TRIPODS

For more than fifteen years, I’ve relied on the Really Right Stuff TVC-23 tripod for my 4×5 cameras in the field, while an Arkay studio stand remains my choice indoors. The TVC-23, a medium-sized carbon fiber tripod, has always struck the right balance—light enough to carry yet stable enough for my Linhof Master Technika 3000 and Ebony field cameras. Over the years, it has supported everything from a heavy-duty RRS BH-55 ball head to my current panoramic head and leveling base setup—the Center Column’s test results for the RRS TVC-23.

When I moved away from ball heads for large-format work, I chose the Acratech Panoramic Head and Leveling Base. For years, I had used RRS heads—the BH-55 on the studio stand and the BH-40 on the TVC-23 for heavier cameras. While the tripod itself was always sufficient, I grew tired of the compromises that come with ball heads on larger systems.

Ball heads still have their place. I keep the RRS BH-40 on one of two of my medium format tripods, the RRS TQC-14, and the RRS BH-30 on a Gitzo GT1541T for my 4×5 pinhole and smaller cameras when traveling. But when precision matters, a geared or pano-style head wins every time. No matter what manufacturers claim, ball heads simply aren’t as exact when it comes to controlled, three-direction adjustments. My BH-55s were also heavier than the Acratech setup, which is both lighter and far more precise.

After many years with the Acratech, I’m convinced it’s the right choice. It’s easy to operate, lighter to carry, and versatile enough for general photography—not just panoramas or long lenses. Selling off a couple of ball heads more than offset the cost, and I haven’t looked back. I still appreciate what ball heads can do, but for serious 4×5 work outside the studio, the Acratech head and leveling base have finally given me the precision I always wanted without the burden of a giant ball head.

For several years, I used the tripod with a leveling base, adding the E-6H gimbal whenever I wanted to shoot panoramas. The setup was perfect for travel, fitting neatly into the under-floor storage of my camper van. The E-6H’s storage case came in handy, too—thanks to the leveling base’s quick-release, I could break the rig down easily for transport.

As much as I appreciated the compact size and light weight of this configuration, I eventually missed having a center column for certain cameras. To solve that, I picked up a second RRS TQC-14 in excellent used condition with its center column intact and paired it with the BH-40 from my gear closet. Over time, this lightweight yet stable tripod has become my go-to for everything except 4×5 work—though I’ve even managed field shots with my small Ebony RSW 4×5 on the TQC-14 and a leveling base.

Owning two versions of essentially the same tripod says plenty about their quality and how indispensable these legs have become in my kit. Here are The Center Column’s test results for the RRS TQC-14.

The E-6H gimbal is lightweight and precise, allowing for quick and easy stitching. The head shifts back, allowing the lens nodal point to be positioned directly on the tripod’s pivot point. When rotating the camera for panoramic creation, having the nodal point directly over the tripod’s pivot point places objects from one image to another in the correct alignment. Another great feature when stitching is adjusting the click stops on the panning scale. Features like these help to make guessing obsolete and precision easy for panoramic and stitching photography.

The Gitzo GT1541T is a lightweight tripod that folds to a compact size and fits in a suitcase for airplane travel. When folded, the legs can be flipped over the center column and will surround the ball head, making it even more compact. I acquired it for a trip to Iceland many years ago, and this setup performed flawlessly in freezing weather.

The GT1541T tripod has consistently supported my smaller cameras, such as Fuji APS-C models, as well as my 4×5 and 6×17 pinhole cameras, without any issues. It does exactly what I need it to do. I even used it with my medium-format ALPA digital kit after I forgot to switch tripods from my camper van before a trip. It performed reliably; however, I wouldn’t switch from using my RRS TQC-14 for medium format due to the added weight and replacement cost of medium-format gear.

The RRS BH-30 ball head is compact and handles my smaller-format and pinhole cameras well. It operates efficiently on the Gitzo GT1541T. I have used this compact tripod setup for over a decade and have no plans to replace it. It easily stows in the underfloor storage area of my camper van and is a breeze to carry into the field. Here is an excellent review of the GT1541T. For the specs of the RRS BH-30, you can go here.

