The Kaiser Panorama

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r*..-r 3-0 lmaaina Past & Present

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The Kaiser Panorama

*; *; 9..* zu -2' . . Shooting SanLFrancisc in 3-0 from a ~efic>fer~ byM.rLWllllrc elcome to the first install- ment of Pi@ Flawmi Finds. WNot long after I started shooting stereo images, I rew that I could combine my love of stereo photography with my fond- ness for 1950s-era styling, design and decor by collecting amateur stereo slides that were shot in the "golden age" of the Stereo Real- ist-the late 1940s through the early 1960s. These slides sometimes contain priceless images of wery- day life in that era, and the fact that they are 3-D and were often recorded on Kodachrome film.-- I whose colors today seem as fr&h Whotcouldkbatarfiw~hthc195Ostha,apWtfl#kcdbrr?A##nntly as the day the photo was taken, takmota0,~tm&thls~kkkkdonEya1953.'~#maynotk~- makes viewing these slides the i&inthe~hrre,a~s#kvicwarnncaJsmorrngcflodtcdtmasdf next best thing to hopping aboard behindthemwrmnf &olMieveistkwifeoftkphotogrPpha. 7bissWisinanoMer- a time machine! From clothing style(gmywith~cdgcJ)K~m~mocnrt.OdhasiDdafrwntksomc and hairstyles to home decor to photogmpher indude many scenes in and oround his home in Portknd, Ongon. Many of modes of transportation, these theman?bbckdwiththe~tnet~~sooutof~~IkcaadthehomeandckOW frozen moments of time show byit. Aportfrom ~~t-daykukof~~~bsdsand~its what things were really like in the ext&harctxlngrdNtbkfnnnthcwy#c#PraradhtkrrYdanca3,5O~cyp...... " .... "...... "" middle of the twentieth century. While collections of these amateur slides are interesting to view, exploring them often requires sifting through numerous shots marred by focus or exposure problems, distant subjects containing minimal depth, or generic scenery that would look the same today as it did 50 years ago. Every once in a while, however, a megem is discovered-some unstaged moment from a tnpical day in the '50s just dripping with the colors, styles and decor of that era-in which the focus, exposure and 3-D composition all come together nicely. I've often thought, upon discovering such a slide, that it would be fun to share it with other stereo and '50s enthusiasts in a publication Check out that shiny United States lunchbox/ Whik I mid expect this gem to be titkd like Stereo Wor2d. But because infor- "first Day of School," it is unfortunately unlobckd. it is in an dder-styk (gmy with red mation about the photographer edges) Kodoctm canibooni mount. Other slides from this same photogmpher show and the subjects of such slides is dotes from 1952 into the later '50sf and most of his slides were apyxrrently shot near frequently sparse or non-existent where he liwd and mrkedf in a suburb of Mihwwkeef Wxonsin...... - (Conthud on pqdc 29) A-d National Stemoxopk Arsdatlon, Inc.

