THE MAGAZINE OF 3-DIMENSIONAL IMAGING, PAST & PRESENT

Volume 27 Number 1

A Publication of NATIONAL STEREOSCOPIC ASSOCIATION, INC. Last Minute Items of Interest

ISU/Sydney/Sept./$OO 1 Stereo Print Lab! The flrst International Stereoscopic Union Con- As we hoped, the item about stereo print labs in gress in the new millennium and the flrst in the last issue's Loose Chips prompted members to con- southern hemisphere will be held in Sydney, Aus- tact us about labs offering this service. The one tralia from Sept. 19 to 24, 2001. confirmed (so far) mail-order source for color Headquarters hotel for the event is the Oxford prints from Realist or Nimslo format negatives Koala Hotel, Oxford Street, located in the CBD offers individual (not monolithic) prints suitable for area-a short walk or flve minute bus ride from the trimming and mounting on cards or in Q-Vue center of Sydney. The Hotel is part of the Best mounts. Film developing is $3.00 and prints are Western Chain and is situated in one of the major 386 each, making a pair 766. Reprints are 496 dining areas of Sydney with many reasonably each. Contact Larry Murrell at Leo's Camera Shop, priced restaurants, cafes, fast food outlets and cof- 1022 Main St., Klamath Falls, OR 97601, (541) fee shops. (Also nearby are the four and flve star 882-3331. Hyde Park Plaza and Sydney Marriott Hotels.) Prices for a lab offering a similar service on the Start planning (and saving) now for the stereo east coast should be available in the next issue event that could be the trip of a lifetime. For more along with other possible sources. information, visit: htt~://Stere0S~0~~.~0m/iS~-2001/ index.html or contact David Stuckey, ISU Congress 3-D in Print Manager, 19 Ferguson Avenue, Thornleigh, NSW The magazines Sports lllustrated and Overdrive 2 120 Australia, E-Mail: dl,. haven't been alone in promoting 3-D images through the printed mass media. The recent Issue Stereographer of the Century 28 of the magazine Filmcrew: The Art & Craft of Taking a cue from the declaration of Henri Carti- Production contains a very good article on stereo- er-Bresson as the "Photographer of the Centuryn, scopic cinematography titled "3-D: Shooting in the Stereoscopic Society in England voted the late Another Dimension" by Theresa Barbieri. The arti- Pat Whitehouse as "Stereographer of the Centuryn. cle includes a brief history of 3-D, two anaglyph According to the Spring 2000 issue of the Stereo- photos and some excellent information about large scopic Society Journal, "Her creative output was format camera rigs and accessories used to Alm considered to be clearly in a class of its own, whilst IMAX and MTERKS large format 3-D Alms. There is the stimulative effect of her personality added fur- quite a bit of good information about Steve Hines ther to her unassailable position." and his work at HinesLab to interface two cameras The same issue announced the January death of for state-of-the-art dual camera stereo filmmaking. her husband, Dr. Harold Whitehouse, who often If unavailable at a newsstand or bookstore near accompanied her when she traveled all over the you the phone number for the magazine is (2 12) world giving her legendary 3-D shows. Harold 387-9144 or email: fllmcrew@inter~ort.net. shared her passion for stereography, and after Pat The rock magazine Guitar World followed up a died a few years ago he became active in the 3-D issue last fall with a second for June, 2000. Stereoscopic Society and the ISU himself. He was a Another 3-D sequel was published by Torment in fellow of Darwin College, Cambridge, and a leading Montreal to follow last year's oversize (15 x 23 expert in mosses and ground cover plants, which inch) Humongus book of Dinosaurs. The newer book he documented in stereo using a macro 3-D camera is 3-0 Bugs, and is shaped like a butterfly with spe- designed and built by Pat. cial 3-D glasses. Some may still be available for $14.95 at Barnes and Nobel. Also targeting the younger market is the large 3-D book (1 2 x 16 inches) from Dorling Kindersley Publishers under the title Walking With Dinosaurs, based on images from the Discovery Channel and available for $9.95 from Barnes and Nobel. qm

Volume 27, Number 1 STEREO WORLD THE MAGAZINE OF 3-DIMENSIONAL IMAGING, PAST & PRESENT David Hutchison: 19462000 ...... 3 A hbliutk., ot NATIONAL STEREOSCOPIC Spider-Man 3-D in Orlando ...... 6 by Don Marren NSA Board of Directors Bill C. Waltc In, Chairman The 20th Century in Depth: 1920s Paula R. Fleming Andy (iriscorn Owen Barrett's Washington Stereos ...... 13 Dieter Lorenz by lohn Dennis Russell Norton T.K. Trc ?adwell Richard Twichell Cirque's 3-Deep Message ...... 20 lfficers review by Sheldon Aronowitz ell, President /ice President President, Activ Tin Again ...... 24 Larry ness, Secretory by Iolln Dennis David Wheeler, Treasurer Stereo World Staff John Dennis, Editor Beauties of the Anachrome ...... 26 Lawrence Kaufman, Contributing t by Ray Zone Mark Willke, Art Director lvia Dennis, Subscription Mona ~n R. Gibbs, Bock Issues Mono!

How to 1 NSA Membersh~p ,mpmhmhjpr, rpnovoli k oddr~rrho Editor's View Comments and Observations ...... 2 Box 14801, Columbus, OH 4 by Iohn Dennis

Questions Concerning tereo World sub scrip ti or^, The Society News from the Stereoscopic Society of America ...... 28 Larry Hess, (6 02) 365-i553 by Norman B. Patterson Saguaro Park L.n., Clendale, P -mail: larry@si~pphire-star.co~ NewViews Current Information on Stereo Today ...... 30 *eo World Ba CK Issue her vice by David Starkman & Iohn Dennis (Wnre lor ovo!l,~hil~ty & pnm J NSA, 23575 C.R. 77 , Calhan, CO tI0808 Classified Buy, Sell, or Trade It Here ...... 32 c* I rrru rvvrro editorial Offi err lo the ed11or ortickc k colendor lisl SE 71 st Ave , Portland, OR 9 (503) 771-4440 e-mall strwld@teleport com

Stereo Worldl Advertisin$ ~-~ [Clarr!fied 6 dispioy ods) ) SE 71st Ave., Portland, OR 9 Spider-Man swings out of nowhere and warns the audience of danger in The Amazing Adventures of ,, (503) ?,71 -4440 e-mall strwla@teleport com Spider-Man, the first ride ever to combine high- [lnrert flyerr k oucfion odr) speed vehicle motion with 3-0 projection on multi- Jeffrey Kraus ple screens. The attraction is found at Universal Stu- Dubo~sRd , New Paltz, NY 12561 dios' Islands of Adventure theme pork in Orlando, (91 4) 255-791 3 us@mhv net Florida and is covered in our feature "Spider-Man 3-D in Orlando" by Don Marren. Oliver Wendell Holmes 01999 Universal Studios Escape. A Universal Studios/Rank Gmup ,reoscoplc R esearch Lib1 joint venture. All rights reserved. Image courtesy Kleiser-Wolczok J....L ,L" &,-..." -8 ".," (Afl,1!0,~".. w,,,, ,r,, #"",,",,,,>J,r,?",L"p,< n,," Construction Co. 5 Erie Ave., Ciricinnati, OH 4: e-mail: vmmasell8cinti.net

Ster eoscoplc. bociety- of Am1 erica (AH!l!o trd with Ihr Nolionoi Irrr?orcoDrcArro c!obonJ Volume 27, Number 1 MarchIApril 2000 lab Levy, Membership secret; SW 34th Ave., Portland, OR ! Stcrm World(lSSN 0191-4030) is published bimonthly by the National Stereoscopic Association, Inc., P.O. Box 14801, Columbus, OH 43214. e-mail: [email protected] Entire contents 02000, all rights reserved. Material in this publication may not be reproduced without written permission of the NSA, Inc. Pr~nt- ed In USA. A subscription to Stereo World is part of NSA membership. Annual membership dues: $26 third class US, $38 f~rstclass US, 138 Canada and foreign surface, 156 internat~onala~rinail. All membersh~psare based on the publirh~ngyear of Stereo World, wh~chbe Ins in March .,,,,, ..,r,u'on the WeL and ends with the IanuaryiFebruary issue of the next year. All new memberrh~psreceived will commence with the ~archi~pr!Issue of the www.sterc current calendar year. When applying for membership, please advise us if you do not desire the back issues of the current volt Member, lnternotionol Stereoscopic Union Comments and Observations john Dennis

hen a new volume number over what is vs. what could be can His intensive experience with arrives (with this issue we become a habit, and my family has computers in the publication of wstart No. 27) it generally become good at applying the need- magazines made him an ideal seems appropriate to make some ed reality therapy when I slip into source of information and moral observations on the progress and one of those moods. Another per- support for Stereo World. When our prospects of the magazine. These son who's words and personality first attempt at sending digital files can range from profound to flip- could have a calming effect on the to the printer for a color issue pant and from confidant to pan- most distracted, worried and fran- resulted in total disaster, David was icked-and may not remain rele- tic was the late David Hutchison. there in Milwaukee to help figure vant (or, fortunately, be remem- The remembrance by Susan Pinsky out what had happened when the bered by most readers) for more and David Starkman in this issue proofs for the big 20th Anniversary than a few months in any case. provides a vivid description of how issue arrived at the convention The six issues in this volume will much the world of stereoscopy lost hotel. The color proofs that were include something for nearly every when David Hutchison died in to have been displayed promoting stereoscopic taste or obsession, May. the special issue we had spent so with some lengthy features (at I was only able to talk with him many weeks assembling had least one two-part article), some at NSA conventions, but even the almost no images aligned properly short items covering the unusual most brief conversation with and text seemed to have been ran- and obscure in 3-D, and our "regu- David was a tonic for whatever domly distributed among the lar" columns, some appearing in negative mood one was in. A pages. Besides offering technical every issue, some every other, longer chat or a chance to hear advice David was able to convince some-whenever. But as I've said one of his moviel3-Dlscience fic- me that the issue could be salvaged before, DON'T let full issues deter tionlpublishing stories could set and that life could in fact continue you from sending in or suggesting you up for the rest of the day. As and even be fun again. There are material on any stereo related sub- an NSA Board member, his combi- only a few drugs that could have ject! nation of imagination and logic reversed such a combination of A magazine with a production and a sense of real delight with so depression, anger and despair as staff of two people with full-time much of the world survived even quickly as David's personality day jobs needs all the help it can the longest Board of Directors did-and all without side effects. get to keep up with even half of meetings and made them a lot eas- That someone as truly delightful what's going on in all the areas of ier for everyone involved. to know as David Hutchison exist- stereoscopic imaging. PLEASE don't ed at all literally made the world hesitate to send in tips, ideas or f you have comments or question:r for the seem a bit better. That he was a finished texts on any historic or Ieditor concerning any stereo-related matter devoted and skilled student of c ". current subject, and please forgive appearing (or rnissina)>, in the oaaes or xereo stereo imaging helped make that my sometimes geologic speed of World, plr use write to aspect of the world the best part responding. The latter has little to World Edit orial Office, . of all. aa Portland, (3R 97206. do with the worth of a concept or article and much to do with the depth of paper on my desk and the number of minutes past midnight when I realize again the need to answer this one and that one and Books IN Stereo those two .... Hutch Books ABOUT Stereo When people compliment Stereo World my first inclination is always Books RELATED to Stereo to explain how much better it If a book even MENTIONS stereography or stereographers, there's could be, how much more should a good chance that you can order it from the NSA Book Service! be covered in a more timely way, how much material is waiting in For a complete catalog and ordering information, contact the NSA Book Service, 4201 Nagle Road, Bryan, TX 77801 or visit the NSA web site: the files for follow-up letters and www.nsa-3d.orq re-writes and editing, etc. Stressing

@ Volume 27. Number 1 STEREO WORLD David Hutchison

Some thoughts and remembrances by Susan Pinsky & David Starkman with additional remembrances by a few of his friends.

avid Hutchison passed away on May 3, 2000. He died Dpeacefully after a brave and difficult six month battle with pancreatic cancer. He was 53 years old. He was our dear friend for more than 20 years, and he was a friend to many in a wide variety of areas of interest. David was a very private person. He had great intelligence, humor, enthusiasm and creativity. We mainly knew the 3-D facet of Hutch (as he was affectionately known to all of his friends) and we loved him for it. He also had a very strong appreciation and career in opera, a Tesla coil engineering interest, and an acting, directing and theater life, which we person- ally knew very little about. David Hutchison shares a viewer during a 1983 visit with Susan Pinsky and David We met around 1979 when he Starkman. (stereo by David Starkman.) came to California and visited us due to mutual crossover interests in science fiction and 3-D. David Starkman had been a Starlog maga- zine reader since it's first issue in 1977. Hutch was a Production Assistant at Starlog, but immediate- ly became a writer, and then Sci- ence Editor for the magazine. (See more later in this article by the for- mer Publisher of Starlog). Before we ever met Hutch we read his won- derful articles about 3-D Sci Fi movies in issues No. 4 and 5 of Starlog in 1977. We seem to recall that this prompted us to write him and send him copies of our own Reel 3-0 News. In those days Hutch frequently came to Hollywood to cover the sci-fi movie scene, and we first met when he came to Cali- fornia for one of those work visits. To us meeting the Science Editor of David Hutchison emerges from a Stereoscopic Society of America meeting during the NSA Starlog was a great honor, but we Portland '89 convention. (Stereo by Mark WiNke) immediately found ourselves at ease with Hutch. We became friends from that first meeting and

