3-0 Imaging Past & Present

Arubk.tbnd National Stereoxopic Mation, Inc.

Volume 3 7, Number 1 A taste of the late '40s through the early '60s found in amateur stereo slides

I by Mark Willke I or exteriors of su~ermarkets.There few images that were labeled Views from a Grocery Store were several diffkent bracketed included only the name of the exposures of most scenes, which store (like IGA or Piggly Wiggly), ntil now, this column has reduced the total number of indi- so I am not even sure if these never included images that vidual scenes to not all that many, images were taken locally or not. were made with a View-Mas- u and even with the bracketing, The first view shows a store's ter Personal or Mark I1 stereo cam- many scenes still had no properly meat department, and includes a era. The absence of such images exposed stereo pair! butcher posing in his blood- has not been an intentional exclu- Most of the images did not stained apron. Some prior plan- sion, however, but was entirely due include any people, and while it is ning was apparently done for this to the fact that no View-Master fun to see 1950s-era store shelves shot-it doesn't appear that the images had yet been submitted for full of light bulbs or canned fruit, photographer just walked in with use in this column by readers. its so much more enjoyable if an an on-camera flash and snapped Actually, this lack of submissions employee or customer is also the shutter. Judging from the vari- is still true, as I came across the included in the scene. ous shadows on the walls, and the images reproduced below myself at Still, a few gems were evident fact that there were several other a local photographic swap meet. mixed in with the duds, so I pur- exposures of the same scene, I sus- The find consisted of seven or chased the set and have selected pect that the photographer had set eight View-Master Personal reels the two best views for reproduc- up a tripod and several off-camera bundled together as a group, and tion below. Unfortunately, most of lights or flash units. all of the images were of interiors I the reels were unlabeled, and the The other view shows a woman who I believe was an employee (judging from her outfit) in the produce department proudly hold- ing a cellophane-topped package

I. I." of some unidentifiable item. Some Christmas decor is visible in the background, so I am assuming this shot was taken around then. an

is column combines a love of stereo rphotography with a fondness for 1950s-era styling, design and decor by sharing amateur stereo slides shot in the "golden age" of the Stereo Realist-the late 1940s through the early 1960s. From clothing and hairstyles to home decor to modes of transportation, these frozen moments of time show what things were really like in the middle of the twentieth century If you've found a classic 50s-era slide that you would like to share through this column, please send it to: Fifties Flavored Finds, 5610 SE 71st, Portland, OR 97206. As space allows, we will select a couple of images to reproduce in each issue. This is not a contest-just a place to share and enjoy. Please limit your submission to a single slide. If the subject, date, location, photographer or other details ore known, please send that along too, but we'll understand if it's not availoble. Please include return postage with your slide. Slides will be returned within 6 to 14 weeks, and while we'll treat your slide as carefully as our own, Stereo World and the NSA assume no responsibility for its safety. National Stereoscopicml Association. Inc.

volume 31, Numb --34-2005

NSA BOOrd of Direct1 Bill C. Ini'alton, Chairrna Andy Criscom Dieter Lorenz Russell Norton Page 7 7 Page 20 Page 26 ichard Twichell ' na E. Wright NS,A Officers Lawrence IKaufman, Preskknt MAW.Ann ..... Sell, Vice Presiclen t 3 Coming Soon to a Dean Kamin, Vlce President, P Larry IHess, Secretory Stereo World Near You ... David h(heeler, Treasur~ SterecI World Sto 2 Editor's View 4 Accidental Stereo- lohn Dennls, Editor Comments and Lawrence Kauf~nan, Contributing Edltor with a Stereo Camera Observations Mark W illke, Art Director by /ohn Dennis by Quentin Burke Sylvia Dennis, Subscription Manager won-~~ K.rn bloos,- 8 L. Back Issues M------6 Zeiss lkon and Stereo Cinematography now ro weacn I 11 The Society by Dieter lorenz NSA Membership News from the (New mernhrrrhipr, r?oewoii k oddri'r Stereoscopic , P.O. Box 86708, Portland, 01 Society o Amer~ca 12 Old Abe: Wisconsin's Battle Eagle by Roy Zone by Dr. Peter H. jacobsohn Questions Concerni Stereo World Subscr~pl PO Box 86708, Portland, 01 e-mall rtrwld@teleportr( 16 Creating Stereo Blazing Fast or larryh~kerfi'jyahoocor - by Michael Beech Stereo World Back Issue Service 23 NewViews (W'rjrr for ovo!iohil8fy & pncer .) Current Information NSA, 23575 C.R. 77, Calhan, (10 80808 on Stereo Today 20 Building a Better Mousetrap by David Storkrnan by Ray Zone Stereo World Editorial 1 & /ohn Dennis (Lerrurr to the rdtfor, orriilrr & mlend 5610 SE 71st Ave., Portland, ( (503) 771 -4440 25 Ghosts Haunt New Tissue Views e-mail: [email protected] by lohn Dennis Stereo WI orld Adverti!ring 38 Classified [Cbsh Ired & dsrp!oy odr) 5610 SE 71 st Ave., Portland, ()R 97206 Buy, Sell, or 26 Digital Stereo and Moore's Law: 150,. 3) 771-4440 Trade It Here .- The State of the Art in 2005 e-mall: [email protected] by john Hort [Inserf C~rrB aiirt,oo odr) Jeffrey Kraus PO Box 99, Modena, NY 12548-0099 (845) 255-791 3 e-mall: [email protected]

Oliver Wendell Holr nes Stereo WoM(1SSN 01 91-4030) is pub- Library Ihshed b~monthlvbv the Nat~onal Stereoscop~cResearch I Stereoscopic ~srdciat;on, Inc., PO Box Front Cover: (ARiiiofrd ivrih 1111. Nor!orliii ilert30rcopaAriariotiooi 86708, Portland, OR 97286 Ent~re The final camera designed by Zeiss lkon for its single strip 3-0 movie technology H 45208' 3665 Erie Ave., Cinc~nnati,0 contents 02005, all rights reserved. "Raumfilmverfohren System Zeiss Ikon" (with images turned 90" head to foot) is e-mail: [email protected] Materlal In this publicaton may not - be re~roducedw~thout wrltten oer- seen here shooting the 1953 film Plastischer Wiesenbummel (Octoberfest in 3-0) mrs~dnof the N~A,Inc. Pr~ntedIn ~SA Stereoscopic Society of i produced by Firtz Boehner. The history of the Zeiss system is illustrated with A subwr~pt~onto Ifrreo World IS part ~Aflilinf~dwlfh lliv Nnt~nnnliferro$ropit of NIA membership. production photos and frame pairs in "Zeiss lkon and Stereo Cinematography" Les Gehman, Membersh~pS Annual rnernberrhip d~er by Dieter Lorenz. 1736 Rochdale Dr, Fort Colltns, S32 ~YIC,M \ $4lrv r 5, (970) 282-9899 $44 all ~nternat~onalmemberrh~ps. Back Cover: e-mall [email protected]~ Annual memberrh~prInclude SIX 15rues of irerpo World a olart~c lorgnette H.H. Bennett No. 1060, "Old Abe, the Wisconsin War Eagle." Stereographed here in the 1870s at the state capitol building in Madison, the famous Civil War mascot Stereo World on the 1 vlewer, a1nd a membhrrh~~directory. www.stereoview.org Member, was featured in a number of stereoviews of the period. To learn where else his image ltionol Stereorcop " un~o"appears, see "Old Abe, Wisconsin's Battle ~agle"by Dr. Peter H. /acobsohn. Comments and Observations EDITORSWEW ]ohn Dennis

Long Lost 3-D Films camera near the low end consumer era could create image files of range of a Loreo would have its transposed pairs with a dark border n this issue, we are finally run- limitations. Non-zoom lenses and ready for high resolution digital ning the second part of Dieter the most basic autofocus might be printing on on 5x7 inch paper. I J Lorenz's historical research on T combined with the lack of any have no idea if such a camera Zeiss Ikon and stereo-this one on LCD screen, a movie mode or could be marketed for under $600, 3-D movie technology developed much in the way of exposure1 or if it would encourage anybody by the famous German company. speed choices. The resulting sav- to produce a "prosumer" version The article on Zeiss Ikon still cam- ings might make it possible to with more digital bells and whis- eras, stereo adaptors, and viewers offer something like 5 megapixels tles and bigger, better sensors with appeared in Vol. 29 No. 2. "Zeiss per image for reasonable print 7 or so megapixels per image. It's Ikon and Stereo Cinematography" pairs. And if stereo prints were the probably not a fantasy that should was to have followed shortly after intended final product, the format make my Realist feel threatened that, but too many articles that fit could be square-saving on the anytime soon. Rut as one who lost exquisitely in the available space size and cost of the sensors. a job of 22 years to the relentless (and with each other) arrived in a Unlike the mainstream brands, growth of digital imaging, it's at seductively steady stream about the Allen Lo related cameras least a way to put a brighter spin that time-making it far too easy already include a variety of 3-D on things. ma to postpone the cinematography print viewers. Software in the cam- coverage through an unreasonable numb;; of issues. Rut the article was well worth the wait, with its historic frame airs from German wWII military training films (discovered under the ruins of a Dres- den church 49 years after its destruction by allied bombs), later ~roductionphotos from post war :3-~films, and a detailedAhistoryof Please start my one-year subscription to Zeiss Ikon stereo cinema technology. This is material to be found Stereo World magazine and enroll me as a outside German archival sources member-- of the National Stereoscopic-- - Association. - only in Stereo World. Digital Fantasy? U.S. membership mailed third class ($32). Many of those who read "Digital Stereo and Moore's Law" by John U.S. membership mailed first class for faster delivery ($44). Hart in this issue will despair of All international memberships ($44). any true digital stereo camera being manufactured soon due to Send a sample copy (U.S. 56.00, all other 57.50). the expense of design & production for such a specialized and cur- Please make checks payable to the National Stereoscopic Association. rently limited market. But a look at Foreign members please remit in U.S. dollars with a Canadian I'ostal Monev the ad from Snap 3D in this issue, order, an International Money Order, or a foreign hank draft on a U.S. bank. combined with SW articles over ~p the past 3 years or so, reveals the impressive variety of inexpensive Name 3-D film cameras recently manufactured in China through the Address efforts of Allen Lo. These range from the assorted versions of the Loreo to the 3D Lens In A Cap and City State Zip recent lenticular cameras sporting from five to two lenses. National Stereoscopic Association ' The intriguing thought that 1 1 some sort of "D~gilo"("~ixelo"?) : PO Box 86708, Portland, OR 97286 may someday appear is hard to shake off. True, any digital 3-D The Only National Organization Devoted Exclusively To Stereo Photography, Stereoviews, and 3-D Imaging Techniques.

2 Volume 3 1, Number 1 Sl7XEOWoRLD Coming Soon to a Stereo World Near You ... Liberation 1944 in Stereo Liberation 1944 in Stereo from shelling and street fighting, their October, 2004 Rzrlletin. After ew amateur photographers doc- wreckage of tanks and planes, and several weeks of cleaning and umented the confusing, rumor welcoming crowds around U.S. restoration, more of his historic Ffilled days of late August, 1944 jeeps and troops. images will appear in an upcoming as Paris and surrounding areas He has shown his slides of those issue of Stereo World along with a were being liberated from Nazi days many times as a member of diary of the liberation of Boissy occupation. More rare yet was an the St(.r(.o Club Franqais, which Saint Leger by his wife Suzanne. amateur stereogra- published a selection of them in pher on those .-. I dangerous streets. -. 0' ,* ,. - But Marcel Lecou- - . * fle had a sense of history, an early Verascope 40 loaded with Agfa- color film, and a bicycle. In both his hometown of i.Y Boissy Saint Leger and Paris he stereographed explo- sions of air attacks, damage

The Original Williams Ferrier on Paper Hey kids! ompeting with another photog- arly French stereographer tereo photography workshops C rapher of the 1870s and '80s EClaude-Marie Ferrier is well Scan be fun, but seldom as much named Williams in Newport, known for his glass views of build- so as when the participants are 11 Rhode Island, J.A. Williams pro- ings, cityscapes and bridges. Less kids, ages 10 through 14. Author moted himself as the "Original" well know are his paper print Stuart Stiles guided the young Williams, selling stereoviews of the views, identified in a scholarly arti- stereographers through the con- town's already famous resorts, lux- cle by John B. Cameron. The vari- struction of paired single use cam- ury homes and public buildings to ous styles, categories and sub-cate- eras, then turned them loose on tourists. Our upcoming article by gories of Ferrier's 1851-1861 paper the campus of Orange County Logen C. Zimmerman follows views are identified with precision Community College in Middle- Williams' career and illustrates sev- and illustrated using examples like town, New York. His upcoming eral examples of his work, includ- the view of Notre-Dame behind article "Hey kids, stereo photogra- ing the legendary "Old Stone Mill" the old Hotel Dieu in Paris. phy is out of this world!!" includes whose date and purpose sparked shots of and by the enthusiastic many debates over the years. students. ria

$llXEOWORLD Volume 3 1, Number 1 3 Accidental Stereo- with a Stereo Camera! by Quentin Burke

ccidental stereo? Happen- The "accidental" stereo he made Agfa TP-6 paper. I aligned them in stance stereo? Unintentional of his future wife (Iris Lily Daniell) the fixer and cross-eye viewed Astereo? Serendipitous stereo? was unearthed while poking them under the safelight. Paydirt! l'he stereo picture on this page through a big, wooden box of fam- What I had was a stereo pair! seems to combine all of the offbeat ily negatives. In different places in I sent the mounted stereo back stereo categories listed by Stereo this box I came across two almost- to Australia and asked mother to World editor John Dennis. Rut identical, grossly underexposed 'scope it. "Do you know who this what really makes this stereo pair black and white negatives of a is?" I asked her. The answer came all the more remarkable is that it is woman's profile. "Could they be a by return mail: "Me!" of the writer's own mother ... as a stereo pair?" I wondered. Here is the story she related: teenager! And it emerged almost I told my brother, Kerras, who In 1919, Keast had come back 70 years after it was taken. had volunteered to sort and cata- from World War One, having Here's how it happened. My late log the contents of the box back served in the Mesopotamian desert father, Eric Keast Burke, started tak- home in Melbourne, that I'd take (now Iraq) with the Australian ing photographs in his teens, after the two negatives home to make army there and for a further year receiving a stereo box camera as a prints and determine whether in after the Armistice was signed in birthday gift. He was also a collec- fact we had a stereo pair here. I 1918. tor, collecting all manner of photo- was dubious, as they were not Among those who were glad to graphic prints, books and equip- packed with others of his stereo see him return was Iris, to whom ment during a lifetime as a writer, negatives, and they had been cut he was "the boy next door" who photographer and photographic apart. All of Keast's other stereo had later moved from a house on historian. He died in 1976. The negatives were paired. their street in Killara, N.S.W., and family legend that "he never threw Back in California, I labored gone off to war. The families had anything out" was validated in with the thin negatives in the known each other for years, with 1989 when on a trip to Australia I darkroom, eventually wresting young Keast, an only child, enjoy- was able to assist in some "sorting passable images from them on ing the company of the much larg- out", a process that went on for ...... another 12 years. Intended for printing as a flat Silhouette in the Australasian Photo-Review, this stereo of Iris Lily Daniell was taken by Eric Keast Burke about 1 92 7. ~-.."-m~~--**-.___n-~~~

4 Vo/umee 3 7, Number 7 SlElPEOWDRCD er family.of Daniell children next Iris Lily Burke and the author in December 1992, shortly after Mrs. Burke's ninetieth birthday in Australia. Stereo by lulion Webster Burke door...... After the war the families saw each other again and the young had his camera set up on a big tri- novelty," he wrote. "All that is nec- people gathered occasionally in pod. He used flash powder to take essary is to put your sitter between the summers at Mackerel Beach, some of the photographs." the camera and the flash, then sus- where the Daniell family had a He didn't tell her at the time, pend a thin white screen summer cottage. Access was by but the photographs were destined (stretched to avoid creases) boat. One summer-probably in to become part of an article he was between sitter and flash." 1921-Keast and three friends writing for the Australasian Photo- The article was illustrated with arrived in a boat and set up camp Review (AP-R), a monthly publica- three silhouettes and three group in a tent nearby. "Keast came over tion edited by his father, Walter flash photos. The silhouettes one night and took pictures of all Burke, FRPS. Mother reports: "He included one of Iris and one of her the family," mother recalled, "He didn't say the pictures were going father. As the article states that the to be published. It was a surprise." (Continued on pap? 39) She had no recollection that a Eric Burke in 7 9 14. stereo photo was being taken, nor The author was exposed to the stereo rn - I had she seen one later. virus in Appin, N.S.W., Australia i n 1936 On a subsequent visit to Aus- at the dairy farm of his grandl'attier, Wal- ter Burke, I:RPS, a photographer a nd tralia, I researched the files of the stereographer who had produced a 100- .. -1. AP-R at the State Library of N.S.W. card set titled "New Zealand ThrtJLljill and found the article in the Janu- the Stereoscope". The virus rema incd ary 14, 1922 issue. It was titled dormant in his vcinr until the ISjxos, "Some Notes on Flashlight Photog- when it broke out upon seeing a17 adver- tisement for a Kodak Stereo camt'rrl in raphy" and detailed how to take the now-defunct Los Angeles I'll( )to flash photos "with the new Kodak Horsetrader magazine. tlc is a mc mbcr cartridges." Instructions were given of ISU, NSA, and SSA. With promr~ting on crushing and mixing the two from the SSA in 198213, he devellnped components contained in the car- the Q-VU ft~Iding stere o viewcard mount, printed anti die-cut in the printirig plant tridge and arranging them in a run by the author ancI his wife, I. :Ilen, in "train" a few inches long "on a Holtville. CZalifornia. piece of tin or hardwoo$, to be Now under way at Q-vu is a h, set off with some of the "touch crafted stereo book box project. 1 faithfully reproduce the familiar paper", also supplied. "library" volumes in which the h

After detailing the Setup for flash sets of Underwood and Underwot11, <,IIt1 photography for groups and por- Keystone stereo viewcards were 51old in traiture, the author turned to other the early Part of the last century. They "variations that can be worked." are available in four colors and a1 re per- sonalized with the stercographer' 7 title "Silhouettes are always interest- and name from Q-vu, ro BOX 5.5 ing, and have a decided element of Holtville, CA 92250.