Volume 28, Number 1 2001 NSA Board of Directors Bill C. Walton, Chairman Paula R. Fleming Lm-m Andy Criscom Dieter Lorenz Russell Norton Page 4 Page 74 Page 30 T.K. Treadwell Richard Twichell NSA Officers Mary Ann Sell, President Shab Ley, Vice President 3 Viewing the Enchanted Islands Dean Kamin, Vice President, Activities review by john Dennis Lany Hess, Secretary David Wheeler, Treasurer 2 Editor'sView Stereo World Staff Comments and John Dennis, Editor Observations 4 Shooting for 3-D Gold Lawrence Kaufman, Contributing Editor bywn Dennis Mark Willke, Art Director with David Klutho Sylvia Dennis, Subscription Manager 22 The Society by Ron lobbe Don R. Cibbs, Bock Issues Manager News from the *JmStereoxo ic How to Reach Us: LEE?" 14 The Kaiser Panorama NSA Membership (New rnernknhips, rewaIs & address changes) Phenomenon P.O. Box 86708, Portland, OR 97286 28 European Gems Stereoviews from by Dr. Dieter Lorenz Questions Concerning Old Europe and the Stereo World Subscr~pttons Stories Behind Them P.O. Box 86708, Portland, b~97286 e-mail: strwld@ele rt.com or: [email protected] 24 Hyper Active Shootin San Francisco in 3-D Stereo World Back Issue Service 33 View-Master (Write lor mihbility & prkes.) Information on from a 19elicopter NSA, 23575 C.R. 77, Calhan, CO 80808 the Reel Workl by Robeft hber9 Stereo World Editorial Office Lrncnb (Letten to the editor, ort~k& cokdar listings) 5610 SE 71st Ave., Portland, OR 97206 36 NeHNiews (503) 771-4440 30 3-D in Chaos e-mail: [email protected] Current Information on Stereo Today by LeeLane by~Storknkln Stereo World Advertising &john Dennis (Chssified & display ads) 561 0 SE 71 st Ave., Portland, OR 97206 (503) 771 -4440 38 Classified 34 A Magical Stereo Handbook e-mail: [email protected] Buy, Sell, or (Insen Rycn & auction ads) Tradelth reviAvbyCeorge7kmdis Jeffrey Kraus PO Box 99, Modena, NY 12548-0099 (845) 255-791 3 e-mail: jkrausC31dsl.net Stcreo (ISSN 0191-4030) published bimonthly by the National Oliver Wendell Holmes Stereoscopic Asmiation, Inc., PO Box Fmt Cover: Stereoscopic Research Library 86708, Portland, OR 97286. en ti^ David E. Klutho at the 2000 Olympics rowing venue with RBT X3 with (Afiliated with the Nationd Stemscq~hs~iation) contents 02001, all rights reserve 3665 Erie Ave., Cincinnati, OH 45208 Material in this publication may n.. 2Omm lenses and another RBT x3 with 7 OOmm lenses. On the monopod e-mail: vmmaselkinti.net be reproduced without mitten per- are dual Nikon f4 wmems with dual Nikon 80-200 f 2.8 lenses and three mission of the NU Inc. Printed in UU. A subscription to Stereo World is Hash Wizard synchmizoth units. For more about David Klutho and his Stereoscopic Society of America Dart of NSA membershio. Annual wwk on Sports Illustrated anaglyphic 3-0 issues, see the feature "Shooting (Affiliatedwith the Nutianal Stemxqk AIsccmhMJ bembtnhip dues: $26 third class I' Shab Levy, Membership Secretary $38 f ot class LS. $38 Canada a1 for 3-0 Cdd" by Ron Lobbe on page 4. (stem by DIM s-) 6320 SW 34th Ave., Portland, OR 97201 foreign wrface, $56 international a e-mail: [email protected] mail. Annual memberships include six issues of Stereo World, a plastic Back cow: lorgnette viewer, and a membership Stereo World on the Web directory. "Cmzy Maze" is one of the more cohnful of seveml computer generated Mrmkr, fractal desgns featured in the article "3-0 in Chaos" by Lee Lane on IntmationalStereoscopic Union page 30. This issue is dedicated to the memory of Erin Elizabeth Borst. Comments and Observations john Dennis

There's Change ... the study and presentation of his- For better or worse, the world- very few years, it's time for a torical stereoscopic images, Stereo wide response and resulting chain change. Readers of magazines World can both urge the documen- of events from security measures to tation of events related to this situ- war will affect much of the planet Earen't generally the people who ation and provide a venue for the for a long time. Both the best and find this logic compelling, but it publication of such stereoscopic the worst of human responses can seems to be a necessary form of documentation. be documented with more impact therapy for those who produce This means much more than through stereoscopy than most publications-from the National printing views of the actual other means, and we will make the Geographic to Sunset. The new look destruction in New York that may pages of Stereo World available for on the cover of this SW issue isn't have been taken, although those those capturing both the inspiring designed to boost newsstand sales could of course be included. Any and the depressing images result- (we don't have any), but to allow full stereo documentation of the ing from this wrenching turn of more flexibility in the way we historical impact could also history. ma feature images from various stereo include images of everything from formats. public events around the U.S. and Previous cover designs (the arch- the world to pictures of individuals top frame and later the rounded- responding in their own ways. comer square frame of recent When years) have required that both cur- an event changes every- rent and historic images be forced thing everywhere, the possibility into a rigid format shapt-requir- for stereographic coverage becomes ing some brutal cropping of the equally wide. original picture in many cases. By I eliminating a frame altogether, images can be used in ways that best suit them. Many Realist format shots can be presented on covers as "full bleed" images filling the page, while vintage views can be reproduced as an enlargement of a full half card without cropping into any part of the image. This will also allow the reproduction of other formats in their original shape, such as View-Mas- U.S. membership mailed third class ($26). ter, 6 X 13 glass views, and video or movie frames. In short, it will U.S. membership mailed first class for faster delivery ($38). be the images that determine the C] Foreign membership mailed surface rate, and first class to Canada ($38). look of the cover rather than the other way around. Foreign membership mailed international airmail ($56). And Then There's CHANGE... Just as this issue was being com- pleted, the September 11 attacks on New York and Washington D.C. took place. Exactly how much that day will change everything remains to be seen, but the potential is more than just big, it's omi- nous. As a publication devoted to Viewing the I Enchanted Islands

