actor has a mechanism to shed a character they have been playing. In between takes, Bogie decompressed with a cigarette. We know this because Mitchell’s camera snapped the classy star taking a smoke break with the poise that so characterized him. Expression, body language, attire and that glorious jawline achieve perfect harmony in that second. It might as well have been in the script.

This sensual image from 1943 is among 52 timeless photographs featured in “Benn Mitchell Photographs: Hollywood to NYC,” through Oct. 22 at Boca Raton Museum of Art. The exhibition focuses on two bodies of work in the esteemed American photographer’s career: Warner Brothers photographs from 1943 and New York City scenes from the late 1940s to the early 1960s. Judging by the selection, success was a given, but nobody could have predicted it would be early on.

Bogie and Marilyn greet visitors to the second-floor gallery housing photographs by American photographer Benn Mitchell. GRETEL SARMIENTO / FLORIDA WEEKLY

The second-floor gallery houses images of cafeterias, trains, storefront windows, movie theaters, and umbrella holding pedestrians battling weather conditions. There’s the obligatory print of the Empire State Building, which stands tall and powerful against a cloudy sky. Also here standing grand is the lion sculpture outside the iconic New York Public Library; its commanding quality courtesy of a low angle shot. Then there’s the curious inclusion of a gelatin silver print from 1950 portraying three men walking arm in arm. We can count at least three indiscreet onlookers who follow them as the men approach a theater playing “Suddenly Last Summer,” starring Katharine Hepburn, Elizabeth Taylor and Montgomery Clift.

 

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The New York City native, who became an avid supporter of the museum upon retiring to Boca Raton until his death in 2021, sold his first photograph to LIFE magazine while still a teenager. Included in the show is a 1943 letter from the magazine advising Mitchell a $25 check for his Chilly Billy photograph — featured in the Jan. 25 issue — is on the way. It, too, anticipates the success that was to come.

“I’ll be looking forward with you to getting some of your pictures in soon again,” ends the letter signed by Ruth Lester.

An eager young Mitchell next headed to Hollywood having been granted permission by Warner Brothers to linger around its studios and document movie stars, extras and behind-the-scenes professionals.

An unidentified actor dressed as a cowboy points a pistol at someone kept out of the frame in one print acquired by the museum this year. His character enjoys being in control and takes his time issuing what we presume to be a warning. Images like this one tempt the dormant voiceover artist in us. A plausible dialogue for this scene could go: “Eeeeeeasy there, cowboy. Is that a threat?” At which time the guy with the pistol says: “No, that’s a promise.”

The museum has not been able to properly identify subjects and movie sets such as this one. Anyone with information is encouraged to get in touch. Until then, feel free to fill in the blanks.

Early in the show, photographer turns subject and human billboard in one black-and-white image depicting a smirking Mitchell sporting a sandwich board. The story goes that while on assignment in London, Mitchell spotted a man on Oxford Street advertising: “Express passports and high-class portraiture.” He offered money to the man to borrow the board and had his wife, Esther, take this amusing photo.

If the above examples don’t entice you to spend a few minutes with “Benn Mitchell Photographs,” consider visiting anyway; if only to witness what bold young minds can achieve and why we shouldn’t rush to dismiss them.

Following his time at Warner Brothers studios and a two-year service as a U.S. Navy photographer, Mitchell returned to New York City and studied at Columbia University. He went on to open his own commercial studio at 25, eight years after that $25 check from LIFE magazine.

LUMBERTON – Award-winning Bill Norment, a colorful character in his day, captured the largely rural world of Lumberton and Robeson County during the second half of the 20th century in stark black and white.

Norment served as a longtime photographer – as well as sports editor, city editor, associate editor and editor emeritus – with The Robesonian. He worked for the Lumberton newspaper for more than five decades before his death at age 66 in 1998.

His legacy is being remembered during the weekend with a special photo exhibit – “Bill Norment: A Legacy in Black and White Photographs” – 2-5 p.m. on Sunday at the Robeson County History Museum, 101 S. Elm St.

Admission is free.

The public is invited, and light refreshments will be offered.

“William Douglas Norment was one of North Carolina’s great photographers,” the History Museum states in a news release promoting the special exhibit.

Some knew him simply as “Billy Doug.”

But Norment’s photos gave life – a corresponding visual component – to the print stories that adorned the pages of the Robesonian over the week during his career.