SI'EREOWDRLD Volume 3 1, Number 1 5 and Stereo Cinematography by Dieter Lorenz

n a recent issue (Vol. 29 No. 2), teed, problems may arise. If one phy at the Rerlin Olympics of Stereo World published an article strip is broken and some single 1936. Zeiss Ikon used two 16mm about the role of stereo ~hotog- images are removed, it is necessary film cameras with a mechanical raphy at the Zeiss Ikon AG. he" to remove exactly the same num- link. The disadvantages of this two stereo history of this company ber of partner images from the strip method may have inspired would not be complete without other strip. Otherwise the synchro- investigation into the single strip covering the role of Zeiss Ikon in nization will get lost. method. stereo cinematography. A severe disadvantage of the sin- For further developments this gle strip stereoscopic film is that single strip method was preferred. Single and Dual Strip the stereo pairs are reduced to the The first experiments were done 3-D Films size of one normal frame. This with a customary 35mm film cam- For the projection of stereoscop- leads to smaller single images era with a prism attachment in ic cinema films as well as for which need stronger magnification front of the lens. That way, single, stereoscopic slide projections the than the full size image of the two vertical images taking half of the polarizing technique spread since strip method. This reduces the film frame were produced (Fig. 1 the 1930s. For stereoscopic cinema, brightness of the projected image sample "a" and Fig. 2). Indepen- two systems competed with each which already is a problem because dent from these experiments, other: the single and the dual strip of the light loss caused by the lenticular film for appropriately methods. As the names indicate, polarizers in front of the projec- adapted 16mm cameras was used the two single images of the stereo tion lenses and in the viewer's for stereoscopic films. Probably the pairs are either on the same or on glasses. film used was a lenticular one simi- two different film strips. Both sys- lar to that which Agfa had devel- tems have their advantages and The development of the oped for color film projection. their disadvantages. Stereosco ic Film Procedure Results of both experiments The advantages of the single "System feiss Ikon" were presented at the annual con- strip (see Table 1) are not only that The involvement of Zeiss Ikon ference of the Deutsche just one camera and one projector with the problems of 3-D cinema Gesellschaft fiir photographische are necessary but-and this is more starts in 1935, when, in coopera- Forschung (German Society for important-both single images on .tion with the Physikalisch Technis- Photographic Research) June 6, the same strip are stabely fixed to che Reichsanstalt (State Establish- 1936 with silent, black and white each other. In the two strip ment for Physics and Technology) films. method, problems may arise if the of Braunschweig, a stereoscopic Since vertical images for the strips do not run exactly synchro- highspeed cine camera system was usual aspect ratio of cinema nously. And even if this is guaran- developed for race finish photogra- screens are really inappropriate, new prism attachments were developed for recording as well as for Table I. projection. These turned the stereo pairs by 90" to the running direc- Advantages and Disadvantages tion of the film. In this way, a hor- of Single Strip Stereo Films izontal format image was obtained. This new development was

Advantages- Disadvantages demonstrated to the Deutsche One camera only Special lenses and adapters Gesellschaft fiir Stereoskopie (Ger- man Stereoscopic Society) and to One projector only Smaller single image than normal the Deutsche Kinotechnische Left & Right images on one strip Stronger enlargement necessary Gesellschaft (German Society for No problems with synchronisation Brightness problems Cinema Technique) at Rerlin May

Volume 3 1, Number 1 .$77ZREOWY)RLD 27th, 1937. The film showed there Fig. I. The three versions of the "Raumbilm-Verfahren System Zeiss Ikon". (a) Above was in color. left: separated 33 mm standard film format with two vertical images; (b) above right: boradside images, turned 90 O, head to head; (c) below left: boradside images, At that time the single views turned 90 O, head to foot. Reproduction from Otto Vierling: Die Stereoskopie inm der were situated head to head (Fig. 1 Photographie und Kinematographie. Stuttgart 1965, p. 190. sample "b"). The disadvantage of ...... this was that when the frame line in the projector was adjusted, the single frames moved opposed. Therefore the next step was a change of the prism attachments so that the images turned by 90" -L- - - were situated head to foot (Fig. 1 ...... - - sample "c" and Fig. 3). In all these cases custom 35 mm film cameras ? I",:.. and projectors were used with the appropriate attachments. The first 3-D film shot with this equipment was titled Zzrm Greifen nall (Close to Grasp). It was shown for the first time December 5th, 1937 at the Ufa Palast am Zoo of Berlin and February 2nd, 1938 at the Hamburg Ufa-Palast. In 1939, shortly before World War 11, anoth- Fig. 2. Single stereo pair from the first version Zeiss lkon stereo film. er 3-D film was made: Sechs Madels Photo: Archiv Walter Selle. rollen ins Woclienend (Six Girls roll ...... into the Weekend). his was I1 for the armed forces and espe- thought for internal use only, cially for the air force and marines. though it was presented to the The literature states that about public March 20th, 1941 at the one hundred thousand meters of Tobis Haus of Rerlin at a meeting 3-D films were shot. These were of the Deutsche Gesellschaft fiir mostly training films. Up to now Stereoskopie (German Society of only a few rolls of these have been Stereoscopy). discovered. This discovery, howev- Parallel to these developments er, is a special story. for 35mm cinema film were those With the severe bombing of the for 16mm film. No details beyond city of Dresden February 13th and FI~.3. Single stereo pa~rfrom the the fact of their existence survived 14th, 1945, the famous Church of third version Zeiss lkon stereo film. the war and post war periods, Our Lady was destroyed. It burned Photo: Archiv Walter Selle. when most equipment and records out and, due to the extreme heat, were lost. the stonework collapsed February ern towers, the stair towers E and The Stereo Films of the 15th. It was long rumored that this G. This was confirmed when in Air Force and Marines and fire was caused by spontaneous 1994 the ruin was cleared for their Discovery combustion of cinema film stored reconstruction. A witness who was in the vaults of the church. This there when this was discovered The "Raumfilmverfahren System was not true, as official records said that more than 400 cans with Zeiss Ikon" (Stereoscopic Film confirm. films had been found between the Method System Zeiss Ikon) for However, it is true that cinema immured coffins. They were cov- 35mm cinema film was reserved film was stored in the vaults under ered by meters of rubble from the from the beginning of World War the north-western and north-east- collapsed vaults. The films under

~REOWORZD Volume 3 1, Number 1 7 three-dimensional ones. The films were brought to the Bundesarchiv-Filmarchiv (Cinema Film Archive of the Federal Archive) at Rerlin and copied from the highly inflammable nitro film to modern material. Details seen in these films embody military equipment (Fig. 4) and hands operating it (Fig. 5). Men in uniform are also seen in them (Fig. 6). According to the Film Archive of Berlin, this Fig. 4. Frame pafr from a Zeiss lkon stereo film from the vaults of the Dresden Church of material came from the Reichluft- Our Lady: Military equipment, probably part of a bomb sight. fahrtministerium (Ministry of the Photo: Bundesorchiv - Filmorchiv Berlin. German Air Force), and a witness who had visited Dresden the day before the bombing recalled that the imaging department of the Reichsluftfahrtministeriums, had been moved from Berlin to Dres- den. There is no doubt that the 3-D films discovered in the vaults of the Dresden Church of Our Lady were shot with the Zeiss Ikon stereo film equipment. Another informant knew that his late father, an employee of Zeiss Ikon Fiq. 5. Frame pair from a Zeiss lkon stereo film from the vaults of the Dresden Church of at that time, was involved in a Our Lady: Hands act at the equipment. photo: Bundesorchiv - Filmorchiv Berlin...... campaign in Italy where 3-D-films from tests of bomb aiming mechanisms were shot. This was done in Italy because of the fine weather conditions there. The question is, why did the German Air force make use of stereoscopy for such projects even though it provided few advantages over 2-D films?. Probably one should take into consideration the phrase "Total War," which was pro- Fig. 6. Frame pair from a Zeiss lkon stereo film from the vaults of the Dresden Church of claimed by propaganda minister Our Lady: Men in uniform at the equipment. The right image is damaged. Joseph Goebbels in 1943. This Photo: Bundesorchiv - Filrnarchiv Berlin. resulted in the call-up of people who up to that time had been "UKM-meaning "reserved". In order to maintain their UK status, some people tried to propose projects that would be declared mili- tarily necessary. Such projects got the nickname "Siisslupine" (sweet lupine) from a typical project of this sort. The cultivation of lupine was chosen to guarantee food production, a plan which was never realized in practice. The filming of Fig. 7. Title frame pair of the Zeiss lkon stereo film Koordinatensysteme (Systems of Coordi- the bomb aiming mechanisms in nates) from the film archive of the former German Democratic Republic (GDR). 3-D was also probably a Photos: Bundesorchiv - Filrnorchiv Berlin. "Siisslupine" project. However, this is only speculation. If true, stere- the north-western tower were decades of humidity. The cans oscopy could have actually protect- roasted to coal in their cans. were rusty and partly baked with ed some people from being killed In contrast, the films under the the film material. Nevertheless a in the war. north-eastern tower survived, but number of films could be saved, A complete copy of another in bad condition due to the and among these were two rolls of

8 Volume 3 1, Number 1 -WORLD black and white. 'lhis film, pro- Fig. 8. Production credit frame pairs of the Zeiss lkon stereo film Koordinatensysteme (5ys- duced by the Boehner Film compa- tems of Coordinates) from the film archive of the former German Democratic Republic ny of Dresden (Fig. 8) which prob- (GDR). Photos: Bundesarchiv - Filmarchiv Berlin. ably produced all former Zeiss Ikon stereo films, showed a number of constellations in 3-D (Fig. 9). Was this also a "Siisslupine" project? Post War Developments After the End of World War I1 the factories in Dresden and Stuttgart went separate ways caused by the political situation as already mentioned. In Dresden, Dr. Fritz Kober, who together with Dr. Otto Vierling was the developer of Fig. 9. Frame pair from the stereo film Koordinatensysteme (Systems of Coordinates) with the pre war Zeiss Ikon stereo film the sub title Der Sternhimmel (The sky of Stars). Photo: Bundesarchiv- Filmorchiv Berlin. system, prepared a report about a ...... stereo film camera and a stereo 14.5 mm-and required thus a ment. He had already worked with film projector which included fur- stronger magnification resulting in this company on other stereoscop- ther development of the Zeiss Ikon less brightness of the projected pic- ic projects for years. Since the prin- single strip stereo film system. This ture. cipals of the Goebel firm rejected paper was for the Sowject Muili- This led to the breakdown of the this proposal and insisted on the tary Administration for Germany Zeiss Ikon system, which can be use of the two strip method, Pfaff and did not lead to any produc- shown by a concrete example. had to build his own cameras. tion. Parts of this report are identi- When Dr. Willy Pfaff in 1953 The Zeiss Ikon Company of cal with a later publication in planned to produce a 3-D film Stuttgart gave up its system, of 1953. about the Hummel figurines for which today there are only very In Stuttgart, where Dr. Vierling their producer, the W. Goebel rare remains. One complete set of had moved, the single strip Porzellanfabrik, he planned to equipment consisting of a 3-D method "Raumfilmverfahren Sys- make it with Zeiss Ikon equip- camera (Fig. 14) and a projection tem Zeiss Ikon" was taken up again based on the last pre war version ...... with images turned 90" head to Table 2. foot. The newly built equipment was used in 1953 for the production of a number of 3-D films Stereo Cinema Films of the (Table 2). The producer again was mfilm iren System Firtz Boehner who also had left Dresden and now lived in Ham- 'ustomer 'ear burg. Figures 10-12 show some ZurrI Creifen n production photos from these (Clo se to Grasl films, and Figure 13 is a frame pair SectIS Madels r.ollen ins VVochenenc 1 Zeiss Ikon from the original single strip film (Six Girls roll ir to Weekerld) "Plastischer Wiesenbummel". .... In the early 1950s the first Amer- Plast (Plas ation) ican stereo films came to German - cinemas. These were dual strip 3-D Der Weil3e Tra~Jrn films which led to a break-through Crhe5 White Drc sarn) of this method. The main reason was their higher brightness in Der Wagen und sein Wer t Car and i'ts Factory) comparison to the Zeiss one strip Crhe films which had smaller images- Plast ,- . the single frames on the strip for (uctoberfest in 3-D) projection measured only 10.3 x

sl7BEOWoRLD Volume 3 1, Number 1 9 Fig. 1 I. Production photo from the stereoscopic Oktoberfest film Plastis- cher Wiesenbummel. Photos: Archiv Wolter Selle.

lens appeared at a photographica auction at Cologne in April, 1994, and was bought by a private col- lector. Another 3-D Zeiss Ikon projection lens was saved for a museum of the DDR. Fig. 10. Production photo from one of the Volkswagen 3-0 films. The Boehner company of Ham- Photo: Archiv Walter Selle. burg went out of business years ago, having produced no 3-D films

sivnce 1953, A There were other, different single strip methods for 3-D cinema, some of which were more successful than the Zeiss Ikon one but none permanently. At the beginning of the 1980s the Arri company of Munich introduced a panorama 3-D process for 35 mm film with single frames overlunder. In the U.S.A., probably at the same time, 3-D two strip films of the 1950s were copied on single strips side by side with the frames anamorphically compressed. The projection of these vertical frames with an anamorphic lens resulted again in horizontal images. However, most of the dual strip systems also did not succeed permanently in cinemas. The only booming 3-D film system of our Fig. 12. Production photo from the stereoscopic Oktoberfest film Plastischer Wiesen- day is IMAX 3-D. his puts large bummel. Photo: Archiv Walter Selle. images on screens of up to more than 15 by 20 meters. It uses two strips of 70 mm film with the single frames turned 90" to match the horizontal running direction of the film for 52 x 70 mm single images. This is high quality 3-D cinema, made by people who understand their business. The increase of the single frame from 10.3 x 14.5 mm from Zeiss Ikon to 52 x 70 mm is nearly fivefold, and shows the progress of about half a century. It is thought this new system will last Fig 13. Frame pair from the stereoscopic Oktoberfest film Plastischer Wiesenbummel. longer, as well. Photo: Archiv Wolter Selle. (Continued on page 36)

