Cure for camera rotating around tripod socket

If you have been in camera scanning even for a week, you’ve probably seen this copy stand arm with a screw dozens of times — cheap stand or expensive one, it ends in a twist knob that threads into your camera’s tripod socket. And most of you know the drill: leveling the camera so the lens axis is perpendicular to the stand’s base takes a lot of time, checked with a couple bubble levels or, better, the mirror trick. And you know the moment right before you’re done — one last twist to correct the last fraction of a degree in camera orientation — and the screw lets go instead of holding and your camera get loose and twisting again. With a heavy body and lens, fixing that rotation (roll) still leaves the tilt (pitch/yaw) to sort out separately, so you basically hate the process and push back the moment you have to set up your rig.

The issue is - the standard 1/4"-20 screw holds the camera by pure friction between camera base and mount’s cork or rubber strips. So you nudge, it slips, you re-level, it slips again — and given how uncomfortable the grip itself to hold - you’re also worried about stripping the tripod socket underneath. You’d badly like to have Arca-Swiss instead of the primitive screw, but even established rig manufacturers mostly pass on Arca-Swiss clamps.

Of course, the correct fix is a dedicated camera cage or L-bracket with an Arca-Swiss plate. The corrsponding clamp with matching Arca mount can be attached to the stand arm with as much brute force as you can manage. You do this once, carefully, and it holds for good; the camera can’t rotate independent of the rig and is less susceptible to vibrations. But that only works if a cage exists for your camera body, and plenty don’t: older digital bodies, oddball mirrorless, anything not popular enough with vloggers ;-). A standard rubber-lined Arca-Swiss camera plate doesn’t help much either — it still relies on just a screw with D-ring.

Caption: Leofoto NP-60 and Breakthrough Photography old style plate.

It only dawned on me recently that there’s a pretty simple cure for this: a mount plate with so-called “anti-twist lip”. If you’ve known about these for ages, my apologies for the wasted time — nothing below will break new ground for you.

The workaround I am talking about is this: an Arca-Swiss compatible plate with an anti-twist lip — a raised edge near the screw hole, fixed or retractable, that presses against the edge of the camera body.

The screw slot has about an inch of travel before it fully seats — start the screw, but before it’s tight, slide the plate so the lip jams against the front of the camera, then finish tightening. The lip takes the rotational load instead of pure friction force, so the camera can’t spin loose as usual.

Caption: Leofoto NP-60 and Breakthrough Photography old style plate on camera. Note: the Leofoto plate lets you adjust the lip height, while the old BP lets you adjust the lip after the plate is screwed in.

Of course, you still need to fine-tune the clamp on the rig side — which is fine, since that connection can take much more abuse: no delicate parts there, and no danger to the camera’s tripod socket.

Best solution overall is a 2- or 3-axis Arca-Swiss geared head for precise leveling, though it’s not cheap and adds weight of its own. Skip leveling platforms or inexpensive small ball heads — in my experience they shift during final tightening. On the inexpensive side, your best bet may be a leveling film holder, if it’s equipped with adjustable legs (like VALOI 360).

Anti-twist lip plates run roughly $15–95 depending on build quality and dovetail compatibility — search “anti-twist” or “anti-rotation lip.” Works on any body that has an edge for the lip to press against — cage or no cage.

Hope this helps.

Update: when I mentioned leveling platforms I meant those “leveling bases” or “leveling heads” like pictured below in my response to @Harry . I think they intended to work in vertical orientation, in camera scanning scenario - it’s horizontal orientation -camera and lens create strong tilting effort which those devices are not meant to handle IMHO

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Good hints, @VladS , single screw mounting has been there for ages and has only been fixed by a few brands.

I still got my old M645 which has to holes into which to pins lock, provided your tripod head has them. It wouldn’t be too hard (technically) to stanardise anti-rotation measures…but that’s not my point here.

