3-0lmaaina Past - resent September/October 2007 Volume 33, Number 2 i i
ACubkrtknor National Stereoxopic ""riation, Inc I nice interior shots of someone's I family who lived there apparently had adopted and rafred a pair of chipmunks, who scem to hw grownupwithnofeardtntmans and were quite comfortable in the housealongwith the family! I crouidn't~rlmnhgallthreeof thescviewstrrthlsIssue'scolumn --€hey mrlrt a woadetful set. Westrrtoutwlththechlpmunks eating some snrdss on the coffee tabie(WthsomenEcematchbg end tables in the badrgtound). Next is a fun shot of the little crtt- ters dimbing around on the lady of the hause, perhaps hoping that she will give them some treats. And in the third view we learn that the chipmunks even explored on the family dog, who I'm sur- prised seemed wIIling to put up with it! I really enjoy the drapes in the background of this one. The reel containing these and other views of the chipmunks was well-worn,so I'm guessing it was one of the family's favorites to view and share. What better way to remember these unusual pets? 00 JJ A Pal~I~.lllnnot National Stereoscopic Associat ion, Inc.
Volume -. .
NSA Board of Directors Larry Moor, Cho~rmon Andy Griscorn "illiarnW Moll Page 15 Page 26 Page 30 Rus ,sell Norton Bra ndt Rowles Al Sieg nlcnard Twichell Leorlard A. Walle 4 The Verascope of Jules Richard Ilay Zone by Bernard Vial NS>4 Officers .. . - . Lawrence IKautrnan, t'res~c . 2 Editor's View H. Lee Pr att, Vice President Comments and Dean Kamin, V~cePresident, Acti~ Observations 15 Stardust Stereo from Castle Combe W~ll~arnMoll, Treasurer by lohn Dennis by David Starkmon -..,. ,J World Staff 101in Denn~s,Editor Lawrence K; ~ufman,Contributi ng Editor 3 Letters Ray ZOI 1e. Contribufing ELfifor Reader's Comments Mark Willke, Art Directclr and Questions 18 Giant Screen 3-D Roars to Life Sylvia Dennis, Subscription M onoger by Ray Zone Don R. Cibbs, Bock Issues MIYnoger 14 The Unknowns Toshi Dennis, Member Sen(ices Can You Identify the Subjects of now ro lcencn us: These Views? 26 Chicago's Century of Progress NSA Membership by Neal Bullington third in a series by Robert B. Balcomb (New mprnhprrh!px, renpwnlr (I oddirrr rhonqerl P.O. Box 86708, Portland, OR 97286
Questions Concerni~ Current Information Stereo World Subscri~t on Stereo Today 32 A Report to the Membership PO Box 86708, Portland, b~ by David Starkrnon e-mall strwLd@telepom & lohn Dennis on the 2007 NSA Board Meeting by larry Moor Stere0 World Back Issue ! (Wrll~kl l7~01I"lllhty (I P,lCP< 30 The Society NSA,, 23575 C.R . 77, Calhan, C News from the Stereoscopic , Stereo worro talrortal I Society o Amer~ca 33 NSA Board of Directors Welcomes (letr~rsto the ~d!tcli on!rl?r ti mlcndi 561 0 SE 71 st Ac ,e , Portland, 0 by Ray Zone Four New Board Members (SO! 1) 771 -4440 e-mail: dd@tslepom -- - - 34 Classified Stereo World Advertis ing Buy, Sell, or (C1orrilii.d k dtrpby ndrl Trade It Here 5610 SE 71st Ave, Portland, 0R 97206 (503) 771-4440 e-rna~l $yld@Leleeolfll (lnrprt llypir b nuct~noadrl Jeffrey Kraus PO Box 99, Modena, NY 1254 (845) 255-791 3 rpus@h_m - - Covers: 4 Regions A Computer Generated Gigonotosaur roars through a live action background in in the Large Format 3-0 film 02007 Sky High Entertainment rlca,c cvvltau your re ~onal[ Giants of Patagonia from Roy Zone's feoture article "Giant Screen 3-D Roors to life". for lnformat~onabout?ocal ec NSA activ~ties.See current list at: h_ttpdstereovjew.orgLaboutnsanht_m! The National Stereoscopic Association Stereoscopic Society of America is a non-profit organization whose goals are: to promote research, (AMiIhnred wrth flip Nnr~onol5l~ri.o~rops Ari~iolionJ collection and use of vintage and contemporary stereoviews, stereo cameras and equipment, and related Les Cehman, Mernbersh~pSe cretary materials; to promote the practice of stereo photography; to encourage the use of stereoscopy in the fields 3736 Rochdale Dr, Fort Coll~ns,( 10 80525 of visual arts and technology; to foster the appreciation of the stereograph as a visual historical record. (970) 282-9899 e-mall ks@gehrnan or! -- Stem World (ISSN 0191-4030) IS publirhed bimonthly by the Nat~onalSterwrcoplc Annual membership dues: 132 th~rd Donation Gifts Discontinued SEE THE MOFFAT TUNNEL IN LIFELIKE 3 bIMEWSIOl embers receiving renewal letters fol- FOLLOW THESE SIMPLE INSTRUCTIONS ,.lowing this issue 1. St:~nddirrctly 1)rhind tlir hnrrior BE PATIENT ru" t111l~:- nu? v~sinll to vlrn 1!1(, la~.:c ::-tliriic~nst(>nnl i? will notice that free gift n1;1,-1<,<,lY ;, l,ll Unnatural Viewing divergence truly qualifies for fully The L-R-L image pattern ~rsedor1 rotne he two letters in Vo1.33 No.1 unnatural as there is no need for- websites wolrld rrre a lot of our already tiglit pa'ye space in tlie erort to tnoke which were so in favor of pre- that in everyday life. What is unnatural, of course, is combining everybody 11nppy. Tsenting stereo images in the If yorr exatnine yorrr tllrrmb at about cross-viewing orientation were dis- ocular angles with focus distances that do not occur under normal seven or ei,yl~tincl~er frorn your nose, yo11 turbing. I submit that the two will notice tliot a stereoview propped ~rpat methods of free viewing, however conditions of seeing. However, nbolrt 22 inclws away will liave fiired via one names them, are unnatural to there is nothing in normal vision cross viewin'y if it is foc~rtedor1 witl~o~rt the same degree. of any type that requires the cross- changing tlie ocular atl'yles. None of tlle In my sixty years of stereogra- ing of eyes. That is totally unnatur- metliodr of freeviewing are "t~atrrral"iri phy I have practiced only parallel al regardless of how useful some that focus must be diccormecteti frorn free viewing. I suppose I could people might find it for the pur- tliere an'yles, but close work (req~ririri,y pose we are considering. reading glarrer for tnatiy of lrr) rioes learn cross-viewing but I certainly "cross" the eyer in a completely r~atrrral would resent having to do so At 63 mm separation I am sug- gesting we are close to what is con- way-pmvidirig tlie ratne arl~ylertieeded to because of the selfish desires of cross-view a pair of 3" wide itno,yer at a others to have it their way. It sidered the low side of average comfortable distance. AArlmittrrlI,~,the cov- would definitely feel unnatural to ocular distance, persons with ers of tliis isslre wolrld req~rire,yreoter coti- me. At my advanced age I am greater separation will free-view at vergence of the oclrlar ancyler or extet~diti~y happy when pairs are printed fairly small degrees of convergence, any the viewitig distance to 017011t five feet. small as it it easier to free-view need for divergence would affect -Eli. them but I will not propose that relatively small numbers of read- Cross With Delight you do that, I'll get out the neces- ers. Many of us have long been able to view standard stereo cards, I am amazed that only two peo- sary optics to accommodate my ple responded to your cross-view needs. divergence and all. As for the mag- azine, I suggest that there is proba- stereo cover. I intended to write There can be no argument that immediately but kept putting it the preponderance of side by side bly good reason to provide records of historical stereo cards at full off. stereo views are of the parallel When I pulled this issue out of type, like it or not. There is a size. As in "Ice is Nice" it is possi- ble to read the article and not have the envelope I immediately recog- rather simple solution, of course. nized what it was. I spread it out As a number of Internet sites do, to review individual pictures while reading. and enjoyed the great 3-D image you could print three images, two before I read a single word inside. lefts, one on either side of a single Robert L Pfeif% MFA Professor of Fine Arts (retired) It was great. I hope that you do it right. Readers could then chose Seneca Falls NY many times in the future. I would whichever pair is most comfortable to free view .... (Continlrrd on page 25) Since you are already publishing 60 mm images as in "'50s Flavored by AARON WARNER Finds" and other places it would GONE MADDD 3-0 by Ray Zone seem that three 60 mm images with 3 mm separation would do the trick ... These images would be slightly larger than the 57 mm images that have been quite suc- cessful in ISU's Stereoscopy maga- zine. Free-viewing while reading articles that anticipate referring to the images is certainly preferable to switching back and forth to a viewing aid. I think I was a bit too conciliato- ry relative to the unnaturalness comparison of the two viewing methods in contention. The refer- ence to "parallel" free-viewing encompasses a fairly wide range of angles from convergence through true parallel to divergence. Only 3 -0ALWAYS CAVE 01 LL A HEADACHE 3-DALWAYS GAVE 01 LL A HEADACHE TheVera cope OfJules Ric by Bernard Vial This article first appc :ared in the ~ril,1980, issue of th e short-livr?d -.-.:..- n---+ ,ench hardcover rnaga~~~IC rrrxige la Photographie. An English mion followed ten yc :ars later irI le SpringISummer, 1 '990, issue of 8, ..-. le ~hoto~ra~hist,editea wy N~A ember Mike Kessler. The story of :rascope cameras and other quiprnent is so significant in the story and popularization of stereo ~otographythat its appearance 'ere0 World is not just appropria, .~toverdue. hen one speaks of the best- made automobiles, one thinks immediately of Rolls- Royce; if one discusses wine one thinks of Mouton Rothschild or Pommard, but if it is a camera of which one speaks, in 35mm it is the Leica, in 6x6 it is the Rolleiflex or the Hasselblad; in the larger for- mats a Linhof or Sinar, and when one arrives at stereo, the first name that comes to mind is the Veras- cope by Richard. I think that it is not an unimportant glory to be, or to have been the first in one's cate- gory, and to represent, in the eyes of the public, the Ne Plus Ultra; to be in some sense the champion of the world. Jules Richard was born in 1848 in surroundings which predisposed him to be interested in all sorts of objects of precision. His father directed a small factory where he fabricated instruments for measur- ing such as aneroid barometers and mercury thermometers. When Jules Richard reached the age of 21 in 1869, one of the sciences which was developing most rapidly was photography. We were at the great epoch of wet collodion, which had - i' I i already dethroned the daguerreo- The first Verascope of 1893...... jules Richard holding a Verascope ~n type, ushering in the taking of pic- other builders. They were made of a 7 9 7 0 photo by I! Bellingard of tures with such sensitivity that it wood, covered in black leather, Lvon. permitted the occasional instanta- with a guillotine shutter and an neous exposure. Unfortunately the automatically changing plate mag- ed having to cut them apart with a necessity of preparing the material azine. One peculiarity of the diamond point. so that it be used in the wet state Homeoscopes was their use of two was extremely limiting. Everyone independent plates to create the The Verascope said to himself that there would stereo pairs. Two of 6x6.5 were If the establishment of Jules come a day when a sensitive sur- used to obtain 6x13, and two of Richard had stayed with this sort face would be discovered which 8x9 to obtain 8x18. Of course this of camera its name would not have would keep for a long time. The was not seen exclusively in the survived, except as one of a long reviews and books of the period Homeoscope as other cameras such list of French makers of stereo related the numerous efforts of as the Stereocycle de Bazin and the cameras, and only some collectors researchers to achieve this objec- Leroy employed two plates as well. would remember it. But in 1893 tive. It was natural that Jules This facilitated the transposing of Jules Richard, leaving completely Richard himself felt thrilled by the plates in printing, which was the beaten path introduced, with photography, and this passion led important somewhat later when much publicity, a new, truly revo- him, in 1869, to construct a cam- autochromes appeared, as it avoid- lutionary model for the time. He era for his own personal use...... The Homeoscopes The Verascope 45x7 07 with fi4.5 Tessar lenses. It was not until much later, around 1890, that one began to find in commerce the first cameras carrying the name Jules Richard and the trademark R.F., which did not signify the Republique Fran- caise but Richard Freres (Richard Brothers). There were four brothers and their factory was at Impasse Fessart a Belleville. Those cameras with the name Homeoscope were so-called after the family name of one of Jules Richard's collaborators named Homeos, apparently the creator of these cameras and who, to speak truthfully, did not show great originality. These were jumelle or "twin" stereoscopic cameras resembling like sisters many others which were made at the same time by christened it the Verascope, a name which would, over the next sixty years, remain attached to his company, symbolizing, not only in France but in the entire world, the most perfect version of the stereo- scopic camera. The Verascope was revolution- ary, first of all because of its for- mat. When one remembers that at Ster~oscopichand the end of the last century the standard format was 13x18 cm; the Verascope with its 4x4 cm pictures was really considered a miniature camera, and Jules Richard in pre- senting it, declared that only the grain in the plates prevented him from reducing the format of his camera still further. Even such as it was however, the small format offered considerable advantages which our grandparents discovered with wild enthusiasm. With a very short focal length of 55 to 60mm and a rapid rectilinear lens open- ing to f:8, there was no longer any need for focusing. Everything was sharp from five meters to infinity, closer if one used a diaphragm, and in stereo photography that was indispensable. In effect the relief which the procedure