10 Volume 3 1, Number 1 5'lEREOWORCD News from the Stereoscopic Society of America THE SOCIETYRay Zone

2004 Avian Top 5 Views Dennis , Int'l Judge and Stereo Thompson, 1674 Umpqua Rd., Ernie Rairdin, Secretary of the World Editor, Portland Oregon. Woodburn, OR 97071 USA. Avian Print Folio, has reported on Serving as Alternate Judge is Ernie Checks must be in US dollars and made out to Linda Thompson, the top 5 views from that circuit Rairdin, Int'l Judge and Stereo for 2004. Ernie has supplied his Exhibitor, Cedar Rapids, Iowa. currency will be accepted at entrant's risk in US Dollars. report in the form of a list which This Exhibition will be conduct- names the Order, Photographer, ed in accordance with the stan- Calendar View Title, and "Ratting Average" dards required and practices recommended by the Photographic Closing Date: July 9, 2005 of the votes submitted over the Judging Date: July 14, 2005 course of 2004: Society of America. Acceptances received by PSA members in this Report Cards: July 19, 2005 1. Michael McEachern, Return, total rejects: July 29, 2005 "Cover Girls" ...... 7.57 exhibition are eligible for PSA Star 2. Jack Swarthout, Ratings, listing in the worldwide All other returns: August 31, 2005 "Smokey Mountain Christmas" ...... 6.71 PSA Who's Who of Photography, Catalog Mailed: August 31, 2005 3. Ernie Rairdin, and credited toward the PSA Dis- Shipping of Awards: August 31, 2005 "Remein Rutterfly" ...... 6.62 tinctions PPSA and EPSA. 4. Ernie Rairdin, Awards "Roadside Vendor" ...... 6.00 This Exhibition is open to any 5. Ray Zone, living photographer. Newcomers to Best of Show: PSA Gold Medal "Spinosaurus" ...... 5.71 stereography and international Best SSA Member: The Yellowfoot SSA Su per at Irving, Texas exhibitors are especially invited to Award sponsored by Walter submit their work. Each entrant Dubronner for NS 12005 Convention may submit up to 4 views in the Best Novice: Sponsored by the Holly- The menu for the SSA Supper Holmes format, 3.5 x 7 inch stereo wood Stereo Card Exhibition, SCSC. this year is in keeping with its card only. Entries previously (To be eligible for the Novice location deep in the heart of Texas: Exhibitor Award, entrants must have accepted in the SSA Exhibition are received less than 18 acceptances in Fajita buffet (all you can eat). not eligible. The original image Reef, chicken and vegie fajitas PSA recognized Exhibitions and must must be made by the entrant on enter "novice" on the top of the served with guacamole, shredded photographic emulsion or acquired entry form). cheese, and pic0 de gallo. Refried with a digital camera. All images 3 Judge's Choice: SSA Medals beans and Spanish rice. Served must be original and may not buffet style. Rest Portrait: The Keystone Award incorporate elements produced by Sponsored by N. Rill Patterson All this costs only $16 for mem- anyone else. bers and prospective members Best Scenic: The Ray Bohman Award The entry fee is USD $8.00, sponsored by Ernie Rairdin alike. The SSA Dinner this year will which includes return of entries by Rest Photojournalism: The Muscogee be at the Mercado Juarez Mexican I First Class Mail to USA and Cana- 3-D Award (depicting a person, place, Cafe, offsite for the NSA Conven- da, and Small Packet Air elsewhere. thing or event of historical tion, on Thursday, July 14th at 7pm. Send entries to David & Linda SSA 10th Stereo Card 1 (Continued on page 36) Exhibition "Cover Girls" by Michael McEachern took top honors in Avian Folio for 2004. For those who would like to submit work to the 10th International Stereo Card Exhibition of the Stereoscopic Society of America, downloadable/printable PDF entry forms are available at: http://www.rav3dzone.com/SSAlO.pdf. Judges will be looking for original and artistic interpretations in a variety of subject matter. Consider- ation will be given also to accuracy of stereo mounting and appearance of card mount. The Judges are: Terry Wilson, Int'l Judge and Stereo Exhibitor, Medford Lakes, New Jersey, Cassie Kaufman, Int'l Judge and Stereo Exhibitor, Corona, California, John

JTEREOWDRLD Volume 3 1, Number 1 1 1 Old Abe Wisconsin's Battle Eagle

by Dr. Peter H. Jacobsohn

Id Abe was the name that the dent of the Civil War since the soldiers of Company C, 8th centennial years, 1961-1965. It was 0Wisconsin Volunteer Infantry my intent to educate young chil- gave to their eagle mascot during dren about the war using historical the American Civil War. He was accounts to which they could named for President relate. My research led me to the ...... Abraham Lincoln, story of Old Abe and I have includ- "Color Guard of the 8th Wisconsin Infantry Regiment ed him in my lectures ever since. I and their mascot taken just after the surrender of commander-in-chief during the war years, had the honor of giving the dedi- Vicksburg, Miss. " 9. 1861-1865. The eagle catory speech at the unveiling of 7 would become a leg- an Old Abe statue near his origins. i end that has echoes In addition I have a collection of *1. an /1 even today. memorabilia associated with Old 1 My interest and fasci- Abe including several stereoviews. 1 nation with the story Old Abe began life as a young of Old Abe and the 8th eaglet in the north woods of Wis- Wisconsin began when consin. In early 1861 a band of ' I was asked to speak to Chippewa Indians had captured my son's fifth grade the eaglet after cutting down a class about the Civil white pine tree that contained an War some 25 years ...... I ago. I have been a stu- " - - Centennial Views, "Old Abe. Orange mount.

12 Volume 3 1, Number 1 S7EREOWDm H.H. Bennett No. 7 060, "Old Abe, / matured, the care and feeding of I Randall in Madison, WI where the the Wisconsin War Eagle. " Tan mount. Stereographed in the 7870s the bird became more of a burden majority of the Union soldiers at the state capitol building in Madi- than the family could handle com- from Wisconsin were trained son. (An item on Old Abe previously fortably. before going to war. appeared in Stereo World Vol. 7 In September of 1861 the eagle There the Eau Claire Eagles lid. 6.) All views from the was sold for $2.50 to a company of became Company C of the Eighth author's collection. volunteers from Eau Claire, Wis- Regiment of Wisconsin Volunteer consin that was organizing to go Infantry. A regiment consisted of eagle's nest. As the story goes, the to war. They adopted him as their 10 companies of approximately Indians traded the eagle to a local mascot, named him Old Abe and 100 men. At full strength the 8th farmer (Dan McCann) for a bushel called themselves the Eau Claire Wisconsin consisted of about 1000 of corn. The farmer's family raised Eagles. They would travel to Camp men. At Camp Randall, Old Abe him as a pet. As the eagle grew and ...... ' Crude pirate copy of an Old Abe view taken at the Wisconsin rtate capitol building. - -. .- ..-.

STEREO WORLD Volume 3 1, Number 1 13 j. 0. Barrett, "'Old Abe, ' the Live Wis- consin War Eagle, Agricultural Hall, (International Exposition,) Philadel- phia, 1876. " Tan mount.

II!" attention and entered the realm of . , 1 folklore and legend. He has been /RAL HAL 'ILADELPh credited with disrupting enemy attacks, diving on the enemy and leading his troops to victory. It is II~P i* :i c~t' said that he delivered airborne ~I!Q~II I?y't i messages, retrieved maps from )LD \WITH THE EAGLE'S HISTOR'r , behind enemy lines, and had a price on his head by Confederate commanders. It can be said with certainty, however, that Old Abe was an inspiration to the men who served with him. The end of the war did not end Old Abe's service to his country. Back of the Barett Centennial view of Old Abe at the 1876 Exposition. He was given a home in the state capitol building in Madison where received a perch which consisted center of the front ranks alongside he lived another 17 years while of a shield-shaped wooden plate the U.S. and regimental flags. The becoming a familiar sight at fund above which rested a cross piece position of "eagle-bearer" was con- raisers for wounded and disabled for the eagle to sit on. The shield sidered a high honor in the 8th veterans, political rallies and con- was painted with the stars and Wisconsin. The Eagle Regiment, as ventions and other patriotic assem- stripes and was attached to a five the Eighth Wisconsin became blies. He became Wisconsin's foot pole. Photos of him usually known, served for the duration of ambassador to the Centennial show him on this perch or similar the War. It served in the western Exposition in Philadelphia in 1876 ones made for him through the theater of operations in campaigns where a number of stereoviews years. that opened the Mississippi River were taken of him. Although Old Abe remained to Federal domination. Old Abe During the late 1870s while Old with Company C, he quickly survived 37 battles and skirmishes Abe was in residence in the state became the mascot of the entire and earned a place in American capitol building, pioneer Wiscon- regiment. When the regiment fin- Civil War history. sin photographer H. H. Bennett ished training and went to the Over the years the wartime traveled to Madison and pho- front, Abe was carried on his perch exploits of Old Abe, real, exagger- tographed the eagle. The Bennett in a place of honor in the very ated or imagined, captured public

14 Volume 3 1, Number 1 STEREOWORLD stereograph catalog of 1883 lists 5 different views. Although I have only been able to acquire one view, the others are variations of the eagle as posed on the barrel of a cannon. Old Abe fell victim to two fires in the state capitol. The first in 1881 caused his death due to smoke inhalation. The second in 1904 claimed his stuffed and mounted remains. A replica is still on display. Today there are still visible reminders. After seeing the eagle in Eau Claire, Jerome Increase Case adopted his likeness as part of his firm's logo. Every piece of equipment produced by the J. I. Case Company has a stamping of Old Abe on it. The 10lst Airborne Divi- sion, known as the "Screaming Eagles", depicts the head of Old Abe on its left shoulder patch. References Rennett, H.H., Complete Stereo'vaph List, 1883 Rath, Sara, Pioneer Photo'vapher, Wis- consin$ H.H. Rennett, 1979 Zeitlin, Richard, Old Abe the War Eagle, 1986 89

The 1.I. Case company used Old Abe standing on a globe as its logo on all the equipment it produced. This cast iron statue used by Case dealers for promotion is displayed in the Wisconsin Automotive Museum. (For a short time in the 1920s, Case Sheet music for an 1870s song about Old Abe. made cars.) .. . . , ...... Debo Breeze 1 stereo by the author.

S'TEREOWRLD Volume 3 1, Number 1 15 Create Stereo

Blazing Fastby Michael Beech

he "actions" feature is one of Starting from a pair of digital The Creative Phase the better time saving Photo- images and using this procedure You will, of course, start with Tshop features. It saves time by you can create a stereo card, ready two digital images-a left image "remembering" how you do repeti- to print, in well under 5 minutes, and a right image, however tious tasks and then replaying including all adjustments. This will acquired. We will pick up after you them whenever needed. Using the give you more time to assemble have them digitized and in the actions function can slash the 3-D sets that you might otherwise computer. If you took the pictures amount of time required to create never have time to create. Also, with a single digital camera on a stereo pairs, anaglyphs, or any you can devote more time to redo- slide bar, you have an advantage in other multi-step repetitive activity. ing, realigning, and perfecting an that the bottom edges of the two All you have to do is use the image, knowing that the once long images are probably perfectly action palette to record your com- (and mistake fraught) assembly matched. If you captured the pho- mands as you create a stereo pair. process will now only take sec- tos with a twin-digicam system, or Once that is done, you can apply onds. scanned them in from film, you those steps automatically, mistake My aim throughout this article probably have some orientation free, to any other image. is threefold: work you need to perform. We will As you might imagine, there are To give you Photoshop com- assume the worst. also dedicated software packages mand sets to automatically pre- Load the left image into the available to handle these tasks, pare various stereo images, Photoshop work area. such as PokeSkope Pro (PokeSkope including anaglyphs. Make all your appearance adjust- is a trademark of Graphic Media To demonstrate a great method ments, such as color correction, Research) and the freeware Stereo to quickly get your images into levels, sharpness, etc. Save the file Photo Maker (Copyright by Masuji excellent alignment. with its adjustments but leave the SUTO and David Sykes). These ded- To take you through a training original in the work area. Do like- icated programs are quite effective, wise with the right image. Now we fast, and comprehensive. They exercise that will build several useful action files and give you have both the left and right images have various nice capabilities that (chips) on the screen, each in its are quite worthwhile to have at the skills needed to build additional action files of your own. own window. hand, plus each has features not With the Move Tool, drag the found in the other. I find that they There are two distinct steps in left image and drop it into the add versatility and quick action for creating any stereographic image; right image window. You will note many tasks, especially for modify- the creative activity and the time that, in the layers palette, a new ing on screen viewing modes. If consuming, tedious, rote, mechan- layer, "Layer 1," has been created. you don't mind working within ical workup. The mechanical Do NOT rename the layer. Contin- their layout restrictions, everything workup is always the same, so this ue with the Move Tool and fit the is fine and you may never need process can be completely auto- image into the window, allowing anything else. mated. But, to explain how this the bottom and sides of the image However, if you want unlimited works, let's start with the creative to "Snap" into alignment (turn on control and flexibility, you may step, as that should be done in the "Snap to" function under View find them restricting. When I am such a manner that automation / Snap to / Document bounds). working in Photoshop adjusting can take over cleanly at the appro- This will be a good match if your color, contrast, brightness, etc., I priate point. picture was made with a digital feel I have more control and preci- Adobe Photoshop 7 for Win- camera on a slide-bar. Otherwise, sion if I continue on and finish the dows commands are used in the just get it roughly in place for the layout right there in Photoshop. examples that follow. The word moment. And, by using the Photoshop "click" always refers to a "left- You are done with the left actions function, similar produc- click." image, so you should close it to tion speed is obtained. protect it.

1 6 Volume 3 1, Number 1 ~REOUIDRCD The right image window is now P59788 C psd 7 75% (1 dyer 1 RGR) I- IlEIl a composite containing both images, so, to avoid accidentally closing this modified image over the original, save it with a different name, such as: oldname-C. (the added "C" could stand for "Com- posite"). My files are numbered sequentially as they come out of the camera, so I rename this composite image with both numbers, like this: P0045&46-C (that is, image 45 & 46). By numbering in that fashion I always know which two original images were used in the creation of any composite or stereo image. Layer 1 should still be selected (highlighted in the layers palette)...... Fg. I. Comer of boxcar ah- $ in both layers. In the layers palette, click on the "Opacity" slider and set the opacity of Layer 1 to about 50%. Bringing the two images into exact, dead-level alignment can be done in two quick and easy steps- a preliminary alignment and a level alignment. Note: Those who use a digital camera on a slide bar can sometimes skip the Prelimi- nary and Level Alignment steps that follow, but it is a good idea to check anyway. Bumps do happen. Preliminary Alignment It helps to enlarge the image for this and the next two steps. Then, with the Move Tool still selected, click once anywhere in the image area to activate the arrow keys. You can then use the arrow keys to move Layer 1 exactly into place. Fg. 2. Left edge of layer I rotated down. Pivot point is the uosshair on the comer of But where is "exactly in place?" the boxcar at right. Find a contrasting dot, spot, angle, ...... or whatever, anywhere close to the a tiny amount, then you will have senting the center of rotation. Use right or left edge is best. Use the to "Rotate" Layer 1. The white RR your pointing device (mouse, pen, arrow keys to line-up that spot on Crossing sign at the left of Figure 1 whatever) to drag that little square Layer 1 (left image) exactly over is and example of extreme level over until it is exactly over the the same spot on the Background misalignment. It sometimes helps point you have placed in perfect layer (right image). Move the layer to pull a horizontal guide line onto register. This crosshair has already left, right, up, or down until you the image because corresponding been moved into place in Figure 1. have just that point in perfect reg- objects can be separated fairly far Now you should drag the appro- ister. No other spot on the two apart horizontally. Here is how to priate edge square up or down images has to be perfectly in regis- rotate the layer: until the misaligned point on the ter. See Figure 1 where the comer In the Edit tab, select Transform, active layer (Layer 1) is level with of the brown boxcar at the right and then choose Rotate. A solid (not necessarily on top of) the cor- has been aligned. selection line will appear around responding point on the Back- Level Alignment your image and a little square will ground layer. Figure 2 shows the appear in the middle of each edge. misalignment corrected by drag- Look along the opposite edge or Enlarge the window if you can't ging the left edge down. as far away as you can from your see the selection line because it Press Enter (Return, on the Mac.) lined up spots for vertical image might be hidden under the win- when you are satisfied. Within a misalignment. If you find a dot, dow border. few moments Layer 1will rebuild spot, corner, line, or whatever, that In the exact center of the image itself in the corrected orientation. is abovelbelow its corresponding you will find a tiny crosshair repre- Recheck your work. If the mis- object in the other image even by