I’ve tried several ways to prevent things from rotating like

  • adhesive tape made from fabric. The glue will eventually seep through and hold things tight. Messy to remove, but works like a charm.
  • camera cage that locks with the film strap sockets and that has an arca dovetail, which is almost always the case (I presume)
  • attach the bellows instead of the camera.

A cage interlocking with film strap sockets gives the scanning rig a great boost in repeatability and stiffness - if one wants to hang the whole thing from the camera.

Heavier gear is best attached through (two) clamps around the lens, which makes the camera easily usable for other things in no time and no need for readjusting. If bellows are used, attach the bellows.

I’m still convinced that the approach made by Nikon’s ES-2 and by Valoi is probably best, but they are not really suited for easily changing formats.

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I use the Leophoto plate on their GR-3 panner. I do most of my leveling on the film plane, but use the panner for tiny adjustments and for the arca mount. It’s low profile.

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Great advice about the ‘anti-twist’ plate but I’d have to push back against the ‘skip leveling platforms’ part.

You have to make one of these for yourself of course but in my view it is the most elegant solution of all. At its most basic it can be a simple fairly thick plywood board and should be a minimum of 30cms (12") square. It can be shimmed underneath with anything that comes to hand, your negative holder simply sits on top. With a little more ingenuity and the right tools and skills you can add adjustable feet, 4 or even just 3 (the milking stool principle). It dispenses with any need for a geared head, keeps your camera close to the upright of your copy stand and at the same time minimises the supported mass. The larger the board the better really, it makes for very fine adjustment and can be reassuringly heavy.

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Valoi makes a simple leveling base designed to hold a CS Lite, but works fine with other lights sitting on top. I have my Scanlight and Lobster holder sitting on top.

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I meant those small leveling bases like below shown as sample. of course if you do something yourself and think it thru , you achieve desired result - especially with wood which great material all around especially to dampen vibrations. My note was about really simple low cost solution for people who don’t want to spent much money or efforts. Of course leveling bases from different manufacturers my behav e differently - I was unhappy with one I have (not one pictured)

Ah yes, thanks. Maybe I should call my favoured type a ‘leveling platform’ or ‘leveling baseboard’.

I agree, I meant leveling base sitting on copy stand arm like I discussed in https://medium.com/on-film-scanning/film-scanning-digitizing-vlads-test-target-d8625c1c03af see Oben Leveling Head section . Thanks!

I see. I originally started out with a Leofoto G2 head on my copy stand, but found I was have to re-align frequently. Taking it off and using that Valoi platform made the system so much more stable. I check alignment before each scanning session, and barely have to adjust anything. Often not at all.

An altogether different solution which is totally robust is to use a Balpro bellows equipped with the top plate made for your camera lens mount. The Balpro connects to the copy stand with an Arca-Swiss compatible track and clamp, and the camera is seated into the bellows plate. It also has the advantage of being able to rotate the camera in order to change between portrait and landscape captures if you have a reason to do so. It combines with any of the usually discussed solutions for leveling and stays very immobile once it is set up - unless the user changes it of course. This is not a cheap solution but it is a technically sound one, and with the right kind of macro lens also allows one to change the magnification easily.

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Arca Swiss style clamp + L Bracket works well

For anything up to full frame with an M39 (enlarlger/duplicating, repro) lens you can use any of the quality double rail bellows from the film era, Canon FN or FD, Nikon PB-4 & PB-6, Pentax made an M42 double rail version but it’s not that common, Olympus made them too but adapters are not as common, especially for the M39 lens mount and the nylon bushes can break down. It looks to me that these lipped plates used with the lip set vertically would work very well for attaching bellows to an Arca-Swiss bracket/quick release. Most of the brackets have provision for grub screws to prevent the bracket turning. The Canon FN is beautifully made and often sell very cheaply, some have provision for both 1/4" & 3/8" , some only 1/4". The Manfrotto 394 RC4 with 410PL plate is another alternative, very solid (but very slim) as it’s designed for heavy old school video cameras. Generally (probably exclusively) you don’t get the provision to turn the camera through 90º with these bellows as you can with the Balpro.