According to the release, the History Museum was able to procure the Norment collection courtesy of a gift from his children. Photo journalism was shot in black and white during Norment’s newspaper tenure, and his collection of enlarged and printed works reflect that era from the days of yesteryear.

“This isn’t routine newspaper work. It’s art,” Scott Bigelow, vice president of the museum, said in a news release.

“Viewers will see a range of Bill’s work, including sports, law enforcement, family and feature photography,” Faye Middleton, who hung the exhibit, said in the news release. “There is also a collection of historical photos and a selection of his professional work.”

Donnie Douglas, a former sports editor and former top editor at The Robesonian, said when he first arrived at the newspaper that Norment was the staff photographer.

“He was an accomplished photographer,” Douglas said Wednesday. “From my memory, he was kind of a grandfatherly figure in the newsroom. He got along well with people. He had a good eye for photography. And he was always helpful. He stayed holed up in the darkroom. He was a real pleasure to be around but not someone to bring attention to himself. That was his nature.”

In 1974, the N.C. Press Association named Norment Photographer of the Year. He was also selected as Southern Photographer of the Year during his extensive tenure at the paper.

In 1958, a series of Norment’s photographs of the Lumbee Indians historical rout of the Ku Klux Klan was published in Life magazine and distributed worldwide, the news release said. The KKK had tried to intimidate Lumbee tribal members in Maxton, but the Robeson County-based Indians fought back at what is remembered as the Battle of Hayes Pond.

They drove the Klan out of town.

Mike Doares, past president of the History Museum, helped move the Norment collection from his Lumberton home to the museum. It was Doares and his wife, Monica, who organized the collection for exhibit.

“When I was in high school,” Doares said in the release, “Bill paid me $5 for sports photographs. That was a lot of money then, and he was great to work for.”

Bigelow worked for Norment as a reporter at The Robesonian.

“Bill was a master photographer,” Bigelow recalled, “and in those days, that meant he was a master of the dark room. He was a patient and soft-spoken teacher.”

“Bill had a great eye as viewers of this exhibit will see,” Bigelow said in the release.

A near life-long resident of Lumberton, Norment attended Catawba College where he played football and served as editor of the school newspaper.

He also served his country in the Army.

Norment participated in Golden Gloves boxing, and he was known to be an avid radio-controlled model airplane enthusiast.

“I think everybody liked Bill and appreciated the work he did,” Douglas said. “He was a little bit of an institution in Lumberton.”

On Thursday, Sept. 15, Rowan’s photography club held its first meeting of the semester. In room 105, Westby Hall students of various majors, including RTF, graphic design and digital media were all welcomed to 2 dozen boxes of Dunkin’ Donuts and Lay’s chips as the e-board members prepared an introductory presentation.

Room 105 proved to be an optimal space for the photography club as it featured a greenscreen area, multiple lighting fixtures, and long tables for the workshop. Though the e-board members assumed the teacher’s seat while preparing their slideshow, President Kevin Myers started off by stating that he and the board consider themselves on the same level as all other members. 

“The time spent in this club is not a time for me up here lecturing at the board but a time for every member to work on something they haven’t been able to finish during class or some project at home they want to bring to life on campus,” said Myers, “It’s a workshop for everybody. Even if they have nothing to do and just want to come here to sit around, it’s another reason to come by. That’s what us photographers do, after all, sit around for inspiration.” 

During the slideshow, Kevin wrote down the different types of photography on the whiteboard and laid out the separate parts of a camera. He also noted that during the semester the club would be venturing outside to do “Photowalks” where members have the opportunity to find campus spots and get inspired for their projects.

Kevin also opened the floor to contests they could do within the club so that more photography students get the well-earned recognition they need for their portfolios. 

After the introduction was complete, the members were prompted to join a Kahoot game. Because Kahoot charges for more than twenty people to join, the members were asked to share their phones and work with a partner to come up with responses. 

This proved to be an effective way of introducing photography knowledge and a fun icebreaker to get to know each of the members. One of the True/False questions was “The higher the number (millimeter) on a camera lens, the more zoomed in it is.” When it was revealed as being true, those who got it correct exalted with shouts of “yes” and fist bumps while those who got it wrong sighed and whispered, “I thought I knew that”. 

The e-board also mentioned that they’re in need of a new senator for the club. Vice President Matt Mastej vouched that members should not feel daunted by its responsibilities.