BFCIIIRU) Volume 3 1, Number 1 17 shows crop lines in place. After P59788.C.prd e 25% (Layer 1, RGB) Ex completing cropping, click on the 'eye" to make the Background layer visible again. CAUTION: Don't fail to click the "eye" back on to make the Background layer visible or it won't be visible in the final stereo pair, which is, of course, a bad thing. At this point, the creative process is mostly completed. Do NOT merge or flatten the layers. Save the completed "composite" image in Photoshop format (the default) but leave a copy on the screen. The remainder of the creation of the stereo image can be automated. Automatin the ...... Fig. 3. Background made invisible to aid cropping. Mechanicf Workup From this point Photoshop can remember and re-execute, on any composite image like the one you just made, every step required to manufacture parallel pairs, cross- eyed pairs, left-right-left triplets (triptychs), and anaglyphs--including attaching logos and copyright notices. And, it will do it in just seconds, error free, once you show it how. CAUTION: For the automation to always work properly, you must standardize creation of the composite image by always dragging the left image into the right image window. That way your two layers are correctly oriented in the order that the automation will look for them. The layer names Fig. 4. Cropping lines in place, ready to crop...... ,. , :: ., . ' ,, ,* must also be consistent, always. Automation requires that you do alignment was serious, you may if you want the near point to be not rename any layers'. have to redo the Preliminary close to the window, 10 or more Alignment and the Level Align- left clicks if it should be farther Creating an Action ment to get the alignment just as back. If you have reason to make Click on the "Create new YOU want it. the object project through the action" icon at the bottom of the window, you just move the near actions palette (It's the one that setting the Stereo Window object in Layer 1 (the left eye looks like a piece of paper with a Once the two layers are perfectly image) to the right, instead. comer folded up, next to the trash level and at the same height, use can.). A dialog box will appear. ONLY the left and right arrow keys cropping Name the new action from then on. Locate the near- In the layers palette, use the "Makestereo." There are certain point-the object in your image opacity slider to restore 100% commands that should generally which was the absolute nearest opacity to Layer 1. In the layers be included at the start of each thing to the camera when the pic- palette, next to the Background action to ensure the safety of your ture was captured. Use only the layer, click on the "eye." The eye original composite image and we left or right arrow keys (usually the will disappear and the Background will put them in first. Once you left arrow key) to move Layer 1 layer will become invisible. Now have clicked on "Record," execute until this nearest object is in per- you can see the exact edges of the following commands. fect register over the same object Layer 1. Figure 3 shows how this Cmd. 1: Press the letter "d." This in the Background layer. After they might look. Use the Crop Tool to resets the swatches to black fore- are in register, every click of the crop the image to suit your taste, ground and white background. LEFT arrow key will move the but don't include any of the trans- This is a precaution to make sure photo deeper behind the window. parent areas around the edges, pri- the canvas will be white when it I would suggest at least 2 left clicks marily found on the right. Figure 4 expands (to save on printer ink) because when the canvas extends, The action will begin to run. the canvas color used will be the When it is done, the only thing on background color that is currently the screen should be a copy file shown at the bottom of the tool- containing both layers from your box in the foreground/background original composite. color swatches Cmd. 2: Click on Image / Dupli- Making a Parallel 3-D Pair cate. In the dialog box which The following steps will assem- appears, click on OK. A new image ble the two image layers into a par- window will appear containing a allel stereo card. The duplicate file, duplicate of your original. "originalname copy," should still Cmd. 3: Move the new window be onscreen in the work area, aside and click on the original ready for you to issue the com- image to make it the active win- mands which will complete the dow. process of turning it into a 3-D Cmd. 4: Select File / Close. This stereograph. command closes the original to In the actions palette, click on keep it safe. Stop recording by the triangle button at the left of clicking on the Stop the title line of the MakeStereo playinglrecording (square) button. action. This button displayslhides The net effect of commands 2 all the commands in the action. through 4 was to create a duplicate Click on it to make all the com- work file with a new name and to mands display and then highliit close your valuable composite orig- the last command, which is inal and tuck it safely away. "Close." Onscreen should be only the new Click on the Begin recording image named after your original, (round) button at the bottom of plus the word "copy," e.g.; "origi- the actions palette. nalname copy." The first step will be to resize the Fig. 5. The actions paktte with the image to the final chip size that MakeAnaglyphColor action selected. Now is the time to test this ...... , ...... action: you wish to use. You probably Close the copy without saving it. have a size you prefer, perhaps Do NOT change or even click on No images are on the screen. between 2.75 and 3.5 inches wide. the Height value. Load into the work area the For this example 3 inches will be Change the Resolution to 300 composite image you made earlier. used. A ppi of 300 will be used for PP~. In the actions palette, scroll to the resolution. Put a check mark in the Resam- find the new action (MakeStereo) Execute the following com- ple Image box. you just created. Click on the line mands: Click on "OK." "MakeStereo" (the title line of the Cmd. 5: To change the image The canvas size will be changed action you just made) to highlight size, select Image / Image Size. In next. Doing this in several steps it. the window which appears: makes it easy to control the place- Click on the Run selection (M- Change the Document Size: ment of the two images. angle) button at the bottom of the Width to 3 inches. (Continued on page 33) actions palette. Fig. 6. The completed stereoview. The proportions here differ from those in the examples which were cropped tightly to sa\ 'e space. .I

Nmwgauge. Colorado Railroad Museum Narrow gauge. Colorado Railroad Museum by Ray Zone

riginally created in 1998 as a It was at the SCSC awards screen- self-tutorial by stereographer ing that I first saw Mousetrapped. 0Ron Labbe, the one-minute Later, as I discovered Large Format stereoscopic video Mousetrapped (LF) 15170mm 3-D films, I kept would undergo considerable evolu- thinking about Mousetrapped. What tion to make its way to the giant would it look like on the giant IMAX 3D screen. IMAX 3D screen? In 2001 I decided "The animation itself was basi- to produce Mousetrapped as an LF cally the result of a project I 3-D film. When I informed Ron assigned to myself to learn 3D Stu- Labbe of my intention, he thought dio MAX," says Labbe. "I'd had the I had lost my mind. I acquired per- idea to recreate the classic Mouse- mission from Fisher-Price to use trap board game, since all the ele- the Mousetrap game in a film and ments and animation would be began to research the LF produc- Ron Laow ana nay Lone on wcem- fairly basic. One of my motivations tion pipeline for computer-generat- ber 8,2003 at the DKP/70mm Inc. was a yearly contest put on by the ed 3-D movies. /MAX facility in Santa Monica after New England 3D Studio User's Ron's original AVI files were ren- seeing A Better Mousetrap on the Group. So the animation was rendered at video resolution (720 by giant screen. dered, edited with Adobe Premiere 480 pixels). An IMAX film frame is and a stereo soundtrack was laid 15 perforations wide on 70mm on with Jon Golden providing the film, 9 times the size of 35mm, sounds. A few other sounds were and runs horizontally through the obtained from sound effects disks I projector at 24 fps. IMAX resolu- had ... not all the highest quality. tion is computed at 3k by 4k, 12 But, of course, I had no idea where million pixels in every frame of this was heading!" film. A conventional 35mm frame Up to that time Ron Labbe had has an estimated 2k resolution. been a successful stereo photogra- Mousetrapped would have to be pher and producer of 3-D slide rendered again at a significantly programs, notably "Space Shots" higher resolution to be recorded to an award-winning show which 65mm negative film for IMAX 3D. played at many public schools and In 2001, Ben Stassen, producer museums in the 1980s. of the LF nWave 3-D 6lms Mousetrapjwd won First Prize in Encounter in the Third Dimension, the local User's Group animation Alien Adventure and The Haunted contest. Labbe then submitted it as Castle, informed me that he would an entry in the 1998 3D Movie/ be happy to donate the film Video Competition sponsored by recording to 65mm. At a retail the Stereo Club of Southern Cali- price of 3 dollars a frame and fornia (SCSC) where it again won about 2900 film frames total, that first place. The video entries were was a very generous contribution. played back at SCSC screenings When Stassen saw a videotape of from alternating field CrHS tapes Mousetrapped, he pointed out that through a VRex projector which the horizontal movement would demultiplexed the interlaced left create "strobing" or flashing on the and right-eye fields to project them giant screen. Since Ron was to re- at full video resolution on a silver render the entire film, several screen where they were viewed scenes were changed to show the with conventional polarizing 3-D point-of-view of the blue mouse glasses. traveling across the board to mini-

Ydum 31, Number I mn ...... The Mousetmp game bwd. I @2W3Studlo 30 ...... I

mize strobing and accentuate the 3-D. save time in rendering. One fhme Ron and Jon Golden had assem- In addition, I suggested to Ron offilmwastec~rdedasatestand bled in QgicMPme Player for the that we add a brief coda after the when it came back the colors video version. end credits in which the just- looked very fine and rich. Ron Jon Golden flew out to Los deceased mouse reappears briefly then rendered A Better M- in Angeles for the 6-channel sound to "zap" the audience with a final separate left and right eye versions mix which we assembled at GDH 3-D blast before the film closes. 0nhisnewDellcomputeratthe sound studio that was run by his This was actually a cinematic new resolution and delivered the old Mend Gordon Hookailo. Gor- quote from film history referenc- entite film to me on 8 Dm. don had originally worked on the ing the moment at the end of A single thousand foot roll of sound mix for Ron's 3-D slide pro- Edwin S. Porter's classic 1902 film Kodak 5246 65mm color negative gram "Space Shots" (also called The Great lbin Roblqv when the film was then used to record both "The Third Dimension"). I brought bandit levels a revolver at the audi- the left eye and right eye digital the sound fdes into the studio on a ence and fires. Martin Scorsese also files for the film. RPG Productions CD along with the original Edit used a similar device at the end of in Burbank processed the film at Dedsion List (EDL) for sound. The Goodfellas with Joe Pesci firing at CFI and made a single "one-light" 6channelS. 1 sound was mixed the audience. Ron and I agreed, work print on 70mm Kodak 2393 over the course of a full day in a while laughing, to change the title Vision Premiere release stock. I pre- state-of-the-art THX room and to A Better M-. With the viewed the left and right eye prints recorded to two DA-88 audio tapes changes and additions to the film indivlduallyin2Datthesn~llRPG as well as a CD-ROM for safety. it would now run 90 seconds. To UJaeeningroOminBurbank The ability for Mannel sound render the LF 3-D version of the which is not equipped to project to move spatially through the film, Ron purchased a brand new dual-band 3-D. room is quite impressive. With the super-charged Dell computer It was time to make the dtrack IMAX system there is a sub-woofer loaded with RAM. surround sound track for the film. and speaker directly behind the Wave film recordist Ken Semer As a safety to ensure frame accu- screen, a left and right speaker at was to record the digital files on a rate timecode for sound recording the front of the room and a left CRT laser recorder at the nWave a 314 video tape with a time code and right speaker in the back. Jon, Burbank facility. Ken specified that window was made in teledne from Gordon and I took full advantage the LF digital files should be 8 Bit thelefteyepassofthefilmat of this to make sounds move TIFF files rendered at 3k or 3072 x Crest National in Hollywood. through three-dimensional space 2242. Since the film was CG the 3k There were 39 different sound The samewhat news StOK (OZW3 Studio 30

...... The fearless diver. I ...... 02003 Studio 30 I 1 I I i j , 1 in accompanying on-screen delivered on a DVD or CD-ROM and Inc. in Santa Monica. The film had actions. the data is loaded into two hard its industry premiere on April 28, "The sound will totally rock the drives in the theater. These hard 2004 at the Large Format Cinema IMAX theatersInsays Jon. "It's a drives run in a mirror configura- Association (LFCA) Film Festival departure from the original stereo tion, in sync, in the event one and Conference in Los Angeles at mix, with old SFX samples. Things fails, the other will take over. Just the Universal City IMAX theater come at you now, and you see and to cover all the bases I made two where it was very well received. hear them come at you. Things go 35mm magnetic tapes from the CD A Better Mousetrap is included in away from you or whiz by left to with the encoded sound track that the "World's First" LF 3-D Film Fes- right ....all in 5.1" IMAX had delivered to me. tival taking place July 13, 2005 at A couple of final steps had to be On December 8,2003 Ron and I, the Dallas IMAX theater in con- taken to prepare the sound track along with David Starkman, Robert junction with the annual National for projection in IMAX theaters. I and Marilyn Bloomberg, SCSC Pres- Stereoscopic Association conven- sent one of the DA-88 tapes up to ident Philip Steinman and IMAX tion. Ron Labbe and Jon Golden IMAX in Mississauga, Canada so Senior VP David Keighley watched will be on hand to field questions that the sound could be processed A Better Mousetrap projected in 3-D from the audience regarding the with IMAX1s proprietary encoding, on the giant screen at DKP170mm making of the film. 00 as well as "pulled up" from 29.97 video speed to run precisely at 24 fps film speed. IMAX delivered back to me two DA-88 tapes and a CD Explore the World (DDP-11) with the sound encoded. of 3-D hnaghg, Past & F'resent, in. There are three primary sound playback formats for IMAX films which all use a double system for film and sound. At no time is there an optical sound track on the 15170mm film itself. 35mm magnetic tape is an older format still in use in some IMAX theaters. Many theaters will play back the 6-channel sound from DA-88 tapes but increasingly IMAX sound tracks are Current Information on Stereo Today David Starkman 8 john Dennis New Books in Lewis & Clark 3-D Series o new 3-D books in the series lighting the locations and events The stereo images are in the stan- of View-Master album, book surrounding these two great Indian dard five inch wide format and Tand CD-ROM productions leaders. may be viewed with the LOREO observing the 200th anniversary of At the same time, a revised and folding 3-D viewer or lorgnette the Lewis & Clark expedition have reedited version of the original viewers. been published by NSA member Lewis & Clark 3-0 Refme Album Both books will be on sale at the Charley Van Pelt. The first is Chief is being published. Because of NSA 2005 Convention and Trade Joseph and the Nez Perce War of quantity requirements, it was not Fair in Irving, Texas; or available 1877 / Crazy Horse, Sacred Warrior feasible, at this time, to produce directly from Charley Van Pelt, of the Sioux. companion View-Master Reels to 1424 E. Mountain St., Glendale, CA While shooting stereos for the go with the Chief Joseph / Crazy 91207. For further information, Lewis & Clark View-Master series, Horse book, but the 3-D images Phone/FAX(818)243-5636or visit Charlie frequently encountered and text in the Lewis & Clark book www.charle~pelt3d.com.The historic sites related to the Indian do correspond to the scenes in the Books are $5.00 each and the conflicts of the late 1800s in the current Lewis & Clark View-Master LOREO folding Viewer is $2.00. Great Plains and the Northwest. Reels. Both 3-D Books are 36-page, (Add $2.50 for shipping). TWO names regularly stood out- 6 314 x 9 314 inches, in full color. Chief Joseph of the Nez Perce and Crazy Horse of the Sioux. Each was "fort Fizzle" in Idaho's Bittemt Valley, around which Chiefloseph led about 750 men, an outstanding leader-both with women, children and elderly in 1877. From Chiefloseph and the Nez Perce War of 1877 / a common goal of protecting their Crazy Horse, Sacred Warrior of the Sioux by Charlie Van Pelt. people and homeland from the increasing western migration of the white man. The combination of scenic and historical sites that would produce interesting 3-D photo possibilities, and a great story to go with the images, prompted him to do the research and spend several weeks doing 3-D photography. The result is a new 36 page book with 54 stereos, plus text and maps, high- Hope for Consumer Lenticular Prints! - ith no consumer level lenticu- the Hong Kong manufacturing as Image Tech, Nimslo, Nishika, Wlar print service available in firm owned by Allen Lo, inventor etc. Prints are available in all the the western hemisphere for some of the photographic emulsion standard sizes along with reprints time now, many owners of three method of lenticular printing. and enlargements from existing and four lens stereo cameras have Clearly aware of consumer prob- negatives in both reflective and given up on the thought of ever lems associated with recently failed transparency formats. Printing of using them again. But help may lenticular companies, Snap 3D is full film rolls is offered at a special now be on the way from some publicizing up front a policy of rate. Also available are new 3-D dedicated lenticular 3-D specialists. returning both film and money to cameras including a single use dis- Snap. 3D, a recent newcomer to customers in the event of any dis- posable, a two lens reloadable, a the industry, has announced that ruption of service. They also five lens consumer camera and two it is now providing reliable, cost emphasize that the firm has no versions of a five lens professional effective lenticular printing, lentic- affiliation with any other lenticular camera. For more information visit ular business cards, and new 3-D printing company past or present. www.snap3D.com or phone (814) cameras. The firm is owned and Snap 3D offers 3-D lenticular 209-0059. operated by 3-D professionals and prints from all of the three and enthusiasts and has a direct link to four lens cameras of the past such