gives to different planes only is successful if Some elegant detail on the cover of a Verascope catalog from Negretti and Zambra all those planes are sharp. What in London. interest would there be to see the background" se~aratedfrom the foreground if the latter wasn't sharp? The Verascope 45x107 (the for- mat of the entire plate), was all metal, constructed out of silver plated copper, oxidized and var- nished; exceptional construction for 1893. I have before me a cata- log for that year where it is the only camera offered among several dozen which was not made of wood. Of course Jules Richard praised highly the merits of his chosen material, totally unaffected as it was by intemperate weather, cold, humidity or heat. It was pre- sented as the ideal tool for explo- The Taxiphote mechanized viewer. rations for the colonies, for pho- Richard produced impressive variety tography aboard ships at sea, etc. of these multiple view devices for the Another advantage of course to the 45x1 07cm, 6x1 3cm and even reduction in format was the size of 8.5~1 7cm stereo transparency for- the camera itself. Compared with mats. For illustrated details about the enormous 8x16 cameras of the many versions, see SW Vol. 1 6 lulrs R~chardsold his cameras No. 2 page 10 or the book Gaumont or Rellieni, the Veras- around the world, as shown by the Stereoscopes, the First One cope could be a pocket camera, not cover of the 1909 Russian catalog Hundred Years by Paul Wing, requiring the complicated proce- from Bere Brothers in Moscow, illus- pages 174-787. dures of a field camera with its trating a Verascope camera and a ground glass for focusing or com- Taxiphote viewer. Accessories When one uses faster lenses the depth of field becomes very shal- low, rendering insufficient the use of fixed focus lenses set at the hyperfocal distance. The system of using supplementary lenses was, in truth, very primitive and not very practical, thus the Verascope received a focusing device consist- ing of two helixes which advanced or moved back the front of the camera. Likewise the original shut- ter, having only one instantaneous speed of about '/3n of a second, did not utilize the capabilities of the larger lenses and their greater speeds. Richard created the first Chronomos shutter with adjustable speeds ranging from '19 Three models of the Richard folding pocket stereoscope. Various European firms to '/so of a second. Rut even this offered an astounding array of viewers, both open and enclosed, for every known was considered insufficient, and ...... stereo format of positive transparencies on glass. the last Verascope could reach '/40o of a second. posing. It was truly a device which In addition to the standard recti- The range of accessories invent- one could always have with one, linear lenses there were versions ed by the company is of unbeliev- ready to take a subject on the fly with Zeiss or Goerz anastigmats. able richness. Let us look at two of before other cameras could even be Originally available in f:8 only, these devices. First is a very curious pointed at it. they could later be had in speeds delayed action mechanism, the The first Verascope was extreme- of k6.3 or even k4.5, and with naming of which must have called ly simple. Its guillotine shutter had names like Royer, Rerthiot and upon Richard's classical studies. He only time and instantaneous set- Krauss. tings, and its lenses were rectilin- ...... ear, without factory name, but The offices of lules Richard, 7 9 rue Melingue, Paris. Constructed in 7 890, the building nevertheless so well made that the was demolished in 7 977. Richard also had two sales outlets in Paris, rue Halevy and sharpness of the images was aston- rue Lafayette. ishing. It had two viewfinders, one a reflecting mirror located within the camera itself, between the two lenses to be used at chest level. The other, tubular, attached to the magazine for eye-level viewing. Richard had another idea for his Verascope, which I think he was the first to put into practice. Once the pictures were taken, developed and printed as positives, it was not necessary to acquire a stereoscope 1,L2T'v' to look at them. It was the camera rb-'' itself which one could use for this purpose. When the Verascope was finally perfected Richard renounced this possibility, but it would surface again in the form of the ~l~~hosco~,of which we will see more a little later. In general the lines of the Veras- cope 45x107 remained unchanged fo; more than 30 years, but succes- 8 sive alterations transformed the M,St simple initial model into a tool of great precision as well as high -- price, having all the refinements demanded by advanced amateurs. L;I JUMELLE S~EOSCOPIQUEID~LE et la MOINS CH~REest le GLYpHOSCOPE ,B~;dt. ii 35 fr. qun posphdr les qunliths Ionrlnmentnlrs du V€RASkCOPE C.nn.rrud~endrhautepr(cision.-Ripiditiahrolaecmptrh*n? tovrdrc.n- rr.c? I..F rorvon ~t pe~$mrrvantun rr,.lxy< parim! InsltCrshiliti par Ir rl..'nrqrr I httn?ods~r11 1.1, I Instanfanc rt 1% 1.o.c nu d.,,,.~ rr a Ir povrr. ,, - The Cun~ctator. This self timer was first offered in 1 9 13. L, GLYPHOSCOPE pour PELLICULES "~~~~':$:'~~~~~~~t56 fr. 1 L I called it the Cunctator, after the Detail from a 1910 advertisement for Richard Verascope showing the detachable Roman general Fabius Cunctator, ...... sections of a Glyphoscope. known as the "temporizer." This ingenious device served two pur- finds today with this magazine has azine for the Verascope, pay atten- poses. With it one could take very considerable extra value, because it tion, because the earliest of them long time exposures up to 60 sec- permits not only the admiration of were designed for a film of 6 expo- onds, or operate instantaneously the beautiful mechanism of the sures on number 121 film which but with a delayed release. In this Verascope, but also using it, now disappeared a long time ago. Short- case, to avoid surprising the sub- that glass plates have disappeared. ly afterwards Richard adopted the ject by the opening of the shutter, Richard realized that the use of universally popular vest-pocket about three seconds before the flexible films might result in a lack 127 film. shutter fired a little red flag lifted of sharpness if they could not be It is hard to imagine the as if to say "attention!", the little held exactly in the focal plane of unprecedented success of the bird is going to come out. the lenses. He designed this new Verascope 45x107. This format was magazine so that the film was an original creation of Richard and An Exceptional Success placed against a piece of glass, giv- it was, I think, the first and only As the use of film was spreading ing it the same sharpness as a glass time that a French manufacturer in the photographic world, plate. Notice that much later Rollei succeeded in imposing upon the Richard proposed to replace the took up the same idea when it put entire world a new format which plate magazine with a film maga- out its first 6x6, k2.8 camera. he had created. This honor was zine. The Verascope which one When one finds today a film mag- normally reserved for the very wn---- - oduce, . iillion- make somethin est. I ther 1 bought a larger cam- 1.>.,I Q 3-* ,in" mqrl, Plu,sti,yc iir In Plioto~yropl~ic~,the publication in whi,,. cla,...... I I", allu alLcl Ilavllly Illau2 a large number of the Verascope article originally appeared, also found and plates I began to be satisfied. I was presented to MOI published the following manuscript by Jules Richard, sieur >(, who was a decorator at Opera Comique. I t; describing how he invented his camera. It is taken from photo graphy with this gentleman who told me that '-lnd written. rough notes by R:-"--" tography was a frightful thing bec ause of tt ie distorti it made in the landscapes present1?d by it. began, ir11867, h I found his ideas so exaggerate(j that I pr .omised tc - n..I---- s~,hirhI t 4 preLLy IILLIYCdlTlerd Cdlleu LIIY UUUIUII~,which I Ilavr make him four photos of that sort I I flas sure t since offered to the Conservatorie des Arts et Metiers. could find no fault with. I positioned myself in a gar( These little photographs made of collodian enchanted under a tree that was not too shady and obtained fo me, but they were small, just the size of a silver five Franc plates which I thought were superb. I put every pass.-.- 1 piec:e. Then I bought another collodian apparatus, 6'12x9, care into printing the fo~Jr negativ (es on pay to nnake portraits and landscapes. With this camera as them and sticking them onto a ca rd mouni 1 wit11 the Dubroni, one could not be hurried, and if one I was satisfied and car1ried these four prin ts to Mor isieur .... nrl -t them frrr 3n >,,a A -'h3,VVIIC aL Ll I I I carrie back with five or six plates for the whole dav.,, one , after havin~lookcu instant, g WOL ~ldhave t o be hap1py. But th le images were still very I them back to n ~tsaying ; 1 I smz111. Then I bought zI 9x12 an d l begar I then tru ly to great manufacturers like Kodak or Leitz. The 45x107 format was adopted not only by the largest French companies but the German ones as well like Zeiss, Voitlander and Rollei. For many years one merely asked for "Verascope plates" and not 45x107, in the same manner that one asked for a "Vest Pocket roll" or a "Leica film", instead of asking precisely for a 4x6.5 [I271 film or a 24x36 [35mm] cassette. Glyphoscope Rut a beautiful Verascope with Zeiss lenses, constructed with great precision, inevitably reached a very considerable cost. In 1907 for example, a Verascope with Tessar lenses cost 500 gold Francs or about 25 Louis. Although it is diffi- cult to compare this figure to the equivalent value of today, this was obviously a sum which an amateur The Clyphoscope. photographer would have difficul- ty in finding. Richard understood been fifteen years earlier. No longer Ivory, a material the black mould- this perfectly and resolved to make made of polished wood or precise- ed Glyphoscopes could never be available to all a camera which ly finished metal, the body of the confused with). It was a sort of would sell for 35 Francs. This was Glyphoscope was molded in one thick, black Ebonite of surprising the Glyphoscope. Its success quick- piece of a material which is today solidity. ly exceeded the hopes of its maker, called plastic, but which in 1907 Chemists have affirmed, without and permitted those less fortunate was baptized more elegantly as doubt correctly, that plastic materi- to taste the joys of stereo photog- IVORINE (editor's note: this may be als have since then made sensa- raphy. The Glyphoscope was as in error as the name would imply tional progress, but in no way have revolutionary as the Verascope had that it was used as a substitute for modern plastics gained anything "You seet therefort I said, '"that the! ;e pictures are irre- i ligh t and the interpretation of tlhe landsc ape is suc :h that I ." . . - . . -- - - roachableI and all tlhe criticismms which you mdCle to me I desi re to reproduce it accuratel)/. " F -L-&--.. --L.. L-.. ...: :&L-. .& L-, I, U -1. ...L--r C.- L--A L--. .-L* I p~IULUYI~~I IY I I~VYUYYI I WILI IUUL U~S~Sin fact. n e showed me in his noteboon WII~L IIY II~UUII UUyllL The truth is that he feared to make me unhap)py, con- bacl< from his trip, drawings made at the place, ar id said dering the air of satisfaction which he saw in nie. But I to nie: "That is how the eye of a painter has inter13reted egged him to tell me all which had inspired hi~,,m ,,,nn this; it is exactly what I have seen and it's what I vdould )eking at these prints. He replied: "What is the good, like to make other people see who go to the comi msidering the number of times that I have said what I ope ra, The Barber of Seville. You see that these litt link when I see that I am not understood, and that I am squ; jres of drawings made with the crayon allow r ---- reaching in a desert and no photograoher understands ~t.~~oduce,on a canvas 25 meters high and 15 wiut., LIIV ie?" view as it should be seen in the theater." Returning to my I beseeched him further, saying that if. he. woi~ld show four prints he showed me that the young lady who was ie the defects for which he reproached photography, "I featured in one photograph had too small a head and her rill look until I have conquered these defects." Finally he legs too long, and there was a great distortion. "L ike lid: "I would very much like to try to get you to see the other amateurs you have these distortions in your spirit, efects, but I tell you that you will never conquer them and if one shows you a complete photograph properly uecause they are the result of the lens. There is such a dif- done you would not like it as vou are used to thes - A:- ference between the human eye and a lens. It is at this torti ons." point, at my age of 72 years" he said to me, "that I do TIiis artist who had Igone to S#pain to obtain trut not fear to go as far as Seville in Spain to redo the stage detz~ils for his occupation as decorator inspired me ?tsfor the Barbier de Rossini. 