Why Your First Gear Purchase Should Be a Tripod, Not a Lens
Starting out in filmmaking or photography, it's easy to get seduced by shiny new lenses with impossibly low f-stops or cameras that promise to change your life. I've been there—scrolling through B&H at 2AM, convincing myself that one more bit of glass will transform my work. But here's the truth no one wants to hear: your first serious investment should be a solid tripod.
I know. Boring, right? A tripod doesn't have that sexy appeal of a 50mm f/1.2 or the latest mirrorless body. But stick with me here, because this humble three-legged companion has saved more of my shoots than any piece of expensive glass ever has.
The Steady Truth
Shaky footage is the fastest way to look amateur. I learned this the hard way on an early corporate shoot in Sheffield. I'd rocked up with my shiny new camera, confident I could nail handheld shots all day. Two hours in, my arms were trembling, and the client was politely suggesting we "maybe try something steadier." Lesson learned: stability isn't optional.
A good tripod gives you:
• Consistent framing for interviews and static shots
• Time-lapse capabilities without expensive sliders
• Low-light shooting at slower shutter speeds without blur
• Professional credibility (clients notice when you show up prepared)
What to Look For
You don't need to drop £500 on a carbon-fiber marvel straight away. Here's what actually matters:
Fluid Head: Essential for smooth pans and tilts in video work. Friction-based heads are fine for photos but frustrating for film.
Load Capacity: Buy for the kit you'll have in two years, not what you own today. That Canon R5C setup I use now? Would have snapped my first budget tripod in half.
Height Range: Get something that extends to your eye level without the center column. Extending that column makes everything wobblier—it's a design compromise, not a feature.
Quick Release Plate: Manfrotto and Arca-Swiss systems are industry standards for good reason.
The Budget Sweet Spot
I started with a Manfrotto 055 with a basic fluid head—about £200 total. Still use it for smaller shoots seven years later. For run-and-gun work, I've added a lighter travel tripod, but that workhorse Manfrotto has been on more projects than any camera body I've owned.
Meanwhile, that "must-have" lens I nearly bought instead? Made obsolete by newer models within two years.
The Unsexy Truth About Gear
Here's what they don't show on YouTube gear reviews: your clients can't tell the difference between footage shot on a £2,000 lens versus a £500 one if both are properly exposed and composed. But they absolutely notice the difference between steady, professional-looking shots and shaky handheld footage that makes them seasick.
A tripod won't make your Instagram followers jealous. It won't spark conversations at camera shops. But it will make you a better filmmaker, deliver more usable footage, and save your bacon when a client needs that perfectly stable shot at golden hour.
So before you lust after another lens or upgrade that camera body, ask yourself: "Is my footage as steady as it should be?" If the answer is no—and let's be honest, it probably is—invest in three legs before you invest in more glass.
Your future self (and your clients) will thank you. Now if you'll excuse me, I need to go shopping for a new tripod bag. See? Even the accessories are unglamorous.