STEREO WORLD Volume 27, Number 1 @ asm. He was delighted by the vel- vet-lined, boxed, gold-plated polar- ized glasses that were presented to him as the Founder's Trophy along with a poster of the classic 3-D audience shot with a big "THANK YOU, HUTCH-THE NEW YORK STEREOSCOPIC SOCIETY". President Greg Dinkins and the entire NYSS committee thanked Hutch for all his efforts and contributions over the years. Dinkins wrote a memorial after Hutch passed away, in which he stated "David was a source of expert advice, unlimited connec- tions and years of experience in all things 3D. His book Fantastic 3-0 Hutch with Susan Pinsky at the NSA Portland '89 convention Awards Banquet. [copyright 19821 is a must read for (Stereo by David Starkman.) ...... " any student of 3-D in pop culture. He was a friend and mentor to many budding stereo photogra- phers. His service on the board of the National Stereoscopic Associa- tion, his years of participation in the Stereoscopic Society of America folios, and his awards from pho- tography clubs around the world will surely make a place for him in the 3-D Pantheon. Besides all this, he had two other successful careers as an editor of Starlog magazine and as a member of the company of the Metropolitan Opera [and New York City Opera]. Most important, he was a thoughtful, decent and caring person who will be sorely missed." An example of the impressive stereo work he shared with members of the Stereoscopic Society's Beta folios and the New york Stereoscopic Society, Hutch labeled this "Hutch's He will be missed by many. First & Last Entry of 7 989-90" He loved experimenting with color infrared transparency Hutch and Pinsky were on the film and inspired others to try the same. National Stereoscopic Association Board of Directors together and shared our passion for everything ety. He helped start it years ago used to spend many a late evening 3-D in every way we could. when a small group of New York- at an NSA convention discussing We'd meet with Hutch almost ers would get together intermit- the details and challenges of the every time he had the opportunity tently to share a PSA 3-D slide nearly all volunteer organization. to visit California, which seemed show, or judge a PSA Traveling We often shared adjoining hotel pretty often for a number of years. Slide Exhibition or just enjoy 3-D rooms at the NSA conventions so Reporting of new 3-D projects, together. Bit by bit it grew into an we could all keep talking about 3- films and 3-D opportunities was official, serious organization of D into the wee hours. also our goal for Reel 3-0 News and people researching, sharing, teach- Central Park in New York was Stereo World, so we were fortunate ing and shooting in 3-D. The New one of his favorite subjects for 3-D enough to share some 3-D experi- York Stereoscopic Society now photography. He shot glorious ences with him, such as the press meets quarterly at the American images of it in each of its seasons. premiere of Captain EO at Disney- Museum of Natural History. His dramatic shimmering snow land in 1986. Since he came to Los On April 14, 2000, about 2 and ice laden trees of the park Angeles regularly, Hutch also weeks before he died, the NYSS always left me breathless. Then we joined The Stereo Club of Southern meeting included a special tribute would see his gorgeous back-lit California as a full member. We to Hutch in recognition of his con- changing autumn colors of the think he actually timed many of tributions to the Society which park or spring flowers and minia- his visits so he would be able to many of his friends were able to ture horses and be even more attend the club's monthly meeting. attend. He was thin, weak and impressed. Hutch was a Founding member pale, but noticeably pleased as ever As if those beauties weren't var- of the New York Stereoscopic Soci- to be surrounded by 3-D enthusi- ied enough, he also shot it in color

0 Volume 27, Number 1 STEREO WDRLD David Hutchison talk- ing with David Stark- man in December, 1999. (Stereo by Susan Pinsky.)

infrared. That's where Susan mail room, but almost immediately we detail helped give our publications the learned to shoot infrared slides. learned that the tall, lean, blond boy reputation they stand on today. Hutch gave her her first roll to try who was quietly and efficiently stuffing In addition to our professional relation- out. He also encouraged and moti- envelopes had a wealth of information ship, Hutch and I were friends. We vated Susan to use proper duping on various topics. shared many personal interests, from In STARLOC # 6 Hutch wrote "The classical music and theater to Ayn Rand's film in making slide duplicates. Magical Techniques of Movie and TV philosophy of Objectivism. We were both After Hutch passed away his sis- Special Effects." This started a feature fans of widescreen movie formats, start- ter wrote "David was born in series that established STARLOC as the pri- ing in the days of Cinerama, CinemaS- Newark, NJ, Oct. 18th, 1946. He mary source of information on what cope, and Vistavision right up to present moved to Florida in 1954 and would become one of our most popular day IMAX 3-D spectaculars. We formed completed all schooling there. subjects. In the next issue (the legendary strong opinions on everything, and we David started at U of FL and trans- Star Wars cover) he continued his special enjoyed disagreeing as often as we ferred to FSU, then moved to New effects series by introducing readers to enjoyed jumping up and down with glee York. He was a radio jock at FSU. little-known facts about Robby the when something thrilled us both. As a teen he enjoyed photography, Robot, one of his favorite science fiction A few weeks ago I attended a meeting characters. of the New York Stereoscopic Society, an drama, music (many years of piano Hutch's articles soon led to a library of organization Hutch had pushed into and clarinet), science and litera- STARLOC Photo Guidebooks on Special being years ago. Knowing of his cancer ture. Excelled in all. Did summer Effects, featuring behind-the-scenes pho- (he'd spent several days in the hospital theater in St. Augustine before his tos, technical diagrams, and explanations earlier that week), people had traveled many summers at Cherokee in that revealed the secrets of movie magic. from all over the country in order to Unto these Hills, where he played He put a bright spotlight on Hollywood honor him that night. He was thanked many roles and was sound direc- artists who had mostly been invisible, by many involved in the art of 3-D pho- tor." before Industrial Light and Magic turned tography for inspiration and encourage- In an obituary, former Starlog wizards into stars. He got to know every- ment, and he was recognized for his cre- owner, editor and close friend one in the field, and they welcomed him ative, award-winning work. Kerry OIQuinn wrote: into their workshops, knowing that his A few days before he died, I spent the journalistic interest was rooted in gen- afternoon with Hutch, talking about his David Hutchison joined the STARLOG uine understanding and appreciation. life. He told me how he had come to team in late 1976, the year Norman The books and articles on special love opera, a branch of theater he had [Jacobs]and I launched this magazine. effects that Hutch wrote for STARLOC first seen as "silly, stuffy, and poorly per- Appropriately, his first writing for us was inspired our readers, and every day we formed-which it was then." But once "Science Fiction Movies in 3-D", begin- received mail wanting more. His books he saw a high-quality production, he was ning a two-part feature that explored and articles inspired me too. I wanted to captured. He spent the rest of his life Hollywood's brief 1950s love affair with publish a magazine devoted entirely to working nights and weekends as a super "thrills that almost touch you through filmmaking-the kind of publication I in productions at New York's Metropoli- the magic of 3-Dimension." Introducing had needed when I was a kid making tan Opera and New York City Opera. the next issue (# 5) as Editor-in-Chief, I 8mm movies with high school friends in Hutch also explained that CINEMAGIC wrote: "Hutchison gives us a delightful the backyard. Hutch was the perfect per- was important to him because "the sheer tour through the history and techniques son to edit such a magazine. He huddled drive of young filmmakers, coming up to of 3-D visuals. It's a subject that he has with Norman and me to create CINEMAG- my office to show me things they'd done always been fascinated with (that's obvi- IC, a serious journal that taught the tech- in their basement, was a great privilege. ous from his knowledge and understand- niques of production and special effects Most of those guys are now working in ing), but for the first time he is being to young, hopeful filmmakers. the industry. That's why I stayed in New paid to discuss it." For several wonderful years CINEMAGIC York-because here you're surrounded And for the next twenty-four years, was a joyous adventure for Hutch and by driven people, doing the most excit- Hutch (as we called him) was paid to me. We were kids at play, sharing our ing things. I'd die of boredom anywhere give our readers and our staff many toys with other youngsters. Oh, it was else." delightful tours that sprang from the hard work, and we both put in long Like 3-D, Disney animation, IMAX, spe- knowledge of his mind and the power of hours, but it was a labor of profound cial effects, and grand opera-New York his passions. He had arrived at our offices love. I could not have had a better play- has magic. Because Hutch savored all the a struggling actor, needing any kind of mate. magic of life, and because we shared so work. We needed any kind of help in the His enthusiasm, intelligence, and (Continued on page 34) meticulous devotion to accuracy and

STEREO WORLD Volume 27, Number 1 by Don Marren

the wizards who produced the "A Tunnel of Love "Unbelievable!" computer-generated images (CGI). hat's how Spider-Man creator "They created an eye-popping, me Mad" Stan Lee reacted to the new senses-staggering three-dimension- 1 rks just dl on't get a'nY Tride based on his Marvel al masterpiece of magic, excite- bet~rlLI la, I Jniversal Studios Comics hero at Universal Studios ment and wonder. Their use of lsla nds Of Ac jventure. When it Islands of Adventure in Orlando. color, their sense of layout, their OPfmed in fv lay, 1999, critics Lee went public with his praise for ability to merge fantasy and reality hail led it as "the most thrill-packed the ride when it was honored with was literally amazing. The audi- .... -0 , ., of all tne wrlanao tneme parks" an award from Entertainment ence didn't just experience the and "a triumph of drama and Design (ED), a magazine geared to ride; it became part of the ride. design." Praising the mind-bog- entertainment technology profes- Every second of the incredible

glina-I innovations. Richard Corliss, sionals who work in theater, film, experience was a new visual treat, Tiff~e magazi ne critic, acknowl- television, clubs, concerts, theme a cornucopia of brilliant imagery, edcled that t he park vvas "a glc)ri- parks, architecture, lighting, etc. the most fantastic journey one OUS; trendset ter" and Iproclaime !d The award, which is called the could ever imagine." < ., "The state or tne parK nas EDDY, usually recognizes individ- reached state of the art." ual efforts, but last year the entire Story Line Begins in The crown jewel of I.O.A. is The Spider-Man production team was Ride Line Amazing Adventures of Soider-Man, honored for creating the best in Nobody executes pre-shows or - I the first ride in histoq1 to comtline the art and technology of show details "backstories" (background hig h-speed lehicle ml otion andI business. ED praised the seamless information about characters and stulnning sirr iulated e>cperience! s in blend of various design elements, story line) like Universal. This is - . a 3-v environment. ACaUemy which include 3-D photography usually revealed to guests as they Award winning producer and and projection, sets, audio, the wait in line and suddenly become director Steven Spielberg, I.O.A. ride vehicle and the space itself, active participants in the narrative creative consultant, called it the plus the lighting for both the sets before experiencing the ride itself. bes ,t ride on the planet. "In the and film. It was the first time that (The pre-shows for Jaws, Back to Par ,lance of t:he thrill biz, it's a a theme park ride had ever the Future and Terminator 2-3D 'da rk ride,' tl he roller coaster's received such an accolade from the are almost as entertaining as the indoor cousln-a Tunnel of Love magazine. rides.) The Amazing Adventures of gone mad, playing oi~t at an Although Lee didn't attend the Spider-Man begins in the offices of amphetamine clip," vr drote Brac 1 award presentation, a letter written the Daily Bugle newspaper, where Wieners in Wired mag..-azine. . _. by him was read. "I'm a tough guy Peter Parker (a.k.a. Spider-Man) to please. I think of the Marvel works as a free-lance photographer superheroes as my children and for publishing magnate J. Jonah nobody better make them look Jameson. As we weave our way bad, see!" Lee was ecstatic to see through never-ending hallways his comic-book vision transferred and offices we notice that phones to the screen totally intact. In his are ringing off the hook, police letter, he praised Jeff Kleiser and scanners are blinking furiously and Diana Walczak of Kleiser-Walczak computer screens are filled with Construction Company (KWCC), half-written leads and stories.

@ Volume 27, Number 1 SEERE0 UDRLD Spider-Man swings out of nowhere and warns us of the donger that lies ahead when we encounter The Sinister Syndicate, a gong of superpowered villains called Doctor Octopus (a.k.0. Doc Ock), Electro, Hobgoblin, Hydro-Man ond Scream. 0 1999 Universol Studios Escape. A Universal Studios/Rank Croup loint Venture. AN rights reserved. Image courtesy Kleiser-Walcmk Construction Co.

In a foreboding warehouse, the forces of darkness (the Sinister Syndicate) plot to levitate the stolen Statue of liberty torch. Both the film and live sets are identical. The live sets were literally "built" in the computer to save the high costs of paint- ing three city blocks in o style that would match the New York City world created by KWCC for the film. The rendered live set images were printed on canvas (you can't tell where one begins and the other ends). 0 1999 Universol Studios Escape. A Universal Studios/Rank Croup loint horns assault our ears. All hell has the heat! (There's no time to catch Venture. All rights reserved. Image courtesy Kleiser-Walczak broken loose in the city. Suddenly, your breath on this ride.) A fore- Construction Co. Spider-Man swings out of nowhere boding Doctor Octopus abruptly Word suddenly comes over a tele- and jumps onto the hood of our appears and blasts us with his vision that the Sinister Syndicate Scoop (the vehicle jerks forward). doomsday anti-gravity gun which has stolen the Statue of Liberty. "Man, you shouldn't be out here," levitates our Scoop 400 feet into Jameson calls a conference, but all he warns. "With Doc Ock on the the air in the middle of the city's of his reporters are missing and he loose, this could be the most dan- concrete canyons. He gives us sev- has no way to get the story. He's gerous night of my life-and eral shakes then tosses us off into frantic because he has no options. yours!" As he swings off, he turns, the dark street below. This 400-foot He needs our help. We are immedi- admires our "night-sight" goggles freefall (a.k.a. "sensory descent") is ately outfitted with "night-sight" and says, "Nice shades." As soon as the highlight of the ride, a stom- goggles (polarized glasses), instruct- we crash through the doors of a ach-turning plunge that ends with warehouse, which houses the super ed on how to board a SCOOP dis- a sudden jolt as Spider-Man catch- patch cab (one of the funniest ani- villains' headquarters, we come es us with his webbing and pulls mated "how-to" videos you'll ever face-to-face (literally) with Electro, us to safety. If you thought the 13- see), then instructed to "GO GET who rips a cable from a nearby story drop on an elevator at Dis- THE STORY!" We're off. machine and gives our Scoop a few ney-MGM Studio's Tower of Terror electric jolts and we feel a jack- was a screamer, wait until you An Epic Battle Against Evil hammer wave. Several 360-degree experience Universal's 400-foot Our Scoop lurches forward into spins later, we crash into a huge freefall sensation. The creators uti- a dark, sleazy cityscape; an illusion sewer where Hydro-Man, who lized every trick in the book to cre- created with huge 70mm 3-D appears to be made out of water, ate this incredible effect. Two pro- images on 12 different screens (a dodges Spider-Man's punches and jected 3-D images on opposite 13th is in 2-D but you'll never find then sprays water at us-and on sides of the set, two falling wall it), real sets and flashing lighting. us. As our vehicle climbs back to sets, overhead turbo fans and the We are literally immersed into a street level in a series of heart- vehicle's motion base are perfectly surreal comic book environment. throbbing roller coaster maneu- synchronized to create the illusion (You can't tell where the film vers, Hobgoblin blocks our path of falling in space. images stop and the real world and throws explosive jack-0'- The Amazing Adventures of Spider- begins.) Blaring sirens and distant lanterns at us-and boy, do we feel Man is the first ride in history to