1 could have had people such an extent that I said, "This man must be right. I ?ndme pictures of this country, however I preferred so must therefore find a method for correcting photographs rongly to be true and accurate that even though I am which are so deformed. I must correct the distortions and Ured I will soend a areat sum of money and go that far to above all increase the dimensions of the obiects in 'L-11 lr filI my eyes things of that co" ntry, when the middle ground and ba ckgrouncI, while d iminishinc3 the other. The Glyphoscope 45x107 was sold by the tens of thousands during more than thirty years. In the course of this time Richard increased his quality. The basic "Ivorine" model 45x107 remained at the base, but for a little extra one could obtain it in leather cov- ering with a better four-speed shut- ter, and even later in a 6x13 for- mat. Though the Glyphoscope 45x107 is easy to obtain now, the 6x13 model is indeed rare. The Verascope 7x13 In 1905 Jules Richard, encour- aged by the audacious success which he had achieved in advanc- ing the 45x107 format, wished to repeat the same success by produc- ing a new Verascope, not in the universally accepted 6x13 format The Verascope 7x7 3. This large model weighed 1650 grams and measured 7 6cm but in 7x13. This additional cen- long, 8cm wide and 13cm high. timeter was the result of an inquiry made by the directors of in robustness, for in the more than shutter was detachable and the the French Stereo Club, who said ten years I have been looking at apparatus became an excellent that 7x13 was the most rational collectors' cameras, Ihave seen stereoscope, achieving ideal condi- format which one could create, as quantities of Glyphoscopes, not tions for viewing because the lens- the length of 13 centimeters corre- one of which was either cracked or es of this stereoscope were the very sponded to the normal separation broken. Another advantage was ones with which the views had of the eyes. Innumerable articles that when the amateur had spent been taken. To achieve this record and specialized reviews argued in his 35 Francs for his Glyphoscope, low price the twelve plate maga- favor of this new format, and the he had nothing more to acquire in zine of the Verascope was replaced arguments were many. The best order to see his stereos. In effect by single plate holders which was that the pictures would be the whole front section with the could be exposed one after the square, whereas those of 6x13 were objetcts in the ! foregro~~nd." I thc ?n read a volume on pho- telling me that photogra phy woul o use. In effect ?. - - . .. - tography at the library ot the Conservatorie des Arts er we were 16 kllometers from lJue de Uome, and the t?ye Metiers, whe~re I saw a stereo photograph with a road in which looked a t this viev v saw the mountain as quite I the foregrour id dotted by the droppings of a horse. The grandiose, but in the phlotograph it was so small in (:om- I distortion wa s so great: when looking at the flat photo- parison with thle mountains in front of it that it appe ared - J----:- ..A .,-,r ----3h that the urupplngs appeared to be the prin-'--'Llpal no larger than a. I--.. I IUUI IU of freshlv dua earth. There \ :ct. In looking at this in sterf 'orm how(ever not one proportion that looked ds , the deta ils appear distortion disappeared. the eye, and there was no harmoriy in this very bea~ was thinking about this problem constantly wt ien, view. one day, I relaxed with a trip to Royat je Montais, wnere I From that moment on I workec I to correcct these niis- climbed a little hill to a park. There I found a painter who takes. One of my first ideas was tk tat stereo scopy shc juld had just finished a picture. The view which one saw from render a much truer image. Later I consultc:d a treati LL:- .,, --,.-.- height was very beautiful, and the principal object to physics and saw that each time y~upa33 a-. ray of ligt IL een was the mountain of Puy de Dome. He had inter- through a refractive material the ray is deformed, but it pret ed this view with meticulous care, and truly, when I regains its original position when it is passed again ir i the look:ed at this view and then at the painting I understood opposite direction. Thus I said to myself, when one (loes that there was a great difference between reality and stereoscopy, undoubted1y the ray: ; come bc ~ckin revtme photography. I asked the painter to let me reproduce his form. It is necessary of clwrse to Ilave a ste reoscope with picture with my 13x18 camera. Then I put myself in the lenses which are very siniilar or cc jmplimen tary to those hn fn-, ,.- -, ,rt he ,.,-,rt -,-A thn of the camera, but also tl I= IULUJ 11 lU3L UC c*aLL a1lu LI IC sameI~ dace as he had been for makina his picture in ordf?r to com pare later- the reprloduceJd painting with the distance between the two lenses must correspond tc ) that photograph iand the v iew obtai~ned direc tly from my of the two eyes. Through the making of this experinlent l plat1e. observed that the image had a natural size, and I . . OW I understood tne alstort ions whic :h I could not deduced immediately that all ima'ges, what :ever the 1 ~prehendearlier. How right my friendI had bee n in mat of the camera, shou Id be eqL~al, provic led that c 50WORLD not, but logic counted for very lit- tle in the face of routine as well as the interests of the plate-makers. They argued that manufacturing plates in the 7x13 format would cause great losses of material, while a 13x18 glass plate could be cut into three 6x13 plates without the loss of a millimeter. Enlarging the size of the Veras- cope also caused it to lose one of its principle advantages; it became heavy and cumbersome. The 7x13 existed for several years but, little by little, amateurs abandoned it. Because of the difficulty in procur- ing plates in this format, especially The 7 9 13 Homeos, first 35mm stereo camera. in the more distant cities where ...... the only available sizes were which were so successful, and for There had also been important 45x107 or 6x13. Jules Richard, that reason are still very available. 1 .oroeress - in the sensitivity of emul- I being a conscientious manufactur- sions. The cinema in effect er and not wishing to leave his The Homeos demanded a fineness of grain and customers in distress, began to With his first Verascope 45x107, much superior emulsions to that of deliver special plate holders per- Jules Richard was the champion of plates. It was this material that mitting the use of 6x13 plates in the small format, and this made Jules Richard decided to use in his the Verascope 7x13. In the end the his fortune. When on the contrary Homeos. "Ideal" format was abandoned he tried to increase the dimensions The Homeos was one of the first and, like all the others, Richard of the images to 7x13, his failure cameras in the world to use movie delivered his large Verascope with was equally complete. Perhaps that film, and certainly the first to use 6x13 holders only. Collectors was one of the reasons why, 20 it for stereo photography. All metal today do not always see things years later in 1913 he resolved to like the Verascope, it was equipped with the same eyes of the amateurs go still further in the direction of with f:4.5, 28mm Optis or Krauss of fifty years ago. Today the rare miniaturization. Meanwhile Louis lenses, and its short focal length, Verascope 7x13 is infinitely more Lumiere had discovered the cine- in spite of the large opening of the precious than the little 45x107s ma and perforated 35 millimeter lenses, allowed the use of fixed film had conquered the world. focus. The sharpness extended loks at thc 2 photogr aph obta ined P rrough th e same le nses that 'he I . , I.. I .. k" notograpn was owralnea w~rn. 'r* Thus I went to see my frien d $? adar, who I knew had came ras of nmense size such as 50x60, while had my 4x4 camer a, which imade is 15 times linearly larger th;rn line and 187.5 tim~es larger i n .ea. My friend made- me- - - see- - - rnarLJL - ty theory could not be possil ble ecause the little plate was all ready ) much smaller than the 50x:60 )at seen \n ~ithhis le~ns from tt oint at wliich the pdate had Ibeenle lib ken it wo luld appei3r greatly A personal view by lules Richard. .I. . ..I .. ..I I. I ilargea when comparea ro IOOK- ...... ig through the lens which had :ained within the If :ns shade of the la1 rge one. roduced the photograph. It would be impossit I this happened in 1891, and I am scI sorry that my -hnrn ;.- ". >mparethem or superimpose them. 1 lclc I IVLl JV ylcdtfriend, the paintel... ~~~~~~~~t,k An.,r.m chief decorator at the I brutal as and deny that my heart was beating i opera Comique, had died without knowing of my revela- violently when I compared the one with the other. It was tion. I would have so likedto have submittedit to him laughable to see this camera of 50x60 with its 90mm and asked him to criticize it as his criticism before it had '-ns, and my little 4x4 camera with its 55mm lens super- 1 beer iso usef~ ie upon t he other. The little one was entirely -/ules Ric forgotten forever. French manufac- turers seemed to have folded their arms and abandoned the struggle. Jules Richard died in 1930 at the age of 82, and one had the impres- sion that no one after him would take up the cause. In 1939 all the beautiful Verascopes had disap- peared from the Photo-Plait cata- log, and the only Richard camera which the establishment offered was the Sterea, a modest 6x13, very much simplified, with Trylor Roussel f:6.3 fixed focus lenses and a four-sueed shutter. The Sterea The Homeos stereoscope. Pulling the knob at right advanced another of the 27 posi- could be obtained either in leather tive transparency pairs on a strip of film produced by the unique Homeos transposing covering or in stamped metal. It printer, designed as a compact addition to the home darkroom. Think amateur Tru- was truly the end of a series. The Vue filmstrips from 1913! (Stereo World would be delighted to hear from any reader aesthetic appearance in any case with examples of such strips.) ...... was very sad beside the mechanical marvels with their shining from 1.5 meters to infinity. believe that this longevity was due chrome, their coupled range-find- Because of this one would not more to the difficulty of unloading ers, their shutters of l/lmof a sec- have to use supplementary lenses. stock than because of a constant ond and their interchangeable The images which it formed mea- demand. The best proof is that lenses, which were now appearing sured 19x24 millimeters, and its today, in spite of this prolonged from beyond the Rhine. Every- cassettes containing 1.15 meters of commercialization, the Homeos is thing would lead one to believe film permitted 24 stereo pairs. If one of the most sought after mod- that once the stocks of stereo cam- the two images were placed side by els by collectors, and one of the eras had slowly disappeared, the side on the film, the distance nec- most difficult to find. old French brand would join its essary for the perception of relief The beginning of the 1930s ancestors, completely forgotten in would not be sufficient, thus the marked the beginning of a new era 1939, only to be rediscovered years images of the successive pairs were in photography. It was around this later by collectors. interlaced with each other. time that the glass plate, which Richard, who had seen the birth had reigned for 70 years as The Verascope 40 of the glass plate, seemed to be absoIute sovereign, began to give Appearances were deceiving very suspicious of the flatness way to film. One has only to look however, because Richard came which could be achieved by flexi- into the catalogs of the large estab- back to life, and a new team quiet- ble film. Thus, as in the film maga- lishments of the time. In 1930 the ly prepared a model which, as zines of the Verascope, the film in immense majority of models were soon as it appeared, would reestab- the Homeos was held against a plate cameras. Film cameras were lish the name Verascope to first piece of glass by a metal plate put at the end of the volume and place in the world. The prestigious which moved away automatically only included cameras for begin- name and the glory of the estab- when the film was advanced so ners; the box and simple folding lishment were judiciously con- that there would not be scratches. cameras. The Kodak was not more served and the camera carried the The Homeos arrived too soon, than a camera for use on summer name Verascope 40 or F:40. Cata- twelve years before the first Leica, vacation. Any serious work was logs alternated between the two to have very much success. It only done with plates. Nine years later designations and the cameras aroused curiosity and few were in 1939, on the eve of the war, the themselves were delivered in two sold. Richard realized that the pub- situation was totally reversed. Of a variations, some with 40 and oth- lic was apprehensive about devel- hundred models offered by the ers with F:40 engraved on their oping these new delicate films, so Photo-Plait catalog, 90 percent leather coverings. F:40 signified he created a laboratory which were film cameras. All the preci- that the focal length of the lenses would develop the film and even sion cameras; Leica, Contax, Exac- was 40 millimeters. In effect make positive copies. Rut in 1913 ta, Rolleiflex, Super Ikonta etc. uti- Richard had adopted the principle this was not the custom and the lized film, and the catalog only of the small format cameras such stereoscopist would have thought mentioned three or four plate cam- as Leica and Contax. It used stan- himself dishonored if he had not eras for semi-professional use or for dard cassettes containing 1.60 done all the work from A to Z in old stubborn amateurs. meters of 35 millimeter film, on his own darkroom. Stereo was really in the trough which one could place 21 stereo The Homeos remained for a long of the wave as it had remained pairs of the format 24x30, or by time in the catalog of Jules faithful too long to the glass plate. simply turning a button, close one Richard. It could be seen there as It was completely lost to the new of the two lenses, modifying at the late as 1935, but most people generation and it appeared to be same time the advancement of the film to create 42 separate views. from 1938 to 1958, the Verascope 40 sold throughout the entire world and was the symbol of the highest quality which one could obtain in its category. In the Unit- ed States, where there was consid- erable competition, it was called the Bush Verascope from the name of its importer. I have limited myself in this arti- cle to reviewing the cameras, creat- ed for more than 60 years by this establishment, because they are the most interesting to collectors. It would take at least ten addition- al pages to study all the other products of Richard dealing with photography: viewers, stereo- scopes, taxiphotes, enlargers, plate The Verascope F:40. transposers etc., not to mention the immense outpouring of all The body of the Verascope 40 fabrication of the cameras for five sorts of instruments of measure- was of cast metal covered with real years. It was only after 1945 that ment which came from his factory. leather and matte chrome, and was deliveries once again regained their Richard is, I think, the only large as beautiful as the finest German normal pace. It is remarkable that establishment in the world in cameras with its completely mod- even in that period of greatest which the photographic section ern look. This one was far from the hardship which followed for two has never delivered anything dried aesthetic of the Sterea, and years after liberation, the quality of except stereoscopic models. In this the amateurs who carried it on the Verascope did not suffer, con- it was truly the incontestable their breast no longer had to suffer trary to nearly all of the other champion. An important excep- the ironic smiles of the fans of the cameras of the same period. How- tion occurred however in 1947. At modern camera. It was not only its ever the beautiful publicity photos the Salon of Photography for that appearance which raised the Veras- with which Richard promoted its year the booth of Jules Richard cope to the pinnacle of greatness; stereo equipment did have to suf- announced the forthcoming cre- its refined mechanism was fer the poor quality of the paper in ation of a 6x6 single lens reflex, extremely advanced. There was a the iournals in which thev coupled rangefinder which one appeared. For more than i0 years, (Continrred on pa'ye 17) manipulated from the back by a I large wheel, which moved the Assembling and testing the Verascope F:40. whole front plate, permitting one to approach the subject as close as 50 centimeters; a performance which Leica and Contax could not accomplish without supplemen- tary accessories. The Verascope shutter was of the guillotine type, much preferable for stereo work to those which use twin Compures, and a single but- ton fixed on the front face of the camera which, thanks to a gear, permitted one to adjust the speeds from one second to '/zoo of a sec- ond. Some shutters were said to attain the speed of 'boo, but this is perhaps overestimated. The lenses were nearly always those of Flor Berthiot but there were some by Saphir Royer. Later Angenieux con- templated offering lenses for this camera. The first examples were deliv- ered at the end of 1938. The war arrived in several months and almost completely interrupted the Can You Identify the Subjects of These Views? THE UNKNOWNSNeal Bullington e feel sure that our unknown this time will be identified by one of our sev- eral members who specialize in naval views. It looks like an Ameri- Explore can warship, probably from the "great white fleet" and even though it is a distant shot, that sil- the World houette should be familiar to of someone. The view we ran recently of the 3-D Imaging, stone building under construction was identified by Tom Prall as the Past & Present, Weston Hospital in Weston, WV. in Tom will be providing us addition- al information on the site in the future. Thanks also to Dick Elliott, who commented on that view. We'd like to thank Dave Hooper, who commented on the launch of oing crazy guessing the who, what or the gas balloon shown in a recent where of unidentified views in your col- issue. lection? Get help from the entire NSA mem- only $32a year Finally, a belated thanks to Tom bership by sending views to The Unknowns, from Prosser who confirmed the identifi- 5880 London Dr., Traverse City, MI 49684 with return postage. Even views with printed NATIONAL cation of the view of the Has- titles from major publishers can sometimes STEREOSCOPIC brouck House in Newburgh, NY fail to identify some aspect of the subject. ASSOCIATION which we ran in 2005. ma (Unusual subjects or interesting street scenes are more likely to be printed here than gener- ic houses or pastures.) Send information on I!O. Box 86708 subjects you recognize to the same address. Portland, OR 97286 --- - Stardust Stereo by David Starkman n May 2006 Susan Pinsky & I the Chippenham rest stop on the or £26 per roomlper night saver attended the Stereoscopic Soci- M4 motorway. About a month rates at Travelodges!) This was the Iety's annual convention. One of before departing I was reading a case in Chippenham. the great attractions of their three travel magazine while waiting at We already had made plans to day annual event is that it is in a the dentist's office, and ran across visit nearby Lacock Abbey, location different city each year, providing an article about little unspoiled vil- of Fox-Talbot's first experiments an opportunity to visit different lages of Europe. The only one in with photographic prints. The parts of the UK. The 2006 meeting England listed was Castle Combe, Abbey was also used as a location was in Swansea, Wales, a lovely and from the location on the map, for part of the first two Harry Pot- seaside city providing an excellent it looked like it might be on our ter films, and Lacock Village is chance to visit some of the places route from London to Swansea. another charming small English along the Welsh coast. In fact, we had already booked village to visit. (See www. One unexpected highlight of two nights at the Travelodge at the this trip was our visit to Castle Chippenham rest area. (This is one Combe (pronounced Coombe), of our UK budget travel tips-if located about halfway between you book online www.travelodgg Castle Combe turned out to be a Swansea and London, not far from .co.ukl you can sometimes find 615 15 minute drive from our hotel. A street in Castle Combe prepared for shooting Stardust scenes, in which the village is known as "Wall. " Unfortunatelv.,. the film is flat, but these stereos (and viewers' imaginations) may serve to provide o bit more depth. fantasy movie is divided between the real world of 19th centuty England (Castle Combe) and a Midden land beyond a stone wall next to the village. (w.stardustmovie.) (Stm by Dovid Starkmon) Three quarters of the distance was Also, while you can drive Thus, one can easily walk along roads barely wide enough for through Castle Gambe, there are around and get quite the feeling of one car, and with few directional no cars parked on the streets of the having stepped back in time. In signs. Fortunately we had good village. VMOIJ must park iR a lot our case, the step back in time directions from our hotel recep about a 10 minute walk frosn the became a bit more literal. When tionist, and got there without get- center of the village (which you we arrived we discovered a film ting lost. Castle Combe, voted the can't miss, as there is the 14th crew on their last day of two weeks "prefflest village in England" mw *Market Cross" in the of work "dressing" the village to (see the town's web site @&Be of.the road, in the center look like it might have been in www.cast1- for more of* viglse). This is the center of 1890! Some of the signage had details), is somewhat unique. It has thjc weekly market of the village. been changed, the blacktop road stone and half timbered buiMfnss Locals park their cars behind the was covered with a layer of dirt, that were built as much as 600 buildings, hidden from sight...... years ago, such as the White Hart There are no modem street lights, The film3 Ceneml Store ("Monday Pub where we had lunch. and TV antennas and such are not & Sons - Cm?did not exist at allowed. all. This was appufently an existing @in buiMing hcing I, ."$.*.- ...< I*' porch) was added to &re oddecj, and the Lmpty interior was artwlly fitted out as a period shop. (They IWM not let us shoot photos inside, but we did get to pnk inl)...... mbyD0Vlds-n) ...... Sientw Miller (with pamd as seen in the film) and other shcp pen in the Wall (Castle Combe) market square. Mikr pkys Vitoria, the bve interest of THstan (Charlie Cox), :who vmvs to bring her a blh star which then tmnsfomrs itself into the beautiful Mine (Claire Danes)...... (St. by D0Vld Storlvnon) Cornem and tmck clre pmpared for shooting a scme in the village square. At left rwr, some of the actors are seated on Castle Cornbe's 14th century Market Cioss, seen in some brief shots in Stardust. The two- hour, eight minute film is based on the graphic novel by Neil Caiman...... (St. by DavM Sto~mn) ...... Victoria (Sienna Miller) F- gets a hair adjustment in front of a Castle Combe house. The film's other stars, Peter OTode, Claire DanesI Michelle Pfeiffer, and Robert De Nim don't appear in the Castle Combe scenes, but are in hnyer sequences shot in Scotland and Iceland. and horse-carts and other such Pfeiffer, Robert De Niro, and Peter the filming. I shot some film with props were being scattered about. OToole. The scene set in Castle an RBT-S1, but mostly digital with a There was, of course, a slight driz- Combe was going to be a total of 7 van Ekeren twin Sony P43 rig. I'm zle when we arrived, so we started on-film minutes, with actors Sien- happy to share some of the better with a nice pub lunch. na Miller and Charlie Cox results with you. Afterwards the sun had come Since we were still in the area, I Even without a film being made, out a bit, so we did our best shoot- camebackthenextdaytoseeif1 Castle Combe is a lovely village in ing 3-D pictures that would take could get some shots during the which to spend a day. Lacock Vil- advantage of these unexpected ~UDWreamovieset,afilm lage and Abbey are less than 30 props. We were told that actual aaviaaviDageHkethiscylnot minutes away, and would iill in filming was set to begin the next lreep~rsdrampotdng-1 the rest of an enjoyable visit to day. The film (released August) soIdia~kstto(Eef;kasdase these English villages while you are 2007), is Stardust, starring Michelle asIcarldto~entswncof in the area. (n already been swindled that "It is the ransom of great glory!" The exact reason the project was can- celed is not known, but because of this renunciation the old French establishment could point with pride to having concentrated its photographic activity in the ser- vice of stereoscopy. Note Thanks to Susan Pinsky and David Starkman for the loan of Prestige de la Photographic, April 1980. Thanks to Margaret and Ed Lewis for their heroic efforts in translation, and lastly your editor pats himself on the back for turn- ing everything into nearly readable English. ~nwdymodelofthe)u&s18khri( -Mike Kessler om slides innn the Vcmsape F:40. Sac 5, page 31. thepo~ttohim~f ...... "..".""..,... 10IOW Prancs. There and presented a prototype. The rmrst have been a great interest of amateurs and profes- manyvl~~~Bichatd sionals alike for the camera was (=wWfMt(wi@b~l@=a enormous. Because of the almost *b*profealoPsalm total lack of cameras in the years wamhg pbWpphas to %ewa~ of sharpiesn, but if they had Giant Screen 3-0 rev&w by Ray Zone to cover the work of Mike Novacek and Mark Norell, two paleontolo- gists working with the American Museum of Natural History (AMNH) just as Andrews did in the 1920s. Archival 2-D black-and- well as two brave but isolated ..." ...... ".." ...... e...... 3-D plate and the 3D CG can result in false interposition depth cues where the dinosaurs "virtual" foot meets the red stereo photographic Dsrrascrurs:GrontsqP~ (SkyHIghEnbntalnmmt,~~) Similar in structure to Dinosaurs Aliw, Giants of Patagonia was directed by Marc Fafard and (again) shot by Bill Reeve. This 6lm lionizes Argentinian paleon- tologist RodoIfo Coria and his work in Patagonia discovering remains of the largest creature to ever walk the earth, the Argenti- nosaw and its bipedai nemesis the Giganotosaur. Stereoscopic footage shot in the Carmen Funes Museum in Plaza Huincul, Argentina dra- matically conveys the scale of these ancient creatures. i 1 A CC CiganotoJaur in Dinosaurs: Giants of Patagonia mars through a live oction bodcgmnd in Patq nia where its bones were dixowred. woo .VVHish-t...... I With excellent CG and visual effects supervised by Nadav Brill and Maxime Gagnon, the Giants of Wave writer/- Ben Patagonia are brought to roaring Stassen is rmWng If Dot a 7 life and seamlessly integrated into "crosscwer*g@wg+wM has built the live action backgrounds where their bones were discovered. Exdt- innxenesuf~ledinosauts lvmm&~mhrsd droetl puff e~-t 3-D ma& G's: Zac's Dream of Fkdru, 1- films to a conservation message 2000) and a worthy adbidonk with efforts such as S.O.S. Planet what is now becoming a well- (2002) and Wild Safari 30. established genre in LF 3-D along Now, with Fly Me to the Moon, with T-Rex: Back to the Cretacewcs Stassen has made a CG feature film (1998)and Dinosaurs Alive. to play in both IMAX 3D theaters and the emerging digital 3-D cine- ma platform along with other fea- tures like Chicken Little (2005)and ~one-pixeloffsetmokesa~~tm~~E$I~~dkwraarnrMeet the Robinsom (2007)in 3-D. invader the live kmdsscape in Dinomwx CiiqbdME For his story Stassen used the his- 02007 Sky High Enterfahmt i 5 torical background of the 1969 Apollo 11 mission to the moon for a tale of three house flies who stowaway on the lunar space Wt. As usual, Stassen stages almost all of the 3-D imagery out in the audience space and is touting lWI7"M as built from the ground- up for stereoscopic viewing. "Most 3-D film released to date use the stteen as a window," explains Stasen. "The filmmaker creates perspective behind the window md throws things at the audience through the window. When you eliminate the window effect (by shooting with parallel camera instead of converging cameras), you create a 3-D space and you can actdly transport the audience into that space." The CG characters are cute and appeabq and lots of rapid-6re ...... Thc Apdlo 11 astm- nwtJhnoidea rhatstoMNlyflies amwiththemin F& Me to the Moon. (W7nW PSctum .