“All you have to do is show up to the SGA meetings, and don’t get me wrong, they’re long meetings, but it’s a good position to have on your resume. The biggest thing is just communication with the board, tell us you’ll be there on time and what meetings you can attend and you’ll be in our good graces,” said Mastej. “Most of the time you won’t even have to talk at the meetings so you’re more than encouraged to bring homework. Did I also say that they usually give out food?”

When asked about the mission of Rowan’s photo club, President Kevin Myers took a moment to collect his thoughts, then responded, “Our mission is to ultimately create another space here on campus where students can relate to each other and gain knowledge from making those connections of shared interests,” said Myers, “As a film production major, some of the best connections I’ve made were here on campus from the clubs I joined. We need these types of clubs to push students into connecting with each other because that’s how ideas start to form.” 

Compared to some of the older clubs at Rowan, the Photography Club is one of the newer additions to the campus as the club first met back in 2020 before COVID ended in-person meetings. Since then, the club has taken a hiatus, and this semester marks their return.  The Photography Club and its members breathe new life into the campus, and provides students with a space to inject their personalities. 

To get in contact with the e-board, all you have to do is go to the club’s website. You can follow Rowan Photography Club on Instagram @rowanphotoclub and join their discord. To officially sign up for the club you must sign up through the Proflink.

For questions/comments about this story DM us on Instagram @thewhitrowan or email the.whit.arts@gmail.com

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I slow the car as I approach a stop sign, craning my neck to scan around the corner. It is my first time visiting a popular bald eagle nest, and I was told “you can’t miss it. There will be photographers in the road and cars everywhere.” I turn right and as I go a bit farther around the bend, I see the crowd of photographers in the bike lane, 10 cars parked along the edge of the opposite side of the road. Yep. Easy to find. 

I park in a nearby dirt lot and walk over to the group of photographers. That weekday morning, about a dozen people were photographing the eagles. It was a “hot spot” for many weeks by the time I visited; I had avoided going, although I knew about it. I felt guilty being there, both because I was adding to the existing crowd and because I was there to observe the wildlife photographers, primarily. As a wildlife photographer, I am a part of the Bay Area’s local photography community and while many photographers privately tell me they are concerned about trends in the region’s wildlife photography, few are comfortable raising the issues directly with anyone on site, for fear of backlash. 

Since the pandemic, I have seen the number of people participating in outdoor recreation and particularly wildlife photography in the Bay Area grow tremendously, and it is creating stress for wildlife and people. Observing wildlife is joyous and exciting, so its popularity isn’t surprising. Wilderness and time with wildlife provide an opportunity to feel connected to something much larger than ourselves. And it is natural to want to share that joy. Compelling wildlife photos inspire others to love and protect species and wild places. A powerful image portraying an environmental issue can be a catalyst for significant change. And wildlife photographers are often activists in conservation issues, donating time, money, and images to protect species and places they treasure. But I’m struck by how tensions between people continue to ramp up in the field, as does the pressure on wildlife. 

As a photography community, we have the ability to improve the situation, if we make the collective effort to figure out how we share the space and time and account for differing needs of wildlife and people. I am in this mix too, as a naturalist and photographer/filmmaker, trying to figure out my impact on wildlife. I hope this essay is of service in this important conversation, offering questions we can ask ourselves and discuss as a group, then open it to the broader community.  

When charismatic and photographically desirable species like bald eagles, owls, foxes, and long-tailed weasels set up nests or dens in easily accessible locations, they attract crowds of photographers. This aggregation of photographers at wildlife “hot spots” is happening at a fevered pitch in the Bay Area. The pandemic, social media, camera technology, and habituated wildlife accustomed to extended exposure to people are all likely fueling the situation.  

The Bay Area has many wildlife photographers and the pandemic undoubtedly increased interest in this pursuit. It used to be that amateur wildlife photographers went out on weekends, but once “working from home” became the norm, things changed. Post-pandemic, crowds can appear seven days a week, as people increasingly have the flexibility to work from anywhere. I have seen photographers bring a laptop and cell phone to parks that have a cell signal, taking calls and emailing in between wildlife photo sessions. 