SllgRBOWXU.0 Volume 3 1, Number 1 I First Digital Anaglwh Contest Winners Announced -. hahrokh ~abG,contributor of Sthe article "Golab, the Fragrant Water" in SW Vol. 30 No. 5, has been very busy in the meantime. A fan of all things anaglyphic, he created, on his own, the first international Digital Anaglyph Contest in April of 2005. Via the internet, especially through newsgroups lie photo3d and ISU3D as well as through local clubs, he promoted the idea and listed entry rules and awards. In fact, the contest was free to anyone interested in emailing him in Iran up to two anaglyphic stereos of under 500Kb each. Entries were judged on technique, subject, clarity, depth and overall beauty. 2D-3D conversions, phantograms and software generated images were welcome along with photographic images. "In the cave" by Wojtek Rychlik is one of the top ten winners of the First Intemationc As Mr. Dabiri explained, "This is Digital Anaglyph Contest. an open contest. The goal is to ...... % promote anaglyph art to the profitmaking competition. My to offer additional awards, includ- world. The competition is called only wish is to encourage ing the Loreo company the Dabiri Award. The Dabiri Anaglyph makers to produce per- www,loreo.com (a Loreo 3D Lens in Award is sponsored by me, your fect shots. I believe the anaglyph a Cap set + Loreo Photokit MKII friend and fellow 3D enthusiast, format is the best and easiest way set), Dr. Imre Zsolnai-Nagy Shahrokh Dabiri. This is a non- to spread stereoscopy around the www.conversion3d.fw.h~(two beauti world!" ful cups for the second and third Besides the Dabiri Award (an placed entrants), Mr. Faramarz engraved cup, handmade in Esfe- Ghahremanifar Phantogram han, Iran), other sponsors joined www.stereoscopv.~~m.com(four nice standard stereo card viewers), and Collection I Mr. Allan Silliphant www.anachrome.com (10 pairs of Published Polar Express beautiful anaglyph spectacles). ans of phantograms now have Judges were Dr. Shahrokh Dabiri, Fan entire new book full of them on Schedule Mr. Faramarz Ghahremanifar and to check out. Phantograms fiom mtrak may be facing the threat Mrs. Maryam Ashtarynasab. Nature, Western USA, by Barry Roth- Aof murderous budget cuts this Not only are the top 10 winners stein has just been published with year, but one famous passenger exhibited on the web, but all 135 32 anaglyph phantograms of nat- train has made a big profit. Imax entries from all over the world are ural subjects taken around the and Warner Bros. have announced included on the website western United States. the 11" x 14" that The Polar Express 30, the high- htt~:lldabiriaward2005.uw.hul. book includes an instructional est grossing and most successful The Top Ten Anaglyphs page on how to take phantograms IMAX DMRa (Digital Re-mastering) 1st Place outdoors in natural settings so that release to date, will return to IMAX "St. Jacques"by Alain Hamblennel the final anaglyphs rise off the theaters in November, 2005. (See 2nd place page like objects placed on a book SW Vol. 30 No. 5, page 5.) First "Semois Rock" by Frans Van de Poe 3rd Place laying flat on a table. released on November 10, 2004, "In Debt" by Owen C Western Phantograms Porn Nature, Western the film broke virtually every box- Hon. Mention USA, ISBN 0-9769494-0-7, is pub- office record for a digitally re-mas- "Sky" by Imre Zsolnai-Nagy lished by 3dDigitalPhoto.com tered Hollywood film in IMAX's Hon. Mention (trade name Phantom 3P). It can format, and set the record for the "In the cave" by Wojtek Rychlik highest grossing week in MAX'S "Sharing The Rose" by David W Kesner be ordered from the publisher "Fairlyland Mushrooms" by Barry Rothstei~ (www.3ddinitalphoto.com) or at 35-year history. The IMAX 3D ver- "Winnie the Pooh's Picnic" by Ray Des- Berezin Stereo Photography Prod- sion of The Polar Express has jardins ucts (www.berezin.com/3do for grossed an estimated $45 million "Jupiter"by Ray Zone $36.00. to date. "Homestead"by John A Stuart @@

Vdumo 3 1, Number 1 SIIBIBDr)lDIIU) Ghosts Haunt New Tissue Views

by Iohn Dennis John Stevenson Gallery, 338 W summer 2005. For samples of ombining 19th century 23rd St., New York, NY 10011, Kunin's work, see www.claudiakunin daguerreotypes, "spirit" stereo- (212)-352-0070, running through .com/main frame art.html . Cviews and tissues, Los Angeles photographer Claudia Kunin has created a unique set of images for a New York gallery show. Kunin's own photos are rephotographed as Carl's Clean & Clear Archival Sleeves background reflections in classic Polypropolene Acid Free daguerreotypes, the resulting images converted to 3-D pairs Cdv (2 314 x 4 318) lo0 $8 1000 $70 which are printed and mounted as Snapshot (3 114 x 4 318) 100 $8 1000 $70 a set of tinted tissue views titled Postcard (3 314 x 5 314) 100 $9 1000 $80 "Ghost Stories" 4 x 5 100 $9 1000 $80 The original daguerreotype por- Stereo (3 314 x 7) 100 $10 1000 $90 traits are from the artist's collec- Cabinet (4 318 x 7) 100 $11 1000 $100 tion as well as others'. She uses a 5x7 60mm macro lens on a 35mm 50 $8 200 $30 Nikon and a strong flash in order #10 Cover (4 318 x 9 518) 50 $10 200 $35 to shoot both the daguerreotype Boudoir (5 112 x 8 112) 25 $8 200 $45 and the reflected print at f32 to 8 x 10 25 $9 200 $45 keep both images in focus. Regard- 8 1.2 x 11 20 $9 200 $50 ing the finished tissue views, she 11 x 14 10 $9 100 $55 explains that people find their own 16 x 20 [sealed] 10 $22 100 $140 ghost stories in the images, includ- Total ing things that she never noticed Shipping $3.75 + $1 extra for each $50 over $50 herself. "Most of the people in California residents pay sales tax of 7.38% these photos have been closed and Grand Total forgotten in their cases for over 150 years. There is the sense that they are glad to be seen." Carl Mautz The show in which "Ghost 15472 Shannon Way Stories" is featured is "New Art/ Nevada City, CA 95959 Redefining the Photograph" at the 530-478-1610 Fax 530-478-0466 Order sleeves or books online at www.carlmautz.com

STEREO WORLD Volume 3 1, Number 1 25 Digital Stereo and Moore's Law: The State of the Art in 2005 by john Hart

s the bell rang in the new year, very well because there is no grain inaccuracies that may be intro- I wondered what had changed noise. Even relatively low-resolu- duced in one's cameras, such as A in Digital 3-D since I wrote a tion digital pictures can look snap- rotation or tilt errors, slight sizing review on this subject for the Ohio py. Personally, I still use both disparities arising from unequal Stereo Photographic Society Stere- media. However, in terms of num- zoom lens settings, for example, ogram a couple of years ago. Did bers of images, I now make far and undesirable keystone effects. Moore's Law"', an evolutionary pre- more, per month, with my Sony With film, only small rotation and diction in which computer chips VllV3 twin-camera digital rigs'. tilt can be easily dealt with in the double in the number of transis- Film is wonderful for highly process of mounting stereo slides. tors every 18 months, apply to detailed landscapes, for example, Aligning a pair of left-right images cameras and output devices rele- while digital works very well for and setting the stereo window in vant to stereo photography? Have photo-journalism, sports, and sci- software takes just a few seconds a significant number of people entific types of shooting where the per pair, and is accomplished with- made digital imaging a central part 3-D effect is robust, with less out introducing dust, fingerprints, of their stereoscopic adventures? reliance on subtle textures for its or scratches, the avoidance of What's new and useful for acquir- generation. which requires quite tedious han- ing and displaying 3-D images? Beyond the diversity in how dling of film chips. images look, it is generally agreed Software manipulation of digital Film and Digital that film and digital "handle" pairs circumvents worries about are Different much differently. Digital shooting parallax in mounting jigs, and dig- There has been endless and is faster, cheaper, and particularly ital output eliminates the need to often acrimonious debate on the well suited to the subjects that it is purchase and store heavy and relative merits of film and digital best for (as listed above), where expensive anti-Newton glass slide- imaging in the realm of serious rapid-fire picture taking and quick mounts. The digital pairs can be amateur, or "prosumer", stereo processing in software helps to written onto 100-year-lifetime Azo photography. The argument often capture the moments (with DVDs for archival storage2,sent out seems to focus on pixel counts, emphasis on the plural!). Some to the new high-resolution ink jet line pairs resolved by some fuzzy would argue that the slower pace printer9 to make stereo-cards, or method (or observer), and that of film photography leads to more instantly reformatted for anaglyph, great nebulosity, the "quality" of thought and better compositions- shutterglass, or mirror-assisted the experience. Film does have again suggesting that film is great viewing. Since one can experiment more dynamic range, the ability to for subjects like landscapes, where with various outputs in a what- resolve details simultaneously in there can often be enough time for you-see-is-what-you-get environ- very bright and very dim areas, such ruminations. ment, these programs greatly accel- than most digital cameras. The erate the learning curve. Some pro- exceptions are very expensive Di 'tal Image Processing grams also permit quick batch-pro- digital single lens reflexes (DSLRs) of Btereo Pairs cessing of the hordes of images like the Canon IDS, or specialty What is undisputed, and most that can be obtained in a rapid-fire units that have cooled electronic relevant for attracting newcomers twin-camera shooting session. sensors. into 3-Dl is the advent of free (or Of course, film shooters can also Film is also undeniably better at very inexpensive) stereo image-reg- take advantage of such efficient capturing information in subtle istration programs that permit and easy-to-use software by scan- textures with low contrast. Digital quick and accurate manipulation ning their slides or negatives. Flat- images from prosumer cameras, on of left-right pairs, including easy bed scanners do a decent job on the other hand, retain edge detail adjustments to remove common 35mm chips, depending on what

26 Volume 31, Number 1 !?lEREOWDRED you want to do with the results. If cards using a state-of-the-art digital sures. In summary, all small-sensor you intend to make large prints, printer (see Display Systems below), (111.8, 213.0) digital cameras work archive your films onto digital a 600 dpi, or denser, print-stream best in bright light with moderate media (which I have done with all is required in order to get opti- to fast shutter speeds, and when my 1970s era Kodachromes, some mum results. To meet this specifi- set at the lowest IS0 possible! To of which are going magenta), or cation, 6 or 7 total megapixels per get better low-light performance, output crops to projectors or film leftlright side are needed, though a one needs to use a camera with a recorders, it is better to use a dedi- good quality 5 megapixel shot will larger sensor of the so-called 413, cated film scanner which will cap- be OK if you don't have to crop a APS, or Full Frame variety, where ture more detail (even resolving lot. When using digital projectors instead of 3 or 4 micron-wide the film grain) and have enough (also discussed below), which will photo sites, there are 6 - 9 micron dynamic range to deal with high probably max out at 2 megapixels detectors. Such large-size sensors contrast slides'. Nikon and Minolta (true HDTV) for each of 3 colors, 5 only appear in DSLR cameras. make excellent 4000 - 5400 dpi megapixels or more in the source These are bigger, heavier, and more scanners. The increase in cost over image is recommended. This still expensive than consumer cameras a decent flat-bed is justified if one allows for some cropping room such as those listed above. Howev- has a lot of film to digitize. and takes into account the er, street prices of less than $700 In 2003 only a couple of stereo acknowledged factor-of-two Bayer each have recently appeared for registration programs were avail- color-grid multiplier, where the good 6 megapixel APS-size-sensor able, costing $100 or so. These effective resolution of RGGB color cameras (like the Canon Rebel, were clumsy and not very accurate. grid sensor is about '12 its stated Pentax *stDS, Nikon D70). The For example, one could only cor- pixel count. To make prints larger arrival of the 8 megapixel Canon rect for rotation errors with much- than 8"xlO" for use with mirror 350D, and announcements of too-big l-degree steps. Now, fortu- viewers, or in big anaglyphs, 8 forthcoming Nikon "entry-level" nately, there are several great tools megapixels (per side) will be best. DSLRs signifies falling prices and available. The free-ware program For web publishing, 2 or 3 higher quality. For clean silky- Stereophoto Maker' (or SPM) stands megapixels are probably sufficient. smooth images, especially with out, as it has an easy to use inter- Unfortunately, not all megapix- low light and mid-ISO, the DSLR is face, intuitive controls, strong els are created equal. Cameras like the best way to go. For bright- batch processing facilities, and the Sony Vl, V3, F828, P92-P200, light, low IS0 shooting, good pro- enough sophisticated features, like Canon GSlG6, etc, suffer varying sumer cameras come close in automatic stereo-card output, but significant degrees of electron- image quality. adjustable anaglyph settings, and ic noise arising from the small There still are not any commer- aids for phantogram generation, to individual pixel size that accompa- cial major-brand digital twin-lens keep even the more advanced user nies the packing of so many sites stereo cameras. The market for happy. Other good programs onto a small, cost-effective sensor. ordinary digital cameras is huge, include the free-ware Anabuilder" Such noise is accentuated by run- now far outstripping film-camera and the inexpensive Pokescope' ning these cameras at a high IS0 sales. Canon expects to sell almost suite, while specialized codes like ("film speed") setting, andlor mak- 2 million DSLRs in 2005, dominat- CombineZRand 3DPhotoProq help ing longer ('/is and slower) expo- ed by the 300D and 350D1".Com- with more complex and non-standard procedures involved with ...... such things as image-stack com- Fig. I. An inverted-mount SonyV3 - LANC system. The controller provides buttons for positing and lenticular-print inter- power-upheset and power-down, zoom, pre-focus/set-exposure, trigger, and time- polations. Programs like SPM are lapse. The Z-bar should allow for trimming (small tilt correction of one camera, usual- great for managing and registering ly the normally upright one) and provide a range of stereo bases while allowing image pairs, and for outputting a access to the cameras' ports, batteries, and storage cards. variety of stereo formats. None of the codes listed here are very good at image processing (sharpening, cloning, healing, burning, dodg- ing, color correcting, etc.). One also needs a good program like PaintShopPro or Photoshop in the digital toolbox. Acquisition Systems Digital cameras have indeed trended along the lines of Moore's law. In 2003 good prosumer still cameras sported 3 to 4 Megapixels. Now the norm is 5 to 8. How many does one need? That depends on what you want to output. To make 3.5" (per-side) stereo-

mWDR.ZD Volume 3 7, Number 1 27 ...... ' .A 9; -. Fig. 2. A modern ver- aon of the Tri-Delt splitter on a Sony P series consumer camera, here the P92, as produced by Larry Heyda. The attached viewer presents a reconstructed stereo image off the camera's LCD panel. Stereo courtesy of Ben Melton.

