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The discussion in Neil Poulsen's thread about the weight-bearing capacity of particular tripod heads brought up the question of what experiences people have had with quick releases on LF cameras, and what design features would make for a secure QR for different sizes and types of LF camera. As I said in the other thread, I've been skeptical of QR's for big cameras, but I could well be missing something. I'd be interested to hear of others' experiences with QR's for LF cameras.
Funny you should ask, Oren, I was thinking right along those very lines myself. :)
I have had no direct experience with ULF yet, so I'll keep my comments to 8x10 and smaller formats.
For years I used Manfrotto's hex plates, and, unlike some other people, I was fan; the problem was when the plate got a little win down, there would be a little play, resulting in having to over-tighten, which resulted in less-than-acceptable performance.
I've since moved on to Arca-style-looking QR clamps and plates, the clamps I prefer are quick-locking lever types.
I suppose Arca-Swiss must make some, but the ones I heard about most often are RRS and FLM, the latter because I deal in them. I use the FLM clamps.
After 2.5 years of steady use, I still find this clamp/plate QR system to be rock-solid, without a hint of slop or movement.
As I said in another thread, I'll shoot a quick video, or photos, of the clamp and plate holding a Toyo 810M (16 lbs.) upside-down, attached to a tripod. That's how solid I feel they are.
In the past I've seen some custom-made systems coming out of the movie industry, and these are heavy-duty as well, but again, I have no direct experience with those, so I'll restrict comments to those products that are more readily available online or at a store such as B&H.
Horseman made a large clamp, about twice the size of an arca - I have used them for 4x5 and 5x7 field cameras. Nice design with a lever action for clamping.
Are they still available? I'd like to see what they look like.Quote:
Originally Posted by Bob Mann
Here is my current set-up; I really like the lever-actuated clamp for its toughness and rigidity.
The 70mm clamp; the plate clicks into the space, still able to slide back and forth, but impossible to remove from the clamp. A flick of the lever tightens it up:
https://c1.staticflickr.com/1/393/19...1180ab4408.jpg
The clamp sitting on the video bowl, which is a Gitzo part that fits the FLM tripod very well:
https://c1.staticflickr.com/1/373/19...7ca76031dd.jpg
The 70mm QR plate:
https://c1.staticflickr.com/1/411/19...120da708ec.jpg
Folded Toyo 810M attached to the 70mm clamp, atop the tripod:
https://c1.staticflickr.com/1/337/18...465b4383dc.jpg
The whole thing before I turn it upside-down:
https://c1.staticflickr.com/1/416/18...1c645dec3d.jpg
Holding the camera upside down, attached to a 70mm clamp and plate; rock steady (I never do this, btw, unless asked to):
https://c1.staticflickr.com/1/265/18...9fed0e00_z.jpg
Three things I most worry about with QR's:
1) How secure is attachment of plate to camera? Will the plate tend to twist or otherwise loosen, without warning, under routine handling?
2) How easy is it to attach camera-with-plate securely to the QR base on the tripod head while on the go? How easy is it to get it wrong, and thus end up with an insecure mount?
3) How vulnerable is the clamp to unintended loosening?
I've found the old Bogen system problematic on all three counts.
I have one of the Horseman QR sets, unfortunately don't have time just now to photograph it. The camera plate has a pair of spring-loaded pins whose spacing is tailored to the dimensions of the Horseman metal field cameras, which provides good anti-twist protection with those cameras. This makes it an especially good match to my VH/VH-R. I've used it with other lightweight cameras, too.
Hi Oren,
I have been contemplating the purchase of an ARCA compatible QR clamp like the one Ari uses. I already use a similar ARCA type clamp that tightens with a screw instead of the clamp.
1. To date, I have not had a problem with the clamp loosening on the tripod head, but I have had a plate twist on my WP Improved Seneca under routine handling. On the other hand, I have never had the much longer plate that I attached to my 4x5 Walker Titan SF loosen or twist. That could be because (1) I cut put a piece of rubber and placed it between the plate and the camera on the Walker but not on the Seneca, and/or (2) the plate on the Seneca is much shorter than the one on the Walker, perhaps providing less friction. The twisting would be prevented by having two tripod screw holes on the camera base. I wish I had asked Mike Walker to modify my Titan that way when it was in England for servicing years ago. I guess I could probably do the mod myself on the wooden camera.