Social media helps instantly spread the word of wildlife sightings. Twenty years ago, few people, if any, in the South Bay would have known so quickly about an eagle nest built in Sonoma County. Social media, eBird, and iNaturalist have become research tools to find photography locations and subjects. Social media posts that include an image’s location and are posted in “real time” can create hot spots. In the San Francisco Bay Area, some nests and dens for desirable species are in well-known, recurring locations. Once the word is out that the animals are back each spring, people sometimes come out in droves. As many as 20 viewers at once, or more.

New camera technology, like high-end mirrorless cameras with eye autofocus and tracking features, makes it easier than ever to “nail the shot,” likely further boosting the pastime’s popularity. People are using cell phones for wildlife photos, too, whether as part of “selfie culture” or an attempt to replicate professional-quality images. Wildlife photos are often shot with long lenses, so it requires getting unreasonably near to the animal to try to achieve that kind of image with a cell phone.

The desire to get ever closer to wildlife further compounds these issues. Wildlife photographers can amass at locations where easily accessible wildlife is reported to be “tolerant,” meaning that an animal won’t flee at the sight of a human being or a car. Our suburbs swallow wildlife habitats, and even new trails in a park can put people in closer proximity to wildlife. Conversely, wildlife that is losing its preferred habitat is increasingly finding ways to survive in our midst. In those cases, some level of tolerance is unavoidable. And some researchers rely on habituation to study their subjects. But there are negative consequences to habituation. When wildlife loses fear of humans, it more frequently approaches people, vehicles, and dwellings—risking being fed, viewed as a nuisance, accidentally poisoned or shot, or euthanized to be tested for rabies, or hit by a car. Our time spent watching wildlife has the potential to cause harm to the wildlife, if we don’t observe with care and moderation.

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Baiting wildlife for photos is generally considered unethical, and in my experience only a small percentage of local photographers do it. But it happens. Local northern spotted owls have been baited; people with spotlights came out at night to see this sensitive species in one location last year. I’ve seen and also heard many stories of park-goers intentionally giving food to wildlife. A local resident who feeds feral cats at a South Bay golf course is also bringing meat for the foxes. Picnickers feed weasels watermelon while others bring them dog treats. Coyotes are fed near roads and in parking lots by hikers in the Marin Headlands. The list goes on and on. 

The harms caused by human presence vary by species, location, and circumstance. Feeding wildlife so that a creature then actively approaches humans is unquestionably harmful and leads to human-wildlife conflict and animal deaths. And wildlife seeking food near roads often dies from car strikes. The California Fish and Wildlife Journal devoted a special issue in 2020 to the subject, titled, “Effects of Non-consumptive Recreation on Wildlife in California.”

Nonconsumptive recreation includes hiking, biking, boating, wildlife viewing and photography, and much more. Among its effects, studies found: “[Bald] Eagles were most likely to flush when recreationists approached slowly or stopped to observe them … eagles did not resume eating for four hours after disturbance by walkers.” And research on mammals showed “the overall trend is sharply negative: as human activity increased, mammalian activity decreased, regardless of species [or] type of human activity.” The research concluded that “documented effects include detrimental changes to behavior, reproduction, growth, immune system function, levels of stress hormones, other physiological effects, and finally, [to] the survival of individual animals and persistence of wildlife populations and communities.”

Photographers visit these popular locations for different reasons—some to take a photo, see a species or the young of a species for the first time, and observe and learn about behavior. No one’s goal is more or less valid. But when people arrive expecting to easily achieve their goal, that outlook can rapidly shift to feelings of entitlement and resentment of other viewers. Tensions run particularly high when local “regulars” feel a need to protect wildlife from other photographers or hordes of visitors. And much of the animosity could be avoided if people treated both wildlife and other people in the area with respect and empathy.

The harm to photographers is often subtle—verbal run-ins, a moment with a creature or a photo ruined by someone’s lack of courtesy. (If you wouldn’t cut to the front of a line at a grocery store, why not show similar courtesy to photographers in the field, as well as empathy for wildlife?) Typically, joining a photographer without being waved in runs a high likelihood of interrupting wildlife behavior and may prompt an animal to flee, losing a meal if it is hunting. Photographers who prefer solitude may feel intruded on by uninvited onlookers or peers (and yes, if you are looking for solitude, probably best to avoid already crowded spots). While some enjoy the camaraderie and social aspect of the activity, most photographers I know would prefer to shoot alone, if possible.