pared to the much smaller estimat- have drifted apart by up to '130 of a lead rises to '/.{oo,the chance of ed potential for 3-D use, it is second, a lag that is unsuitable for getting a shot with a '130 sync dis- unlikely the big companies will most shots other than still-lifes. So, crepancy rises to 10(X1/oThe point sink development funds and either hard-wiring or remote-port is that with the LANC you know assembly line startup costs into triggering can work, but you must where you stand and can take cor- producing a true twin-lens stereo power down and restart your cam- rective (restart) actions as required. still camera like the Realist or RBT. eras every few minutes by using The LANC systemI4is also better Pentax did market a "3-D still cam- the remote port, or by having the than a hard-wire systemI3,because era" (e.g. the Optio 750Z), but all it power-up button switches parallel- no warranty-voiding camera modi- does is facilitate two-shot pairs wired too. There is also a small fications are required! using the "cha-cha" method by probability of a way-out-of-sync Most DSLRs are "shooter-priori- indicating what to do on its LCD shot, even if the cameras are start- ty" devices. This means that the panel. So far, there have been two ed together. I call this error type-I". shutter button or the remote-port- successful approaches to digital There is also a finite probability pulse interrupts the camera's CPU 3-D acquisition: a) creating twin- that even if you trigger the cam- directly. Thus DSLRs do not seem camera setups that are fired togeth- eras' power-up lines at the same to be subject to the same phase er using parallel-wired shutter but- moment, they won't come up drift that leads to type-I and type-I1 tons1

28 Volume 3 1, Number 1 S'lEREoWY,RLD the slave's shutter is open-leading aration of about 3.2 inches in the megapixels per side. One restric- to a blank image in the slave. It horizontally-inverted (or so-called tion is that because the adapter is would be better if the master cam- Z-bracket) version pictured here. over the lens, and the images are era's flash could be triggered in the Big DSLRs have relatively large 4.5 half-frame (per side), the effective middle of the shutter period, but inch+ minimum bases, unless focal length is about doubled. that's not how it is. Methods to cumbersome beamsplitters are Most of the less expensive pro- deal with this problem have been used. Large lens separations may sumer digital cameras start out at perfected by Rob Crockett for the be suitable for some types of pho- around 38mm (35mm film equiva- LANC/Sony system and for DSLRsl'. tography, but are problematic for lent). Thus the tri-delt field of view The gist of the idea is that the close-ups of people and other will be roughly equivalent to a LANC controller, or in the case of a "near" subjects. In these instances 70mm lens on a traditional 35mm DSLR (or film SLR) an auxiliary it may be necessary to mount the camera. This may work well in "Magic Flash" circuit triggers the cameras base-to-base, which can be many situations, but perhaps not external flash on whichever shut- very effective for producing por- all. The tri-delt adapter probably ter gate or hot-shoe pulse is the trait-mode pairs. will not function effectively on an latest in time. This eliminates the The alternative. that avoids svn- ultra-wide (e.g. 16mm or 20mm in problem of blank frames that chronization, flash, and most min- 35mm equivalent) lens. would otherwise occur when the imum-base issues involves the use I have pointed out things to master's shutter precedes the of a beamsplitter or a dual axis look out for, but do not mean to slave's. Provided the degree of syn- twin-lens on a single digital cam- paint a bleak picture. Digital twins chronization of the two shutters is era. Until digital cameras got up to and single splitter-rigs work great smaller than the shutter opening 7+ megapixels, such applications most of the time. You can use real- time (by some factor between '12 were problematic because of the time preview to adjust your shots and I), the use of flash with digital requirement of having 3+ (which is universally better than twins is highly reliable. megapixels per side to be consid- the shoot-then-process film sce- Beyond synchronization difficul- ered useful. I have seen some very nario). You can take thousands, ties, digital twin-cameras, like all good results from Larry Heyda's tri- even tens of thousands of pairs per twins, can have stereo-base issues. delt system1'. The others (Pentax, year, and process them all in a few It is most desirable that the base be Loreo") produce tall and narrow eveningsIR.You can throw away adjustable, but the minimum base images that are good for web-pubs, the duds and end up with some can be too large, depending on but not for other displays like dual spectacular shots. This is the para- how the cameras are mounted. monitors or projection where the digm of digital 3-D. Certain cameras, like a parallel- intrinsic aspect ratio is horizontal wired Sony P200 have a nice short 4:3 or 16:9. The tri-delt produces Display Systems 2 inch minimum base. These also an odd layout on the sensor, but Here is where Moore's Law has have a shutter sync of about 0.01 SPM" has a facility to immediately failed. Perhaps this is no surprise, seconds or better in the parallel rectify it into a parallel pair in a since display has always been the wired configuration due to the fast single step. A little sensor space is Achilles Heel of 3-D photography. response time of the camera. wasted by blur between the pairs Unfortunately the digital revolu- Unfortunately this camera is a bit making up the images, but not tion has not yet come up with a weak on important photographic much. Sync and flash are guaran- good solution to the viewing features like aperture selection and teed. he images appear quite "problem", as we still need aids priority modes. The LANC Sony- sharp and of good quality for most and tricks to get it done. Here is VllV3 twins have a minimum sep- applications consistent with 3 - 4 where we seem to stand: A very good single-person active Fig. 3. An example of near-perfect sync with the LANC SonyVI rig (Vls and V3s have display is with two monitors and a similar performance). The dog has jumped into the water from right to left. The close- single mirror". There are no up nature of the picture, via a telephoto setting, magnifies the action, yet all the fly- ghosts, no light losses, no distor- inq water is accurately rendered in stereo. Shots like this are easiest to make with the tions, and no glasses. An incredibly multi-shot "burst mode", where 3 to 8 full-resolution pairs are captured in a couple of seconds. This d is obv~ouslynot j - hn m;...." the kind of thrng ! ' , ,:. .,,,.:. that is practical 1~4,!{.,' (or even feasr- I , ,.~,.-,,~,t,~

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STEREOWORLD Volume 31, Number 1 29 ... ',..,'.,'.."..' ...... 1 Fig. 4. The author sits at his mirror-view sta- tion, looking at a sequence of canyon pictures formatted I automatically by ~PM for mirror viewing. You - can even zoom and ' pan around in the images! wide field of view is possible (up to LCD monitors have the requisite 45 it's not quite like viewing original 90 degrees!), so viewing at the degree polarization. transparencies. Film recorders are ortho-point is easily attained. Autostereo lenticular and paral- also useful for adding a few digital There is a sweet spot, i.e. a particu- lax barrier monitorsz2are available. images, like titles or photo- lar position that offers the best My own experience and that of shopped pairs, to an otherwise viewing, but it's an inch or two others I trust is that these are dim, analog slide show. The down-side across, very forgiving vertically, lacking in resolution (unless you is that this is a disappearing tech- independent of reasonable head have a lot of money), and have a nology, and the long-term avail- tilt, and is easily found. The one- limited and hard to acquire sweet ability of parts, service, and soft- side-flipped dual-display single- spot. ware may become problematic. mirror mode is supported by SPM The good static display uses digi- The upside is that because of this, (for both stills and video). One can tal prints with mirrors. Variations the equipment is relatively inex- present sequences of pairs in this with one (my method, see first pensive. mode and even zoom and pan the item above), two (Wheatstone's images. original, or James Watt's modern Projection Another good one or two-person version), or four (from David Lee) Digital projection using polar- display is with shutter-glasses and front surface mirrors allow viewing ized beams (one for each eye) has a single fast-refresh CRT monitorzn. of left-right pairs. Excellent the implicit advantages over tradi- This method uses special electronic anaglyph prints can also be rela- tional slide projection of enhanced liquid crystal glasses, has minor tively easily made in SPM, Photo- brightness and truer color, motion ghosting and large light loss shop, or Anabuilder, among many effects (including video), no dust (approaching 3 stops), but has no options. These are usually viewed or dirt, no jams, accurate and critical head position require- with red-cyan glasses and can be repeatable corner-to-corner sharp- ments. The technology has been a very effective, but the degree of ness, no slide-tray limits on num- little spotty in both software and success can depend on the color bers, no slide-fading over time, and hardware, but NVidia graphics content of the original pair. All easier setup (using shift & zoom cards with stereo output ports for such prints can be made at very lenses). Rut Mr. Moore hasn't shutter-glasses are supported high quality by a modern archival helped much here yet either. directly by SPM. Patience and a printer like the Epson R800Z3. Though resolution has doubled in facility with installing and manag- A few digital shooters make real terms of total pixels, from an XGA ing driver software is recommend- slides using a film recorder2' and standard in 2003 to the widespread ed. A dream is to have shutterglass- then use standard hand-viewing or availability of SXGA+ units in 2005, es work with large (e.g. 45 or 60 slide projection equipment for the this has not come without a siz- inch diagonal) panel displays. Plas- presentation. I have seen output able cost hit. There have, however, ma and LCD panels are far to slow from a ProPallette 8000 that looks been great improvements in terms to be effective, but watch out for great for computer graphics (cgi) of image tonality and dynamic the SEDsi"coming out this year. and remarkably good for those range across the board. Prices are They may just be fast enough. hard-to-do low contrast textural falling slowly to the point where Another decent single-person images. Such slides are probably you can get a very good (new) XGA display uses dual monitors and a better than "shoot your (1024x768) projector for a street beamsplitter, along with polarized monit~r"'~,which only works well price of about $100O2: But high- glasses". Only LCD computer dis- if you have an expensive end digital projection is still an plays having 45 degree intrinsic 2048x1556 CRT display. It has been expensive proposition, especially polarization work well here. Minor demonstrated that film recorder since one needs two units, one for ghosts and moderate light losses output can reliably be cut and each side. Here are some observa- arise, but there is a wide sweet placed directly into pin registered tions: spot. Availability and costs may be slide mounts-thus avoiding the How much light do you need? a problem, but you can build one micro manipulations that in part The traditional Ektagraphic Slide yourself with large beamsplitters make normal slide preparation so Projector with an f3.5 lens puts out from Precision Glass Optics or tedious. For hand-viewing, film about 1200 lumensz7.This is just other suppliers. Beware that not all recorder output is quite good, but an intensity measure and is here- after denoted as L. This level of uninspiring. A 2500 lumen digital were sitting 3 or more screen output is typical of other film pro- projector will be good at up to 10 widths back. Of course some prefer jectors like RBT and Brackett too, feet or so, depending on room to sit closer than 3X. But for home which use similar bulbs and con- darkening. To get a real slap-in- or amateur shows I think that densers and lenses. So, is a 2500L the-face type projection onto a fif- about 2X is a reasonable first-row digital projector going to blow this teen foot wide screen with passive distance. If you make the seating away? Yes and no. First, digital polarization, one needs a 5000 - closer, it gets real crowded up near projector output claims are usually 6000 lumen unit. The sun-similar the screen and extreme viewing- based on pure white in the graph- color temperature helps, as well as angle effects (like non-uniform ics modes. This is no good for the eye's logarithmic response, so lighting) arise for anyone more images because you get horrible that in a really dark room 2500 than a screen-width (or less) off blown-out highlights. One must lumens of arc-light can look OK on the central axis. So, it seems to me first set the digital projector up for a 15 foot wide high-gain screen, that SXGA+ (1400x1050) is quite "film-like" projection (sometimes and will certainly be jazzier than a ideal for digital projection. Because easy, sometimes intricate, and for slide projector. the cost of current digital projec- some projectors you can't!). After What about resolution? Unfortu- tors goes up incredibly fast with doing this the effective output is nately, this takes us back to the resolution, the small linear more like 2/3 to "14 of the adver- subtle issues of film vs. digital. decrease in sitting distance you get tised value. Thus 2500L is really Remember, digital does well with by going to UXGA (currently $30K only about 1800L. Well that's still edges and is snappy bright. Slides each) or QXGA (currently $150K 50%)brighter than the dusty and do well with subtle textures and each) is certainly not worth it. This noisy old Ektagraphic isn't it? have slightly better dynamic range is not to say the XGA projection is Well yes, but because the eye (although the new projectors with bad, it's just all a matter of degree response is logarithmic, '12 a stop is around 3000:l contrast ratios and subject matter. Some slides not that dramatic. What is notice- come quite close). Putting all else demand detail (like landscapes, for able, however, is the 6500+ Kelvin aside, how far away from a digital example), others thrive on action color temperature of the digital projection do you have to be and effect and may not be on the projector's arc lamp. Blues are deep before it looks smooth and clean? screen long enough for any detail and whites are white. The slide Sit too close and you can see arti- issues to become apparent. projector uses a 3500K halogen facts or even the dreaded screen- Mr. Moore hasn't really impact- lamp, and colors are yellowish and door-effect where pixel borders ed the projector market yet muddy in comparison. The digital come into view. Back away from because the technologies are com- projector definitely has more color- the screen and things appear better plex (arc lamps, fancy X-cube snap!! because human eye acuity is limit- beamsplitters and dichroic mir- So, how many lumens do you ed and one loses the ability to dis- rors), and there has been little need to mimic a movie theater? I cern the defects. I find that an XGA competition for the DLPZ9(light measured a just-built AMC theater's (1024 pixels wide) projection looks mirror, by Texas Instrument) and pure-white screen during a preview really good if I stand, conservative- LCD" (liquid crystal panel display, with a digital spot-meter and con- ly, about 17 or 18 feet back from a primarily by Epson and Sanyo) cluded that the lumens required to 6 foot wide screen. Note that our technologies. However, Canon, the give a really good "theatrical" response resolution, as opposed to premiere manufacturer of digital experience is: L = 15 * screen brightness, is pretty linear. So a cameras, has just come out with a square feet * polarization loss 1400 wide (SXGA+) projection will new and cheaper technology that /(screen gain * the 0.7 digital pro- look really good at 12 to 13 feet uses reflective CMOS panels". jector output adjustment for film- (conservatively), 1600x1200 These have great color. Polarization Ike projection). Polarization loss is (UXGA) projection will be great at is a pr~blem'~,but should the new a couple stops (so use a factor of 10+ feet, and 2048 wide QXGA (or Canon Realis SX50" projector take 4), and screen gain (for a good sil- 1920 wide HDTV) will look neat at off, it will force the other compa- ver screen like a Stewart) is 2 to 3 8.5 feet. nies to lower prices and increase (take 2.5, for near-axis viewing)2R. So, it all comes down to where performance! Another approach is Thus, to equal the movies in pas- do you sit? At the 2004 NSA con- to use the polarized beams in LCD sive polarized projection, one vention, for example, they had a projectors along with retarders and needs a projector beam with L = 35 12 foot screen, and the slide pro- polarization shifters in order to * (screen square feet). On a 6 foot jectors were about 65 feet back. boost the light output by cutting wide "home-screen" (27 square People sat anywhere from the pro- polarizer losses by about 1 full feet at 4:3 aspect ratio), L = 1000. jection stand up to about 15 feet stop". Even though these fancy For (9,12,15) foot screen-widths we (estimated) away from the 12 foot retarder-polarizers cost about get (2000, 3700, 6000) ANSI screen. Thus, the average viewing $1200 per pair, that is still a lot lumens, respectively. You can see distance in units of screen-width less money than going to an that 1200 lumen slide projection was 3.2! Thus, for many people the expensive dual-lamp projector in onto a 15 foot screen is about 2 XGA digital projection looked order to get desired light levels. On stops lower than a good movie (detail-wise) just as good as the the other hand, I am not sure how theater, and through polarized 35mm slides because more than the image quality of a good LCD glasses it will look pretty weak and half the people (in a full house) will stand up to that from a 2500:l