2. I find it quite easy to attach both of the above cameras to the tripod out in the field. It is much easier than locating the screw hole and screwing it in. I used to use that tried and true method with my old Gitzo head when using the Seneca. I added the ARCA type clamp to the Gitzo head so I could stop messing around with the screw. I was thinking that a lever type clamp would be even easier. I was looking at one of these: http://www.ebay.com/itm/361206737578...%3AMEBIDX%3AIT.
3. The old style screw clamp is pretty safe if you are careful. However, I narrowly and luckily averted disaster once when I neglected to fully tighten the screw when attaching my new Olympus E-M1 to the clamp. It slid off when I picked up the tripod. The luck occurred when the neck strap caught on the end of the tripod, leaving me standing there with my heart in my mouth and my camera dangling from the end of the tripod. I am more careful now! I was hypothesizing that the lever clamp style would make this sort of error or loosening less likely. I would love to hear of others' experiences with this sort of clamp.
I've standardized on Really Right Stuff lever-release clamps. For my 4x5 and smaller cameras, Really Right Stuff's own plates/rails work perfectly, providing adequate contact area and, with two screws mated to two sockets on the camera or an anti-twist lip, complete elimination of rotation.
For my Ebony 5x7 and wholeplate cameras, I had S.K. Grimes machine replacement baseplates that incorporate Really Right Stuff-compatible dovetails. The attached images show those, as well as an earlier Really Right Stuff clamp I used at the time.
For my 8x10 Phillips Compact II, I use a Kirk plate that's no longer offered. It's four inches square and has a ribbed surface that mates to the camera base, slightly digging in to Dick Phillips' composite material and totally avoiding any possibility of rotation. This is the closest thing I've seen that's still available new today:
On my larger tripod, which carries a Burzynski ball head, I've added this Really Right Stuff panning clamp:
It gets rid of the annoyances encountered with ball heads and view cameras. After setting up the tripod, I level the clamp using its built in bubble, then tighten down the Burzynski. If, after placing the Compact II in the clamp, a leftward or rightward framing change is desired, I simply loosen the pan lock and rotate my camera, which stays level.
I've found it straightforward to correctly drop all my cameras' plate dovetails directly into the Really Right Stuff lever release clamps and had no issues with them loosening from the camera. Also note that both the PC-LR panning clamp and Really Right Stuff's B2-LR-II clamp
now automatically adjust for most non-Really Right Stuff dovetails that might be slightly different in size or profile. Both securely grasp my Kirk plate by a simple flip of their levers, while also maintaining compatibility with Really Right Stuff's own plates as well as the Grimes versions on my Ebonies.
In my experience, the most critical aspect of selecting a quick release for large format cameras is ensuring adequate contact area. Once you've met that minimum, which varies with camera weight and size, other factors must be dealt with.
Either of the Really Right Stuff clamps linked above provide more than sufficient clamping force for anything up to (and possibly beyond) an 8x10. I've performed extensive testing to determine the weak link in these support systems and found that, in addition to needing a sturdy and adequately rigid tripod, the head itself must be selected with care. The Linhof 3663 seen in one of my attached images is only sufficient for cameras as large as 5x7. It's incapable of avoiding vibration when asked to hold the Compact II, even though those cameras' weights are within ounces of each other. If wind excites things, the Compact II's greater moment arm exceeds the Linhof's damping ability, even on the same Series 3 Gitzo carbon fiber tripod I've outfitted with a Burzynski. Many decades ago, Art Kramer wrote a magazine article about tripods titled "Law of the Thinnest Section." My investigations confirm that its premise applies equally to heads and quick releases. :)
I've done well for 15 years with a manfrotto 410 head/QR plates on a bogen reporter tripod carrying up to an 8x10 wista field. Everything looks well used now but still functions properly so I'm keeping it simple.
This is great information so far - thanks, everyone! Thinking out loud:
Seems that the most secure connection for a large flatbed camera ought to be a plate that screws into two sockets. I guess that might require a custom-made plate in many instances. Some of my big wooden cameras have two tripod sockets, but I'm reluctant to do surgery to add a second one to those that don't.
Just took a peek at the RRS website. I was aware of the many plates they have tailored to the shapes of specific small-format cameras, but was not aware of their somewhat more limited LF line, including their generic, somewhat adaptable two-screw B35 plate.
