The tripod is a necessary component of a good photographer's equipment inventory. Its more obvious uses include the stationary positioning of a camera to avoid the motion inherent in hand-held photography. But there are some other uses that are not quite so obvious. Light painting, for example, is a creative technique that involves long exposures, controlled light sources, and motion.
Hand-held classic cameras are excellent for many applications, but their lack of stability tends to detract from photographs taken in low-light situations requiring slightly longer exposure times, and especially in much longer timed exposures. In these situations, any camera motion can be a problem. The tripod cures the problem by offering an immobile platform from which to shoot.
But sometimes the use of a tripod doesn't involve the stopping of all camera motion. Sometimes what is desired is a control of motion rather than a stopping of motion. The camera tripod is extremely useful for this application, too.
Anchored to its tripod, a camera can hold a perfectly fixed position or it can rotate, aiming its aperture in any direction around a fixed point, which, of course, is the tripod's location. A good tripod offers the option of swiveling the camera around, panning side to side or up and down.
There are a variety of light painting methods, but many of them require the use of a tripod. One common method involves anchoring the stationary camera and moving bright light sources in front of a new or used camera lenses during a long exposure. The shutter is held open for relatively long durations and the moving lights paint trails of light on the exposures.
The technique does require some practice, as several factors are important. The relative speed of the motion of the light sources changes the brightness and opacity of the light trails. A constant speed will make a constantly bright and "solid" trail of light. The background lighting and length of exposure are important in determining the relative brightness of the desired pattern and the ground against which it will appear in the photograph. In any case, the firm stability of the camera during the process is critical.
Alternatively, the camera can move its position as it records relatively stationary light sources, creating a similar effect. Here the use of multiple lights can create an image of trails moving in formation with each other. The camera tripod is key to the success of this process, as the motion of the camera must be highly controlled.
A simpler method to create a similar effect is to use lights attached to each other, moving them in front of the stationary camera. Flashlights banded together, perhaps with differently colored acetate film over their lenses, can produce a similar image and be somewhat easier to move than the camera, itself.
Since the three key elements in light painting are a long exposure, light sources, and motion, another method that does not require a tripod at all, involves the use of a moving automobile at night, with the photographer inside. The car provides the motion and passing vehicles, store fronts, or other light sources provide the light trails. The slight jostling movement of the camera due to motion of your own vehicle produces wavy light trails.
The photographer's control of the directions and patterns of any movement involved in light painting is what creates the shapes and patterns found in the finished exposure. Creativity is limited only by the relative control of all three of the necessary factors: light source, motion, and length of exposure.