STEREO WVRLD Volume 27, Number 1 0 bridge, who created the ride along with production designer and ex- Disney Imagineer Thierry Coup. "AS soon as we knew we were cre- ating Super Hero Island, we knew Spider-Man was going to play a major role," recalls Trowbridge. "He is one of the most popular Marvel characters and we couldn't pass up an opportunity to create a Spider-Man experience." Trow- bridge was adamant about one thing. He didn't want to take this great character and present him in a less than spectacular way. "Spi- der-Man stories are archetypal," explains Trowbridge. "They're about good versus evil, super Doc Ock bursts through a brick wall and threatens us with his doomsday anti-gravity gun. He uses it to blast our cab and levitate it 400 feet in the air before tossing it into the street heroes versus super villains. If our below - a "sensory descent" that will have your stomach turning. 01 999 ~niversa~studios scope. experience wasn't bigger than life, A Universal Studios/Ronk Croup loint Venture. AN rights reserved. Image courtesy Kleiser-Wolczok Construction Co. we would have considered this ride a failure." assimilate 3-D film with live- Trowbridge, who has designed action, real sets and a revolution- Faster! Higher! two theme parks in Japan, has ary "roving-motion" base simula- bounced back and forth between tor. Add atmospheric touches like Wetter! ~Crn~ier! film and theater in the past heat blasts, water sprays, fog and Universal's track recoa of devel- decade. He envisioned Spider-Man wind gusts, plus 16 channels of oping breakthrough attractions as a great opportunity to combine digital audio on board each Scoop and rides during the last 11 years the best aspects of moviemaking and you end up with an extraordi- continues with The Amazing Adven- and theatrical production and cre- nary marriage of technology and tures of Spider-Man. In different ate a unique entertainment experi- art. Coordinating all of the effects hands, Spider-Man would probably ence. Before designing the ideal must have been a nightmare for end up being less spectacular than experience, Trowbridge and his the creators of both the ride and the revolutionary ride currently creative team went through the the film (see separate stories for a thrilling visitors at Universal Stu- process of asking themselves ques- behind the scene look at the cre- dios Islands of Adventure (I.O.A.) tions like "What is the best way to ation of the ride and the 3-D CGI). in Orlando, Florida. "We always do really communicate the ideas of The end result is nothing short of things to the utmost degree and, Spider-Man?" and "What is the spectacular and amazing, surely hopefully, to the next level," main- best way to create an experience the ride of a lifetime. With The tains Scott Trowbridge, director1 that is reminiscent of the charac- Amazing Adventures of Spider-Man, producer of the Spider-Man ride. ter?" According to Trowbridge, Universal pushes the envelope fur- "That's one thing Universal does "None of the ideas we came up ther. It combines the best of Uni- quite well. We provide experiences with that were based on existing versal Studios famous Back to the that you can't find anywhere else." technology cut the mustard with Future and Terminator 2-30 attrac- Hailed by the industry as a us. It was at this point in time that tions. Viewing 3-D has always been "threshold attraction," the ride we put all practical considerations a stationary experience, but now, thrusts a rapidly moving vehicle, aside and started asking ourselves thanks to Universal and KWCC, that's supercharged with sensory different questions. Given what there seems to be no end in sight surprises, into a surreal comic book Spider-Man is, the kind of stories on how 3-D can be utilized. "This environment which seamlessly he is involved in and the kind of is really the state of the future integrates 3-D computer-generated things he can do, what kind of an attraction," claims Mark Wood- images (CGI) into a bizarre live- experience should this be? We bury, vice-president of design and action cityscape exploding with were really entering uncharted ter- creative development for I.O.A. pyrotechnical special effects. Spi- ritory." "Spider-Man is the 'next threshold der-Man is the key attraction at Before presenting any ideas to attraction,' which represents the Marvel Super Hero Island, one of Universal's upper management, evolution of immersion entertain- five dramatically themed mini Trowbridge and Coup did their ment." We're holding our breath parks at I.O.A. The ride is so com- homework. They laid out a basic and waiting for the next big one plex that some of the technology framework of the experience and, from Universal. required to make it a success had- at the same time, listed the tech- n't even been developed when pro- nological considerations and the duction began in 1996. "From the hurdles that needed to be sur- start it was a challenge, a science mounted in order to make the ride project actually," laughs Trow- work. "The list was much longer

0 Volume 27, Number 1 STEREO WORLD than we wanted it to be," chuckles Trowbridge. "We went into the front office and presented this cool experience along with a list of things we could not do. Some of the technology required for the ride was deemed impossible three years ago, but we were determined to find ways around some of the problems. Understandably, the park executives were cautious but they offered optimistic support." Trowbridge knew right from the beginning that the use of 3-D in the ride was going to be a tricky. Viewing 3-D head on is not a prob- lem, but viewing 3-D from a mov- ing point of view while retaining Electro rips a power cable off a piece of machinery and blasts us with bolts of electricity realism was going to be a daunting We literally feel the heat from the live special effects and the jackhammer jolts from the task. Eventually, the problem was sonic vibrations in our vehicle. 01 999 Universal Studios Escape. A Universal Studios/Rank Croup loint solved by Kleiser-Walczak Con- Venture. All riqhts reserved. lrnaqe courtesy Kleiser-Walczok Construction Ca. struction Company, a CGI studio with a track record of solving prob- through the two scenes that had added to a traditional screen mate- lems and creating innovative digi- been recreated, several grips from rial that would allow it to hold tal effects for film, television and the film industry were hired and polarization." commercial productions (see sepa- dressed in black so they wouldn't Trowbridge and KWCC had rate article). stand out in the darkness. To simu- decided early in the ride's produc- The earliest scale model of the late the sensory effects when ; tion that they wanted very realis- ride was made out of plywood. It Hydro-Man swings a water pipe 1 tic, very human animation and, in sat on a 20 by 26 foot table (scale: and hits the car, Trowbridge and fact, wanted the Spider-Man char- 1" to the foot) that was supported Coup smashed the car with a two- acter to look "alive." To achieve by stilts and stood about four feet by-four piece of wood and sprayed this goal, the creative team first off the floor. Huge strips of wood the executives with water from a considered using motion anima- were then cut out to recreate the fire extinguisher. Both of these tion, a process that begins with ride's track pattern. This enabled effects would be effectively simu- outfitting a human being--or any- the designers to wheel themselves lated and be accompanied with thing-in a special suit with sen- through the model on a low stool steam blasts in the finished ride. sors on it. When the person with casters. With their heads now With the ride's creative concept moves, a computer captures the at the level where the ride's Scoop now locked up, Trowbridge still motion of the sensors that is to be (the name of the vehicles that had many problems that needed to applied to an animated character. guests would eventually ride in) be solved. He wanted to use rear A martial artslkung fu champion would be, the creative team could screen projection to free up space was hired to try and perform those recreate passengers' eye move- for animated props such as broken heroic Spider-Man moves. "The ments and get a feel for the ride. pipes, moving walls and a collaps- idea was to capture all the subtle Further along, a partial full-scale ing bridge. There was one major nuances of his moves and translate mock-up was built in an airplane obstacle. According to Trowbridge, them into screen imagery in order hanger. "We spent millions of dol- light from the projectors did not to make the character seem more lars over a period of time execut- maintain polarization as it passed realistic," points out Trowbridge. ing proof-of-concept tests to see if through some rear-screen materi- "We set up a computer rig and the ride as we envisioned it was als. The images became muddled video taped the martial arts cham- going to work," states Trowbridge. and the ability to see 3-D was mys- pion's movement from six differ- "This rudimentary mock-up, com- teriously lost. He reports that one ent angles. When the motion was plete with some basic 3-D CGI, was expensive experimental screen, applied to the animated character, just enough to tell us if the con- which was really a cut glass lens, the results surprised us. We hated cept was going to work." Trow- could have been used, but the it. He was too human and he did- bridge brought senior management machinery used to manufacture it n't move like a super hero. Speed- in to check out the ride's progres- could only make screens 8 by 8 ing the action up didn't improve sion. According to Trowbridge, the feet when the ride required screens the situation. Some magic was executives were seated in a strange 35 by 35 feet. Trowbridge set out missing. Even a kung fu master looking vehicle that resembled a to solve this problem by projecting can't move like a super hero. A lot dune buggy which could ride 3-D imagery through all types of of time and energy was spent on along a track, rotate and do just materials, even shower curtains. this first animation test. In the about anything under human "Eventually, we stumbled upon a end, KWCC used key frame anima- power. To push the vehicle mix of ingredients that could be

STEREO ETX?.LD Volume 27, Number l @ adventure scene better. Has Disney lost the touch? Instead of getting a Disney four or seven day pass, go for innovation at I.O.A. and its sis- ter park Universal Studios Florida where you "ride the movies." The two parks seem to invoke the same mantra-Faster! Higher! Wetter! Bumpier! At I.O.A., guests will see their favorite myths, legends, cartoons and comic books come to life in five distinctively different creative worlds. The comic-book colored Marvel Super Hero Island is inhab- ited by super-heroes and villains, like the Incredible Hulk Coaster and Doctor Doom's Fearfall (both Hobgoblin tosses a few flaming jack-o'-lanterns our way and they explode on impact. rides have story lines, a must for 01 999 Universal Studios Escape. A Universal Studios/Rank Croup loint Venture. AN rights reserved. Image courtesy all rides at Universal). Over at Kleiser- Walczak Construction Co. Toon Lagoon, you leap into the pages of the Sunday funnies and tion (i.e. animation by hand) to examining the same inputs. If romp around a universe inhabited create those super movements. those two computers disagree on with Blondie and Dagwood, Beetle The scope and complexity of The any data, the plug is pulled auto- Bailey, Krazy Kat and the Popeye Amazing Adventures of Spider-Man matically. Usually, it only takes gang. Do try Dudley Do-Right's has never been undertaken before. seconds before the problem cor- Ripsaw Falls, surely the wettest ride More than 70 networked comput- rects itself." ever created. (Universal has a thing ers, costing over $15 million, inte- Where does Universal go from about spraying, splashing and grate every element in the ride to here? Trowbridge is enthusiastic dumping water on guests. It's actu- within 5 milliseconds. The com- about both parks' future rides. ally a lot of fun. Trust me, you're puter-controlled elements include "Our job is to provide some great not safe anywhere.) Realistic "liv- vehicle motion (simulated and experiences for our guests. We're ing, breathing" dinosaurs populate real), front and rear 70mm dual- dedicated to keeping that experi- Jurassic Park. The Jurassic Park projected images on flat and ence fresh, which means providing River Adventure, with its attacking curved screens, additional video alternatives to the other parks. Spi- T-rex and 85-foot water plunge is projectors, moving sets and props, der-Man was built on the knowl- easily a crowd favorite, but I mar- pyrotechnics and digital sound in edge we learned from Terminator veled at the park's Discovery Cen- every cab. Sooner or later, techni- 2-30. With our new knowledge ter. It's packed with entertainment cal problems do occur, as it did on and our new technology, we want and educational interactive oppor- one of my many rides. to bring future attractions and tunities. Here, you'll find both Initially, Universal had a pro- rides to a new level of entertain- adults and children mesmerized at longed sneak-preview period for ment." the sight of a real Raptor "hatch- fine-tuning any glitches before ing" before your eyes. I.O.A. officially opened. In my Disney vs. Busch & Sometimes, small is best. The third ride, film images suddenly Universal highly entertaining Mystic Foun- vanished and the Scoop slowly Yes, Disney's Magic Kingdom is tain speaks, tells jokes and squirts came to a stop a few times, once the must-see park to visit in Orlan- water. Don't ever mention you're even in the free-fall segment. Actu- do. It's at the top of everybody's from England. The fountain will ally it was a great experience as I list. Disney still delivers the enter- make you feel at home. Even got a rare opportunity to check out tainment goods, but the newer and adults will be in awe at the the physical layout of the 1.5-acre more exciting attractions at Uni- cacophony of Day-Glo colors that ride. "Our primary mandate for all versal's two parks and Anheuser- envelop the whimsical Seuss Land- Universal attractions is safety," Busch's two parks (Busch Gardens, ing. It's the only place in the world points out Trowbridge. "Those Sea World) suddenly make the where Theodor "Dr. Seuss" Geisel's vehicles, for instance, have many Magic Kingdom appear stale, old world famous characters and books redundant control systems that are hat, and, dare I say it, out of spring into life. looking out for any kind of opera- touch. During the week I visited tion anomaly. If anything looks several parks in the area, I heard weird, the vehicle stops. The sys- visitors from all over the world tem that controls all of the vehi- express disappointment in Disney's cles (there are 12 Scoops in the newest park, Animal Kingdom. I Everybody seems to agree that Some theme park ride specialists ride) is actually two computers and computer graphic imaging Busch Gardens portrays the African running the same software and houses said it couldn't be done.

@ Volume 27. Number 1 ST'EREO WORLD Good wins out. In the final scene of the ride, Spider-Man dangles the captured villains in one of his webs. The world is safe-for now 01 999 Universal Studios Escape. A Universal Studios/Rank Croup loint Venture. All rights reserved. Image courtesy Kleiser- Walczak Construction Co.