David: good point that fussing directly with the tripod screw itself poses challenges and risks during setup.
I guess a fourth consideration is how secure is the attachment of the clamp unit to the tripod head or legset.
My is secured by screw, it's never coming off unless I decide to remove it.Quote:
Originally Posted by Oren Grad
Depends on the system used. I like the FLM clamp because I can put the camera in from the top, not from the side, where you have to wiggle it around to get it to fit in just so.Quote:
Originally Posted by Oren Grad
Once I drop the camera in from the top, it's mated to the clamp, but can still slide back and forth along the clamp. Tightening it securely means flipping the lever. The lever has a spring so it can be pulled out of the way of all the action.
Removing the camera/plate is done only by having the lever in its neutral position and pressing a button.
As I said above, the plate will not come off the clamp unless both the lever is in neutral position and a button is pressed.Quote:
Originally Posted by Oren Grad
When in use, there are two safety catches in case the lever gets bumped back and forth, but even then, the plate will stay on the clamp.
Different manufacturers use different systems of tightening/safety/release; it's worth looking into those differences if you ever decide to opt for this kind of system.
I find this system to be great for LF as there's no screw to tighten, making it faster to operate, and placing the camera in from above is faster and much safer to use.
That's a great setup, Ari.
Thanks, Peter. It's proven to be a very tough and reliable setup.
I really like Sal's large QR plates; they really add a lot of stability to LF cameras.
The only QR I own and like is Horseman, made for their Field cameras, which were 2x3 or 4x5 and it is plenty heavy duty for that purpose. They are heavy cameras.
It allows nearly sightless connection of camera to tripod, using a angled launch strip and ball detents that click when used when camera is safe. The lever tightens it down. Linhof copycat.
It works well with my 5X7 Linhof Standard weighing 7 lbs with lens.
It is NOT good enough for Horseman monorails of any size. Those are studio cameras. I tested.
I also like how it allows the camera to stand securely on a table when not on a tripod, some QR do not do that.
Attachment 136313Attachment 136314Attachment 136315Attachment 136316
Sometimes. Even when it doesn't, there are situations where custom work is better. For example, the standard, titanium bottom plates on my Ebonies, despite including two sockets, were problematic. Turns out titanium is extremely strong in shear, but can be made to flex with relative ease. Even attaching fairly large plates to them didn't eliminate their propensity to vibrate. Thus the Grimes replacements.Quote:
Originally Posted by Oren Grad
Aw, go ahead, dive in. Unless you're referring to a museum piece, and I seem to recall most of your cameras are users. :)Quote:
Originally Posted by Oren Grad
Having learned a lot between 1998, when my Compact II was purchased, and placing the order for my second Phillips 4x5, I coordinated with Dick to address this by having him send me the double-socket assembly he planned to use. I confirmed its two sockets weren't too close together for a B35, then returned it to him for installation in the camera. Each combination requires detailed investigation to ensure system compatibility.Quote:
Originally Posted by Oren Grad
That's something one must address too. I've modified several heads to ensure rigidity and security of this connection. On the Linhof 3663, I replaced Linhof's fluted camera screw assembly with a hex wrench-driven stainless steel screw that mates with a brass bushing in the clamp, tightening that using a small Chapman ratchet driver. Once the brass deforms slightly, nothing loosens, and the Linhof's textured rubber sheet is fully compressed so the clamp makes metal-to-metal contact with the platform's raised circumference edge.Quote:
Originally Posted by Oren Grad
On an FLM CB-48 FT, I unscrewed the platform, installed a 3/8-16 male to M6-1.0 female bushing (that came pre-coated with Loctite) in the inside-threaded stud, waited 24 hours, then used a stainless steel M6 X 1.00 flat head socket head screw to attach an older, small Really Right Stuff lever release clamp. The last step included application of Loctite 242 ("Blue") to the screw's threads.
On the Burzynski, I simply applied Loctite 242 to the brass stud before screwing it into the head and screwing the clamp to it.