well researched information the 3-D tour takes us inland for as Mark Blum's previous some fascinating views of the Mark e books. The only real differ- islands' volcanic geology and their I ence is that this one covers seven vegetative zones, from moss- I a specific location rather es to cactus. With the exception of than selected types of creatures, some distant, non-native 6dsa e land and sea creatures of allowing a greater variety of images trees in one shot, the images show the Galapagos Islands have that range from undersea shots to no obvious effects of human activ- Tbeen well photographed in views of land animals, birds in ity on the islands--easily a subject both movie and still photography, flight, and plant life. There are of for another book. but good stereos from these deli- course the expected shots of tor- One interesting note in the pref- cate and unique ecosystems toises and iguanas, but among the ace assures readers, "None of the remain rare. Easily the grandest best gems in the book are views of 3-D photographs in this book were stereo coverage of the islands was blue-footed boobies (both nesting created or enhanced with comput- the 1999 IMAX 3-D film Galapagos with a chick and in flight) and eye- ers; all were taken with stereo cam- (SW vol. 26 No. 5, page 22). Unfor- to-eye close-ups of creatures like a eras." In a more reasonably tunately, the film played in only a green Sea turtle, a stone scorpi- ordered world, it would be authors few locations for a limited time. onfish, a seahorse, a great frigate- of books illustrated with computer Now, thanks to the prolific com- bird, and a whale shark. converted stereos who would feel bination of Mark Blum and Chron- Besides the shots of animal life obliged to include the opposite icle books, 44 very impressive both on and off the coastal areas, notation. 00 color stereos of the islands can be viewed in Galapagos in 3-0 without "Land Iguana South Plaza Island." Looking as much like a badly painted plastic toy as a leaving your favorite chair. Like real animal, this land Iguana on South Plaza Island is Plate 33 in Galapagos in 3-0. The the earlier "In 3-D" books, (Beneath text on the facing page reads in part: "This lizard is one of two species of land iguana the Sea, Amphibians & Reptiles, and found only in the Galapagos Islands. An impressive 3 feet (1 meter) long, these iguanas Bugs) Galapagos incorporates large are mainly vegetarian, favoring opuntia cactus fruit but also feeding on insects, camon, viewing lenses into a cover flap -birth.... " and features one stereo per page with the text for each image printed on the facing page-which becomes the "floor" of the viewer when in use. Galapagos is packed with the same level of amazing images and

Jalapagos in 3-D by Mark Blum, Chronicle Book 2001, ISBN 081183132-9. Hardback with stereoscope incorporated in cover, 6 X 9 inches, 44 color stereo pairs plus text, 94 pages. S 18.95 from Chronicle Book, 85 Second St., San Francisco, CA 94105, ebooks.com .

BWtXU'J Vdume 28, Number 1 3 Shooting for

with Davic

e year 2000 proved to be an involved a variety of stereographic especially exciting one for 3-Dl techniques including hyper and as Sports nlustrated published hypo stereo, as well as stop by Ron Labbe what are arguably the best two motion, high speed photography, anaglyphic stereo magazllnes in blue screen traveling mattes and history-totaling over 10 million computer animation". issues! A number of key events July 1997 provided a foundation for the blockbuster publications: While traveling in Prague, Czech Republic, David E. Klutho (veteran October 1982 photographer for SprQ Zllustrated) Epcot Center at Walt Disney came upon a cardboard stereo World opens, showcasing the sen- viewer of local scenes (that were. sational dual 70mm 3-D film Magic slightly hyper) in a tourist shop, Journeys (written, directed and pro- and was impressed: might this duced by Murray Lemer, who had kind of imaging be used for sports? also made Sea Dream in 1978 for Scouring the Intemet for infor- Marineland in Florida) which mation, David discovered the tech- exhibited a multitude of special nique of syncing two cameras for effects never before achieved in 3- stereo: at a professional basketball D. David Hutchison, in his book game in February of 1998 he put a F:mrtastic 3-0,noted: The 6lm pair of Nikon F5's on a bar and