Getting 3-D to retain its dimen- has studios in Hollywood and New lems in compositing CGI with live sional realism on both flat and York.) "When a project is in pro- action and motion-controlled pho- concave screens from a moving duction for three years, there's tography. point of view was perceived as, time for other people to sniff The film portion of The Amazing well, next to impossible way back around at what we were doing and Adveniures of Spider-Man had to in 1996. So, who ya gonna' call? try to beat us to the market with start early in the ride's production Universal wisely called Kleiser- some kind of similar technology," schedule. New technology had to Walczak Construction Company claims Kleiser. be in place quickly. The immediate (KWCC), a small, innovative CGI KWCC is no stranger to solving problem? How do you compensate studio headed by Jeff Kleiser and technical problems. Their pioneer for the constant shift of perspec- Diana Walczak and founded in work in computer imaging tive of the 3-D images. KWCC cre- 1987. "In the past, we have includes the development of Syn- ated new technology for this mov- demonstrated our ability to take thespianSM,a term trademarked by ing point of convergence and on a project, throw all the rules the studio to describe the use of called it "squinching." This new out the window, solve technical digital performers as stand-in dou- process digitally compensates for problems and deliver top quality bles for actors. This technique of the changing distortions you get work on a budget and on a dead- using "3-D" characters that move when you look at a 3-D image as line," says Kleiser. "I think this is with believable life-like motion you pass across the screen. To the reason why Universal felt we preceded Titanic by two years accomplish this, the studio had to, could handle The Amazing Adven- when KWCC produced the first dig- in effect, calculate where a viewer tures of Spider-Man, which had a ital stunt doubles for the Sylvester sat at every moment in the ride substantial amount of complex Stallone film, Judge Dredd. KWCC's and adjust the image from that problems." Kleiser points out that film division also created ground- perspective. Frank Vitz, KWCC KWCC is in a unique position of breaking visual effects for Stargate, head of software, and Jeffrey having no other financial investors Clear and Present Danger, Mortal Williams, technical supervisor, other than himself and his wife Combat Annihilation, Honey, I Blew started by simulating the ride in (Walczak). "We tend to work on Up the Kid and the 70mm 3-D pre- the studio's SGI computers. The interesting projects that we really sentation Honey, I Shrunk the Audi- ride was built to scale and included want to do, and then we focus all ence (SW Vol. 22, No. 1).Their information on the location of the our attention on them. Our studio commercial division recently won track and the projectors. A simulat- is not a huge factory involved in a string of awards, including a ed camera was then mounted on many projects. We take a boutique prestigious Clio, for the Synthespi- the simulated ride vehicle. After approach to our business. We told an characters in Trophomation in data was supplied on how the Universal that we would dedicate a which reflective gold basketball ride's vehicle would move along a crack team of animators for three trophies come to life and play a specific pathway, Vitz and years on Spider-Man. The team that fast paced game of one-on-one. Williams were able to see how the started the project would finish it." Last year, the studio produced the screen was going to look at specific Universal quickly recognized 70mm 3-D CGI for the digital points in the ride. Camera paths another important benefit of sign- opera, Monsters of Grace. (Look for were established in the computer ing on with KWCC. The animation a report on this project in a future and locked. KWCC developed would be produced on the east issue.) In addition to all of these squinching algorithms, a tech- coast (North Adams, MA) away technical accomplishments, KWCC nique which allowed the studio to from the prying eyes of Hollywood collaborated with Douglas Trum- pre-distort the imagery on every at KWCC's studio in MASS MoCA, bull on the Las Vegas Luxor special frame to compensate for the shifts the Massachusetts Museum of venue 3-D film. This project in the audience's ever changing Contemporary Art situated in the involved solving many complicat- viewing angle. In effect, while Northern Berkshires. (KWCC also ed mathematical and optical prob- understanding the distortion that's

SIEREO WORLD Volume 27, Number 1 @ bine all of the programs and elimi- nate the translating problems. It Spide: was originally called beta code which means the software wasn't Figures fully tested or ready for public release." Trowbridge says every- $2.5 billion body had to take a good hard look Reported cost of 1 itudios at this new development. Alias/ Islands OfAdvent opened Wavefront was offering a great in Florida in 7 9 9 S solution to their problems, but there was that possibility that the KWCC heads Diana Waiczak and /eff $100 million software would crash because it Kieiser share a 3-0 moment. The Reported cost of the ride. hadn't been completely tested. company's special venue division is (Terminator 2 3-D ISW VOI Millions of dollars and countless currently working on The Future No. 41, which opt?ned in IS Journey, a high-definition video pro- months of work would be lost. ject that will be the centerpiece of Universc11 Studios Florida, is KWCC, who had been a beta site the mobility exhibit at Expo 2000 in at costirig $60 mr Ilion.) for Alias/Wavefrontls software Hanover, Germany, this summer. before, had confidence in the new (Photo by Chris Swing.) 16,000 product's capabilities and started to Total number of 70mm film frames migrate their Spider-Man work going to happen, the computer projected onto 7 3 screens. onto the new system. "Changing algorithms purposely applied dis- software almost half way through tortion in the opposite direction so 25 any project is a very unorthodox," Number of large-!brmat filn that the two cancel each other out . . asserts Trowbridge. "A situation and the images look normal from projectors used to project 7, .,,,,,- like this wasn't alien to us. We had the viewer's point of view as they scopic ir nages anc image to be able to make leaps of faith move in relation to the image on onto 13 screens. and use our instincts and our intel- the screen. S lect to tell us which way to go "This makes the screen appear to because we were always charting Number ofyears I t took 3.5 be a window on the virtual world new territory on Spider-Man." gnimatcIrs to crea te the CCI images. rather than appearing to be just a screen onto which images are pro- Special thanks to Michael McLane, jected," says Kleiser. "The end Senior Representative Publicity & Pub- I . ofcomp~ rter motor:based lic Relations at Universal Studios results are nothing short of aston- Ibrains on each Sc,oop vehicl'e which ishing. With squinching there is .. , Escape and Scott Grogin, Universal syncnronize its movemenr w~rnon- Studios Public Relations, for their an additional depth cue of parallax screen a where the objects in the fore- cooperation in helping SW make this ground go by faster than the article as complete as possible. We objects in the distance, resulting in Sometimes there were translation would have been lost without the a more believable sense of depth." errors and some work would have assistance of Amanda Roth and Santo Walczak admits that squinching to be redone. About a third of way Ragno at Kleiser-Walczak Construc- was really a mathematics problem. through the animation, Alias/ tion Co. who worked tirelessly in "Squinching for the flat screens Wavefront announced that they prepan'ng background information wasn't too complicated, but were developing a new set of soft- and producing specially rendered squinching for the two fish-eye ware animation tools (to be called black and white 3-0 pairs for this projected images on two different Maya later on) that would com- article. em hemisphericaldome screens was very complicated and took almost three months to complete." KWCC used a full arsenal of Alias/Wavefront software on Spider- Explore the World Man, including Power Animator of 3-l3 Imaging, Past & Present, in (modeling, animation, rendering), Dynamation (dynamic effects), Kinemation (character animation), Composer (compositing), plus many more. "Kleiser-Walczak really pushed this sophisticated software to its limits," claims Scott Trow- bidge, Spider-Man's producer/direc- tor. "They were constantly translat- NATIONAL p.0. BOX 14801 ing data back and forth between STEREOSCOPIC ASSOCIATION, INC. Columbus the different software programs, a year from: OH 43214 and it was very cumbersome.

@ Volume 27, Number l STEREO WORLD Owen

Barrett's The Washington Stereos by John Dennis

J he 1920s aren't generally With the market nearly all to in Depth regarded, at least among collec- itself, Keystone made an impres- Ttors, as fruitful years for stereo sive effort to maintain the vitality images. By 1922, Keystone was the and relevance of published views last remaining major publisher of throughout the decade and into stereoviews, a medium which the the '30s. Some exceptionally good growth of magazines, radio and stereography documented technol- "Fish for Breakfast." This Owen Bar- movies must have left seeming ogy, public events, people and rett view brought more delighted societies from all over the globe reactions than any in the rest of the more and more a leftover from the collection when passed around to previous century. Despite encour- during those years. (See "George members of the Cascade Stereoscop- aging sales of both photographic Lewis, Keystone's Last Stereograph- ic Club. Barrett and his wife Cassilla and lithographed views in the ern, SW Vol. 20 No. 5.) While (included in several of his views) are early years of the 20th century, much of the production was tar- seen car camping, probably some- they were just no longer a primary geted at grade school use, Key- where near Mt. Rainier. Visible under way of learning about the world by stone's general sales efforts during the tabk and in the center fore- the '20s. that time were enthusiastic, to put ground is the string being pulled tight to trip the shutters.

SITEREO W3RLD Volume 27, Number 1 @ The collection includes several views it mildly. Company publications advent, in the 1930s, of 35mm of people riding horses in Paradise Valley on the slopes of Mt. Rainier, and policies promoted intense stereo transparency formats. In just a short drive from the Seattle competition among salesmen to 1933, Tru-Vue stereo filmstrips area where Barrett lived. maintain levels that kept the firm were introduced, followed by the in business long past the prime of similar Novelview films, leading to the stereoview format. (The story the advent of the View-Master for- of one leading salesman, L.L. mat by the end of that decade. Cupp, will be covered in an While the '20s were nearly at upcoming feature article.) the end of the stereoview as a pub- Despite Keystone's extended sur- lished medium of general interest, vival (which was aided by the flat 3-D imaging was increasingly tak- commercial use of their huge ing advantage of improved photo- library of images), the 1920s were graphic technology in specialized really a decade in-between the applications like mapping, adver- ...... comkercial viability of the pub- tising, medicine, the natural sci- This climbing shelter and lookout on Mt. Rainier was stereographed from lished paper stereoview and the ences, promotional gimmicks, and nearly every angle. I F

@ Volume 27, Number 1 SZ!EREO U0RZ.D even movies. At the same time, aerial and land survey, optical "On Paradise Glacier" provides a stereo cameras and accessories instruments, to educational pur- ...... good look at 1 920s climbing attire. were becoming more widely avail- poses and also to magazine and able and popular in both America catalogue illustration. Already on and Europe. In the preface to his the Continent, the anaglyph is comprehensive 1926 book Stereo- being used to an increasing extent scopic Photography, Arthur judge for the stereoscopic illustration of made note of these trends. "Not commercial catalogues, and for only is stereoscopic photography books and magazines." being taken up again with increas- The '20s saw some early 3-D ing zeal-as judged by the activi- movie efforts, including the first ties of the stereoscopic societies, known 3-Dfeature-length film The and by the sales of apparatus-but Power of Love, projected anaglyphi- its principles are finding greater cally in Los Angeles in 1922. Com- ...... application to microscopy, radiog- peting with a number of anaglyph- Shots like this one looking into a Mt. Rainier glacier are irresistible in 3-0, raphy (X-ray work), astronomy, M.A.R.S., ic short films in 1923 was but Mr. Barrett produced a view worthy of any professional.

STEREO WORLD Volume 27, Number l @ "Snout of Nisqually Glacier. " This projected in the Televue synchro- 1931 were also designed for view- site below Mt. Rainier remains a ing in the Camerascope (SW Vol. popular and accessible attraction nized mechanical shutter process today. in New York. Stereo was also 17 No. 2). In 1928, a custom-made employed to promote 2-D films, as aluminum viewer was included in the case of The Hunchback of with souvenir sets provided early Notre-Dame (1923) and Phantom of passengers flying aboard the Graf the Opera (1926) using stereographs Zeppelin (SW Vol. 23 No. 5). of the sets and selected scenes pro- All of the above elements seem duced for the folding Camerascope to have helped keep public aware- viewer. ness of stereoscopy as a photo- The same viewer and format was graphic option higher in the '20s used for a mid '20s promotional than it is today. Interest in stereo set produced by the Berkshire Knit- among amateur photographers was ting mills (SW Vol. 21 No. 3). Sets certainly more common, and new of stereoscopic cards issued with or used cameras were certainly eas- ...... ier to find alongside flat equip- "Near Reese's Camp - Paradise Cavenders cigarettes from 1927 to

Valley.#

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umber 1 STEREO WWRLD family. As the box of impressively Mr. Barrett documented in stereo the ment in shops. Carrying or using a fruit and vegetable business in which stereo camera at some scenic view- stereographed and mounted views he was a partner. Many of the views point would have brought fewer (if was shared via several stereoscopes, in the collection are in this smaller any) stares or questions than comments and questions flew format--perhaps from a folding roll today, and many amateurs became around the room regarding the film stereo camera. Unlike the extra very proficient stereographers. cameras used, the locations shown, image area provided by 5x7 cam- While published views of Paris or and the vintage cars so sharply eras, there was no leeway in these Niagara Falls had become less com- recorded. Unfortunately, little negatives for stereo window adjust- mon, shooting your own stereos of beyond the handwritten titles on ment in contact printing (and those sites (or of your own back- the mounts is known among the enlarging was not yet a common yard) was a growing hobby. grandchildren's generation, practice). A generous selection of views by although more research is under one such amateur were brought to way. A carnival or circus visiting the Seat- a meeting of the Cascade Stereo- The stereographer's name is tle area. Other Barrett views include scopic Club in Portland, Oregon, Owen Barrett. He was active railroad stations, city streets, and country roads but hiking and camp- last year by the photographer's through much of the 1920s in ing subjects were clearly his I I favorites.

STEREO WRLD Volume 27, Number 1 @ Perhaps taking advantage of a Washington state, especially in the "smaller" folding stereo camera, Mr. contact prints from a large format Barrett took a group of stereos from Mt. Rainier area. He was a partner camera, perhaps something like a plane, probably a sight-seeing in a wholesale & retail fruit and the classic workhorse Stereo fliaht over Puaet Sound. vegetable business for at least part "Auto" Graflex 5x7 (on the market of this time, which may have from 1907 to 1922) or the less required frequent travel to various bulky Graphic Stereo 5x7. Other parts of the northwest-providing views in the collection have two opportunities for stereography in and one-half inch wide images, different areas and seasons. suggesting the use of a smaller As his cameras and negatives camera like a folding Blair Hawk- were not found with the views, eye or kodak roll film model or a much speculation circulated dur- more compact French or German A dramatic self portrait in front of ing the meeting as to exactly what stereo camera of various possible Snoqualmie Falls, about 30 miles equipment he used. The very formats producing negatives that east of Seattle. About half of the sharp, arch-top three-inch prints could have been contacted or heavy gray mounts Barrett used on many of the mounts suggest enlarged. have no identification on the front or back.