In addition to use of Loctite on most of them, all these clamp attachments were performed during the warmest part of the year. That's when metal connections become loosest as the parts expand. Thus, in colder weather, even if the Loctite doesn't do its job, things will remain secure. :)
That is a concern. I have had the clamp twist on the head once or twice when using the Seneca. If I remember to check it and make sure it is tight this should not be a problem. The riskiest behavior in this regard is hiking with the camera on the tripod and the tripod over the shoulder.Quote:
Originally Posted by Oren Grad
I have two of these clamps, one on a Manfrotto head, the other on a Gitzo. One of the clamps is from RRS, the other is a Desmond that I picked up on EBay out of curiosity. The Desmond is very well made, machined from high quality aluminum. I use each one with equal confidence. The Desmond has a slot on the tightening knob that allows you to use a screwdriver or other device to really tighten things down. I don't recall whether the RRS has this feature (it is out in the garage, so I will check later). As I think about it, the only problems I have had with untwisting is with the RRS clamp attached to the Gitzo head clamped to the Seneca. This is not to say anything negative about the RRS clamp. It could just be due to the larger size of the WP Seneca, or the different mounting surfaces on the two heads.
Probably not a practical suggestion but I have been fortunate to find some very early mounts for the Manfrotto hex plates that use a screw actuated clamp instead of the spring driven cam on the newer ones. Turn the knob on the screw actuator to clamp the hexplate and there is no camera that's releasing before you want it to. I use it for 8x10 and my 8x20.
Sal,
Good idea on the Loctite. I can't believe that I did not think of that!
Oren,
A plate like this should work pretty well if the tripod socket spacing is right: http://www.ebay.com/itm/Desmond-DPC-...item541cd13234. Nothing against RRS or the others, but these simple machined plates are not rocket science and do not have to be super costly.
I'd like to interject a comment here that may or may not be relative to the topic. I don't use QR plates, simply because I don't feel the need to attach my cameras to the tripod very quickly/conveniently for MY purposes. But if I were to start researching QRs, my engineering experiences with metals would cause me to dismiss out-of-hand any products made by casting the metals (I've only seen one such QR product). Often metal products with shape challenges are designed to be cast in order to avoid expensive machining of intricate shapes. The strength of a QR system is obviously important, but so is its toughness. Cast materials usually lack decent toughness (a measure of its ability to deform significantly before rupturing. The engineering term for this material property is its "elongation" (i.e., like a strong taffy). Castings exhibit brittle behavior, are very sensitive to knicks/notches/dings and can rupture suddenly without warning (think of breaking a soda cracker). I hope I've made my point clearly.
I'm just trying to grasp the idea of seeing the words quick and LF Cameras being used in the same sentence :rolleyes:
John, you've just made my day. :D :D :DQuote:
Originally Posted by John Kasaian
https://youtu.be/u-jXeJtw_24
If your camera has space for two camera screws, then that's even better.
Easy, strong, cheap, light, bulk-free.
Excellent, and it looks very sturdy.
I have extensive experience with Really Right Stuff's QR plates and BH55 ball head. I've used them for many formats since the company wasn't well known. I use QR plates on my LF equipment because I do shoot multiple formats and I need to interchange support gear.
The rest of my comments here will be about the use of RRS's QR plates and LF cameras. The attached photos are of my Sinar P (newer style rail clamp though) with their B25 plate and the BH55 ball head. I should note that I use their screw head clamp not their lever release as I trust it more--even with small format gear. It's my habit to put the camera attached to a tripod on the backseat floor of the truck and drive as far as I can on single track four-wheel drive only "roads" until conditions force me to park the truck. I then get out, hoist the camera and attached tripod on my shoulder and hike for miles into the backcountry. I've never had any issues with anything loosening or being wobbly. Even when I was much younger and parked at the end of real roads and hiked the rest of the way--the tripod legs are padded with bicycle handlebar tape another concession to old age.
Your concerns about something coming loose are understandable but in my experience with appropriate caution even heavy studio gear can be held safely under adverse conditions.
Attachment 136333Attachment 136334
I used the old Bogen hex system for years, and for my Cambo SC, the type with the large flush-head brass 3/8" screw, tightened down with a big screwdriver onto the tripod adapter, worked acceptably.
But now that I'm using a Sinar rail camera, the Sinar tilt head and tripod adapter has spoiled me against other systems. I leave the tripod adapter on the tripod, and just slip the rail into the adapter.
For other cameras, I have switched to Arca plates, mostly because of the nifty L-brackets for my small cameras. For my Pentax 67, I use an Arca ball head, but I dislike ball heads utterly for large-format because they are too hard to precisely level. I buy the plates from anyone--Arca, RRS, Kirk, and so on. I even have a few no-name generics bought on ebay for long lenses or macro setups.