All of this has generated heated discussion in the field, with tribes of adherents to differing philosophies, finger-pointing about whose fault it is that a location is crowded, or photographers gossiping about each other. 

What can parks and communities do to reduce negative impacts on visitors and wildlife? Some local parks have implemented programs to address this issue. To protect northern spotted owls, Marin County Parks has imposed temporary nighttime closures of certain trails, and wildlife team members monitor the owl populations. Marin County Parks collaborate with Marin Audubon to ensure docents are out during nesting season, educating people. Sonoma County Parks implemented a docent program this year on behalf of the long-tailed weasel and strategically placed large signs with tips for keeping weasels wild around the park. Point Reyes National Seashore has signs at trailheads, and volunteer docents to inform the public about best behavior around western snowy plovers, elephant seals, and other marine life.

Posting signs about coexistence with wildlife that advise a required distance from, and prohibitions against feeding, wildlife are helpful. But signs can only do so much. It could also be constructive for local parks, clubs, and organizations to host conversations about location-specific issues and gather input from the different people who visit.

In reality, most parks do not have the staffing or resources to coordinate volunteers to protect wildlife. Some hot spots recur year after year, but other times word gets out about a new site that’s only active for a matter of days or weeks. When there is no official park protection or wildlife is on private property, in my experience local residents and homeowners can feel compelled to try to protect the animals. The situation puts people between a rock and a hard place: Say nothing while poor behavior continues, or say something, which typically leads to a disagreement. All the while watching people get too close and cause visible distress, or perhaps even worse, bring food or photo props to the animals. 

What is the solution for individuals? Avoid those places? That’s not feasible for residents if it is their local park. Don’t travel to other counties to visit “popular” spots? That seems unnecessarily restrictive and exclusionary, particularly with socioeconomic considerations, as only locals can then see the animals at all. 

The North American Nature Photography Association has a statement on Ethical Field Practices, and if each of us followed its ethical and etiquette recommendations, that would go a long way toward better protecting wildlife and improving human interactions. Audubon also has a guide to ethical bird photography and videography. But this issue extends beyond photographers, so local community forums, media coverage, and public outreach are critical as well. 

Some questions to consider, when heading out for photography: What impact will my presence have on the animals I am photographing? How many other photographers are at the same location every day or every week? Am I familiar with signs of stress for this species, so I can leave if I see them? What impact will my presence have on photographers already present? What is a reasonable period of time to stay in this location? How often should I visit this location? Am I blocking the road, a trail, or the bike lane? Am I interfering with another photographer’s shot? Is there a maximum number of people I am comfortable with in a given location? Can we go into the field with consideration, kindness, and common courtesy as our goal? Can we discuss impact with an open mind? Lack of meaningful dialogue just reinforces a me-first culture, where an individual’s goal for a given day becomes more important, more valid, than anyone else’s goals or the long-term survival of an individual animal. As the Rolling Stones put it, “you can’t always get what you want.”

For me, wildlife photography is a solitary pursuit, a chance to be truly present in the moment, taking in not just the sights but also the sounds, smells, and textures of the natural world. For many photographers, time in wild places, sitting with wild animals, is an escape from the stress of everyday life. It is when I have processed the grief of losing a loved one. To protect wildlife and to minimize the chance of creating a hot spot, photographers could delay sharing images of nests, dens, and other sensitive sites for several months, and not post locations. I am mindful of cumulative human exposure for wildlife and adjust my time and presence accordingly. No one is perfect, and I have learned from my own mistakes and improved my practices. Now, if I drive to a nearby location that is increasingly popular and see three or more cars, I make a U-turn to go somewhere else. This provides me with a more intimate, personal experience in the wilderness, and it is less stressful for the wildlife I am hoping to observe and photograph.

When intentional isolation serves as a conduit for a profound connection, enabling a creative mind to keenly observe not only the external grandeur of untamed landscapes but also the inner journey of solitude, it gives rise to Cody Cobb’s photography. Cobb is a photographer whose lens is firmly focused on the American West. His photographic mission is to capture fleeting moments of tranquillity amidst the wild tumult of nature. By meticulously crafting the interplay of light and geometry, Cobb conjures an enigmatic sense of order from the wilderness. His photographs are visual dialogues that aim to encapsulate the intricate dance between the observer and the observed.