@ Volume 27, Number 1 SLEREO WDRLD Whatever cameras Mr. Barrett publishers both before and after A few of the Barrett views have slightly oversize, square images like owned, he was obviously quite the '20s. this one of Snoqualmie Falls. Then as skilled in their use and careful in As important to stereographic now, the popular attraction was printing, trimming and mounting. history as the work of Owen Bar- close enough to Seattle to be an Most of the views are composed rett is the care with which Deb easy trip but far enough for resort with evident concern for strong Beery and her family have pre- hotels perched above it to tempt stereoscopic impact as well as good served her grandfather's stereo- many into spending a night soothed basic photographic composition. views. Sharing them with the Cas- by the sound of the water. In short, Owen Barrett was one of cade Stereoscopic Club and Stereo the thousands of serious amateurs World, and continuing the family in the 1920s who kept stereogra- research into Mr. Barrett's life and phy not just alive, but in many stereo photography demonstrate cases more vitally involved in doc- an attitude we can only hope is umenting the real world than the highly contagious. eo work of some professionals and

PhotoHistory XI in October

eld every three years since 1970, cussion on Live vs. Internet auc- HThe Symposium on the History tions. of Photography titled PhotoHistory Speakers will fill the day of Octo- will be take place October 20-22 in ber 21 at George Eastman House, Rochester, NY. While none of this where a sack lunch will be includ- year's presentations deal exclu- ed and where registrants attending sively with stereography, many of the evening buffet can tour the the speakers are NSA members and mansion and gardens and hear several topics will include aspects George Eastman's pipe organ in relevant to stereo photography, the conservatory. A 100-table Trade collecting and preservation. Show is scheduled for the 22nd at Among the subjects will be the Marriott Thruway. Daguerreotypes (Matthew Isen- For more information or regis- burg), The New Collection (Jack tration forms, contact PhotoHisto- Naylor), The Camera Obscura Uack ry XI, Box 10434, Rochester, Nu & Beverly Wilgus), The Iron Plate 14611 or call Jack Bloemendaal, in American Photography (Janice (716) 288-6359. 1 Schimmelman), and a panel dis-

STERM)WRLD Volume 27, Number 1 @ Deep M

review by Sheldon Aronowitz

irque du Soleil-Journey of Man embryonic "universal child" opened to IMAX Theaters appears and plunges through a Cworldwide in May, 2000. The brilliant portal of light and into mission of Cirque du Soleil, as a the sea. The child's underwater circus, is to "invoke, provoke, and experience is portrayed by artists evoke the imagination, the senses, from "0"-the first Cirque du and the emotions of people Soleil venture into aquatic theater. around the world". After seeing Several synchronized swimmers Cirque du Soleil-Journey of Man I perform an awe-inspiring underwa- feel this mission statement holds ter ballet, and in a symbolic way, true for the film as well. just as man emerged from the Cirque du Soleil first opened in oceans, the infant is propelled A Floune guides the "Universal 1984 and has since been experi- from the water into the dense Child" on the lourney of Man poster. enced by over 20 million people foliage of a redwood forest. (Photo by Sheldon Aronowitz.) worldwide. It employs over 1800 The Taiko Drummers' cave scene people from almost every country was the only one shot on a set (in in the world, 500 of whom are per- a Las Vegas warehouse) since the formers. Cirque du Soleil currently drums are very fragile and finely has eight shows running simulta- tuned and would not hold up to neously on three continents, the elements. Also, the Taiko including two in Las Vegas, one in Drummers play at "Mystere" in Las Biloxi, Mississippi and one in Vegas and were only available two Orlando, Florida at Disneyworld. days a week, hence the Las Vegas Cirque is a film not so much set. However, throughout the rest about the circus itself, but rather a of the film, the performers were film which uses acts from Cirque faced with the challenge of per- du Soleil to portray man's journey forming their acts out of the pro- through life. The stages of human tective setting of the big top or development, from birth through fixed theaters and in the unpre- maturity, are each introduced by a dictable environment of the great Cirque du Soleil act. Cirque was outdoors. The filmmakers shot in filmed on location at various nat- just about every type of location ural and historic landmarks around imaginable, from underwater to the world. the desert to being suspended in The film opens with a resound- mid-air. ing "Big Bang" as an explosion of For the underwater scene the light and sound sends shock waves filmmakers tried to find a body of rippling through the universe. As water that was 85 degrees, as this is the cosmic dust clears, the Taiko the temperature of the underwater Drummers appear as prehistoric "0" stage at the Bellagio in Las cave dwellers. As they beat their Vegas, home of the underwater drums louder and louder, the artists. Since the shot took place in

Volume 27,Number 1 S7WREO WDRLD - December, the warmest body of takes a turn, as young adult Green Gables in a book about old water that could be found was believes he can obtain love with gardens and sent the location only 65 degrees. As each IMAX film money and is soon seduced by manager who was able to gain the load contained only enough film "Stiltman" who is symbolic of the cooperation of the owner. The for three minutes, the performers devil. Stiltman takes the young pool was drained and filled with used the l-hour turnaround time man's hat and replaces it with a water and black dye to give it a between each shot to warm up! gold one to symbolize his deal reflective, dramatic, surreal look. In stage two, childhood, the with the devil. In the next stage the now child experiences the brilliant The statue act was filmed at a mature adult is surrounded by gold light, color, sound, and massive Renaissance-style garden reflecting and marble-his value calculated trees of a redwood forest-symbol- pool located at a private estate by his financial wealth. A young izing how, from a child's point of called Green Gables in San Mateo, vagabond girl appears and view, everything is larger than life. California. Co-producer Charis attempts to give mature adult the The child meets the "flounes", part Hortan remembered reading about hat he tossed away in favor of his clown and part shaman, who serve as the child's guides and instincts. The female and male Flounes in their elegant red, yellow and blue costumes in Cirque The male floune is a risk taker and Du S~/ei/-)~~rneyof Man. (Photo by David Bohrer.) 01999 Sony Pictures Classics. the female floune is more cautious. The child meets several uniquely costumed characters, representing a combination of imagination and reality. Learning such emotions as fear, joy, courage and wonder, the child is engrossed by the graceful aerial ballet performance of the "Bungees". Derived from the popu- lar stunt of bungee jumping, this act is a Cirque du Soleil fan- favorite. The Bungees dive from the giant treetops, coming within inches of the child's face. Fear turns to courage and the child reaches out to the Bungees, who grab hold of him and in a climac- tic rite of passage, whisk the child up into the air and-symbolical- ly-away from his childhood. In stage three, the child finds himself in the Valley of Fire State Park in the Nevada desert. He no longer has the flounes as his guides and protectors and is drawn to a powerful man high on a canyon wall spinning a $ant metallic cube around his body. The youth aspires Present for the New York opening of Cirque Du Soleil-Iourney of Man, the Flounes seem to be as strong and brave as his just as endearing (and maybe a little less intimidating) out of costume. new- - found idol. As "Cube Man" (Stereo by Sheldon Aronowitz.) conquers the cube, "youth"' feels the courage to enter into adult- hood. Adulthood begins with the young adult standing by a reflect- ing pool when he is captivated by male and female statues on a lily pad. The statues become alive, and intertwined with one another per- form an act of magnificent chore- ography. The lily pad is symbolic of the fragility of marriage and the need for harmony, balance and strength. The young adult, through observing this metaphori- cal ballet, learns of love and wishes to possess it. It is here that the film

,STEW WORLD Volume 27, Number 1 @ The location of the Banquine segment was Severance Hall, home to the Cleveland orchestra. This is one of the few opulent buildings in the world with an unobstructed forty-foot high ceiling-the height needed by the acrobats. The prob- lem at Severance Hall was that the Cleveland Orchestra performed in the evening-so the Ranquine set had to be taken down every evening and reconstructed every morning. The next step in man's journey, maturity, takes place at the Bran- denberg Gate in Germany. Man has become a mature man and as he sees the child within all the adults around him, they too all magically turn to children. Reflecting on his past, mature A yellow, bird-like Bungee ready to leap from a tree in the Redwoods in Cirque Du man remembers that as a child he S~/ei/--/~~rneyof Man. (photo by David Bohrer.) 01 999 Sony Pictures Classics. was full of dreams, full of faith, ...... and full of love. With an under- standing of his life, he realizes that his journey is complete. Filmed on location at the historic Branden- berg Gate in Germany, it is here where one journey ends and another begins, not only for mature man, but also for the city of Berlin. Located in the center of Berlin, Brandenberg Gate was built between 1788 and 1791. Histori- cally, the gateway was the site of many celebrations and conflicts. However, after the construction of the Berlin Wall in 1961, the gate was sealed off in an area between East and West Berlin with access terminated until November 1989. Following the collapse of the com- munist regime, the Berlin Wall was torn down and the heart of the city was restored. Just as the end of the Berlin Wall signaled a new beginning for Berlin, the youth of society repre- sent a new beginning for the human race. So it is with the next generation in tow that mature 1 Cirque Du Soleil-journey of Man Director Keith Melton with the characters from the man walks with confidence statue act, filmed at the Renaissance-stylegarden reflecting pool at Green Gables towards the gates to begin his final estate in San Mateo, California. 01 999 Antoine Compin. I destiny. He passes on the knowl- gold hat. He shrugs her away with through their metaphorical and edge to these children that every- annoyance, thereby rejecting any symbolic display, to bring mature one is born with three essential reminder of his youthful values. In adult back to the freedom of his keys to life: dreams, faith, and love a final attempt to bring mature youth. His spirit rekindled, he real- In his wisdom, he has learned adult back to the true and mean- izes that money and power are not the secret of these keys is that ingful values of his youth, a group the important goals in life and "dreams make the impossible pos- of acrobats called the "Banquine" tosses his gold hat aside The sible, faith tells you to believe in appear and put on a fantastic show flounes reappear to guide him to youth, and love is the instinct to of acrobatic feats. They hope, his next and final destination. respect one another". The wise

@ Volume 27, Number l STEREO WORLD mature man advises the youths that by using these three keys to life, "one can open doors to end- less possibilities. Where these doors lead is everyone's individual journey but collectively, it is the destination of humankind." Well, quite a lot to grasp in 38 minutes! I think you would need a Ph.D. in symbolic film interpreta- tion to absorb the vast amount of information, symbolism, imagery, etc. presented, and anyone who can actually do so should be awarded a degree on the spot! I raised this question during my interview with Cirque director Keith Melton and writertproducer Peter Wagg. They explained, quite correctly, that this film can be enjoyed on many levels; such as Cirque Du Soleil-journey of Man Co-producer and Writer Peter Wagg studies a copy of the grace and beauty of the per- Stereo World and the Across the Sea of Time View-Master packet and viewer. formers, the scenery, the music, (Stereo by Sheldon Aronowitz.) the fairy tale story line, etc. This is a film which can be enjoyed by all The Cirque budget was I think the message in Cirque is at any level chosen. Although con- $12,000,000. By comparison the an important one for us all-and centration and introspection will budget for Across the Sea of Tlme as important a part of the film, if be needed if one wishes to fully was $7,000,000. T-Rex was $14,000 not more so, than the entertain- benefit from Cirque's message, 000. and Wings of Courage was ment value. We all get caught up much pleasure can also be received $15,000.000. in our material pursuits and some- from just sitting back and enjoying In some of my other reviews I times need a reminder, as did the the beauty of this magnificent have suggested that a particular main character, that we must film. film be seen more than once to appreciate the non-material as Keith Melton is a long time fan fully appreciate it. For Cirque this is well. You will walk away from of Cirque du Soleil. He wanted to an absolute necessity! It is just not Cirque with a renewed appreciation transpose the surreal quality of the possible to experience all the film of the values in life that we often circus to the real world in "real" has to offer in one or even two take for granted-joy, love, hope, surroundings in this first time ever viewings. I realize this may not be faith, friendship, etc. that Cirque du Soleil performers practical or even possible, especial- Much too often, as we all know, performed out of their "Big Top" ly for those who live a great dis- the use of 3-D in film is for environment. One of the first tance from an IMAX 3-D theater, exploitive or sensational purposes, things Melton did prior to filming but for those with the opportunity, and 3-D is tainted when this hap- was to study the Cirque du Soleil it will be well worth the extra pens. It is great to see 3-D used in performers at their "Mystere" show effort. a film of this caliber. As 3-D has in Las Vegas so he could get a feel enhanced Cirque, so has Cirque for the staging, lighting, direction, enhanced 3-D. em etc. and keep the "character" of the Cirque du Soleil in the film. His attention to detail is mind bog- gling. Everything had to fit togeth- er perfectly including light, color, THE TAYLOR-MERCHANT #707 STEREOPTICON VIEWER mood, music, sound, camera BRINGS YOUR $2.95 ea. - less in quant~ty. angles, etc. Every plant and flower Add $2.00 sh~pp~ng. IMAGE TO LIFE! NYS residents - you see in the Redwood forest or Qual~tylenses. please add tax. around the reflecting pool is not Exceptional durability there by accident but by careful FREE Weighs 112 oz. CATALOG and meticulous planning. Melton Simple, easy AVAILABLE was well aware of the 3-D in virtu- operation. CALL ally every shot and designed Cirque Folds TOLL FREE: to take full advantage of it at all flat. 800-223-6694 times. Camera angles, distances TAYLOR- ' CREDIT CARDS and interocculars were constantly MERCHANT CORP. 4 ACCEPTED evaluated for optimal 3-D. 212 West 35th St. New York, NY 10001

STEREO WRLD Volume 27, Number 1 @ Tin Aaain by John Dennis

t's been some time since we last the pair may have originated in a and then aging it to resemble an added to our "collection" of four-lens studio portrait camera antique, monolithic tintype stereo. Istereo tintypes (see SW Vol. 24 and may have only been inserted (Modern materials aren't the same No. 1 page 18 and Vol. 24 No. 2 for stereo viewing as an after- as 19th century tin plates, but page 36). As with the previously thought, unlike the very intention- someone determined enough published examples of cut tintype a1 stereos shot by the Alden broth- might be able to come close.) pairs produced by the Aldens of ers. The latter effort may have been Saratoga, New York, one of the Our other two examples are made at some point, but probably three views here consists of a fer- more problematic, as both feature not with the examples shown rotype pair cut and transposed for transposed images on single sheets here. In the first place, anyone insertion in a card with prepared of metal. In a direct positive going to all that work would likely pockets and die-cut windows. Also process like the ferrotype, I can have chosen more interesting sub- like the Alden views (and most tin- think of three basic ways this jects (known structures, street types), this one is a portrait. Unlike could be accomplished. 1) By using scenes, etc.) that would bring high- the Alden mounts, the card has an a self-transposing camera with mir- er prices. Any fake made for decep- ornate pink, gold and tan marbled rors or prisms of considerable bulk tive purposes would certainly need surface with embossed frames and weight. 2) By making sequen- to include many of the typical around the oval windows. tial exposures using a moving plate flaws found on antique ferrotype All of the above, plus the fact holder that shifts between expo- plates, but to make an image as that the card is seven and a quarter sures and shifts of the camera dark as that of the single large inches wide, make it likely that it itself. 3) By exposing a modern house shown here would be coun- was meant to display two flat tin- transparency pair (perhaps copied terproductive. (In order to make types of different individuals-like from a vintage stereoview) onto a the image visible in reproduction, a married couple-and may have currently available tintype plate it was necessary to lighten it in been cut down from a larger album cover or multiple portrait display ...... Cut and transposed sheets of tin - possibly from a four-lens portrait camera - are card. The limited depth suggests inserted in pockets built into the oversize mount of this stereo tintype. Andrew Criscom collection.

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@ Volume 27, Number 1 STEREO WORLD scanning to the point where the Clued (under paper) to the back of what looks like a vintage tissue view frame is a single sheet stereo tintype with a properly transposed pair. The images are extremely dark green paper mount frame dark in the original (nearly black), and scanning to lighten them left the dark green became a blank white.) A 19th mount blank. T; K. Treadwell collection. century amateur, on the other ...... hand, could well have produced plate simply exposed in a vintage trouble of transposing the images such a flawed image in an experi- stereo camera in place of a wet or in-camera (by whatever method) mental try at exposing tintype dry glass plate would presumably for viewing on a single plate could plates as outdoor stereos. have the same pair of oversize certainly have created a mask that The image areas of both mono- images in need of cropping as would have provided a pair of lithic are very an those seen on glass stereo nega- three inch wide images with the exact three inch width. A tintype tives. But someone going to the sharply defined septum found in both examples. This unmounted single sheet of tin features a construction scene with images trans- (Continued on page 33) posed for viewing. Harry Porter collection.