For 4x5 other than the rail camera (example: Speed Graphic), I use the big Arca plate that also uses a big screw. And these are easy to drill for a second screw or alignment pin.
Rick "who still has several Bogen 3047 heads now surplus" Denney
I'm using the Bogen hex, also. For my 8x10 the large square plate works well, though I'm not sure there's really an advantage over the simple hex. At this point I'm pretty invested--three tripods, a mess of plates, but I don't have any reason to change. More important to me than the QR, shooting almost completely in the studio with strobes, is having a tripod with a center column and a good crank on the center column.
Thanks, Ari. It works well. I normally use 3/8ths screws if I can. The mounting plate for my D2 has two mounting holes spaced a couple of inches apart. That's ideal.
I use, and really like, Arca-style plates for many of my smaller cameras.
That's very true. I had my Sinar P2 at a fairly long extension a couple of weeks ago. Raising it up with a tripod with a manual center column was not fun. I'm going to make a board that sits on the table of my bi-post Century stand. It'll have slots for 2 Sinar rail clamps, and I'll use a quick clamp at the front and back of the board to keep it from moving on the table. This will allow me to roll the camera into position easily, use the big wheel on the stand to raise and lower the camera, and the table tilt mechanism for, well, tilt.Quote:
Originally Posted by mdarnton
The mounting plate I made for my 12x20 uses side rails to "contain" the camera bed and prevent twisting, obviating the need for two camera screws and any associated "surgery".Quote:
Originally Posted by Oren Grad
In 2010 I wrote the following in response to a similar post:
http://www.largeformatphotography.in...l=1#post667376
I'm still using that system and it still works now as it did then. It manages to dispense with some of the more time consuming aspects of setting up the camera. So, while not a "quick release" in the normal sense, it is a "quicker release" than the stock system.Attachment 136346
Attachment 136347
Sounds great Will. Would you consider reposting here the images from the linked post as those images are lost.Quote:
Originally Posted by Will Whitaker
Just an example of how we all should upload our images directly into posts using the forum guidelines.
As I research this site I really am disappointed when I encounter broken or lost image links.
:)
Randy, I already did that with my last post. I let my web site go last month because I don't need the continued expense. But if I still had it, I would continue to link my images in that manner because it gives me more control over the images and allows me to update them, if necessary. So, the images are not lost. They're re-posted using the forum system!
Great. I thought perhaps you had a bottom view as I am 'hacking' similar for my delicate Korona 7X17.Quote:
Originally Posted by Will Whitaker
I have a couple vanity sites and they are a PITA.
And very glad you used the forum system!
Glad you're pleased. I, however, remain non-conformist. :)
If you still need photos, Randy, send me a PM or email specifying what you wish to see.
I gave up on the Manfroto QR plates very early because of their small size and I felt the mountings were insecure. I certainly would never mount anything larger than small 4x5 field camera on one.
I have two Horseman QR's. One is mounted on the tripod for 8x10 and smaller and the other on the tripod for the 7x17. I never have to worry about camera security, even if I neglect to lock the clamp. The spring loaded buttons front and rear prevent the camera from moving. Both are mounted to the tripod with a 3/8" bolt. It is a good feeling when you can carry a 7x17 over the shoulder without worry.
For Randy and anyone else who's interested, here are some quick and dirty shots of the support board for my 12x20.
Attachment 136371Attachment 136372Attachment 136373Attachment 136374
The first photo shows the rails underneath the board. These are spaced so that the top of my Ries Photoplane head fits snugly between them. This aligns the board and keeps it from twisting.
The second photo shows the end cross section and the outer rails which embrace the bed of the camera so, again, it doesn't twist. Third photo shows the top with two turned brass 1/4-20 bushings. There are two because I thought originally that I might want some longitudinal adjustment of the camera assembly atop the tripod. But that turned out not to be the case and only one bushing is needed. It places the camera at the approximate balance point. The last photo shows the 1/4-20 camera screw peeking up through the board. The dimensions are such that when the rear of the bed is flush with the rear edge of the board, the screw lines up with the bushing in the camera, allowing the screw to be secured with no fuss, no muss.
