Comparison Bosch TT 150 vs Bosch BT-150

The minimum height relative to the base at which the tripod base can be mounted.

The lower the minimum height, the better the tripod is suitable for macro and product photography; in addition, the range of height adjustment available to the user depends on this indicator. Note that for models with the ability to flip the boom (see below), the minimum height is given for the traditional position of the boom, platform up. And if the claimed minimum is significantly less than the length of the tripod when folded (for example, 15 cm with a length of 50 cm), this means that the legs can “spread” to a horizontal position or close to it, thus lowering the entire structure.

The maximum height from the base on which the tripod base can be mounted.

For desktop use (see "Installation"), a large height is not required, therefore, in most of these models, this figure does not exceed 20 cm — the only exceptions are some specific monopods. Accordingly, the difference in height between different desktop structures in most cases does not matter much. But in the floor models, the most "undersized" have a maximum height of about 40 – 50 cm, and the highest ones are able to open up to 2.5 m and even higher. In such cases, the choice should take into account the specifics of use. So, it makes sense to specifically look for a model at 150 – 160 cm if it is fundamentally important to install the camera at eye level (eye level is usually about 10 cm lower than a person’s height). At the same time, most camcorders and many cameras have swivel screens that allow you to comfortably look at the device from top to bottom; and even in the absence of such a screen, bending down to the level of the camera is not so difficult. And it makes sense to pay attention to tripods with a height of 170 cm and above mainly in those cases when shooting over heads is planned — for example, reports from public events.

The type of head provided in the tripod is, in fact, the type of mechanism responsible for rotating the platform with the camera relative to the base.

— 2D. Such heads have 2 degrees of freedom and allow you to turn the camera from side to side and tilt back and forth. At the same time, a separate rotation mechanism is provided for each of the two axes. This makes it easy to shoot vertical and horizontal panoramas: the camera on such a tripod can turn strictly along one of the axes without unnecessary movements that spoil the picture (for example, strictly to the side without moving up and down). Such heads are considered suitable primarily for video filming; for photography, they are somewhat less convenient, but they are still found in photo tripods (including highly specialized ones).

— 3D. Heads with three degrees of freedom: turn from side to side, tilt up and down and “roll” right and left; a separate hinge is responsible for each of the three. They are mainly used in models with the ability to install cameras: such freedom of movement is important primarily for photography. However, specialized tripods for video cameras with 3D heads are also produced. Compared to ball heads (see below), which also provide a high degree of freedom, 3D mechanisms are more accurate, they are indispensable in cases where you need to clearly control the rotation along one axis (when shooting panoramic...or shooting with a rotation effect). On the other hand, 3D heads are more complex and expensive, and also less suitable for quickly pointing the camera in an arbitrary direction.

— Ball. In heads of this type, the platform is attached to the ball by means of a rod, which is clamped in a special mount. By loosening the mount, you can rotate the camera horizontally, as well as arbitrarily tilt back and forth and left and right. The key advantage of such mechanisms is the ability to quickly change the position of the camera; in 3D heads (see above) it takes longer. Also, the advantages of ball heads include simplicity, compactness and low cost. On the other hand, it is difficult to turn the camera on such a head strictly along one axis without moving along the other two, which makes some shooting techniques difficult. In advanced tripods, additional equipment may be provided that partly eliminates this drawback — for example, a separate hinge for horizontal panoramas; however, in terms of accuracy, ball heads are still inferior to 3D mechanisms.

The presence of a built-in tripod level — a device that allows you to control the horizontal position of the camera.

Spirit levels are most often used — in the form of a sealed flask with liquid and an air spirit: if the spirit is between the marks on the flask, then the camera is on the horizon. The simplest option provides one flask to control the tilt to the right and left in order to avoid a “littered horizon”; however, the design may provide another level that monitors the tilt back and forth, or one common two-axis bulb. And in the model with a horizontal rotation of the rod (see above), an additional level is often set — for the horizontal mode. Anyway, this function greatly facilitates the exposure of the camera "on the horizon".

Support material — the lower part of the legs, in direct contact with the surface on which the tripod is placed.

— Rubber. Rubber feet are perfect for hard surface applications. They securely stand on almost any material, do not slip and even tend to “stick” slightly, additionally holding the tripod in place. In addition, such supports do not damage delicate coatings such as parquet or polished wood, and they themselves, in turn, resist damage well, are not afraid of asphalt and other rough materials. For installation on the ground, viscous or loose material, rubber is somewhat worse than spikes, but this moment is rarely critical, and supports of this type are widespread in modern tripods.

— Thorns. Supports in the form of rather sharp spikes are able to pierce into soft surfaces, securely fixing the entire structure on them. This option is perfect for installation on soft ground, sand or clay, hard snow, etc. At the same time, sharp spikes are not suitable for hard surfaces: they tend to slip and can damage soft materials. Therefore, in its pure form, this type of support is quite rare, more often a combination of spikes / rubber is used (see below).

— Spikes / rubber. Supports in the form of spikes with removable rubber caps put on them. About both options separately, see above, and their combination makes the design as versatile as poss...ible, allowing it to be adjusted to different types of surfaces. So, spikes are well suited for a lawn or beach, and if you need to move to the asphalt or go into a room, sharp supports can be covered with rubber caps. Due to this versatility, combo stands are very popular among floor tripods (see "Installation"), but it makes no sense to use them in tabletop models.

— Plastic. Supports, in many respects similar to the rubber ones described above; also designed for use mainly on hard surfaces, including delicate ones. One of the key advantages of plastic is its low cost. On the other hand, such supports are somewhat less reliable and durable than rubber ones, and are more prone to slip, which is why they are much less common.

— Magnetic. Supports with permanent magnets built into them, capable of “sticking” to magnetic surfaces and providing additional fixation reliability. They are used exclusively in table tripods, mostly flexible (see "Type") — it does not make sense to install such supports in a larger model. But in compact designs, the strength of the magnets can even be enough to hold a tripod suspended “upside down” along with the camera. On the other hand, it is quite rare to put tripods on metal, so this option has not received distribution.

— Wheels. Supports in the form of wheels, usually self-orienting (as in office chairs). They are rare, mainly in professional studio tripods for video filming: both the tripods themselves and the cameras mounted on them are quite massive, and it is easier to move the entire structure from place to place on wheels.