- ...... watering hole and birds flyins Trailers anu leasers overhead. But the stereo conver- sion ended up working very well Sea Monsters: with many lovely 3-D scenes. A Prehistoric Adrmture (NaUmal~,dsacrrIm~) One advantage of stereo conver- A brief segment depicts a com- sion is that depth can be added to puter generated underwater mam- animals shot at a distance that mal swimming rapidly at the view- might not otherwise be evident er against a live action underwater with original stereo photography 3-D plate. Terrifically effective in shot with 60al length lenses long 3-Dl SF'D is working with stereo- and a conventional stereo base of scopic cinematographer Sean The three fly astfonccuu rnnry to 2Y2 inches. There are many stun- Phillips to release this film in 2007 sto~moyin Fly Me to the Moon. ning 3-D moments in this film, on a hybrid platform that includes however "synthetic" the stereo both 15/70mm 3-D and digital 3-D might be. In the hands of compa- cinemas with the Real D format. jokes move the action along quite nies like SFD, stereo conversion of This film is the first to make use nicely. I bet you didn't know that existing content will be a viable of the new twin 35mm "Gemini" flies have families just like humans way to deliver 3-D movies to an camera developed by Sean Phillips with problems typical to adoles- exhibition pipeline hungry for and Martin Mueller, developer of cents. stereoscopic subject matter. several IMAX twin-strip 15/70 Lions 30: Roar of the Kalahari Pikachu's Ocean Adventure stereo cameras. Philips reports that (N~l~hicmtd (Shogakukan Pmddom, 14 minutes) the Gemini camera was first used Tim Lhm&e Rods., 40 minutes) Originally titled "Search for on Sea Monsters very successfully in This true-life African adventure Miyuu" and produced as the sec- March of 2006 and is currently in film was originally produced by ond LF 3-D film for the Pokemon Paris shooting on Stephen Low's Tim Liversedge for National Geo- theme parks in Japan, the English IMAX 3D film Jetliner. graphic on 35mm film in 2-D. A language version was produced by few years ago, National Geographic Dolphins and Whales 30 Sarai Incorporated for additional (30 decided to have Sassoon Film 15/70 markets. Featuring Entcrtaimnmt, 3 minutes) Design (SFD), under the aegis of 3D Entertainment continues "Pikachu," the most popular of the their successful production of owner Tim Sassoon, repurpose the Pokemon characters, the tale film to 15/70. Shot on a variety of depicts a brightly colored under- underwater stereo films captured film stocks over a considerable with dual high definition (HD) water adventure. (H&uchu!sOcean technology developed by cine- period of time, SFD worked with a Adventure is the original English digital intermediate (DI) to make matographer Gavin McKinney. The language title, Semch fir Miyuu is HD the story look like it took place the prim attraction film, and is digital footage is "dUP" over a single day giving the film a for output to 15/70mm film and also available for LF theaters.) looks very good in 3-D. richly golden and unified look. The stereoscopic effects fre- After playing successfully in 2-D quently depict four to five flat Grand Canyon Adventure 30 15/70 in IMAX theaters for the nat- planes of animated action with WF,3 minutes) ural history museum market, occasional shots in ZD. Inter- After announcing several 15/70 National Geographic had SFD make spersed throughout the narrative productions for 3-Dl Greg some stereo conversion tests which are a few nicely handled anima- McGillivray of MFF (MacGillivray- were quite promising. SFD was tions along the z-axis. All-in-all, a Freeman Films) has Wycom- hired to mvert the entire film to real steteoscopic oddity but defi- menced production on a stereo- 3-Dl not an easy proposition with nitely worth seeing if you get a scopic movie. The footage was shot many cqmpkx shots such as those chance. with the IMAX "Solido" 3-D cam- showing a herd of gazelles at a era with dual 15170mm and looks the art" for 3-D movies, the new kid on the block, digital 3-D cine- ma, is coming on strong as a wide- 1 spread format for 3-D at your neighborhood theater. The muse- . I um IMAX theater has enjoyed sta- ble "bread and butter" with 40 minute 3-D documentaries made I for the discount ticket school mar- ket. Now Real D will be releasing two National Geographic produc- tions, Lions 30 and Sea Monsters 30, in October and is breaking into that market. Expect to see yel- I low school buses parked in front of the neighborhood commercial multiplex theater soon and not just the IMAX 3D theaters. And, for the first time a feature film, Robert Zemeckis's Beowult; to be released on November 16, will go out as a hybrid release on both the digital 3-D cinema and IMAX 3D platforms, as well as 2D on 35mm film. IMAX's hegemony in the "premium" theatrical experi- ence for 3-D is being challenged by R@ R. Let's hope that IMAX meets that challenge with increased pro- duction of stereoscopic content for ..-.- the dual 15/70mm 3-D platform. om sharp. The Grand Canyon is excel- I lent stereoscopic subject matter and the 40 minute film, when it is I completed, should be comfortable to view in 3-D. Ocean Fm I Explore the World of Stereo Image! (Giant Screen ~ilins,2 minutes) Giant Screen Films is leaping into stereoscopic production in a big way and the short segment of underwater 3-D footage shown here bears out Stephen Low's observation that "Every 3-D guy knows that fish are the best." While the IMAX 3D platform has for a decade served as the "state of Current Information on Stereo Today David Starkman & john Dennis Three New 3-D Comics ontinuing his 25-year career The result is some highly dramatic converting "flat" art to 3-Dl 3-D. CRay Zone has recently com- "I just wanted to drop you a pleted three new 3-D comics pro- direct line and tell you what a jects. The first, Action Comics num- STELLAR, AMAZING job you did on ber 851, published by DC Comics the Action Comics pages!" wrote in both 2-D and a 3-D variant edi- Matt Idelson, DC Editor, in an tion, hit comic book stores in email to Zone. Adam Kubert also North America on July 5. Selling emailed Zone and wrote "Just for $3.99, the 3-D edition includes wanted to say what an unbeliev- custom "Phantom Vision" 3-D able job I thought you did with glasses bound into the book. the 3-D stuff on Action. It came out Written by Geoff Johns and better than I imagined ..." Attached Richard Donner, director of the to his email to Zone, Kubert 1978 Superman film, Action Comics included a photo of his father Joe 851 presents the final installment Kubert, co-inventor of 3-D comics in the four-part "Last Son" story in 1953, wearing 3-D glasses and arc. Art for the issue was created by looking at 3-D page proofs of Adam Kubert in a unique page-lay- Action Comics. Strong sales of the out style ideal for 3-D. All recent Action Comics 3-D issue have taken 3-D comics have used "polychro- place in the retail market. "Action matic anaglyph," full color art in #851 is doing very well in the 3-D #3 with 14 pages in "Super Terror redlblue 3-D as their process, a for- version (we ordered 80% of our 3D" from Raw Studios, distributed mat inaugurated by Zone. Kubert's order 3-Dl 20% 2-D)," writes Cliff by Image Comics. Co-written by art, depicting flying shards of glass Biggers, comics retailer and pub- Raw Studios publisher Tom Jane and non-stop action, was also col- lisher of Comic Shop News. and Steve Niles, Bad Planet 3 was ored by Dave Stewart in a color The 3-D trend will continue in penciled by James Daly I11 and palette allowing strong 3-D effects. August with release of Bad Planet inked by Tim Bradstreet. From the outset, the art for the 3-D pages of 3-0 comics inventorloe Kubert views Adam Kubert's art in 3-D wearing a pair of Ray Bad Planet 3 was designed to be Zone's "Danaer Girl 3-0" alasses. Photo by Adam Kubert seen in three dimensions. Even the coloring by Grant Goleash and the sound effects and lettering by Jason Hanley were modified so that Zone could create maximum 3-D effects. Zone also recently completed full-color stereo conversion work on the last 17 pages of Black Dossier, a 200-page League of Extraordinary Gentlemen graphic novel to be published by Wild- storm/DC Comics. Written by Alan Moore and illustrated by Kevin McNeill, Black Dossier is a towering defense of the imagination with highly detailed art and storytelling that is ideal for 3-D treatment. Full-size four-color custom 3-D glasses designed by McNeill and manufactured by Zone will be incorporated into Black Dossier when it is published. An Astounding list of 3-D Films, 2007-2010 n 2006 we saw seven "new" 3-D In Search of the Secret Formula Igor films: Deep Sea 30, Superman World of Coke attraction film for Oct. 24, 2008. Anthony Leondis and IReturns (Select scenes in 3-D,) Atlanta, now playing. the Weinstein Co. Animated film. The Monster House, The Ant Bully, Pikachu's Ocean Adventure India in Motion Night of the Living Dead 30, Open Produced by Shogakukan Production 25 minute show planned for India's Season and Tim Burton's Th'e Night- Co., Ltd., distributed by Sarai Inc. 14 Cinema Park WOW - Wonders of the mare Before Christmas 3-0. One minutes. Release date: August 2006 World. for Pokeman parks, now available for Jetliner commercial also had limited the- LF theaters. atrical showings: Mitsubishi's new LF film in production from Stephen Search for Miyuu! Low. range of cars in animated, digital Produced by Shogakukan Production 3-D. It would appear that for 2007 Sun 30 Co., Ltd., distributed by Sarai Inc. 14 LF film from K2 Communications. we will see at least nine new 3-D minutes. Release date: 2005 for Poke- features and one short film. For man parks, now available for LF Little Hercules 3-0 2008 we should see a minimum of theaters. Part 3-D only. Writer-director Robert Boris' family story of Hercules as a 12 ten new films. Real D is believed to U2 3D have deals with around two dozen year old boy Starring Hulk Hogan as Digital concert film. Spring 2008 (was his father Zeus. Potential distributor, unnamed digital 3-D future releas- fall 2007.) Parts shown at ShoWest EFX work begun. (shot in 2005.) es, so things are definitely still March 2007 conference and the Bolt looking up. Cannes film festival May 2007. (was American Dog), Fall 2008, Lions 30: Roar of the Kalahari Dive! Manned Submersibles and Disney's next animated film 3-D conversion of LF film Lions: Roar The New Explorers (all Disney animation will be 3-D, of the Kalahari, opened 1/19/07. 22 minute HD presentation available no announcement from Pixar.) now from Lightspeed Design. Meet the Robinsons Caroline Disney Digital 3-D, opened March 30, 30 Body Odyssey: Heart (Stereoscopic stop-motion animated 2007. 20 minutes film), release date fall 2008. First Dinosaurs Alive! 3-0 30 Body Odyssey 2: Brain Stop-Motion Animated 3-D Film, (was Dinosaur Hunters), LF from Giant 20 minutes from Focus Features (distributor) and Screen Films. Opened March 30, 30 Body Odyssey 3: Sports Medicine Portland, Oregon animation studio, 2007. 20 minutes Laika Entertainment. Dinosaurs: Giants of Patagonia 30 Ocean Frenzy 30 Toy Story Mania LF film from Sky High Entertainment. 2008. LF film from Giant Screen 2008 ride attraction at Disney parks. Opened 4/07/07. Films. Flying the Frontiers African Adventure: Dolphins & Whales 30 LF film from Science North. Safari In The Okavango (Working title) From 3D Entertain- Wings Over the Wilderness (was Wild Safari 30 and Wild Africa ment, the producers of Ocean Wonder- LF 3-D film from Science North. 3D), April 2007, LF film from nWave. land 30 and Sharks 30. Filming began Godzilla 3-0 to the Max Harry Potter and the Order of the in 2005. Release set for February, Keith Melton signed to direct, for LF Phoenix, July 11, 2007. Last 20 2008 exclusively at IMAX theaters. and digital screens. Scheduled to minutes converted. Grand Canyon Adventure 30 begin filming early 2008. Fly Me to the Moon (Working title, was Water Planet: Silo 13 Fall 2007, nWavels first computer- Grand Canyon Adventure), March project in development from Kerner animated feature film in 3-D, LF 2008. First LF 3-D film from Productions. version being previewed, digital MacGillivray Freeman Films. Filming began Sept., 2006. Starring Robert Tintin Trilogy version looking for distributor. (untitled) from Dreamworks, 2009. Beowulf Kennedy Jr. with music by Dave Matthews Band. Spielberg &Jackson signed to direct 3 From Shangri-La Entertainment and films about the intrepid Belgain Sony, performance capture film Sea Rex comic-book hero. April 2008, LF from N3D Land directed by Robert Zemeckis. Release Everything date 11/16/07, digital & LF 3-D Productions, Virtuosity France. LF 3-D animated SANDEE film from versions. Legends of the Sky the National Film Board of Canada. April 2008. In production, shot in Sea Monsters: A Prehistoric Adventure Dark Country LF film from National Geographic. 15/70mm from K2 Communications and Steven Low Productions. Rumored Thomas Jane 3-D digital Fall 2007. film in development. Cameras by Vincent Sharkwater 30 Paradise FX's. Tim Burton's early animated short LF film in production from Sharkwa- ter Productions and RPG Productions. Deep Sea-quel will be converted to 3-D to play with (Working title) 2009. 3rd original Tim Burton's The Nightmare Before Journey 3-0 Warners/Imax co-production. Christmas 3-0. Fall 2007 release. Walden Media and New Line's mod- ern take on the Jules Verne classic Arabia 30 Scar (Working title) LF 3-D film from 2007 digital 3-D release. journey to the Center of the Earth, release postponed until August 2008. MacGillivray Freeman Films. Return to Everest Antarctica 2 John Carter of Mars Spring 2009. LF 3-D film in produc- LF film from Heliograph Productions, Rumored Disney & Robert tion from MacGillivray Freeman Australia. Zemeckis' first project together. Films. Beyond the Great Wall Living With Man Eaters 30 Hidden Universe 30 (Working title) LF film in develop- Digital 3D Productions (work in LF film in development from Nation- ment from SK Films. progress, piece shown at LFCA 2005.) al Geographic and Blacklight Films. Toy Story 3 Orangutans 30: People of the Forest Avatar 2010 Disney feature. Digital 3D Productions (work in May 2009, James Cameron's Shrek 4 progress, piece shown at LFCA 2005.) Mega-budget 3-D digital release. 