Broke Up with My Tripod

The Day I Broke Up with My Tripod (and Fell in Love with Chaos)

How ditching the legs brought the soul back to my photography

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There comes a moment in every photographer’s life when you ask yourself:

“Am I here to make images—or construct scaffolding in public spaces like a freelance civil engineer?”

For me, that moment arrived mid-hike, somewhere between frustration and a back spasm. As someone who travels first and photographs second, tripods were always an uneasy companion. Too slow, too bulky, too… still. I preferred movement. Moments. Imperfection.

So unless I had no other choice, the tripod stayed in the bag—or, more often, at home, next to other things I regret buying.

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The Breakup: Tripod, It’s Over

Everything changed when I sold off my full-frame gear and picked up a Hasselblad 100C. A medium format marvel with in-body image stabilization that honestly feels like it bends the laws of physics. This camera doesn’t just handle motion—it laughs at it.

Suddenly I was handholding exposures at one second. Then five. Then ten. One day I tried a full minute just to see what would happen.

It worked.

No leaning. No monopod. Just my two hands, a calm breath, and a refusal to believe in limits.

And so, after years of resentment, I officially broke up with my tripod. We had a decent run. But I’ve changed.

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The Descent Into Chaos (and Joy)

Once I realized the power I held (literally), I dove off the deep end.

• Long exposures while hanging the camera out of a moving car window? Absolutely.

• Panning shots in the middle of a dancing crowd during Día de los Muertos? Naturally.

• Shooting handheld in a dim alley at night, hoping my pulse wouldn’t ruin the frame? Welcome to the new normal.

The results weren’t always technically perfect, but they had energy, soul, and movement. They felt alive. And for the first time in years, photography felt like play again. Not production.

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Gear List: What I Use for Tripod-Free Madness

If you’re curious about replicating this kind of work, here’s what’s in my current kit:

Camera:

• Hasselblad X2D 100C – medium format digital with built-in IBIS (image stabilization that actually works)

Lenses:

• XCD 38mm f/2.5 V – for wider panning and festival scenes

• XCD 55mm f/2.5 V – my go-to for balanced compositions and low light

• XCD 90mm f/2.5 V – ideal for isolating elements while still experimenting with motion

Accessories:

• ND Filters (2–6 stops) – to extend exposure time even in bright daylight

• Lens hood – keeps stray light out and adds just enough “pro look” to scare people into giving me space

• Wrist strap – because if you’re not using a tripod, you better hold on tight

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Tips for Shooting Handheld Long Exposure Without a Tripod

Want to try it yourself? Here’s what I’ve learned (mostly the hard way):

1. Stabilize yourself

Use your body like a tripod: feet shoulder-width apart, elbows tucked in, deep breath before the shot. Brace your core. Pretend you’re in a yoga pose for photographers.

2. Shoot in bursts

Don’t take just one long exposure—shoot 3 to 5 frames back-to-back. At least one will be sharp enough (or artistically blurry in the right way).

3. Use image stabilization wisely

Let the IBIS settle for a second before hitting the shutter. Some systems need a half-second of calm to stabilize fully.

4. ND filters are your best friends

If you want 5-10 second exposures in daylight, ND filters are essential. I use screw-on types for convenience.

5. Know your limits, then ignore them a little

Start with 1-second exposures. Then 2. Then 5. Eventually, you’ll know how long you can hold based on your body and lens. Then try longer anyway—chaos is part of the fun.

6. Embrace the blur

Not everything needs to be tack-sharp. Some of the most interesting images come from the slight blur of motion, the impression of movement, the feeling of a moment rather than the forensic evidence of it.

7. Skip the self-judgment

Not every shot will work. That’s the point. But the ones that do? They’ll feel electric.

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Final Thoughts: It’s About the Joy

In the end, it’s not really about tripods, or stabilization, or how sharp your corners are. It’s about how the process makes you feel.

For me, letting go of the tripod was a return to joy. A reminder that photography is as much about reaction as it is about composition. About chasing something real, even if it’s slightly out of focus.

So next time you’re heading out—consider leaving the tripod behind. Let your hands shake. Let your images breathe.

You might just fall in love with chaos too.