STEREO UORLD Volume 27, Number 1 @ Beauties of the Anachrome by Ray Zone

ublication of the Winter 2000 In the early 1950s a French mag- "Swimsuit Issue" of Sports Illus- azine called Follies of Paris and Hol- Ptrated in color 3-D has been lywood used a two-color anaglyph much ballyhooed in the media as printing process that was very sim- an event and the 3-D effects and ilar to the two-strip Technicolor stereophotography produced for process of the late 1920s. The red that issue demonstrate great exper- printing plate carries the skin tise. The success of the "Mars 3-D" tones of the bathing beauties and issue of National Geographic in an interesting color rendition is August 1998, which made a suc- achieved in addition to 3-D. Yet cessful use of color anaglyphs, there is no yellow or black ink prompted the Sports Illustrated edi- used as with conventional 4-color tors to assemble a team of 3-D con- printing. sultants for production of an issue It is to Leslie P. Dudley that we to display an array of "Supermod- must credit the term "polychro- el" bathing beauties in polychro- matic anaglyph" as well as its first matic anaglyph. application in printing. In his pio- The anaglyph has been used to neering book from 1951 titled showcase the female form in mag- Stereoptics, An Introduction, Dudley L azines numerous times and several describes a device of his invention L. Dudley's method of producing attempts at innovation, historical- which is "...an optical attachment anaglyphs by direct photography on ly, have been made to introduce a for use with an ordinary still or color film. fuller palette of color into the cinematograph camera. Colour inherently monochromatic stock, such as 'Kodachrome,' is anaglyphs in natural colours have process. It is a distinct challenge to used, and the arrangement is such claimed the attention of many create a full-color anaglyph that that stereoscopic pairs of images workers." Among them he cites has natural rendition yet makes an are superimposed on the film to Schestakoff (1910), Gurewitschu effective use of complementary form anaglyphs direct in natural (1910), Wiener (1910), Lehmann colors for the image selection nec- colour." Dudley also notes that the (1917), Schallop (1934) and essary for stereoscopic viewing. "...problems involved in producing Lumiere (1934). In the October 29, 1955 issue of Picture Post magazine Dudley pub- Chuck Henry, host of KABC TV's Eye on LA, holds anaglyphic glasses in a promotion for the show's April 30, 7 987 broadcast in "Spacial Vision /I", one of the highest rated shows in lished "the first three-dimensional station history. (Stereo by Lon Harding.) colour pictures ever to appear in any newspaper or magazine." The result of "years of research," Dud- ley coined his color 3-D process "Anachrome." A two-page Anachrome spread featured actor Terry-Thomas as a seventeenth century cavalier enacting a sword battle to defend actress Sabrina "against a pack of Puritans." Two full page ads in the magazine also showcased Anachrome with pro- motions for Esso Gasoline and the then-new Vauxhall automobile.

@ Volume 27, Number 1 STEREO WDW) In a sidebar titled "How to View 3-D Colour" the reader was advised to "hold the spectacles to your eyes and look at the pictures from a distance of about two feet. Allow a little time for the full three- dimensional effect to operate. You can reduce, or increase, the view- ing distance to whatever gives you the best results." A subsequent issue of Picture Post on November 5 also ran feature photos and adver- tisements in ~nachrome. HULIO&.~ t'nrlO~nl Dudley's process utilized three- ''~F€~l.y color photographic separations I,' Magazine '" *l,P,, that were printed with a half-tone History!-Full Color 3-D Photos!" lithographic process. They suffered twinned For this issue, 3-color separations Hasselblad cameras. Ron Labbe of some of the defects that E.F. were created without a black print- Linssen, writing in his book Stereo- Studio 3D provided stereophotog- ing plate from the left and right- raphy for advertisements and 3-D Photography in Practice, delimited: eye pair produced with stereopho- "For its successful application consultation, as well as John Roll, tography. Boris Starosta and sports photogra- everything would depend on On April 30, 1987 a KABC televi- whether colour can be properly pher Heinz Kluetmeier. The full sion broadcast of Eye on L.A. uti- size anaglyph glasses included with divided, by means of suitable fil- lized "Spatial Vision 11," a 3-D ters, into homologous images each the issue were manufactured by video color anaglyph process for a Theatric Support of Studio City. of which would have to possess a segment featuring many bathing series of wavelengths complemen- beauties on the beach. The 3-D References: tary to the other's." According to Video process creates a color Dudley, Leslie P. Stereoptics, An Linssen, color anaglyph films were anaglyph matrix from the additive Introduction, London: MacDonald not considered "sufficiently satis- RGB color scheme of a stereovideo ST Co. 1951. factory" for showing at the Festival image produced by two cameras. A Linssen, E.F. Stereo-Photography in of Britain Exhibition of 3-D films full page anaglyph ad promoted Practice, London: The Fountain Press. in 1951. A black and white 3-D the Eye on L.A. broadcast in the 1952. 99 film of Dudley's making, A Solid pages of the April 29 issue of Daily Explanation, however, was included Variety. Note: An upcoming exclusive for showing utilizing the polariz- To date, the color anaglyph ing process of image selection. Stereo World article will provide images in the Swimsuit issue of the behind-the-scenes story of the There were several subsequent Sports Illustrated are among the creation of Sports Illustrated's 3-D attempts to render feminine beau- most effective yet published. For winter 2000, 3-D swimsuit issue, ty in polychromatic anaglyph, the stereophotography, talented notably a January 1985 issue of from planning through stereogra- sports photographer Dave Klutho phy, image and ad preparation, Velvet, an X-rated magazine pro- used several RBT cameras, two moted as the "1st Time Ever in writing and printing 35mm cameras on a bar, as well as - --

-0 WVRLD Volume 27, Number 1 @ News from the Stereoscopic Society of America THE SOCIETYNorman B. Patterson

emembering, I believe it was over this important task. Those many to enumerate here but con- President Kennedy who once who haven't served as a Folio Sec- gratulations to all of those dedicat- Reminded us that "life is inher- retary may not realize how impor- ed double shutterbugs. ently unfair". Sometimes we forget tant it is and how much it depends Gamna Transparency that eternal truth ... or maybe we on the good will and thoughtful just do not want to believe it. behavior of all of the members to Voting results for Gamma Trans- When I heard of the untimely keep everything working well. parency Circuit for the calendar year 1999 have been announced death of David Hutchison follow- 4-Star ing a six month losing battle with by Folio Secretary David Kesner. pancreatic cancer at the age of 53 According to the latest reports, I Stereo views in Gamma are mount- it brought it home to me anew. understand that Bill C. Walton of ed in the Realist compatible format This adds to the bad news that Columbus, Georgia, now enjoys either in standard Realist mounts the Stereoscopic Society has recent- the rank of 4-Star Exhibitor in or those varieties with wider or ly received. Last fall we lost John stereo cards in the Photographic narrower windows. When a folio Baird at the age of 57 in a very Society of America. This is a very box visits a member helshe votes similar manner. They both still high honor representing the cul- on the favorite slides which are in had so much to offer and were mination of years of effort prepar- the box at that time, replaces filled with the joy of life. When we ing for and entering exhibitions. histher old entry with a new one, also lost Dr. Miles Markley early Currently there are 11 stereo card and sends it on to the next mem- this year one could rationalize it, exhibitions around the world ber on the route list. Although no at least, as being at the end of a which receive PSA recognition and two members vote on exactly the very long, rich, and productive life stars are awarded based on the same group of pictures, yearly which he had fully enjoyed and number of acceptances one attains totals are informative and an indi- made the most of. There is a differ- in these shows. cation how one's work is received. ence. David Hutchison was a fine Since the awarding of stars is Top 5 Gamma Circuit stereographer, one of the best. As based upon a geometrical progres- Stereographers: an editor for STARLOG magazine he sion of effort, multiple star ratings are very hard to obtain. Each addi- 1. Franklin Flocks ...... 73 votes had access to some very exotic 2. Dale Walsh ...... 62 votes subjects that were a real treat for tional star requires one to match 3. Allan Roe ...... 55 votes his fellow Beta Transparency mem- histher entire previous output ... so 4. Grant Campos ...... 37 votes 5. David Kesner ...... 28 votes bers to enjoy. Stereo World readers to attain a 4th star it is necessary at large also were able to appreciate to duplicate the success required Favorite Views them in his contributions to this for earning all three previous ones. 1. "Sierra Italy From Tower" magazine over the years. He was a We congratulate Bill Walton and by Dale Walsh - 30 points longtime member of the Stereo- look forward to that 5th star down 2. "Vancouver" the road somewhere. Over the by Franklin Flocks - 28 points scopic Society and active as well in 3. "Flower" several other stereotphotographic years in PSA, a Star rating has by Allan Roe - 19 points organizations. Seeing him at the sort of been considered a bench- 4. "Parasailors" by Franklin Flocks - 19 points NSA conventions was always some- mark of success in whichever of the several areas of photography 5. "Paria Side Canyon" thing to look forward to. When by Allan Roe - 16 points the time came, I am told, he faced one chooses to compete. Bill C. Walton has been a Stereo- Congratulations to the high scor- the inevitable end with a courage ers for a job well done. and good spirit that the rest of us scopic Society member for well would be well served to be able to over 20 years and there isn't Stereo Togetherness enough space here to list the con- match. We will miss him. Over the years it has been a tributions he has made to the suc- common theme in the folio entries Caprine Print Circuit cess of our efforts during that time. He has witnessed active stereogra- for Society members to present Tom Moore has turned the job their beloved family members as phers going from a status of of Folio Secretary for the Caprine being as thoroughly engrossed in "endangered species" to a robust print circuit over to Ron Kriesel of stereo photography as they are. Gladstone, Oregon. I wish to thank (and often noisy) minority. However, according to the May More often than not this is a Tom for the several years of guid- harmless charade by which we can 2000 issue of the PSA Journal a ance he brought to the circuit and delude ourselves without causing number of other Stereoscopic Soci- all of us who are members of that much trouble. And the family goes ety members as well are receiving group of printmakers are in his along with the game because ... debt. I also wish to thank Ron recognition for their exhibition activities and have been listed in "well, it keeps him (her) out of our Kriesel for coming forward to take hair and she (he) could be doing a the current PSA Who's Who ... too a Volume 27, Number 1 STEREO ~~ Was the family of 7 930s Stereoscopic Society member R. C. Perry of Queensland, Australia really this dedicated to stereo viewing?

lot of other things that could cause been done better than in the one members. We see that his wife, a lot more mischief". illustrated. This example was four sons, two daughters, and one We see views showing children made by Mr. R. G. Perry, who was of the girls' dolls could put on a apparently being prepared to a member of the Australian Branch show of stereo togetherness that become the next stereo generation of the Stereoscopic Society in the would be hard to top today. The ... holding a camera or a viewer 1930s. In the mid '30s, Mr. Perry caption reads, "The family of Mr. and awkwardly trying to figure out was quite ill for a time. When he R. G. Perry of Queensland, Aus- what to do with it. New babies are was well enough to take up his tralia. It was taken by himself. immediately classified as stereogra- cameras again he made a few views They are all ardent stereo fans." 0 phers without any indication that around the house ... with the help course they were. ~s~l they were consulted in the matter. of some very cooperative family We have seen family pets looking through antique viewers and seem- ingly enjoying an old viewcard ... or in advanced cases ready to snap a picture with a Realist. It is all in fun, and thank goodness for the Upcoming NSA knowing spouses who go along with it, not to mention the kiddies and grandkiddies who play the game without quite knowing why. National Conventions I have seen a great many such pictures but I do not believe it has 1 I July 19-23, 2001 ) July 11-15, 2002 Buffalo, New York Riverside, California e Stereoscopic Society of America is a Adam's Mark Hotel Holiday Inn group of currently active stereo photogra- I phers who circ :ulote their vvork by means of I Contact Contact postal folios. ttoth print anrd transparency for- mats are use0 ! and severaI groups are oper- Marty Abramson: Mike Aversa: ... .. ating folio circurrs ro mer rhe needs in each [email protected] [email protected] format. When a folio arriv,es, a membclr views for more info and makes co mments on I~ach of the tmtries or Lawrence Kaufman: of the other participants. I-/is or her on/n . . . . or questions. [email protected] view, which has traveled the circuit and has b,een examined and commented upon by the for more info 0,ther member I, is removed and replaced with Visit the N.S.A 2001 or questions. a new entv. 1rhe folio then continues its end- le ,ss travels arc wnd the circuit. Many long dis- web site at: ,. , , tance rrrenasnips have formed omong the http://pweb.netcom.com/ Visit the N.S.A. 2002 participants in this manner over the years. web site at: Stereo photographers who may be interest- -bd3d/nsa2001 .html ed in Society membership should write to the htt~://www.3dgear.com/ Membership Secretary Shab Levy, 6320 SW 34th Ave., Portland, OR 97201. 1 I I

STEREO WORLD Volume 27, Number 1 @ Current Information on Stereo Today David Starkman & john Dennis German Stereo Society's Alpenkongress

hy Walter Dubronner day. Joachim Stanek, known for he 2nd German Alpenkongress his stereo book on mushrooms, took place in Oberstdorf, Ger- showed some stereo cards and gave Tmany May 12-14, 2000. Spon- a demonstration on stereo card sored by the German Stereoscopic making. Society (DGS-Deutsche The projected shows were so-so, Gesellschaft fuer Stereoskopie), it I thought, but two were outstand- attracted participants from France, ing. For the "Scherenschnitte" Switzerland, Austria, Italy, Sweden, (Scissor Cuttings) show, Theo Netherlands, and Slovakia as well Brucksch scanned some images The Bodenseewerk Ueberlingen View- as Germany. made centuries ago by Arthur Max- Master camera (named MEC 7 6) The main programs were pro- imilian Miller and converted them intended for the European market, jected stereo slide shows. In addi- to 3-D images. The 3D movie So as displayed by Martin Kohler at the tion, a small trade fair with tables ein Kino , made by Verena and Alpenkongress. from RBT, Gilde and the Raumbild- Guenter Peschke using two modi- club of Berlin was held on Satur- fied Arriflex I1 cameras, is a superb puppet show projected by using two mechanically coupled projec- ...... " A fisherman from the "Scherenschnitte" (Scissor Cuttings) show presented at the 2000 tors with synchronized sound. [SW Alpenkongress. Theo Brucksch scanned images made centuries ago by Arthur Maximilian Vol. 26 No. 5, page 16.1 For more Miller and converted them to 3-0 slide pairs. information go to the web site: www.neocities.coml-skodawessel~l 3dfilm.htm But be advised, it is in German. These two shows were for me the absolute highlight of the differ- ent shows to be seen during the three days. Other shows included some new pictures from Sylvain Arnoux, France, some impressions from Australia (advertising the next ISU congress), Orchids by Klaus Grothe, Germany, and some stereos about the solar eclipse in June last year. Other shows came ' from Slovenia and Switzerland. 1 Two workshops were held in 1 conjunction with the congress. A recent mechanical stereo drawing by Sylvain Arnoux from his show at the German Stereo- Gerhard P Herbig, Germany, scopic Society's May Alpenkongress (see SW Vol. 25 No. 2, page 7 0). showed some examples of 3-D work with the computer (3-D ani- mation, image manipulation, etc.). The 3-D animation from the stereo film So ein Kino was included. Martin Kohler, Friedrichshafen, Germany, showed the Stereo Col- orist I+II cameras from the Bodenseewerk Ueberlingen. He gave an overview of the history of this company and showed some pictures of the manufacturing of