2010 Great White 3-0: Monster vs Alien Fireworks 3D! The Shark of Isla Guadalupe (wt) May 2009, Dreamworks Animation's LF film from Megellan Entertainment. (Working title, was Man Eating first 3-D film. Sharks), LF film in development from Cellwars SK Films. Project 880 (Working title) LF film in develop- James Cameron's dramatic 3-D ment from SK Films. The Magic Tale feature. LF Film in development from Orbita Molecularium: Riding Snowflakes Max, Spain Battle Angel LF film in development. James Cameron's 3-D feature based Surfari 30 on the popular Japanese anime-comic Crocs & Sharks 30 (Working title) LF film in develop- book character Battle Angel Alita. (Working title) LF film in develop- ment from IMAX. ment from IMAX. Cave film Hot Times: A Global Warning (unnamed) from Rogue Pictures. Gary Everglades 30 LF film in development from Johnstone will direct and James 2008, produced and directed by National Geographic Films. Stephen Low. Cameron will produce this 3-D Journey to the Center of the Brain adventure. A Christmas Carol 3-D LF film in development from SK Flight of the Butterflies New version of Charles Dickens' Films. story. Jim Carrey as Scrooge, Robert (Working title) 3-D sequel to the LF Earth Impact! film Bugs! Searching for funding. Zemeckis wrote the adaptation and will direct the CGI-animatedlmotion- LF film in development. Locomotive 30 capture film. Temples of Angkor 2009, LF film, (was Train Story), Planned 3-D motion picture version directed by Stephen Low of Robert Bloomberg's award winning stereo slide show. Legend of the White Horse 13 minute 3-D Simex/Iwerks LF film; Carl's Clean & Clear Archival Sleeves two minute test produced. Holy Land 3-D Movie Polypropolene Acid Free Chris Condon, partially shot, looking Cdv (2-314 x 4 318) 100 for $9 1000 for $80 for investors. Snapshot (3-114 x 4-318) 100 for $9 lOOOfor $85 Super Bowl to the Max Postcard (3-314 x 5-314) 100 for $10 lOOOfor $90 3-D digital release? LF? 4 x 5 100 for $10 lo00 for $90 Magik Stereo (3-314 x 7) 100 for $11 IOOOfor $100 Bollywood 3-D film. Cabinet (4-318 x 7) 100 for $11 - lO00for $110 Horrorween 3-0 Stereo Vision Entertainment Inc & 5x7 50 for $10 - 200for $35 - Adirondack Pictures Inc. with a $10 #10 Cover (4-38 x 9-518) 50 for $11 - 200 for $35 million production budget. Boudoir (5- 112 x 8-112 25 for $ 9 - 200for $60 George Clinton's Mothership Show 8x 10 25 for $10 200 for $70 Also announced by Stereo Vision 8-112 x 11 2Ofor $10 200 for $85 Entertainment. 11x 14 10 for $10 l00for $75 Escape from Planet Earth 16 x 20 10 for $25 100 for $200 Rainmaker Animation digital produc- tion, Aliens escape from Area 51, Total Tony Leech directing, not yet in production. U.S. Shipping-$4 per order Ravel's opera L'enfant et les sortileges California Residents add 7.38%sales tax Announced January 2007 using a Grand Total - new form of stereoscopic animation as an National Film Board of Canada, Carl Mautz IMAX project (International 329 Bridge Way co-production?) Nevada City, California 95959 Star Wars 530-478-1 610 Fa 530-478-0466 All six films are being converted for [email protected] 3-D releases, plus other possible new Order Sleeves or Books online at www.car~mautz.com Star Wars projects (waiting for more digital screens for a release.) 1 Changes at 1 View-Master Flower X-rays rather eclectic institution called the Needle and a two-reel packet of the 3D Center Athe Museum of Jurassic Technol- micromosaics assembled from but- ogy in Culver City, CA offers a terfly wing scales. On the Museum & View-Master packet of 3-D Floral website www.mit.org click on "The of Art Radiographs by Albert G. Richards, Museum Shop" and then on who introduced his amazing "Optical Devices." Images included 1 Photography on the assorted reels are also dis- flower X-rays to NSA members in a fter six years of dedication to cover article in the JanuaryIFebru- played in various stereoscopic dis- the creation and development ary 1992 Stereo World. A hit Stereo plays in the museum itself, located Aof the 3D Center of Art and Pho- Theater show followed, and he at 9341 Venice Rlvd., Culver City I tography (3DC), Diane Rulien has offered many of the images as full CA 90232, (310) 836-6131. me stepped down from her role as size stereoview cards as well as in founding Director. The 3DC Roard 1 his book The Secret Garden - 100 1 71 Floral Radiographs. 1 readers for of Directors has now named Paul information. (We don:t know ever).thing!) Rrenner as the Center's new Direc- The two-reel View-Master pack- Please send information or questions to David tor. He has a background in art et, A1 Richards Stereo Floral Radiopa- Starkman, NewViews Edit or, P.0. Box 2368, gallery administration, non-profit phy, is $15 from the Museum shop, I Culver City, CA 9023 1. arts program development, grant which also sells a single reel of writing, marketing, public relations microminiature art titled The Eye of and community outreach going back nearly 20 years. He recently moved to Portland from Chicago where he worked for several art 1 Letters (Continued porn pw 3) galleries, all faced with the same only suggest that in future issues the same spot, everything looks challenges of public outreach and you should eliminate all the type sharp. This is an observation fund raising as the 3D Center. in the photo except for the logo. which I do not entirely under- At the same time, Annie Dubin- We don't need to be encouraged to stand. sky, who has been the Assistant open the magazine. With less type Perhaps through the influence of Director at the 3DC for two years it will be easier to select a suitable Stereo World we could standardize accepted a new job with the Ore- photo. You could make covers so on the terminology for the two gon Council for the Humanities spectacular that some of us may types of free viewing of stereo and entered a Graduate Program at want to frame them. images. I do not like the term, Portland State University for a I have been a fan of large size "cross-eyed viewing". It has nega- Masters in Public Administration cross-viewed images for many tive connotations. No one wants with a concentration in Non-Profit years. I have 9x12 inch prints to be cross-eyed. I simply say cross- Management. Her organizational made, usually vertical format, and viewing. Perhaps transverse, trans- and public relations skills helped mat them to fit in a in a 20x24 posed, or convergent could be bring both local and national inch frame. (Horizontal prints used. Similarly, "wall-eyed" is not a media attention to the 3DC, as require an odd sized frame.) I put very good term for parallel view- demonstrated by her appearance these on my walls so that I can ing. Perhaps parallel versus conver- on the PRS show History Detectives enjoy thek any time. With some gent would be the most consistent on June 25. (See SW Vol. 32 No. 5, instruction most people who visit terms. Both terms describe the page 8.) me are able to see the stereo with alignment of your eyes when view- Commenting on Annie Dubin- very little practice. ing in the two different methods. sky's departure, 3DC Vice Chair Many people object to the Roy Hensel Claire Dean wrote, "Needless to miniaturization of the cross-viewed Midway GA say we will all miss her vitality, image. I have found that larger cheerfulness and enthusiasm. We All of the terms yo11 mention have been images exhibit less miniaturiza- used by vario~rspeople, altl~olrgh"trans- owe Annie a huge thank you for tion. I have not had prints made posed" corrld open up a difewrlt can of all of her hard work on behalf of which are larger than 9x12 inches, worms. "Cross-viewin~q"is gaining accep- all-things-stereo as many of the but it would be interesting to see if tance, in part heca~r~epairr preroited for successes that the 3D Center has it would be even easier to view viewing that way can be indicated wit11 a enjoyed of late were due in large 20x30 inch prints. I believe that simple "X" in tile caption (or small part to her efforts." the longer viewing distance is crossed arrows). Parallel viewing pairs can The 3DC is at 1928 NW Lovejoy responsible for the reduced minia- be indicated with a pair of arrowr point- ing strai Third in a series by Robert B. Balcomb t wasn't mere bluster and blow of the city as a matter of course. Institute and Museum of Science from the Windy City, when, at We lived in Oak Park, next to and Industry. Those World Class the height of The Depression, Chicago, in a "prairie style" house, cultural wonders were less unusual they decided to have another next door to the First Chair violin- than they were enjoyable, for an World's Fair. The Museum of Sci- ist of the Chicago Symphony inquisitive nine-year old boy. Later, ence and Industry is still housed in Orchestra. Years later I realized as a teenager, I would spend many Classic style buildings of the 1893 how fortunate I had been. Saturday afternoons adsorbing the Columbia Exposition. Chicago cer- I was, by then, well acquainted contents of a single gallery in one tainly had bragging rights! In its with The Field Museum, Shedd of the museums. comparatively short hundred Aquarium, Adler Planetarium, Art years, it had became one of the Major Cities of the World. Pigeons on the roofs by the tower and stone bridge in the "Belgian Village" by Carl B. In 1933 at the opening of The Balcomb. Taken at the Century of Progress International Exposition in 1933, this view Century of Progress World's Fair, with its pre-exposed black border is from a group that may have been intended to this octogenarian was "just a tad." promote a 3-0 attraction, possibly for the fair's 1934 run. Other examples of Bal- As such, I took the extant wonders comb's World's Fair views are reproduced here without the heavy black borders. All stereos by Carl B. Balcomb except as noted. The historical significance of the downtown's architectural accom- plishments and the city's econom- ic development were similarly taken as a matter of course. About the only attraction that had a real "Wow" factor for me was the Buck- ingham Fountain, with its con- stantly changing colors and water patterns. My Dad, Carl R. Ralcomb, sought backing for a Century of Progress World's Fair entertain- ment attraction. He proposed fea- turing 3-D views of what he called "God's Wonderland." It would Aerial view of the fair looking south, from the souvenir book Official Pictures of the show the natural wonders of the 1934 World's Fair. Remainig major attractions today are the Adler Planetarium (lower American West. Since Polaroid left) and the Shedd Aquarium (lower right). The imposing height of the Sky Ride tow- stereo projection and commercially ers (1 850 feet apart) is evident here. The ride could carry 5000 people an hour and viable color film had not matured had about 4.5 million riders over the two years of the fair. (photo by Koufrnonn & ~obry) into a viable svstem, Ralcomb's proposed attraction would have used individual stations for each view of hand colored stereo lantern slide pairs. I remember my Dad doing experiments with various color photography processes. His Autochromes were based on starch crystals of blue, red, and green, which were laid out at angles simi- lar to halftone "process color." I had fun watching the colorful moire patterns made when two slides were held close to each other and rotated. Unfortunately they did not suit his aesthetic standards. Another system he tried, I do not recall its name, was based on two colors, one a bluish green and Enjoying Belgian beer at one of the sidewalk cafes. Fair employees at all of the foreign vil- the other a redish orange, as I lages dressed in native costumes. recall. It gave a fair, but far from ...... L, true indication of natural color. Some, but very few, movies were produced using the process. With the introduction of truly panchro- matic film, he photographed "still" subjects (because of the time to change filters and film between exposures) on separate negatives, through red, green and blue filters. The Century of Progress views shown here were taken shortly after the Fair's opening. I think they were made, at least in part, to show prospective backers for his proposed 3-D attraction. None of these views were published for sale, even at the Fair. My Dad was fascinated with the fair's foreign villages. So those views make A round bell tower overlooking a crowded European street on the shore of Lake M~chigan. something of a photo essay. He did Stair stepped cornices, following roof lines, are typical Flemish style. The fair celebrated not see the real thing until he vis- Chicago's 100th year as a city with 39,052,236 paid admissions over its two year run, ited Europe as an octogenarian. e@ making it the first international fair in the U.S. to pay for itself...... (Additional images on followinx pages) A man in a Swiss Cuard costume stops to feed pigeons near the Stone Bridge in the Belgian Village, which (along with the "Streets of Paris" exhibit), ran through both 1933 and 1934. An Oriental Village and a Moroccan Vil- lage were featured in the 1933 fair, but several others were built for the 1934 run. All kinds of food, beer, ice cream, candy and (now highly collectible) fair souvenirs were available all over the exposition's 427 acres. This shop in a European village also sold Cevaert film. The crowd behind these folks may be watching one of the costumed dance groups in the square. See www.citvclicker.net/chicfair/index. html...... Narrow Streets are typical in many European Cities as well as villages, and this could pass for a view of the real thing if not for the packed crowd. The fair was documented in at least three different commercial 3-0 formats along with the private work of stereographers like Carl Balcomb. Keystone issued sets of small format (5.7cm x 17.2cm) prints boxed with a folding viewer as well as a full size set of 50 views from the same negatives. They include hypers from the Sky Ride towers and are cred- ited to Kaufmann & Fabry, official fair photog- raphers. hi- ...... i Distant view of pier and ships, from a lakeside outdoor cafe. The three masted sailing ship may be part of a Norwegian exhibit, tied up near the 23rd Street Steamer Landing. Admiral Byrd's Polar exploration sailing ship The City of ,, 1 i New York was on exhibit in the South Lagoon, - +-. and the Goodyear blimp seen here was a daily -&I!