Cobb’s photography stands out as a testament to the power of simplicity and contemplation. His work reminds us of the importance of reconnecting with nature, finding solace in its grandeur, and preserving the fragile landscapes that inspired his art. Through his lens, one is invited to explore the quiet corners of our planet, reflect on our place within it, and appreciate the profound beauty that surrounds us. Cobb’s photography is a visual poem that inspires and enchants, a testament to the enduring allure of the natural world.

In an interview with STIR, Cobb walks us through the intricate relationship between nature and solitude to discuss how both feed into his work, saying, “An important part of my process is allowing photography to be secondary to the experience of being alone in these enormous places for days, sometimes even weeks at a time.” He admits that when he is entirely fixated on taking photos, he starts to lose awareness of the world around him. “I never plan to set out with a photograph in mind; I want to allow myself to be surprised by what I find in these places. When I am allowed to exist in that state of uninterrupted observation, it feels as if the boundary between the outside world and myself disappears,” explains Cobb.

To translate this idea of solitude into the photograph, it is entirely dependent on being in the right place at the right time, catching ephemeral moments when light and shadow happen to align perfectly for just a few minutes or even seconds. For instance, in the work Blueshift, the swathes of midnight blue and play of black and white, with a full moon at the centre, lend a captivating composition. The moon, with its silvery light, bathes the landscape in a gentle radiance, creating dramatic contrasts and evoking a sense of mystery. Cobb is mindful of managing exposure and composition, which becomes crucial in such works, as the moon’s brightness can overpower the delicate nuances of the night.

Over the years, he has become a nocturnal photographer who uses artificial light as a way of controlling the scenes he tries to create. Working in darkness has given him the ability to experiment more and experience an even deeper sense of isolation in remote places. Therefore, it would not be an exaggeration to say that his work transcends traditional boundaries, inviting viewers on a profound journey through nature’s most sublime moments. With a distinct and evocative style, Cobb has created a body of work that resonates with those who seek solace and wonder in the natural world.

Cobb’s work is characterised by a sense of quiet introspection. His images draw viewers into a meditative state, inviting them to contemplate the vastness and timelessness of the natural world. Whether it’s a windswept desert dune, a misty forest, or a rugged coastline, his photographs evoke a sense of reverence for the Earth’s majesty. One such work is an untitled photograph with a solitary figure standing atop a rocky precipice. An immediate comparison to Wanderer above the Sea of Fog by the German Romanticist artist Caspar David Friedrich cannot go unnoticed. This symbolises the human quest for self-discovery and the unknown, while the majestic mountains in the distance underline the sublime power of nature. The meticulous attention to detail and mastery of light and shadow create an evocative, awe-inspiring atmosphere, making the painting a timeless representation of the human self, alone in the vastness of the landscape.

The photograph Devour unveils a concealed radiance within the American West’s untamed landscapes. The play of blue light with the red leaves strewn on the ground is an uncanny illumination that bespeaks an otherworldly spectacle. The interplay of these two contrasting colours creates a surreal and cinematic atmosphere in the photograph. As someone whose interest lies at the threshold between nature and humanity, Cobb’s landscape photography allows him to let the external world become entangled with the internal world. “My photos show the Earth as it could have existed aeons ago or as it could be imagined in an alternate reality, but humanity is still inherent in the work because of my own interactions, influences and observations. I want to make work without people that is still able to invoke some sort of deeply human emotion for the viewer,” concludes Cobb.

A tripod is a vital tool for many photographers. There is a wide range of tripods available in every price range. You can invest as little as fifty dollars or go as high as fifteen hundred dollars. There are some things to watch out for, regardless the price range.

A tripod serves as a crucial piece of equipment. It stabilizes your camera and lens in a chosen position. It doesn’t matter if you’re using a 16mm wide angle lens weighing only 500 grams or a hefty 800mm lens weighing 5.5 kilograms. It allows for long exposures without issues or enables incredibly precise macro photography with substantial magnification. Moreover, it comes in handy for group portraits where you need to be in the shot too.

There is a tripod for every conceivable use, and this determines the type of tripod you need, up to a certain extent. It might be easy to just recommend a thousand-dollar tripod with the assurance that your camera will be secure in every situation. But that would be bad advice.

After all, it would be foolish to invest in such an expensive tripod if you only use it a few times a year. In fact, even budget-friendly tripods can be a suitable choice as long as you consider a few factors. In this article, I will provide some key checkpoints without steering you directly towards the most expensive tripod.