Volume 27, Number 1 STEREO WORLD the camera. The Bodenseewerk Ueberlingen started in 1954 with the Bodan-Stereo camera. Later on Lewis Views on the camera was named Stereo Col- orist (sold in the USA by TDC). A second stereo camera came from Collector's Reel the company as well. They pro- duced a View-Master camera ased on the the Stereo World arti- (named MEC 16) for the European Bcle in Vol. 20 No. 5, a View-Mas- market, and pictures illustrated the ter collector's reel of the same title, production steps. George Lewis-Keystone's last Stereog- The congress was very enjoyable rapher, has been issued by the for my wife, Hanni and I. The Stereo Club of Southern California. most important thing was meeting First of a Collector's Series to be old friends and making new ones. published by the club, the reel and We hope that future Alpenkongess- folder were made possible with the es are as much fun as this one. assistance of long-time View-Mas- ter photographer and SCSC mem- ber Charlie Van Pelt. Three of the scenes on the reel are views seen in the article, but the other four are images left out Upcoming due to space limitations. All were taken in 1931-32 and are among sf' . the best of the stereos Lewis did for -kt&*-.- Competitions Keystone. The article text is reprinted in the folder for the reel, and published in a limited edition of 1000. In their sequence on the reel, the scene titles and Keystone Exhibitions numbers are: (Listed in order are the closing date, "Eiffel Tower Paris, France" V29609 Club at southam Callfamla name of exhibition, contact for entry mber nf 1000 forms, type of images accepted, and "Babe Ruth at Bat, World Series, 1932" V32817 entry fee.) "Christianburg Castle, Copenhagen" Priced at only $5.00, all proceeds Aug. 5, 2000, THIRD DIMENSION - KU97122 from the reel go to the SCSC. Three Ron Fredrickson, PO Box 1901, "Graf Zeppelin over Pyramids in Egypt" of the club's members are making Fair Oaks, CA 95628. Slides or 8627 the reels available through their prints. N. Am. and other $8. "Cathedral and Quay, Marsailles, France" sales outlets: Sept. 18, 2000, DETROIT -Joanne KU96465 Charlie Van Pelt, 1424 E. Moun- Snavley, 31561 Merriwood Park "Gate, Old Cairo Wall, Egypt" tain St., Glendale, CA 91207, Dr., Livonia, MI 48152 KU96309 (818) 243-5636. [email protected]. Slides. N. "Will Rogers, Republican Convention, 1932" 32976 Reel 3-D Enterprises, P. 0. Box Am. $5, other $6. 2368, Culver City, California Sept. 23, 2000, 8th DGS INTERNA- The reel is a must for View-Mas- 90231, (310) 837-2368, TIONAL STEREO EXHIBITION - ter or Keystone collectors, and www.reel3d.com. makes a great addition to Stereo Angelika Schnehagen, Ilkstraat Steve Berezin, Berezin Stereo 36, D-22399 Hamburg, Germany World's 1993 feature, which along with some unpublished Lewis Photography Products, 21686 http://dgs-hamburg.de/exhibition Abedul, Mission Viejo, CA 2000.html Slides. N. Am. $10. views includes several of his humorous accounts and sketches 92691, (949) 581 8378, Oct. 14, 2000, CASCADE INTERNA- of his travels that appeared in the www.berezin.com/3d. TIONAL EXHIBITION Shab Levy, - Keystone TN.T newsletter. (Check with sources for ordering 6320 SW 34th Ave., Portland, OR Anaglyphic and pair versions of details and shipping costs.) em 97201 [email protected] the reel's scenes can be seen at and cards. N. Am. and other $7. www.berezin.com/3d/george- 1ewis.htm.

his column depends on readers for Tinformation. (We don't know everything!) Please send information or questions to David Starkman, NewViews Editor, P.O. Box 2368, Culver City, CA 9023 1.

STEREO WORLD Volume 27, Number 1 @ 3-D BEAUTY. award w~nn~ngcontemporary f~ne STEREOCARD SLEEVES. 2 mil polyethylene. No CORTE-SCOPE VlEWS or sets, any subject or art nude and erotic stereographs for sale in full overlap seam to snag. SASE for free sample. condition. No viewers unless with views. John frame 35mm 2x2~2format - great for kids over $41100, $35/1000 plus postage. Check, Visa, Waldsmith, 302 Granger Rd., Medina, OH 21!. Visit http://www.3d6.com, or for catalog MC, Amex. Americana Books, Box 14, Decatur, 44256. send a 33c SASE to: Dynamic Symmetry, POB IN 46733, [email protected]. 772, Charlottesville, VA 22902. FAIRMONT, WEST VIRGINIA and other West Vir- STEREOVIEW PRICE GUIDE. Only $5.00!! Great ginia stereoviews, real photo postcards and 3-D SHOWCASE: award winning contemporary for people buying from auctions and collectors other images. Tom Prall, PO Box 155, Weston, stereoscopic images by Boris Starosta. TECH- who want to know the latest realized auction val- WV 26452, [email protected]. NOBOT: computer generated 3-d fantasy worlds ues. Only numbered views over $50 are listed. -great for kids of all ages! Now selling full frame Doc Boehme, 5650 Brandlwood Ct., WBT, MN GERMAN HARZ (Hartz mountains) stereoviews. 35mm 2x2~2slide sets and limited edition 551 10-2275, www.iamdoc.com. French interior and theatrical stereoviews for archival quality anaglyph fine art prints. Visit trade. Ulrich hauschild, Seestr. 98, D-13353 http://www.starosta.com/3dshowcase, email STEREOVIEWS, CDVs, CABINETS, etc. Direct Berlin, Germany, ulrich.hauschildQweb.de. borisQstarosta.com, or for catalog send a 55c sale: send me your wants. Tim Mclntvre, 137 GLASS VlEWS wanted, single views of entire col- SASE to: 3D Showcase, POB 772, Char- Nile, Stratford bntario, N5A 4E1, ~anada.Tel: lections, American and foreign, full size only. Bill lottesville, VA 22902. 51 9-273-5360. Fax: 51 9-273-731 0. email: [email protected], web page: ' Rountree, 1525 Rosemont Dr., Baton Rouge, LA BOOK, The Siege at Port Arthur, hardback with http://www.orc.ca/-timoni. I collect: Canada and 70808, (225) 924-4099. 3-D viewer. $15 Econ Air. (Cash preferred). Ron Europe views - let me know what you have. HOLY LAND views and any others by W.E. James Blum, 2 Hussey Ave., Oaklands Park SA 5046, (taken during 1860-1886); Stereopticon (any Australia. WRAYSCOPES AND VIEWS. Write of call for updated information on WrayScopes models condition) invented/designed by James. Randy CENTRAL PACIFIC RAILROAD Photographic His- 1&2 and NuStereo Views. Jim Wray, 8921 E James, PO Box 621408, Orangevale, CA 95662, tory Museum. Stereographs of the first 49th Place, Tulsa, OK, 74145-7320, (918) 664- randyQjassoc.com. transcontinental railroad are now on display at: 4909, e-mail: jimw72Qswbell.net. I BUY ARIZONA PHOTOGRAPHS! Stereoviews, http:NCPRR.org cabinet cards, mounted photographs, RP post JOHN WALDSMITH'S "Stereo Views, An Illustrat- cards, albums and photographs taken before ed History and Price Guide" available signed I 1920. Also interested in Xeroxes of Arizona ALWAYS BUYING STEREO VlEWS AND REAL from the author, $22.95 softbound, add $2.95 stereographs and photos for research. Will pay PHOTOS of U.S. Mint, U.S. Treasury, and Bureau postage and handling. Please note: the hard- postage and copy costs. Jeremy Rowe, 2120 S. of Engraving & Printing. High prices paid for bound edition is sold out. Mastercard, VISA and Las Palmas Cir., Mesa, AZ 85202. Discover accepted. John Waldsmith, 302 stereo views and real photos I need of U.S. Mint COLLECT ALL TYPES of photographs of New Granger Rd., Medina, OH 44256. coining operations, Treasury and BEP paper I money engraving & printing operations 1860s- York City's Central Park (stereoviews, CDVs, Q-VU PRINT MOUNTS simplify mounting stereo 1920s. Especially seeking U.S. Mint interiors cabinet cards, postcards, etc.) 1850-1940. Her- views. Sample kit $6, includes mounted view. and exteriors from Philadelphia; San Francisco; bert Mitchell, 601 West 113th St. Apt. 8-H, New Black or gray $381100 ppd. Also, King Inn 2'/4 x New Orleans; Denver; Carson City, Nevada; York, NY 10025-971 2, (21 2) 932-8667 21/4 viewers, mounts & achromatic lens kit. Dahlonega, Georgia; Charlotte, NC; plus U.S. I COLLECT AND TRADE Arizona views and South- Q-VU, 817 East 8th, Holtville, CA 92250. Treasury & Bureau of Engraving & Printing oper- ations, Washington, DC and various U.S. Assay west Indian views. Brent Gabrielsen, 833 West STEREO VlEWS FOR SALE on our Website at: offices. Please mail or FAX photocopy, with price Main St., Mesa, AZ 85201, www.daves-stereos.com, e-mail: and condition noted. I'll reply within 48 hours. brentQgabrielsound.com. wood8pikeonline.net or contact us by writing to Attn Dave Sundman, c/o Littleton Coin Go., One I'M LOOKING FOR the following 1950s Realist Dave or Cyndi Wood, PO Box 838 Milford, PA Littleton Coin Place, Littleton, NH 03561, FAX Permamount slides from "The Realist Library of 18337, phone (570) 296-6176. Also want views 603-444-3512. (est. 1945). Scenic Stereo Originals": 410, 413, 504, 922, by L. Hensel of NY and PA. AUSTRALIAN IMAGES1 ephemera, stereo or oth- 3100,3112,3113,4100, and 4101. Mark Willke, erwise, but not U&U/keystone. Pay cash or trade 200 SW 89th Ave., Portland, OR 97225. (503) U.S./world views. Warren Smythe, 258 Cumber- 797-3458 days. land Rd., Auburn NSW 2144 Australia, INDIANS & WESTERN, especially Colorado; all asmytheQtig.com.au. s one of the benefits of membership, NSA formats (especially large); delegation, survey, railroad, mining; Jackson, Russell, Savage, A members are offered free use of classified BOXED SETS wanted, must be complete and in advi ertising. Met nbers may use 100 words per very good to excellent condition. Bill Rountree, O'Sullivan, Hillers, etc. Rob Lewis, 1560 Broad- yea,; divided int o three ads with a maximum 1525 Rosemont Dr., Baton Rouge, LA 70808, way #1500, Denver, C0 80202, (303) 861-2828, [email protected]. of 3 5 words per ad. Additional words or addi- (225) 924-4099. tiona1 ads may 15e inserted at the rate of 20c . -. CHAUTAUQUA LAKE, NY stereoviews, cabinets, LOUIS HELLER of Yreka and Fort Jones, Califor- per word. Please include payments with ads. nia. Anything! Also, any early California or west- We cannot provide billings. Ads will be placed CDVs, glass negatives, photos, postcards and other items. Scott Goldberg, 2673 Cranlyn Road, ern views wanted. Carl Mautz, in the issue being assembled at the time of cmautzQnccn.net, (530) 478-1610. their arrival unless a specific later issue is Cleveland, OH 44122. requ--+--lICJLC". COLLECT, TRADE, BUY & SELL: 19th Century MUYBRIDGE VlEWS - Top prices paid. Also Senc !Iall ads, WIith payment ;to: images (cased, stereo, Cdv, cabinet & large Michigan and Mining - the 3Ms. Many views STEIZEO WORLD Classifieds, paper) Bill Lee, 8658 Galdiator Way, Sandy, UT available for trade. Leonard Walle, 47530 Edin- 56 10 SE 71st, P ortland, OR 84094. Specialties: Western, Locomotives, Pho- borough Lane, Novi, MI 48374. . , ., .. . . (A rare sneer tor a~sp~ayaas IS available from tographers, Indians, Mining, J. Carbutt, Expedi- the same address. Please send SASE.) tions, Ships, Utah and occupational

Volume 27, Number 1 STEREO WORLD HAVE YOUEVER SEEN mTU-COLOR 3D ~~DEO? PALATKA. FLORIDA vlews, cards, p~ctures, ephemera, etc. Also Ocklawaha and St. Johns River steamboats, and Crescent C~ty& Welaka We make an adapter for your Camcorder or Still Florida. No scenics. Mike Ratliff, Rt. 5 Box Camera that creates big bright Stereo Pairs that our 21 59A, Palatka, FL 321 77, [email protected]. Wide-Eyes Stereoscope displays as true-life motion 3D PARK CIV, UTAH. Enthusiastic collector of all ( or 3d stills ) on your computer monitor or N screen! Park City, Utah related items - stereos, photos, ( Digital or film cameras ) post cards, stocks, etc. Thanks! Linda Roberts, 1088 East Rubio St., Altadena, CA 91001. BOTH ADAPTER AND JTEREOICOPE - 979.00 PLUI I&H SINGLE VIEWS, or complete sets of "Longfellow's Please visit our Web Page for detailed information Wayside Inn" done by D. C. Osborn, Artist, Ass- abet, Mass., Lawrence M. Rochette, 169 Wood- ~~3DQUARI~.COM land Drive, Marlborough, MA 01752. Or send SASE to Oceanstar POB 5662 Vancouver Wa. 98661 STEREO REALIST 1525 Accessory Lens Kit for Macro Stereo Camera; Realist 2066 Gold Button Viewer; Realist 6-drawer stereo slide cabinet in Exc.+ or better condition (must contain Realist logo); Baja &drawer stereo slide cabinet with ARCHIVAL SLEEVES: clear 2.5-mil Polugro~vlene CDV (3 318' X 4 318') per 100: $7 case of 1000: $60 plastic drawers marked "Versafile". Mark Willke, CDV POLYESTER (2-mil) per 100: $10 case of 1000: $90 200 SW 89th Ave., Portland, OR 97225. (503) CDV PAGE 6-pocket top load per page: $0.50 case of 100: $20 797-3458 days. POSTCARD (3 314' X 5 3/47 per 100: $8 case of 1000: $70 POSTCARD PAGE 4-pocket top load per 100: $16 case of 500: $70 VISTA REALIST VIEWER. D.Smeka1, 1765 Rose- 4' x 5' per 100: $8 case of 1000: $70 bery Ave. West Vancouver, BC V7V 225, Canada. STEREO 1t6 34COVER (3 34' x 7') per 100: $9 case of 1000: $80 STEREOPOLYESTER per 100: 2-mil $12 or 3-mil $16 Fax: (604) 922-2855. CABlNETlCONTlNENTAL (4 38' X 7') per 100: $10 case of 1000: $90 #I0 COVER (4 318' x 9 518') per 100: $10 case of 500: $45 WASHINGTON, D.C. & VICINITY by John 5' x 7' per 50: $7 case of 200: $25 McClees, Langenheim, Gardner, Brady. Alan BOUDOIR (5 112' X 8 112') per 25: $6 case of 500: $80 Young, 404 Westlea Dr., Westfield, IN 46074. 8'xlO' per 25: $8 case of 200: $40 ll'x14' per 10: $8 case of 100: $45 WEITFLE - stereoviews or cabinet cards. Paul L. 16' x 20' (unsealed flap) per 10: $20 case of 100: $99 Weitfle Jr., 10309 Gentlewind Dr., Cincinnati, OH Russell Norton, PO Ex 1070, New Haven, CT 06504-1070 45242, (513) 793-4815, pweitfleQaol.com. US SHIPPING: $4 per order. Institutionalbilling. (1996)