&&=== - Dart of the fair with its own field near the ... south end of the site. The German airship Graf Zeppelin also circled the fair on October 26, ...... 1933. (SW Vol. 23 No. 5.) The fair opened May 27, 1933 when light from the star Acturus (emitted at about the time of Chicago's Columbian Exposition in 7 893) was converted to an electrical signal to turn on the lights. The large sign explains how it was done, while in the background is one of b, the 682 foot Sky Ride towers. Fairgoers could take large elevators to the observation decks or stop at the 200 foot level for a ride on the dolble-decked "Rocket Cars" (left) between towers above the center of the fair. One source says the cars shot out steam to imitate rocket ...... exhaust! ...... This Balcomb view nicely illustrates 7 930s ,F styles with the white suits, white dresses, black car and the distinctive architecture of the Sears Tower. The Sky Ride behind it reportedly con- tained 2000 tons of steel and used 7 00 miles of cable. Some of the first 35mm stereo film- .+ )+' .' :'. ,+ strips by Tru-Vue featured scenes of the fair, -;""':iB numbering at least 56 images. The Tru-Vue A .w+n ,T. * ;!i. films include shots of the Belgian and other vil- I luges, but few from as close as Carl Balcomb's -...... -, - views. News from the Stereoscopic Society of America Ray Zone SSA - Who We Are many curiosity seekers gathering to the handed to me a few envelopes scene of a happening. But in the view he following response to the containing very interesting corre- card's stillness and silence, we have the spondence between past SSA mem- recent SSA Member Survey is so personal time to clearly see and "take poetically beautiful and expres- ber Ray Bohman and author and inv-perhaps a detail made visible only stereographic historian William C. sive of the SSA "philosophy," I felt through stereography, a scene otherwise Darrah. Rohman's hand-written compelled to open this edition of lost to living eyes,-a face: still fresh and The Society column with it. In the earnest in the warm light of a distant letter to Darrah, composed on next installment of this column I summer." blank white paper with a blue ball- will reveal the author if, of course, point pen, had been sent in August the author consents to such a reve- SSA Annual Meeting 1971. lation. Here it is: A very productive SSA Annual "About a year and a half ago my Meeting was held at the NSA Con- wife and I began collecting stereo- The attractions of stereo view cards vention in Boise on Saturday, July graphs and stereoscopes in a rather can be obvious: a fascinating play of per- casual," wrote Bohman. "Our spective, an ethereal feeling of having 14 in the morning. SSA Treasurer/ "presence" in another time and place. Membership Secretary Les Gehman prime interest was to obtain But there's also lasting appeal in their presented a summary of the 2007 enough stereoscopes and cards to subtleties: a graceful balance between a Member Survey results as well as a enable us to give our five children moment of life on one side and its inter- Treasurer's report. a start on this fascinating hobby. pretation on the other, a sense of unspo- Many creative suggestions were What began rather casually has ken bonds among the subject, observer, included in the results and a core recently become of much more and view maker. Here in your hand is a team of SSA members was formed consuming interest." mixed medium with power, reach, and to update and refurbish the SSA Bohman noted that "very an inherent poetry. Here is an art form website. The general strategy is for recently we obtained a copy of to contend with, worthy of both light- the SSA to integrate further into your book Stereo Views through our hearted and serious practice. local library which has been a With these strengths, stereography NSA activities at the annual con- does well as a humble witness to life. vention and to link to individual great help in organizing and appre- Simply match appealing images with stereo clubs as a means of recruit- ciating our collection." Darrah's well edited thoughts on worthwhile sub- ing new members. The SSA Annual 255-page hardbound book Stereo- jects. The medium itself carries our ordi- Stereo Card Exhibition, chaired by views: A History of Stereographs in nary efforts with its engaging illusion and David and Linda Thompson, had a America and Their Collection, had recognition of life. Each card completion good selection of entries, up from been self-published by the author becomes a self-documented cultural arti- last year, and the results will be in 1964. It was, and still is, a pio- fact, registration for a visual delight or bit posted in the next installment of neering work on the subject of of history, and another portal to the vast- this column. stereographs. ness of life. Bohman inquired about the As life rushes by, new images and An Historic Correspondence mental abstractions of old ones quickly "World War I category of stereo- NSA SSA displace the few visual experiences we At the Boise Convention views" and a lithoprint series of even try to focus on-like the press of so Supplies Secretary Ernie Rairden "'cartoon cards' depicting the ser- vice of a soldier-hero" that Darrah The traditional group photo of SSA mc ers who attended the annual meeting at had noted were particularly rare. NSA/ISU 2007, Boise. (Photo by Roy Zone) "This statement gave us a bit of excitement, inasmuch as we have, we are quite certain, the complete set." After inquiring about some of the pirated "copy cards" of the 1870s, Bohman closed by writing that "We thoroughly enjoyed your book, and can appreciate the extent of research that was neces- sary to write it." Darrah's hand-written letter of reply to Bohman is dated August 3, 1971 and is on letterhead with "W.C. Darrah" printed centered on the top of the page with smaller print in the left hand corner read- ing "stereoscopic views" and Ray and Eileen Bohman with part of their collection in 1980. William Culp Darrah in 7 975 by Nicholas Cravec Number 50 from the photo history ing to the Memt~crshipIli~lcs of o 1975 N.M. Grover series "A Second Century of Stereoscopic Views". the Society, is also "responsible for trying to keep the Society func- "books about them" in the upper cents each including very poor tioning effectively and harmo- right hand corner. material." niously." Folio secretaries and any "Thanks for your interesting let- Ray Bohman and his wife Eileen member of the NSA interested in ter," wrote Darrah. "I hope your became charter members of the the SSA is encouraged to contact entire family finds great enjoy- NSA when it was formed in 1974. Ray via email at: ment in collecting stereo views." Ray was an active "stereo shooter" r3dzoneG)earthlink.net. Darrah noted that the "cartoon" as a member of the Speedy and OP World War I cards were "not quite folios of the SSA and when he How to Join the SSA as rare as my experience indicated" passed away in 1996, Eileen kept To join the SSA one must first, of but that "a set in good condition is sending his views around the cir- course, be a member of the NSA. really rare." cuits. Then, at the age of 76, Eileen For placement in a stereocard, With a second letter to Bohman began shooting her own stereo transparency or digital folio of dated August 21, 1971 Darrah views with a Nimslo camera and their choice the new SSA member wrote that "I have been dealing in sending them around in SSA folios. must send $10 to Treasurer Les stereo views since 1946. For years I How to Contact the SSA Gehman at the following address: had incoming, 4000 views a Les Gehman,3736 Rochdale Dr, month, now I have difficulty to General Secretary Fort Collins, CO 80525 (970) 282- maintain a flow of 1200 per Ray Zone is the ~eneralSecre- 9899. Les can be reached via email month. In 1950-1955, I could get tary of the Stereoscopic Society at: les(igehman.org. @a thousands at $4 to $4.25 per hun- and in that position is responsible dred. Today I cannot buy at 12 for production of this column in Stereo World magazine and, accord- A Report to the Membership ori the 2007 NSA Board Meetina J by Larry Moor he annual convention of the greater geographical diversity and to publish a summary of the NSA held this year in Boise levels of experience. income and expenses of the orga- TIdaho was a great event. How- Specific terms have been estab- nization in an upcoming issue of ever, I will leave the reporting of lished for certain positions. I am Stereo World. most of these events to others. I only accepting the Chairman's One further note: The Board has did, however want to convey to position for two more years and established the Oliver Wendell the membership some of the major Bill Moll is limiting his involve- Holmes Stereographic Foundation. actions that were taken by the ment as Treasurer to 4 year terms. This foundation will be funded by Board at this year's annual meet- It is hoped that rotating the Chair- the proceeds of the sale of the ing. man's position among the Board library assets, with the funds being Of major note is the change in members will allow each of us to invested for long term mainte- the composition of the Board. We see that our agenda items are given nance and the income generated are sad to report the resignation of proper notice. by these funds being used to fund Helena Wright due to work con- Since Bill Moll has now been enhancements to the NSA as well flicts and Dieter Lorenz and former Treasurer for one full fiscal year, he as possible grants. 99 Chairman Bill Walton due to has promised that we will be able I I health concerns. I want to extend our deepest thanks to these indi- viduals for their years of service and dedication to the organiza- tion. Words cannot express the depth of our gratitude to these individuals for their contributions to the NSA. Now for some good news! Sever- al individuals have agreed to serve on the NSA Board who bring new professional experience to the organization. Len Walle was the first to accept the appointment to the Board. He has served for many years with other non profit organi- zations and brings a wealth of experience in this field. A1 Sieg- former President of the Eastman ? ':' C'on\.cn your SLR camera Kodak Company in Japan-has accepted appointment to the Board. Besides being a Master exhibitor in the Stereo Division in the Photographic Society of Ameri- t ca, in recent years A1 has operated - --., 3D Print Viewers a business offering consulting ser- M~onitorVicacr, vices to nonprofit organizations. c Vie\rmayic Ray Zone has graciously agreed to Pokcccope ' ,.---. Screenscope serve on the NSA board. His contri- butions to the 3-D community are Sh(~rt3L), dcvclop any%Iicre $5995 too numerous to list in this short summary. Brandt Rowles has returned to the Board after an absence of several years. He pro- vides continuity to the earlydays FnN of the NSA and provides vast expe- STFRFDPHOTOGRAPHY ~~, rience as one of the premier Stere- 21686 ABEDUL,MISSION VIEJO, CA 92691 USA oview collectors in the country. All E!HQNE (949) 21 5-1 554, EAX(949) 581-3982 in all it appears that this expan- WFB W.BEREZIN.COM/~D hAll: [email protected] sion of the NSA Board will provide WE TAKEALL MAJOR CREDIT CARDS. ViS/T OURONLINE WEB STORE, WRITEOR CALLFOR CATALOG NSA Board of Directors Welcomes Four New Members 1 Brandt Rowles ( pher XVIII. During this time his received the National Association randt Rowles stereograms have been consistently of Printing Ink Manufactures Print- has been an recognized with the top awards of ing Ink Pioneer Award. With a life- active stereog- the exhibitions, winning more long interest in history, art and rapher since than 400 awards. His stereograms photography, he is treasurer of the 1975, and is a have won the Stereo Slide of the Michigan Photographic Historical past President of Year Award numerous times, and Society and also serves on the the NSA, receiving he has been the winner of the boards of the Daguerreian Society the the William Stereo Sequence Award several and the Council for Prints, Draw- C. Darrah Award times. His photographs have been ings and Photographs at the for Distinguished Scholarship and published in several journals and Detroit Institute of Arts. Extraordinary Knowledge of Stere- in publications of the Eastman Ray Zone oscopy in 2002. Professionally, he Kodak Company. He is a member of PSA having Ray Zone is an has been Professor of Pharmacy at author, 3-D film Ferris State College and Northeast received the Honorary PSA and Fel- low. He is immediate past Presi- producer, speaker Louisiana University and a and 3-D artist. An Research Professor at Upstate Med- dent of the Society, a past chair- man of the Stereo Division, a internationally ical Center, SUNY. He has held recognized expert management positions at Norwich member and Fellow of the Third Dimension Society in England, a in all things 3-Dl Eaton Pharmaceuticals and P&G Zone has a special Pharmaceuticals and most recently member of the National Stereo- scopic Society and is the Past Presi- interest in stereo- was Group Director of Pharma- scopic cinema and Large Format 3- covigilance/Risk Management at dent of the International Stereo- scopic Union. He is a founding D (15170) filmmaking. Through his Sentrx, Inc. company, 3-D Zone, Ray Zone has His scientific publications in the member of the Japan 3D Society and has presented numerous