SZ7BEOWDRLD Volume 3 1, Number 1 31 """"".. ".."...... Fig. 5. Digital cameras excel in photography that requires lots of images in sequence. Such situations arise in sports photography, for example, where "burst mode" shooting can capture events it $ something like 3 to 8 :; frames per second, depending on the cam- .! era system. Sequences can also be used to generate data for software packages that enhance depth-of-field contrast DLP. In the long term it is ing innovations in software and by combining many "slices" into a unlikely there will ever be any refining practical and effective single in-focus picture. The image cost-effective projectors with hardware. Their efforts are most above is a composite of a 50-image greater than HD or UXGA resolu- appreciated. stack of a crystal ofAscorbic Acid, tion, since HDTV is where the mar- John Hart is Professor of Atmos- photographed at a magnification ket is. Fortunately, the above argu- pheric and Oceanic Sciences at the (stereo-card print-size to object-size) ments suggest that such are unnec- University of Colorado, Boulder, of about 40 to 7, while varying the 7 0 micron thick focal plane across [email protected] essary for home or club use. . (A preliminary the half millimeter thick sample. version of this particular article The Future? appeared in the Ohio Stereo Photo,gra- In the two years since 2003, we phy Society Stereogram in April have seen digital 3-D stage a sort 2005.) of mini-revolution. Rob Crockett has sold over 200 LANC con- References troller~'~for digital twin cameras, I www.crystalcanyons.net/Pages/Tech- and Matsuji Suto's SPM site has Notes/SonyVlTwin.shtm recorded over 30,000 enquiries. 2 www.wpoint.co.uk/pdf/100~year~DVDR People are taking up the sport! .pdf Venues for digital 3-D presenta- 3 www.crystalcanyons.net/Pages/TechNotes/ tion, primarily on the web, have R8OOPrinter.shtm multipliedi4,and digital projection 4 www.crystalcanyons.net/Pages/TechNotesl has become standard at national ScannerResolution.shtm conventions and many stereo club 5 http://stereo.jpn.org/eng/stphmkr/ meetings. 6 http://anabuilder.free.fr/welcomeEN.html What's in the future? High Defi- 7 www.pokescope.com nition 3-D video was not reviewed 8 www.hadleyweb.pwp.blueyonder.co.uk/ here, but is coming. Presentation CZ4Docs/combinez-4.htm systems3' and software4"areavail- 9 www.3dphotopro.com/ able for video stereo. There will be 10 www.digitalcamerainfo.comlcontentl more acceptance and use of digital Canon-Optimistic-Others-Rrace-for-2005- projection for motion-effect slide Digital-Camera-Sales.htm shows. There will be increased use 11 www.loreo.com/pages/products/loreo~ of digital acquisition, processing, 3dcap.html 12 www.crystalcanyons.net/Pages/ and presentation in new areas such TechNotes/CP5000.shtm as photo microscopy and extreme 13 www.crystalcanyons.net/Pages/ macro-photography where, as illus- TechNotes/SonyDSCU60Twin.shtm trated in figure 5, depth of field 14 www.ledametrix.com/lancshep/index problems can be circumvented dig- .html itallyi5.But most importantly, digi- 15 www.crystalcanyons.net/Pages/ tal represents a new and simple TechNotes/Canon300D.shtm paradigm that enables young 16 www.ledametrix.com/magicflash/index enthusiasts to easily get involved .html in and learn about stereo photog- 17 www.freewebs.com/larryeda/ raphy. For this reason alone digital 18 www.crystalcanyons.net/Pages/ stereo should be supported and 3DGuidebook/Digital3D.~htm encouraged, in spite of its limita- 19 www.crystalcanyons.net/Pages/ tions, which will only erode with TechNotes/DualMonitorDigitalViewing time. Many people are out there .shtm working towards this goal by mak-

32 Volume 3 1, Number 1 SIEREOTVDJUD Create- - Stereo - - - Blazing------Fast -- ,... ,. ,, Cmd. 6: To widen the canvas standard size instead, then you Choose the Horizontal Type Tool size, select Image / Canvas Size: would un-check the Relative box and type the copyright notice, e.g., Click in the anchor box which and enter your standard card O Your Name, right in the middle contains an arrow pointing to the height. Note: I sometimes add the of the image (leave space at top right-the box will go blank and title to the composite image and and bottom). Use about 8 or 9 the arrows will change to show have created an action (not shown point type. You may have to go that the canvas will be extended to here) to help with that process. into your word processor to find a the left. That way the title never has to be copyright symbol, or you can sim- The Relative box must NOT have retyped. ply type the word "Copyright". a check mark in it. If it does, un- Cmd. 10: One final time, select However, do not use "(c)," because check it. Image / Canvas Size. For our exam- it is not legally valid. Put the date Change the Width to 6.05 inch- ple, the canvas will be sized to 7 in if you choose, but it's not es and click on "OK." The extra .05 inches wide, similar to a stereo required. inches is the width of the separa- card. Exit from the Horizontal Type tion bar that will be created Un-check the Relative box. Tool. between the images. Just so you Change the Width to 7 inches Select Edit / Transform / Rotate can clearly see what you'll be and click on "OK." This adds about 90- CCW. doing next, select View / Fit on 112 inch of space to each side of Select the Crop Tool and crop Screen. (The zoom command does- the stereo pair. around the copyright notice pretty n't record and you can do it when- Stop Recording: To end record- close. ever you like.) ing the action: Select File / Save As and save the Cmd. 7: Select the Move Tool. Click on the Stop playing notice with a name like "Copy- Hold down the Shift key and use /recording (square) button in the rightBlack300V" (300ppi, "V" for the Move Tool to drag Layer 1 to actions palette. vertical). Leave the original on the the left until it "snaps" into place Discard (Close without saving) screen. against the left edge of the canvas the image created while you exe- Choose the Horizontal Type Tool (you did turn on the "snap to" cuted the above commands. Don't again. function, didn't you?). A separa- worry, the image will be recreated In the options bar at the top will tion bar .05 inches wide will be in seconds when you play the be a small black square--click in it. visible between the images. Now, action in the next step. The color picker will pop up. let's finish the canvas size. Playing the Action: To use the Change the color to white Cmd. 8: To change the height of newly recorded action, start with a (FFFFFF). The copyright notice will the canvas, select Image / Canvas blank work space: turn white and almost seem to dis- Size: Load the composite file again. appear, but it's still there, just near- Click in the bottom, center box In the actions palette, scroll to ly invisible against the transparent with the down pointing arrow. It the title line "Makestereo" and background. will go blank, indicating that the highlight it. Exit the Horizontal Type Tool. canvas will be expanded upward. Click on the Play selection (tri- Save the white copyright notice Put a check mark in the Relative angle) button. The commands will with a name like "Copyright- box - the Width and Height will be replayed on the current file and, White300V." change to 0 (zero). in a flash, you'll have a stereo card. Close the copyright notice Set the units to inches, if they image. aren't already. Creating a Copyright Notice Now, whatever color you decide Put .1 (that's 1110th inch) in the The automatic insertion of a to make your backgrounds, you'll Height box and click on "OK." copyright notice is a great time have a copyright notice in a con- This will leave 1110th of an inch saver. Here is how to make a suit- trasting color ready to insert. border above the photos. able notice. It will be prepared to Cmd. 9: To change the canvas fit vertically at the right side of the Adding a Copyright Notice height to its final size, select Image image to avoid visual conflicts. You Now that you have a copyright / Canvas Size: might want to create two-one in notice, it would be great if you Click in the top, center anchor black type and one in white type. could add it automatically to your box with the up pointing arrow to Open a new canvas, File / New. stereo cards. We'll do that. The expand the canvas size downward. In the dialog box, set the Con- parallel pair image you just made The Relative box is still checked. tents to Transparent. should still be onscreen in the Change the Height to .6 inches Set the Mode to RGB. work area. If not, load a composite and click on "OK." This will add Set the Size to 2 inches by 2 image and create one to work on. .6/lOths of an inch of white space inches. Click on the Create new action to the bottom of the canvas, where Set the Resolution to 300 (or to icon in the actions palette. Name you can add a title later. Option: If match the resolution you are using the new action "AddCopyright- you want to make your cards a for your cards). Black." Press Record and then execute the following commands.

S7EREOWDRCD Volume 3 1, Number 1 33 Cmd. 1: Opening the copyright ple is for polychromatic (color) Image. The background is now notice image: anaglyphs. installed in the new image. Select File / Open. Load a composite image into the Cmd. 7: Click to open the chan- In the files window that appears, Photoshop work area. nels palette and select the Red locate your previously prepared Make sure that Layer 1 is high- channel. "CopyrightBlack300V" image, and lighted in the layers palette. Cmd. 8: Click on the window load it into the work area. Create a new action as described containing the original composite Cmd. 2: Click on Select / All. earlier. Name the action file to make it the active window Cmd. 3: Select Edit / Copy to "MakeAnaglyphColor." so we can acquire a copy of Layer place the copyright notice into the Click on Record in the dialog 1. clipboard. box. Cmd. 9: Open the layers palette Cmd. 4: Select File / Close to Cmd. 1: In the layers palette, and click on Layer 1 to highlight remove the original copyright highlight the Background Layer. it. notice from the work area. Cmd. 2: Click on the Select tab Cmd. 10: Click to open the Cmd. 5: Select Edit / Paste to and choose All. channels palette and highlight the add the copyright notice to your Cmd. 3: Click on the Edit tab Red channel. image. It will appear in the center and choose Copy. Cmd. 11: Select Edit / Copy. This and may be hard to spot. Cmd. 4: Click on the Stop play- command loads Layer 1 into the Cmd. 16: Choose the Move Tool. inglrecording (square) button in clipboard. Sometimes you have to left-click the actions palette. This command Cmd. 12: Select File / Close to once in the image area to activate will be inserted instead of record- get the composite original safely the arrow keys. Use the right arrow ed. This is done with the recorder out of the way. key to move the copyright notice off. The effect of doing it this way Cmd. 13: Select Edit / Paste to to the right until it is centered in is to leave all the options blank. install Layer 1 into the new image. the white space along the right Consequently, the action will stop If this sequence confuses you-it edge. (Shift-arrow goes faster.) Use at the inserted command and ask did me-then here's what we did: the up/down arrow keys, as need- for input. we replaced the red channel of the ed, for placement. In the upper right corner of the right view image with the red Stop the Recorder and Test the actions palette is a tiny triangle in channel from the left view image. Action: In the manner previously a circle-click on it. All that remains of the right image described, stop the recorder, clear From the drop down menu, click are the blue and green channels the work area and load a compos- on Insert Menu Item. (cyan) and the red channel con- ite image. To test the new action, A dialog box will appear. In tains the right image. Clear? first play the Makestereo action to response, select File / New. Noth- Cmd. 14: In the channels palette create a stereo card, and then play ing visible will happen. Click on select the RGB channel. The the AddCopyrightBlack action. "OK" in the dialog box. By insert- anaglyph should now appear. This ing command 4 in this manner would be a good time to get out a Adding a Filename you will have the option to pro- pair of Red-left/Cyan-right glasses to the 3-D Card vide a name for the new file each and verify that everything is ok. I like to add the image filename time you run this action. Plus, the Cmd. 15: (Optional) Here you to the completed stereogram. new file will also automatically could choose to automatically Select the Horizontal Type Tool pick up the size of the composite resize the image to a standard final and click at any convenient blank image with which you are work- size. Select Image / Size, change area. ing. the Width, Height, and Resolution Type the filename, file number, In order for the progress of your to values which suite your needs, or your index number in 9 or 10 image on-screen to match what we and click "OK." point type. Exit the Horizontal are about to record, again select Stop Recording and Test the 'Type Tool. File / New. Action: To end recording the Click on Edit / Transform / In the dialog box that appears, action, click on the Stop Rotate 90" CCW. set the Contents to Background playinglrecording (square) button Select the Move Tool and use the Color. in the actions palette. Test as previ- arrow keys to move the now verti- Set the Mode to RGB. ously explained. The action will cal file number into position at the Click "OK" and a new window pause to let you rename the new right edge of the image right above named "Untitled-1" will appear. file. Rename it or just click "OK"- the copyright notice, as if it were To resume recording, make sure you can always name it later if you on the same line of type. If there is the last command in the decide to save it. not enough room on the right, MakeAnaglyphColor action list place it along the left edge. Makin Cross-eyed (Make) is highlighted. Stereo airs Making an Anaglyph Turn the actions recorder back B on by clicking on the Begin record- The "Make Stereo" action can be Using your handy composite ing (round) button. used to make cross-eyed stereo image, you can just as easily auto- Execute the following steps: pairs, but the two layers in the mate a procedure to instantly cre- Cmd. 5: Select Edit / Paste. composite image must first be ate anaglyphic images. The exam- Cmd. 6: Select Layer / Flatten swapped . . . left as Background

~lume3 1, Number 1 ~REOWORLD and right as Layer 1. Here is a Notice the check marks beside you forget to hold down "Alt" small routine to quickly swap the each command in an action. If the ("Option", in the Mac) while you layers back and forth and rename check mark is removed, that com- drag, the commands will be them so the MakeStereo action will mand will not execute when the moved, not copied, from the function properly. This action is set is played. For example, if there source action. also handy if, for some reason is a Reset Swatches command in a (brain fade perhaps), you have cre- file (makes background white) and The Batch Function ated the composite with the layers you want to put a green mat If all that isn't enough, the in reversed order. around the stereo pair, simply un- Batch function (File / Automate / Load a composite image into the check that command in the action Batch) can be used in conjunction Photoshop work area. and your custom background color with an action to perform that Make sure that Layer 1 is high- will be used instead of white. So action on every file in a folder, lighted in the layers palette. that it will be easy to find and turn automatically. It's simple to use Create a new action as described offton, I now make the Reset and I recommend you check it out. earlier. Name the action Swatches command one of the first It is especially valuable if you have "SwapErRenameLayers." Click on commands in a set. You can move a large number of photographs Record. it by simply dragging and drop- which you want to convert to Cmd. 1: In the layers palette, ping it into the order you want. stereo cards or that all need the select the Background layer to A new command can be inserted same adjustment (of almost any highlight it. by highlighting the command it kind). Cmd. 2: Select Layer /Duplicate will follow, clicking on the Record In Closing Layer and press OK to accept the action button, executing the com- These are just a few of the many name "Background copy" mand, and clicking the Stop play- possibilities provided by the Cmd. 3: In the layers palette, inglrecording button. actions feature. It won't take you turn off the eyeball beside the You can group all of your long to find many more applica- Background copy. actions in a folder of their own tions. You'll soon be using it and Cmd. 4: In the layers palette, (called a set). the batch function to automate select Layer 1 so it is highlighted. Actions can be saved to a file any repetitive sequence of com- Cmd. 5: Select Layer / Merge vis- and moved to another computer. mands, from wholesale resizing of ible. Any command in an action can images to adjusting contrast. Cmd. 6: In the layers palette, be edited by double-clicking on it, I save computer space by no select the Background copy layer. but an image file must be open for longer keeping copies of complet- Cmd. 7: In the layers palette, that to work. ed stereograms or anaglyphs double click on the label "Rack- A "Stop" can be inserted at any because I can create one immedi- ground copy." Type over the name point in an action. Highlight the ately from the composite image. to rename the Background copy to command after which you want Another space saving approach "Layer 1" and press Enter (Return, the stop to occur. Click on the tiny that I use is to separate the com- on the Mac). triangle in the actions palette to posite image into two images, Stop Recording and Test the get extra options, and click on named like the composite, but Action: To end recording the Insert stop. Stops can greatly ending in "L" or "R"; for example, action, click on the Stop increase the versatility of any P1045&46L and P1045&46R. I playinglrecording (square) button action by allowing you to stop, then save them as slightly com- in the actions palette. Discard the perform a custom action, and then pressed JPEG files, cutting disk onscreen image, load a composite continuing by clicking the Play space usage drastically. When I image and then play the selection button. They are also need to use them, I just load both SwapsTRenameLayers action. After great for testing and locating files onto the screen, drag the left it runs, play the MakeStereo action errors. one into the right to reassemble to produce a cross-eyed stereo card. Any command or group of com- them into a composite (or I use a Caution: Never save a composite mands in an action can be copied small action that will do it auto- file that has its layers swapped or into another action. To do this, matically). Then I run the you will lose track of which image highlight all the commands you MakeStereo action, as usual. ee is left or right. wish to move, but not the title The completed action can be line. Highlighting is done by Ctrl- applied to any composite image to Clicking the first and the last com- reverse the layers back and forth, mand - they will all light up as allowing you to use MakeStereo being selected. action to create either parallel or Alt-drag (Option-drag, for the cross-eyed pairs at will, or just to Mac) the highlighted commands correct brain fade errors. to where a heavier line appears under the name bar of your new Additional Functions action, or under the command line Any command can be removed where you want them added, and from an action by simply dragging release the mouse button. Now the it into the trashcan icon in the commands are in both actions. If actions palette.