Tin Again (Continued froni page 25) Of course this same "finished" look would result from exposing Please enroll me as a member of the National Stereoscopic Association. modern transparencies onto a I understand that my one-year subscription to Stereo World will begin with the MarchIApril issue of the current year. masked tintype plate. I can only ------guess that someone producing an U.S. membership mailed third class ($26). intentional fake would be inclined - to make the images more closely UU.S. membership mailed first class for faster delivery ($38). resemble those found on 19th cen- Foreign membership mailed surface rate, and first class to Canada ($38). tury negatives, with masking Foreign membership mailed international airmail ($56). accomplished by mounting the plate behind a tissue style frame. Send a sample copy ($5.50).

Personally, I like the plate and Plea'se make chec.ks payable tc I the Nation,31 Stereoscopic Associatio camera shift hypothesis. All of the Foreign members plt?ase remit in U.S. dollars with a Canaclian Postal Iv loney monolithic stereo tintypes I've order, a1-I Internation ial Money 01.der, or a fortrign bank drigft on a U.S. bank. seen are at least consistent with that possibility-especially those with trees, flowers and people in Name different positions in the two images. The construction scene Address however, shows no such move- I I ment and would need to have State Zip I been shot on a calm day with very cooperative subjects. It would be interesting to hear National S- icopic ciatic from those with more ideas, infor- I PO Box 14801, Columbus, OH 43214 I mation or references concerning The Only National Organization Devoted Exclusively To Stereo Photography, Stereoviews, and 3-D lmadng Techniques. single-plate stereo tintypes. em

STEREO WORLD Volume 27, Number 1 @ ARCHIVAL SLEEVES: clear 2.5-mil Polv~ro~vlene David CDV (3318' X 4 318') per 100: $8 case of 1000: $70 CDV POLYESTER (2-mil ) per 100: $13 case of 1000: $120

CDV PAGE 6-pocket top load per page $0.50 case of 100: $20 Hutchison. ------POSTCARD (3 314' X 5 314') per 100: $9 case of 1000: $80 (Continued porn paxe 5) 4' x 5' per 100: $9 case of 1000: $80 STEREO 1 #6 314 COVER (3 314' x 7') per 100: $10 case of 1000: $90 many passions, he was one of my STEREOPOLYESTER per 100: 2-mil $16 or 3-mil $22 favorite playmates. There was no one CABINET 1 CONTINENTAL (4 318' X 7') per 100: $1 1 case of 1000: $100 else like him. He was an individual of his #10 COVER (4 318' x 9 518') per 100: $22 case of 500: $100 5' x 7' per 50: $8 caseof 200: $30 own creation. The magic of Manhattan is BOUDOIR (5 112' X 8 112') per 25: $7 caseof 500: $90 noticeably less dazzling without David 8'x 10' per 25: $9 case of 200: $45 Hutchison, and for me life is noticeably ll'x14' per 10: $9 case of 100: $50 less fun. 16' x 20' New! Improved! Sealed! per 10: $22 case of 100: $140 Russell Norton, PO Bx 1070, New Haven, CT 06504-1070 - Kerry O'Quinn US SHIPPING (48 States): $4 per order. lnst~tutionalbtll~ng. (2001) Connecticut orders add6% tax on entlre total ~ncludtngsh~pping. Richard Twichell, a fellow mem- ber of the Stereoscopic Society of America's Beta slide folio group wrote, after he heard about PRECISION FOLDING STEREO VIEWER Hutch's death, " I was just looking For all standard at one of his slides: A winter scene Reallst 3D stereo slides. NEW Glass or cardboard in Central Park; the snow is new mounted. Folds flat, LARGE fallen and damp and heavy, and we~ghsonly 1 oz. LENS the picture is of a lonely path lead- Prepaid m~nimumorder ing off into a snow covered wood. $1 0.00.Add $2.00 for sh~pp~ngand handl~ng. He will be sorely missed by his FREE CATALOG AVAILABLE many friends in our group." TO ORDER CALL TOLL FREE Hutch's dear friend of 36 years, 800-223-6694 Robert Hefley, summed up the MAJOh CRt Dl I LARDS ACLEPTED essence of Hutch when he said -'=='?T- - TAYLOR MERCHANT CORP. 212 West 35th Street New York, NY 10001 "...he was alive right up until that last moment when he wasn't. He went to his editor's job at STARLOG magazine on Monday, I took him to the hospital on Tuesday, and he HIGH QUALITY STEREOSCOPEdied at 1:00 AM almost immediate- ly after telling the nurse who asked him how he felt that, considering the circumstances, he felt fine. He was a remarkable man, and I will 1 miss him." Before Hutch died, Starkman & I took time off to visit him in NY. He enjoyed the lovely little details of every day life, Central Park, his friends and his opera music. He - t **" > 5 was kind and gentle, introspective CP and intelligent, and extremely gen- erous of heart and spirit. He was multi-talented, involved and inter- - ested in many areas and realistic Elegant, high quality stereoscope $2'7.5 for complete package. and pragmatic to the end. We will Boxed. 3 parts, ready to always remember him in the area featuring custom-designed glass lenses assemble in minutes. of 3-D for his many contributions, and hand-finished half inch acrylic. Price includes shipping In the USA his passion and knowledge, his friendship and his book, Fantastic A true "coffee table quality" instrument. Add $1.5 for shipping outside USA 3-0, aptly named for what he real- View any stereoscopic pair of pictures, 4-6 weeks for ly was. Money back guarantee up to an area of IO"xI0". "Many people will walk in and out Send a check or money order to: of your life. But only true fiends will Free with this limited and numbered L-Design leave footprints in your heart. edition are 5 stereocards. (stereographs) 2244 NW Quimby St. -Eleanor Roosevelt. Portland, OR 97210 Hutch left many footprints in Additional stereocards available! Telephone 503 227-25 15 many, many hearts. He will be deeply missed. 90

Volume 27, Number 1 STEREO WORLD CYGNUS 2 GRAPHIC CATALOG OF 3-D Catalog

0 Supplies for Stereograpners O 3-D slide viewers PUBLICATIONS & PRODUCTS 0 Print stereoscopes Q 3-D slide mounts POSTERS BOOKS R 3-D slide mounting supplies 3DISCOVER Q Books about 3-D & in 3-D VIRTUAL VIDEOS VIEW-MASTER LENTICULARS Visit our World Wide Web Catalog at 3-D VIEWERS woow.stereoscopy.com/reel3d 3-D COMICS AND MORE! , Reel 3-D Enterprises, Inc. For a FREE copy, write, call, or fax: ,n n P.O. Box 2368 Culver City, CA 9023 1 USA CYGNUS GRAPHIC Telephone: + l (3 10) 837-2368 P.O. BOX32461 -X Fa: 1) 558-1 6! Phoenix, AZ 85064-2461 e-m [email protected] U.S.A. Tel+Fax: 602-279-7658

de Wijs MACRO System de Wijs Easy ST1 Viewer This is no beamsplitter! Two individual lenses Adjustable wlthln a slngle houslng adapt your SLR cam- interocular & era to create ultra close-up stereo palrs. The individual MACRO'S F60 apertures prov~desharp ~m- -1 lens focus Coated achromatic lenses are F60mm-23mm d~a.for X4.17 rnagn~f~cat~on. Mcient cobalt glass diffuser, clear v~ewing, C EPTS even w~thlow l~ghtsources. New light attachment ava~lableas an opt~on. Sfereoscopic Interchangeable slide chamber comes set- producfs & services: up for elther 41x101 mm sl~des(for images up to 24x33mm). or50x50mm sl~des(for hor~zontal Precision Slide Mounts images UP to 24~36mmI. RBT Mounts Cameras Bonurn ava~labletn 5 formats stem ~ncludes Macro Stereo Sl~deMounts cal~brated dual lens: 4 d~fferentMACRO systems are Slide Mounters 2~2 ava~lable,with pre-set operat~ngd~stances. Viewers frame finder: The frame finder extends a Projection Systems Brackett pre-set distance beyond the lens, to insure Consultation proper focus: its guideposts define the image 'Fader Projected shows are areas of 18x24, 36x48, 46x72, or 72x96. Jon Golden a pleasure to view, positioned flash bracket: A single as images fade to point flash insures proper exposure and a [email protected] black and back. reflector is built into the frame finder, to fill Two faders together in shadow detail. create dissolves. The first production run is sold-out! We ore taking orders on the second run. Here's -concepts your chance!

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STEREO WRLD Volume 27, Number 1 (b WANTED HART & HOUSEWORTH STEREOS ALFRED A. HART STEREOS WANTED

The prices shown below are offered for stereos of Gottheim grade 3+ or better, that is: "images rich in tone, clean, with an attractive presence and no distracting problems." Only one example of each is needed. If you have the same card number published by Watkins from a Hart Negative, or a Hart of lower quality, we would also be interested in your offer at a price adjusted from those shown below. We also buy Hart stereos of other subjects.

Hart No. Hart's or Watkins Title Description Will Pav 359 The Monarch from the East Loco 119 heads right, army band stands front $2,200 358 The Monarch from the West Loco. JUPITER heads left, Army band stands $2,500 356 The Last Rail is Laid--Promontory Point, May 10th 1869 Stick between rails $1,250 354 First Greeting of Iron Horse, 5/9/1869 From top of tender, looking into back of cab $1,000 353 Poetry and Prose--Scene at Monument Point White covered wagons pass train $850

331 Sentinel Rock,Ten Mile Canyon Line of car roofs at left, River at right $800 329 Second Crossing of Humboldt River Line of dorm cars enters at lower left $650 245 Railroad around Cape Horn from Canyon Small farm at left, RR high above $450

All of the above views are shown in appendix A of me Railroad Photographs of Alfred A. Hart, Artist pages 125-148. The above offers are, of course, subject to prior purchase. Only 1 of each needed. HOUSEWORTH OR LAWRENCE & HOUSEWORTH STEREOS WANTED Houseworth No. Houseworth's Title Description Will Pav 7 Sacramento Flood from top of Pavilion Title on back, "L& H" embossed one end $1,200 8 Sacramento Flood, J St. east from Levee Title on back, "L& H" embossed one end $1,200 152 The Monitor Camanche [being assembled] $400 154 Building ironclad Monitor Camanche Front view $550 156 Propellor of the Monitor Camanche $750

157 Turret engines of the Monitor Camanche $800 636 North American Hotel, summit of Sierra Nevada $650 825 Main Street, Dutch Flat, PlacerCounty $600 846 Pollard's Station, Donner Lake $500 1062 Steamers for Upper Sacramento River at Sacramento $700

1063 The Levee and Steamers at Sacramento City $600 1064 Sacramento City, K Street, Masonic Hall & Catholic Church $625 1068 Sacramento City, J Street looking West $675 1079 City Cemetery, Sacramento City $800 1203 High Water at Sacramento City, CPRR works $850

1208 The new Capitol Building, Sacramento City $900 1210 Sacramento City from new Capitol looking North East $750 1212 Sacramento City from new Capitol looking East $750 1215 Sacramento City from new Capitol looking South West $750 1260 Upper Cisco from CPRR Passenger Depot $1,000

1275 Kidd's Dam, Meadow Lake $550

Mead Kibbey, 1731 Howe Ave., PMB-472 Phone (916) 489-5481 Sacramento CA 95825 Fax (916) 489-9486

Volume 27, Numher 1 =RE0 WORLD AUCTIONS

aeffereon Bfereopfice (Since 1981)

John Saddy 50 Foxborough Grove London, Ontario N6K 4A8 CANADA

Main Phone Line (519) 641-4431 Personal Fax Line (519) 641-2899 I1FL%k%*rn E-mail: [email protected]

CONSlGNMENTS WELCOME FROM ANYWHERE ON EARTH

Take advantage of my powerful, extensive, and ever-expanding mailing list, built up through world-wide advertising and reputation so you the consignor can benefit from excellent prices on choice material.

TERMS FOR CONSIGNMENT

EACH LOT IS CHARGED ITS INDIVIDUAL COMMISSION DEPENDING ON ITS REALIZED PRICE.

If lot realizes up to $40 ...... 30Yo "I SPECUUIZE IN If lot realizes $41 .OO to $200.00 ...... 25% CONSIGNMENTS; If lot realizes $201 .OO to $500.00 ...... 20% I BUY TOO!" If lot realizes $501 .OO or more ...... 15%

cards, Meopta reels & Realist format slides. I also handle cameras and other equipment.

DOGS AND CATS (B820) Abraham Lincoln Sold for $1705.

.Xs* "LX^

THE MUNSTERS (B481) 1876 Exhibition

Contact me to get on my mailing list Please specify if your interest is Stereo Cards, View-Master, or both. THE MAGAZINE OF 3-DIMENSIONAL IMAGING, PAST PRESENT

...... * prime example of the sort of "family togethem" views that hove circu- Alated in the folios of the Stereoscopic Sodety over the yeon. This corelully posed scene is by ~r.R.C. Peny, a member of the ~ustm~ic~nhnch of the Sodety in the 1930s. For rnore,about Mr. Peny and news of the StenaKopk Society dknerkcr see page 28.