stereo produced or published over 130 3- above field include three books D comic books. Since 1983, he has and 50+ journal articles. Some of programs. Professionally, A1 worked for created stereo conversions and his other work has appeared in the stereoscopic images for a wide vari- Mark Twain lournal and Stereo many years with the Eastman Kodak Co., where he held the ety of clients in publishing, educa- World, along with three photo his- tion, advertising, television and tory books and assorted digitally- posts of Corporate Vice President in the U.S., and President and CEO motion pictures. repaired reprint booklets and He received the William C. Dar- assorted humor in pharmacy jour- of Eastman Kodak Japan where he lived and worked for seven years. rah Award for Distinguished Schol- nals. He is a voracious and eclectic arship and Extraordinary Knowl- reader, a competitive tennis player Leonard Walle edge of Stereoscopy in 2000 fol- for 50+ years, and currently sells Leonard Walle, *,-- lowing his keynote address at the stereoviews, photographs and who has a bache- A NSAY2K convention in Mesa, AZ paper ephemera on eRay, as lor of science j and is currently a Contributing Browles3d . degree in profes- Editor of Stereo World. His numer- Albert L. Sieg- sional chemistry ous articles for Stereo World are in A1 has been and a masters addition to articles in at least 19 active as a pho- degree in business other publications, from American tographer and administration, 4 a Cinemat~~yapherto the Los Angeles es~eciallvas a joined the Times, The Hollywood Reporter, Art stereophotogra- National Stereoscopic Association Gallery International and the Center pher for more when it was founded in 1974. He News. His latest book, the 224 page than 40 years. His acted as chairperson for NSA's Spe- Stereoscopic Cinema and the Origins stereograms have cial Awards Committee for ten of 3-D Film, 1838-1952 will be been accepted in years and received the William C. released by University Press of Ken- all major exhibitions and currently Darrah Fellow Award in 2006. Len tucky in December, 2007. he is the world's leading exhibitor has over 30 years experience in the Zone's website is viewable in in stereo photography. He has had graphic arts industry from working anaglyphic 3-D and is at: more than 2000 pictures accepted for the Flint Ink Corporation in www.ray3dzone.com. ~pc for exhibition and is recognized by positions that included assistant the Photographic Society of Ameri- technical director, product manag- ca, Stereo Division as having the er, regional manager, marketing highest rank of Master Stereogra- director and director of new busi- ness development. In 2002 he BOOK, Tlie S~egeat Port Artliur, hardback w~th STEREO VIEWCARD book boxes. Now accepting GlORGlO SOMMER. Currelitly catalogllig all 3-D viewer. $20 Airmail. (Cash preferred). Ron orders for handmade, fully personalized boxes. works (stereov~ews,albumens, CDVs, etc.) by Blum, 2 Hussey Ave., Oaklands Park SA 5046, Fit sleeved vlewcards. Send SASE for full details this important 19th-century Italian photograph- Australia. to Boxcrafters, PO Box 55, Holtville, CA 92250 or er. Seeking existing lists of Sommer negatives call (760) 356-4102. and/or titles to aid in research. Ross Turner, CENTRAL PACIFIC RAILROAD Photographic His- [email protected]. tory Museum. Stereographs of the first STEREO VIEWS FOR SALE on our website at: -- - transcontinental railroad are now on display at: www.daves-stereos.com email: [email protected] I BUY ARIZONA PHOTOGRAPHS! Stereoviews, htto://CPRR.orq or contact us by writing to Dave or Cyndi Wood, cabinet cards, mounted photographs, RP post - PO Box 838, Milford, PA 18337, Phone: (570) cards, albums and photographs taken before CHINESE ART V-M viewing system $150.00, two 296-6176. Also wanted: views by L. Hensel of 1920. Also interested in Xeroxes of Arizona Nlmslo 3-D cameras $45.00 for both, two Opt- NY and PA. stereographs and photos for research. Will pay Lite flash $25.00 for both, buy complete ad for postage and copy costs. Jeremy Rowe, 2120 S. $200.00 t shipping, Forrest Rader (610) 559- STEREOVIEW AUCTION PRICES. Only $10.00 in Las Palmas Cir., Mesa, AZ 85202. 6063 (PA). CO format!! Great for people buying from auc- tions and for collectors who want to know the MUYBRIOGE VIEWS - Top prices paid. Also FRANK LLOYD WRIGHT on View-Master reels, latest realized auction values. Only numbered Michigan and Mining - the 3Ms. Many views along with other architecture and design clas- views over $50 are listed. Doc Boehme, PO Box available for trade. Leonard Walle, 47530 Edin- sics. Visit View Productions' website at 326, Osakis, MN 56360. borough Lane, Novi, MI 48374. www.view~roductions.com . -- - THE OHIO Stereo Photographic Society invites PENNSYLVANIA STEREOVIEWS by Purniance, LCD WIRED glasses - $12 ea, Nu-View 3-0 lens - you to our meetings on the first Tuesday of each Gutekunst, Bonine, Henderson, E.F. White, used/works great $400 or best offer. VHS 3-D month at AAA Headquarters at 5700 Brecksville Moran, Langenheim and others. Fred Lerch, tapes - Nu-Viewnoshiba, surfinglbeach (birds, Road, Independence OH. Web htt~://hOme.att (717) 248-4454, [email protected]. waves etc. 4 hrs edited $70 - negoc. Brad Bish- .net/-osos/ or George Themelis (440) 838-4752 - - - op, 7728 Boeing Ave., Los Angeles CA 90045. or Chuck Weiss (330) 633-4342. RUINS OF POMPEll stereoviews sought. Also buying stereoviews of Herculaneum (Ercolano) NEW REVISED EDITION of John Waldsmith's TIM MCINTYRE'S new antique photo web site is and National Archeological Museum at Naples "Stereo Views, An illustrated History and Price up and running at www,timoni,net , (aka Museo Borbonico). Pre-1870 views by Guide" is available sioned bv the author. $24.95 European photographers of particular interest. 1 softbound, add $2 i5 poitage and handllng - * Ross Turner, [email protected]. (Fore~gncustomers add an addlt~onal $1 25 ) i- -- SINGLE VIEWS, or complete sets of "Longfellow's Please note there is no hardbound of this edi- 3-D NUDE STEREO SLIDES 3-D nude stereo Wayside Inn" done by D. C. Osborn, Artist, Ass- tion. Mastercard or Visa accepted. John Wald- slides from the 1950s wanted. Will buy large col- abet, Mass., Lawrence M. Rochette, 169 Wood- smith, PO Box 83, Sharon Center, OH 44274. lections or individual slides. Henry Feldstein, Website: www.YourAuctionPaae.com/Waldsmith. land Drive, Marlborough, MA 01752. - -- 107-40 Queens Blvd. #6D, Forest Hills, NY 11375, (71 8) 544-3002, [email protected]. THE DETROIT Stereographic Society invites you Q-VU FOLDOVER MOUNTS simplify mounting . ---- to attend our monthly meetings at the Livonia your print stereo views. Sample kit $8. Med. for- ALASKA & KLONDIKE stereos needed, especially Senior Center, on the second Wednesdays, Sep- mat mounts, white or (new!) black. Beginner's Muybridge; Maynard; Brodeck; Hunt; Winter & tember through June. Visit our website stereo kits: camera, viewer, views, etc., $89.99 Brown; Continent Stereoscopic. Also buying old up. Q-VU, Box 55, Holtville, CA 92250-0055. htto://home.comcast.net/-dsswebl or call Den- -- -- Alaska photographs, books, postcards, nis Green at (313) 755-1389. STEREO PHOTOGRAPHY WORKSHOP Videos. ephemera, etc. Wood, PO Box 22165, Juneau, - - Topics include Making Anaglyphs, 2D To 30 AK 99802 (907) 789-8450 email: WEST VIRGINIA stereoviews, photo postcards, Conversion, Making Stereo Cards, etc. More [email protected] . other photography, books and old paper. I buy -- ~ - from Xerox or e-mail scan. Tom Prall, PO Box coming. $25 each. Details: htt~://home.comcast ANY IMAGES of Nevada City or Grass Valley, Cal- 155, Weston, W 26452, [email protected] .net/-workshoos / or send SASE for list to Den- ifornia. Mautz, 329 Bridge Way, Nevada City, CA (304) 924-6553. nis Green, 550 E. Webster, Ferndale, MI 48220. 95959, [email protected] . WHITE MOUNTAINS: Early photographic views COLLECT, TRADE, BUY & SELL: 19th Century and stereoviews of new Hampshire White Moun- images (cased, stereo, Cdv, cabinet & large tain and northern NH regions, 1850s-1890s paper) Bill Lee, 8658 Galdiator Way, Sandy, UT wanted for my collection. Town views, main s one of the benefits of membership, NSA 84094. [email protected] Specialties: West- streets, bridges, homes, occupational, coaches, members are offered free use of classified ern, Locomotives, Photographers, Indians, Min- A railroads, etc. E-mail images to dsundman advertising. Members may use 700 words per ing, J. Carbutt, Expeditions, Ships, Utah and @LittletonCoin.com, or send photocopies to year, divided into three ads with a maximum occupational of 35 words per ad. Additional words or addi- David Sundman, President, Littleton Coin Com- tional ads may be inserted at the rate of 20~ CORTE-SCOPE VIEWS or sets, any subject or pany, 1309 Mt. Eustis Rd., Littleton, NH 03561- per word. Please include payments with ads. condition. No viewers unless with views. John 3735. Waldsmith, 302 Granger Rd., Medina, OH We cannot provide billings. Ads will be placed YOU COULD HAVE told the world of your stereo 44256. in the issue being assembled at the time of needs in this ad space! Your membership enti- their arrival unless a specific later issue is FLORIDA ANTHONY stereoviews, $100 each for tles you to 100 words per year, divided into three requested. views I still need. Other Florida stereoviews also ads with a maximum of 35 words per ad. Addi- Send 011 ods, with payment, to: wanted (e.g., Fields, Wood & Bickell, Mangold, tional words and additional ads may be inserted STEREO WORLD Clossifieds, small towns) High prices paid. Hendriksen, Box at the rate of 208 per word. Send ads to the 5610 SE 71st, Portlond, OR 97206. 21 153, KSC, FL 32815, (321) 452-0633. National Stereoscopic Association, P.O. Box (A rate sheet for display ads is available from 14801, Columbus, OH 43214. A rate sheet for the same address. Please send SASE.) display ads is available upon request. (Please send SASE for rate sheet.) mm .- CDV ISNAPSHOT (3 318" X 4 3/8') per 100: $9 case of 1000. $85 CDV POLYESTER (3-mil) per 100: S15 case of 1000: $140 . 19th and POSTCARD (3 3'4' X 5 3/47 per 100: $10 case of 1000: $90 4" x 5" per 100: $1 1 case of 1000: $90 STEREO 1 #6 314 COVER (3 314" x 7") per 100: Sll case of 1000: $100 STEREO POLYESTER (3-mil) per 100: $24 case of 1000: S3l Early 20th CABINETICONTINENTAL(4 3/8" X 7") per 100: $12 case of 1000: $110 I10 COVER IBROCHURE (4 W x 9 Y8")per 50: $1 2 case of 500: $11 0 5" x 7" per 50: $10 caseof 200: $35 Century ROUWIR (5 1MX 8 1Pr) per 25: $9 case of 500: $110 8"x 10' per 25: $10 case of 200: $55 10" x 14" MUSEUM BOX SIZE per 10: $11 case of 100: $85 11"x 14' per 10: $10 caseof 100: $60 Stereoviews 16"x 20' per 10: $24 case of 100: $160 Russell Norton, PO Bx 1070, New Haven, CT 065061070 US SHIPPING (48 States): $4 per order. lnstihnional bill~ng.(2006) For Sale Connedlcut orders add 6% lax on entwe total lncludlng sh~ppng. Over 10,000 all illustrated, graded Now you can see 30 nudes, adult cartoons, Sr priced,(including glass views), work by Redford, England, Sedgfield etc. irlqo at Shh3D.corn: Especially strong on UK ' New 3D Books and European views. Only online at: www.worldofstereoviews.com - i National i ZAYA-RUZO :Bank Views: stereo equipment Wanted : : Desire stereo views : From the most affordable...... To the most advanced! 7,. of national banks : (not savings banks or : other banks), any state : : or territory, USA; any : *" : and all 19th century : and early 20th century. . : I am just beginnin this : : endeavor and nee i just . Holmes Scope 2-in-1 Beam Splitter ZR-100 : aboout everything! : for stereo cards, books, etc. for digital and filmcameras $39.50 $355.00 Dave Bowers PO Box 539 :Wolfeboro Falls, NH 03896 : Also: stereoscope its, parts, lenses and repairs on e-mail: www.ThreeDview.com ...... :[email protected] : P200 Digital with ndil lstable hv~erstereobase r' *. Keep visiting our website for updates, give us a call or email if you have any questons Advantage multi-image 99 exhibit viewers Instant Print Viewer '* Ultimatc MKll Viewmaster I '.% .,II~TI 5X viewer & light c"' , attachment 978-371-5557 I' . [email protected] I-- Dlamondvlewer New Comb1 P.O. Box 715 Carllsle, MA 01 741 wlth light attachment wwwrnoke3Dimages.com '-4; ,,.+<+"' .. "-<".' * 1 -*PI.' - JAi & annouinced) 4.( C T- Sllm 5X 5TL viewer i I 1 *" =-mw * - P200 EBF (extended base frame) Dlgltal Yefferson Stereoptics J John Saddy 50 Foxborough Grove % London, Ontario N6K 4A8 CANADA Phone: (519) 641-4431 Fax: (519) 641-0695 E-mail: [email protected] Website: http:llwww3.sympatico.caljohn.saddy.3d FINE OFF-EBAY STEREOVIEW AUCTIONS WITH DIRECT BIDDING ON-LINE, AS WELL AS BY PHONE, FAX, E-MAIL TO ME, AND POSTAL MAIL. (Paper Catalogues available.) You are welcome to register for my stereoview auctions. There is no charge. I also have a separate registration for my View-Master (Etc.) Auctions, which have more-modern stereo and 3-D formats. I am presently selling off the Willie Aarts Collection with some of the Rarest of the Rare in View-Master reels and viewers. I SPECIALIZE IN CONSIGNMENTS. Consignments welcome, ?. - -9 9 - . ' * I from a single view to giant I ,$% &$t *'( I ' 101 /j collections. 1 -7-+P~!I~~ w. l .1*P I i! t Left: Helene Leutner E (German Actress) 4 Right: The Young Velocipedist - m- I C- m C1 - 'I I 1 t Left: Edward Stokes, who shot 'r -C Jim Fisk over , f - C -. a woman. 4 Right: View from the wood car, b 1 behind the locomotive in full motion. ,a 'I Left: Tissue Genre View. + -* -, 4Right: General U.S. Grant I - I -- I---- I---- 7 PARIS I \I_" Nw ] 6 Montrn-rtrr Nosre D c3 par,^ la Nult I v/ Pb m 'A a 1 f#i f ( + o;L,:L'05aL/ "-5; f ~ -\ 4, ,,r, rw ",C -- I - I (itu ' ,, I * F :";, *,2.:,. - I ,4 NA* "< 1 bE 't ,-.- I I \,w- -"*! ), 1 11 tW-MASTER I \ b 4 :'"?a: > ' I 4; ,*/-: ; I *e:.5& :.'fl7$,ira /' -- 1 # 9, I ."* 3-0Imaging Past & Present September/October 2007 Volume 33, Number 2 ARMathd National Stereoxopic Assodation, 1% Chicago*