In practice it's really very simple. The tripod is set up first, then the board attached and secured. The camera (folded) is then set on the board between the upper rails and slid carefully so that the rear edges align. Then the 1/4-20 screw is secured and the front extension lowered to fit between the upper rails.
As I said earlier it's not a quick release, but a "quicker release" as it speeds up mounting the camera and makes the whole process more secure as I don't have to balance an unwieldy 12x20 camera on my pinky finger (in the wind, rain, what-have-you.)
It is very camera-specific and, while some cameras would benefit from a similar treatment. probably not all would work as well. Simply having a visual or tactile alignment reference would be almost as helpful. When I had a Kodak Master (8x10) I found that the fore/aft grooves in the bed were very helpful in making sure the camera was mounted straight and not twisted
Very helpful Will.
I will adapt your ideas to a Majestic tripod and head with the big 6x7 plate for my 7x17 and 7x11, both really need more than factory help.
Thank you!
Linhof makes a quick release that is solid, locks tight and does the job?
http://www.bhphotovideo.com/c/search...op+Nav-Search=Quote:
Originally Posted by Willie
I posted this on another thread earlier this year, but thought it might be pertinent to this current topic at-hand:
Quote:
Originally Posted by Daniel Stone
Will -Quote:
Originally Posted by Will Whitaker
As luck would have it, I've been wrestling (literally!) with a 12x20 F&S for the first time these past couple of weeks. Mounting it straight to the A-250 head ends up putting all the weight on a very small bearing surface on the camera side, and as you know, even with the large platform on the Ries head and the spring-loaded screw, getting the camera on to the tripod safely is quite the production. So I've been starting to think about possible mounting plates, and yours gives me some new ideas.
How much does your support board weigh?
I know it well, Oren! The support board is a solid piece of mahogany because that's what I had at the time. It could just as well (or better) be made from 3/4" plywood. It's approximately 12x16 inches and the weight of the hardware is negligible. I packed it away again, but I'd guess the weight is 1 pound or less. Certainly a very tiny fraction of the weight of the 12x20 kit!Quote:
Originally Posted by Oren Grad
If you can find one - The Mamiya Quick Release ( for the C series TLR's) . Two plus inches square,clamping lever for secure locking,removable anti-twist pins, copes with anything up to a 4x5 Horseman. Built like the proverbial brick outhouse.
The sliding tripod block for the Kodak 2D may be one of the most aesthetically appealing large format accessories, but I found that it didn't provide enough fore-and-aft stability for my camera in the field, especially at longer focal lengths. After many trials of various quick release plate and clamp pairings, I've settled on a combination that delivers a gratifying combination of rigidity and convenience.
I use a Sunwayfoto DP-813 quick release plate, which measures 80x130mm (http://www.adorama.com/sundp813.html). I've applied a few strips of gaffer's tape to give the smooth surfaces of the plate a little bite into the camera's cherry base and avoid rotation with the camera's single tripod mount. I use this with the Sunwayfoto DLC 60mm clamp, and I can adjust the tension precisely to my liking. (http://www.bhphotovideo.com/c/produc...l/prm/alsVwDtl)
This combination has been extremely effective at a reasonable price, and I'm pleasantly surprised at the degree of rigidity I've wrung out of my camera's 80 year old frame. The sliding tripod block had been a pleasure to use but a weak link between the tripod leveling base and the camera.
What's the difference between the different adapter plates that they sell?Quote:
Originally Posted by Daniel Stone
This seems to be the best solution I have seen.Quote:
Originally Posted by Sal Santamaura
To me it's important enough to organize my gear for speed and practice setting it up quickly. We have a saying here in NM "Don't like the weather? Wait 15 minutes." So maybe it's the rapidly changing weather here in NM, but I seem very frequently to be chasing scenes with very rapidly changing light/clouds etc. So on landscapes from near the car, I aim to be tripping the shutter in 3 minutes.Quote:
Originally Posted by John Kasaian
I’m a bit confused. I just ordered my master technika. And have a RRS tripod with a bh55 ball head that has a quick release clamp.Quote:
Originally Posted by pepeguitarra
I know they used to make a specific master technika plate but I can’t find it online.
I’ve seen some old threads of people buying a B22 plate from RRS. Is that all I’ll need for my MT?
Really Right Stuff's B2-LR-II is the clamp itself, how does it attach to the MT? Can I just attach my Mt to a specific plate then to my bh55 ball head?