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Hold On!

There is an old song that goes something like this; "Hold on loosely, but don't let go. If you cling too tightly, you're gonna lose control." (38 Special's 1981 Wild-Eyed Southern Boys album, written by D. Barnes, J. Carlisi and J. Peterik). The song isn't about camera work, but it should have been. There are a lot of different ways to support your camera while shooting, many of which don't need the death grip in order to achieve a steady shot. In fact, gripping a camera tightly not only fatigues your arms and eventually leads to the shakes, but it also transfers a lot of vibration from your body directly to the lens.

I used to work with a Russian camera operator friend who was very stable when he shot. He always would say (and you have to use your best Russian accent), "My body is tripod!" The truth is, what he meant to say was that his body was "like Steadi-cam." He constantly adjusted parts of himself to absorb the shock, shifting his weight, slowing his breathing and changing his grip position. But the first spot the absorption took place was his hands. So let's start there.

When it comes to holding them, there are really two main types of cameras: those with straps and those without. If you have a strap, be thankful. A strap allows you to relax your hand while still shooting. This allows you to touch controls gently and not drop the camera. If you use it properly, your strap even sets your body up to go into what we at Videomaker like to call the Marx position. This is a three-point holding position so named because it resembles the way Groucho Marx used to waddle as he'd comic-strut across the stage, cigar in hand. If you hold the camera body in your right hand and the lens in your left, then tuck your elbows against your body, you have created a triangle or pyramid, which coincidentally is one of the strongest shapes in the world. This position is based upon the contacting of three points. Remember this: Always try to brace yourself with three or more points. You can do this by leaning your body against a wall or a tree, by positioning the camera on your knee while sitting cross-legged or by using a professional shoulder mount. Keeping contact is the key. Even if you don't have a strap, always try to keep two hands on the camera. Using the viewfinder instead of the flip-out screen adds another point of contact. The more contact, the more stability.

Cradling is another way to hold your camera. This is sometimes used for lower-angle shots. With your left hand under the camera and your right hand either holding the handle or slipped downward into the strap (controlling the zoom with your thumb), you create a more solid, albeit floating, hand grip. I find that this position is my backup position for when my arms get tired. It is not suitable for standing interviews, because you are not at eye level, but it works well for seated subjects or long hauls of shooting B roll. Again, remember: when your arms get tired, your shot gets shaky. So don't wear yourself out. Change grips and positions before you start to feel weak. Changing muscles will make you last a lot longer. Don't wait too long, or it will be too late.