I own a pocket tripod, specifically the RRS TFA-01 paired with a BH25 ball head. The primary reason I purchased it was for its convenience in carrying. It easily supports my Hasselblad 907x, Fujifilm X100V, and Mamiya 6 cameras without any issues. The RRS TFA-01 is rated to hold up to 15 pounds. I mainly use it as an alternative for a larger tripod when I travel and for FaceTiming with my iPhone. It is lightweight, and with the BH25 head, it barely takes up any space in my bag.

Would I buy it again? Maybe. I don’t frequently use it for camera work, and there are cheaper options available for a small tripod suitable for FaceTiming. However, cheaper doesn’t always mean better.

The phone holder I use is imprinted with ‘XILETU’ and ‘XJ-8’ and is designed for an Arca Swiss quick-release system. Since I purchased it in 2021, it’s now marketed as the AFVO Universal Metal Smartphone Holder Tripod Adapter with Cold Shoe for Arca Swiss and 1/4″-20 Tripods. This adapter works well, appears to be high quality, and is affordable.

Would I buy it again? Yes, it was worth the price and met my needs perfectly. I’ve also used it on my Kaiser copy stand a few times to take quick snapshots of the food dishes I prepared. Why use a ‘real’ camera when the iPhone can capture perfectly good snapshots to send to friends?

I bought two inexpensive smartphone tripods during a B&H Flash Deal as gifts for friends. I had to show one of my friends how to set it up, which gave me an idea of their quality. They say their tripods work just fine, but I’m glad to have the setup I currently own. I’m also relieved that I didn’t lose money trying to sell my pocket tripod on the used market, as I had considered doing due to lack of use.

When FaceTiming became a part of my life, my pocket tripod found new life with the addition of an Arca Swiss smartphone holder. Now I don’t have to worry about my expensive iPhone tipping over due to tripod instability, and the added bonus of the AFVO adapter working with my copy stand is a nice touch.

A copy stand was introduced to my studio long ago for specific types of product photography, but I sold my original studio copy stand during a significant move. Later, when digitizing film became more common than using film scanners, I had to purchase a similar copy stand once again.

At the beginning of my digitizing journey, I used medium-format digital equipment to digitize film when necessary and acquired the Beseler CS Digital/Photo-Video copy stand. This stand is suitable for cameras and digital backs weighing up to 16 lbs. It is heavy (50 lbs), not mobile, and uses the same chassis as Beseler’s 45 V-XL enlargers.

Currently, I utilize a 61 MP full-frame setup that consists of a Sony a7R IVA paired with the Sony FE 90mm f/2.8 Macro G OSS Lens for single-frame scanning. For contact sheets and certain types of product shots, I employ the Sigma 24-70mm f/2.8 DG DN II Art Lens. These setups weigh as much as my medium-format gear, and I would never trust a smaller copy stand with them. A sturdy copy stand is essential when digitizing film.

For lighter projects, I use a smaller copy stand, the Kaiser RS 2-XA. It is portable and well-constructed, adequately handling my APS-C cameras. The specifications indicate it can support up to 3.3 lbs (1.5 kg).

If you are interested in learning more about my film digitization process, I’ve written a three-part series of articles detailing my journey. However, a total rewrite is needed to catch up with my newer, full-frame gear.

– DIGITIZING FILM – PART 1: [Copy stands, film holders, medium format]
– DIGITIZING FILM – PART 2: [Software, stitching, more]
– DIGITIZING FILM – PART 3: [APS-C, Lightroom, film storage]

I think it’s a good idea to start with Part 3, the most current article.

Photographers of all heights often find themselves reaching for stools and ladders. As someone who is 5’3″ on my best days, I’ve realized that using a three-step ladder in the studio can feel unsafe. There were times when I became so focused on my equipment and composition that I compromised my safety while shooting from a three-step stool or ladder. Fortunately, the stool I’ve used for the past ten years has been a reliable companion. It strikes a perfect balance between strength and portability, and I haven’t fallen off it yet!