SIEREOWDlUD Volume 3 1, Number 1 35 The- - - Societv 4 Zeiss Stereo Cine (Continued mrn page (Contirrrred from page 11) importance, past or present) spon- Acknowledgements sored by Bill Walton. The author would like to express Rest Hyper: The Infinity Award spon- his gratitude to all who supported sored by Team Thompson his research for this article, espe- Rest Architecture: The Frank Lloyd cially Dr. Klaus-Peter Anders, Uwe Wright Award sponsored by Jack E. H. Breker, Ernst Hirsch, Dr. Willy Cavender Pfaff, M. Romboy, Hans-Jorg The Rest Humor Award: sponsored by Mary Ann Rhoda Schonherr and Walter Selle. Rest Presentation: Sponsored by Ray References Zone (Rased on overall presentation, Nadler, H.: Der Erhalt der Ruine der front and back.) Frauenkirche nach 1945. (The Procuring of 10(W1of accepted entries will receive the Ruins of the Church of our Lady after Honorable Mention. 1945). In: Die Dresdner Frauenkirche. Geschichte - Zerstorung - Rekonstruktion. The accepted entries will be (The Dresden Church of our Lady. History - shown at the NSA Convention, Irv- Destruction - Reconstruction.) Dresdrler ing, TX July 13-17, 2005 and Cas- Hefte, Vol. 10, No. 32, pp. 25- 34, 1992. cade 3-D Center, Portland, OR Information by word of mouth from Ernst August 9, 2005. Hirsch of Dresden of 14 May 1999. Fig. 14. The Zeiss Ikon 3-D film Internal notice of the Bundesarchiv - Fil- camera sold at auction in 7 994. SSA Stereo Slide Show at marchiv of Rerlin of 20 February 1995. Photo: Breker, Auction Team Koln. NSA 2005 Convention Information by word of mouth from A stereo slide program featuring employees of the Film Archive of the Ger- Dieter Lorenz: 3D-Filme ails den Gruften der man Federal Archive of 11 October 1997. Dresdner Frauenkirche (3-D Films from the images from SSA Folios including Vaults of the Dresden Church of Our Lady) Rodek, H.-G. 1995: Ein Filmschatz in der Speedy Alpha, Avian, Ovine and Fernseh- rind Kino-Technik. Vol. 53, No. 1 2, Goildgraberstadt. Fundorte wie Polarkreis, pp. 772 774, December 1999. Gamma Circuits along with his- Katakomben, Irrenhaus: Das Kino ist gerade - toric stereo views from the SSA 100 Jahre alt und beschaftigt schon die Information by word of mouth from Dr. archives will be given its world Archaologen. (A Cinema Film Treasure in Ing. Klaus-Peter Anders of Wilhelmshorst of premiere at the NSA 2005 Conven- the Gold Miners Town. Places of Findings as 4 January 2000. tion in the Stereo Theater. Polar Circle, Vaults, Lunatic Asylum: The Information by word of mouth from Hans- Cinema is just 100 Years Old and Occupies Jorg Schonherr of Dresden of 14 May After its first presentation at NSA already the Archaeologists.) Die Welt, 30131 1999. r3rr 2005, the program will then make December 1995, No. 304, p. 11. its way to Eastbourne in the UK in Peter A. Hagemann: Der 3-D-Film. Munchen September for showing at the ISU 1980, p. 20. 2005 Congress. Following that, the program will be available for bookings to 7 stereo clubs in ;he United States and will travel on a circuit to these different organi- zations through 2005 and 2006. How to Join the SSA more at our expanded websrtel To join the SSA one www.make3Dimages.com must first, of course, be a member of the NSA. For placement in a stereocard, transparency or digital folio of their choice the new SSA member must send $10 to Treasurer Les rrr Gehman, 3736 &h Rochdale Dr., Fort i Collins, CO 80525, %..- (970) 282-9899, lescn'nehman.orrr. r30 QnA@makeSDlmages corn 978-371 -5557 P 0 Box 71 5 Carl~sle,MA 01741 I I

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-WORLD Volume 3 1, Number 1 37 3-D NEWFOUNDLAND Book of 39 modern STEREO GRAPHIC -1956 Stereo Camera. BRASIL STEREOVIEWS Clir~sWa~npole, Holmes views of s~tes& scenes around the Rochester made by Graphlex Mint with orig. [email protected] 5053 SE Devenwood island. Comes with a stereo viewer. Web: leather Case $169. Kodak Stereo Ex+ $189. Way, Stuart FL 34997. htt~//www.starosta.com/newfoundland/ e-mail: Stereo Realist Ex+ with orig. leather Case $239. -. ---- - [email protected] Stereo Realist ST 63 (Red Button ) viewer, Ex. COLLECT, TRADE, BUY & SELL: 19th Century - operating condition, appearance $225. Stereo images (cased, stereo, Cdv, cabinet & large 3DlSCOVER VIEWERS AND CASSETTES. Superb Realist viewerlslide storage case (hard) V.G. paper) Bill Lee, 8658 Galdiator Way, Sandy, UT 35mm full frame 3D from around the world. $125. Realist orig. flashgun, orig. box Mint $69. 84094. billleetle8juno.corn Specialties: West- Directly from the manufacturer 3D VISION Stori-View 3-D viewer with 63 scenic stereos ern, Locomotives, Photographers, Indians, Min- INTERNATIONAL. Visit www.3dvision.ca . Call: Mint $125 (Rare). Tru-Vue 1956 card viewer ing, J. Carbutt, Expeditions, Ships, Utah and (819) 475-6289. Write: 1464 Michaud, Drum- with scenic, in orig. box Mint $69. Also Avail- occuoational mondville, QC, Canada J2C 225. able; Realist and other stereomounts, 3-D glass- CORTE-SCOPE VIEWS or sets, any subject or ARCHITECTURE and design classics in the View- es, Radex and twin 35mm stereo viewers. Vivitar condition. No viewers unless with views. John Master@ format. Works by Frank Lloyd Wright, 3-D Cam and viewer, brand new in orig. box $89. Waldsmith, 302 Granger Rd., Medina, OH Frank Gehry, Charles and Ray Eames, and oth- (212) 358-5843 Call anytime ask for Robert. 44256. ers. Send SASE for list: View Productions POB STEREO PHOTOGRAPHY WORKSHOP Videos. DARIUS KINSEY Sedro-Woolley Wash. Stereo 11835, Knoxville TN 37939 or visit Topics include Making Anaglyphs, 2D To 3D www.view~roductions.com . V~ews.Bill Hotarek, PO Box 1508, Ellensburg - -- Conversion, Making Stereo Cards, etc. More WA 98926, catsndoas8elltel.net . BOOK, The Siege at Port Arthu~;hardback with 3- coming. $25 each. Details: htt~://home.comcast -- D viewer. $15 Econ Air. (Cash preferred). Ron .net/-workshoos / or send SASE for list to Den- EARLY VIEWS of Savannah, Georgia. W.R. Blum, 2 Hussey Ave., Oaklands Park SA 5046, nis Green, 550 E. Webster, Ferndale, MI 48220. Kreitzer, 23633 Town Creek Dr., Lex~ngtonPark, MD 20653. (301) 863-9467. Australia. STEREO VIEWS FOR SALE on our website at: CENTRAL PACIFIC RAILROAD Photographic His- www.daves-stereos.com email: wood@oike FLORIDA ANTHONY STEREOVIEWS. $100.+ paid tory Museum. Stereographs of the first online.net or contact us by writing to Dave or for Florida Anthony stereoviews I don't have. transcontinental railroad are now on display at: Cyndi Wood, PO Box 838, Milford, PA 18337, Also, high prices paid for Florida stereoviews by htto://CPRR.org Phone: (570) 296-61 76. Also waned: views by L. Field, Wood & Bickle and small Florida towns. Hensel of NY and PA. Hendriksen, Box 21 153, KSC FL 3281 5, (321) CLEARANCE: CIVIL WAR 3D. Nine original views 452-0633. plus fold-out viewer - originally $6.95, now STEREOVIEW PRICE GUIDE. Only $12.00!! Great $1.00 each plus $5.00 shipping any size order. for people buying from auctions and for collec- GERMAN RAUMBILD 3-D Albums. Also Mole & View at fredbishopauction~.com/3d. Jim Van tors who want to know the latest realized auction Thomas "Living Photographs" (birdseye views Eldik, 22 Horizon Hill, Newnan, GA 30265, values. Only numbered views over $50 are list- of thousands of men in varius shapes). German dutchoiperl88vahoo.com ed. Doc Boehme, 1236 Oakcrest Ave W, WWI & WWII postcards. Ron, (425) 432-3282, ------Roseville, MN 551 13, info8iamdoc.com . PO Box 61 1, Maple Valley WA 98038. COLOR PRINT PROCESSING for Realist format. Eighty cents per frame. Trimmed 3-114" square, THE OHIO Stereo Photographic Society invites I BUY ARIZONA PHOTOGRAPHS! Stereoviews, right size for Q-Vu mounts. Contact Neil you to our meetings on the first Tuesday of each cabinet cards, mounted photographs, RP post McGreevy at [email protected] . month at AAA Headquarters at 5700 Brecksville cards, albums and photographs taken before - ~ -- Road, Independence OH. Web htto:l/home.att 1920. Also interested in Xeroxes of Arizona NEW REVISED EDITION of John Waldsmith's .net/-osos/ or George Themelis (440) 838-4752 stereographs and photos for research. Will pay "Stereo Views, An illustrated History and Price or Chuck Weiss (330) 633-4342. postage and copy costs. Jeremy Rowe, 2120 S. Guide" is available signed by the auihor, $24.95 Las Palmas Cir., Mesa, AZ 85202. softbound, add $2.95 postage and handling. VIEW-MASTER CHINESE ART SET. Mint condi- (Foreign customers add an additional $1.25.) tion, $650.00, Teco-Nimslo outfit, incl. Nimslo I BUY PENNSYLVANIA stereoviews by Purviance, Please note there is no hardbound of this edi- bag, flash, IB. Exc plus cond. $325.00, also Gutekunst, and Henderson. Top prices paid. t tion. Mastercard or Visa accepted. John Wald- more Nimslo equipment and accessories. Call central Pennsylvania views by any photographer. smith, PO Box 83, Sharon Center, OH 44274. for info. F. Rader (610) 559-6063 (PA). Fred Lerch, 20 Star Lane, Lewistown, PA 17044 Website: www.YourAuctionPaae.com/ (717) 248-4454, fredanddee838vah0o.com . 1 1 ~ - - Waldsmith. - KNOXVILLE, TENNESSEE views, particularly McCrary and Branson, for View-Master project. Q-VU DIE-CUT FOLDOVER MOUNTS simplify s one of the benefits of membership, NSA mounting your print stereo views. Sample kit $6. Originals or scans acceptable. Michael (888- A members are offered free use of classified 782-8782 toll-free) or Beginner's kits with camera, Holmes viewer, advertising. Members may use 100 words per views, sample kit, mounts, film, batteries, michael@view~roductions.com. year, divided into three ads with a maximum - -- -- ~ $79.99 up. Q-VU, Box 55, Holtville, CA 92250- of 35 words per ad. Additional words or oddi- LOUIS HELLER of Yreka and Fort Jones, Califor- 0055. tional ads may be inserted at the rate of 2Oc nia. Anything! Also, any early California or west- per word. Please include payments with ads. ern views wanted. Carl Mautz, We cannot provide billings. Ads will be placed [email protected], (530) 478-1 61 0. in the issue being assembled at the time of ------. their arrival unless a specific later issue is MUYBRIDGE VIEWS - Top prices paid. Also requested. Michigan and Mining - the 3Ms. Many views Send all ads, with payment, to: available for trade. Leonard Walle, 47530 Edin- borough Lane, Novi, MI 48374. STEREO WORLD Clossifieds, 5670 SE 77st, Portland, OR 97206. NASHVILLE, TENNESSEE and Columbia, Ten- (A rote sheet for display ads is available from nessee stereoviews. Steve Carter, PO Box the same address. Please send SASE.) 110783, Nashville, TN 37222.

38 Volume 31, Number 1 Sl7XEOWnRLD s.I ' NATIONAL BANK STEREO VIEWS. I a111beg~nn~ng a collection of National (not savings or other) banks, United States, all eras, interior and exte- 19th and i National i rior. I would appreciate any offers and will respond to all. Dave Bowers, PO Box 539, Wolfeboro Falls, NH 03896. Email: Early 20th :Bank- Views: adbarchiveQmetrocast.net . - -- OLD WOODEN floor model stereoscope suitable . Wanted i to hold 3 112 x 7 inch cardboard stereoviews. Century Ann Platzer, 4205 Carney Court, Riverside CA 92507, [email protected]. :- Desire stereo views : - -- Stereoviews . of national banks : RED CLOUD AGENCY stereoviews from the 1870s for reproduction in book about the Sioux War. : (not savings banks or Purchase not necessary. Photographers include For Sale S.J. Morrow, James W. Hamilton, Charles : other banks), anv state : Howard, David Rodocker and Mitchell & or territ~r~,'~~~;any McGowan. Contact Tom Powers, 106 Chelsea : : St., South Rpoyalton, VT 05068, Over 10,000 : and all 19th century : [email protected] . all illustrated, graded and early 20th century. SINGLE VIEWS, or complete sets of "Longfellow's Sr I am just beginnin this Wayside Inn" done by D. C. Osborn, Artist, Ass- priced,(including glass : : abet, Mass., Lawrence M. Rochette, 169 Wood- views), work by Bedford, : endeavor and nee 8.just . land Drive, Marlborough, MA 01752. England, Sedgfield etc. : aboout everything! : VENICE CALIFORNIA Centennial Committee is Especially strong on UK . looking for historic and contemporary stereo . . views of Venice for summer celebration. Also, and European views. . Dave Bowers . information about Venice photographer who • PO Box 539 made "Harlow's moving portraits". Martin Simon, msimonQ~hvsics.ucla.edu. :Wolfeboro Falls, NH 03896 : -- Only online at: . • e-mail: WHITE MOUNTAINS: Early photographic views www.worldofstereoviews.com . and stereoviews of new Hampshire White Moun- qdbarchiveJmetrocast.net tain and northern NH regions, 1850s-1890s .: : wanted for my collection. Town views, main streets, bridges, homes, occupational, coaches, railroads, etc. E-mail images to dsundman@ LittletonCoin.com, or send photocopies to David Sundman, President, Littleton Coin Company, 1309 Mt. Eustis Rd., Littleton, NH 03561-3735. -~- . YOU COULD HAVE told the world of your stereo needs in this ad space! Your membership enti- tles you to 100 words per year, divided into three Please start my one-year subscri tion to ads with a maximum of 35 words per ad. Addi- tional words and additional ads may be inserted Stereo World magazine and enrolP me as a at the rate of 20e per word. Send ads to the member of the National Stereoscopic Association. National Stereoscopic Association, P.O. Box - - -- - 14801, Columbus, OH 43214. A rate sheet for U U.S. membership mailed third class ($32). display ads is available upon request. (Please send SASE for rate sheet.) [? U.S. membership mailed first class for faster delivery ($44) All international memberships ($44).

- - - Accidental Stereo Send a sample copy (U.S. $6.00, all other $7.50). (Continlrc~clfrom pcc,yc 5) - photos were taken with a folding Pie;Ise make checks payable to the National Stereoscopic Association. Kodak Stereo camera, my surmise ForeignI members please remit in U.S. dollars with a Canadian Postal Money is that the photographer covered order, an International Money Order, or a foreign bank draft on a U.S. hank. one of the lenses for part of the exposure, so as to yield two negatives of different densities, from which the best was chosen to make a print for publication. The , negatives then went into the "negative box." I City State Zip I Then, after almost 70 years of dormancy, the two negatives were finally reunited and paired to yield National Stereoscopic Association a remarkable stereo "happen- PO Box 86708, Portland, OR 97286 stance" pair: my own mother as a The Only National Organization Devoted Exclusively To Stereo Photographg Stereoviews, and 3-D Imaging Techniquec. 1 teenager! r3m I

STEREOWORZD Volume 3 7, Number 1 39 40 Volume 31, Number 1 SI*EREO~RLD -

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...... , ...... I ' : . John Saddy 50 Foxborough Grove London, Ontario N6K 4A8 . . ,. . . CANADA ...... Phone: (519) 641-4431 Fax: (519) 641-0695 E-mail: john.saddv.3d@svrn~atico.ca 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, from a single view to giant collections.

f Left: Helene Leutner (German Actress) + Right: The Young Velocipedist

t Left: Edward Stokes, who shot Jim Fisk over a woman. i -+ Right: View from the wood car, behind the locomotive in full motion.

+ Left: Tissue Genre View. +Right: General U.S. Grant !

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1F , -?JM( P