The Obvious Considerations

There are a few fundamental considerations when it comes to tripod advice. Firstly, consider the weight it can support. A general rule of thumb is three to four times the maximum weight of your heaviest equipment. If this is 5 kilograms, I always recommend choosing a tripod and ball head capable of supporting at least 15-20 kilograms.

While this might seem excessive, it will help minimize vibrations. Additionally, if you tend to use your camera backpack as a counterweight at the center column, this extra capacity becomes valuable.

Another crucial factor is how you intend to use the tripod. Is it for studio work, or does it need to accompany you on a long hike? For the former, a large, heavy, and sturdy aluminum tripod will suffice, while a lightweight carbon tripod is preferable for the latter.

Will you be using the tripod in conditions with wind or near water? Is videography the primary use, or will it be primarily for macro photography? These considerations will steer you towards a specific type of tripod.

Price is, of course, a consideration. What is your budget for a tripod that meets your needs? As mentioned, the most expensive one isn’t necessarily the best for you. True, it will perform the task impeccably, but it doesn’t make much sense if you’re using a small compact camera on a heavy duty $1,500 tripod.

On the other hand, a $50 tripod might be an excellent choice if it’s only needed occasionally, provided you choose carefully. After all, stability is the key. You don’t want your costly equipment tumbling to the ground. That’s why you have to check some key points before buying.

What to Look Out For

I’ve come across some surprisingly good cheap tripods. They’re compact, lightweight, and quite robust. I wouldn’t hesitate to use one from time to time. That’s precisely what these tripods are designed for: occasional or low-stress use.

If you’re in the market for a tripod, always check the key points I mentioned below. It doesn’t matter if your tripod will be an expensive or a cheap one.

Leg Locks

Leg locks come in two types: the twist lock and the lever lock. Each has its advantages and disadvantages, and you should choose the type that feels most convenient for you. In other words, try both before making a decision.

A consideration that’s much more important is how securely the legs lock in place. Does it offer a firm lock that keeps the legs at the desired height, or do they slowly sink down? Remember, sinking occurs only under a constant downward force. This means you should test this with your heaviest camera and lens combination, or even with a camera backpack suspended from the center column.

Do the twist locks or lever locks operate smoothly? Do you need to apply a lot of force to lock or unlock the legs, or is it with a simple flick of a wrist? If you plan to use the tripod near water, you might want to consider whether the legs can be taken apart for cleaning.

The Base Plate and Ball Head

A common issue I’ve observed with many basic tripods is the ease with which a ball head can be unscrewed from the tripod itself, sometimes unintentionally. If you constantly need to check if the ball head is securely in place, there will come a moment when you forget.

The ball head is the component to which your camera attaches. You must be certain that the ball head is always properly secured. Even if there’s minimal risk of your camera falling, a ball head that is not fixed in place won’t maintain your camera in a stable position.

Another crucial consideration is the operation of the ball head itself. Typically, there are two or three knobs, each serving a different function. Ensure these knobs function seamlessly. They should be easy to lock and unlock without excessive force. 

When you lock the knobs, it should be a secure lock. The panorama knob should keep the ball head fixed in the desired direction, while the ball head lock itself should hold the ball in the correct position. If it fails in this regard, you’ll find it challenging to use the tripod in a convenient manner.

The Camera Plate Itself

Most ball heads now incorporate an Arca-Swiss connection plate. This small plate is screwed to the bottom of your camera, allowing for quick attachment to the ball head. This plate must be securely fastened, without any play. I don’t need to explain the potential consequences if the camera plate comes loose.

Fortunately, various third-party camera plates are available. You’re not restricted to using the one that comes with the tripod head. Seek out one that stays securely in place, or even consider an L-bracket if the one you received with the ball head fails to do so.

Don’t Be Misled by Price

As mentioned at the outset of this article, an expensive tripod doesn’t guarantee it’s the best one for you. Therefore, it’s essential to visit a store and try out different tripods yourself. You might discover an affordable tripod that presents none of the aforementioned issues and meets your requirements.

However, when searching for an inexpensive tripod, don’t assume you can overlook one single issue as mentioned in this article. While you might save money with a budget tripod, it could jeopardize your expensive equipment if you accept certain shortcomings.

I’d like to ask if you have any additional tips to share when it comes to choosing a tripod. Please feel free to share it in the comments below.

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