This shot of Dennis Rodman is from David KIutho 'J very first attempt at 3-0, shooting on his own with the idea of eventually impressing the editon at Sports Illustrated. QDovldE.Khtflo/ attached it to the pole on the back of the net... he used a "Flash Wiz- ard" to sync the cameras together with six 2400 watt Speedotron quad flash heads in the ceiling of the arena. He tested the setup before the game using Polahme instant slide film and a viewer he made opt of a pair of slide loupes: everythiq looked good! The resulting game shots, especially an incredible air shot of wildman Dennis Rodman? exhihated Klutho and everyone else who was lucky enough to peer into his homemade viewer. He wasted no time in setting up a pair of dual Hasselblads, then two pair, soon he was running five mounted pair from a remote and a sixth directly from the floor. "There's a three second recycle delay with the flash?so even with motor drives the timing time. Unhappy with the zoom has to be perfect to get the shot connections on his X3 (siamesed you want" said David. Klutho's Ricoh bodies) he worked with NSA other sports specialty is hockey he membet John Roll to construct a actually cut a hole in the bottom direct drive gear rather than the of the boards at one end of a rink ball and socket arm it came with. to get a low angle view which Jon Golden referred Klutho to would accent the ice spray that me as someone who might be able happens when hockey players togiw some advanced technical brake. "You pretty much get one advice on atereo photography and shot per period... after that the projection. David visited Studfo 3D glass over the hole is covered with in Match of 1998... I was totally ice!" MOwn away by the most amazing Meanwhile, Klutho also found stereo super-slide format sports Jon Golden, of 3D Concepts, via images in 3-D-0- tack-sharp the Internet. As the U.S. distributor Hasdbhd~desina for the German company RW"s Hugo custom stereo cameras?Jon went DeWijs aduomat viewer his (~hiCh3DCan~aisoprsvid- out of way to get David three ea)! We wrIwd tagether via phone very hard to get models in short and Internet.. . I never knew when issue containing 2 articles featur- to expect a call: "Where are you?" ing stereoscopic illustrations "I'm on the catwalk over the bas- ("Return to Mars" and "Titanic"). ketball court... how far apart Digital technology allowed for full- should I have these 200mm lens- color anaglyphic printing (though es?" both subjects were decidedly monochromatic) with standard August 1998 CMYK inks, where in the past most National Geographic publishes anaglyphs were printed in "black their groundbrealdng anaglyphic and white" (grayscale) using special red and cyan inks. A full page ...... by Peter Smith (who designed the This shot d bhc St. Louis iWes vs h NHL howshows stcrcof potentkl for making visual sense ofcrbwded spo~s'acfion €ha? ca.- ' confusinq in flat imoqes. 3-D camera system for the Mars Pathfinder) was devoted to explaining how stereo imaging works. He explained that he had seen a 3-D film at EpcotIWalt Dis- ney World (Magic Journeys): "Dw- ing a bucolic scene, dandelion fuzz floated right off the screen to within my reach. That's when I realized the power of three-dimensional technology to put the viewer in the picture". Bill Allen, the publisher, remarked, "For all the mem- ories 3-D glasses conjure of campy Hollywood scare flicks, in this case the use of depth perception is no gimmick. Three-dimensional image technology was fundamental to the success of both these voyages of discovery". Sports Illustrated photo editor Steve Fine came home to find his copy of the 3-D National Geograph- ic and wondered: "If they can shoot 3-D on Mars, why can't we ...... do it on a football field!" He decid- Anticipating that some adverthers might not be able to pmduce stereo photogmphy, ed to recruit special projects pho- Studio 30 mrted this test image for Sl using an image frwn Toyoa, one of their tographer Heinz Kluetmeier, top~(Tbptascmmctohtnebaan~~tostam,~sing,urd, though he had never before photographed in 3-D. Neither had any idea that David Klutho had been behind the scenes making the most action-packed, exciting and unprecedented stereoscopic sports images that anyone had ever seen. When Heinz went to have a brack- et made for his dual 35mm cameras, he was told that David Klutho had already had one made. Heinz called Klutho who agreed to col- laborate on the project (though the big presentation he'd been gearing up for was possibly com- promised-he decided not to let on that he was compiling a cache of great sports images). Kluet- meier's football tests were quite up to the level of Klutho stereo-wise, but Heinz (STs senior photographer) had already been selected as lead on the project. (Football turns out to be an extremely difficult sport to shoot in 3-D the field is tionable). .. but of course the all- huge, the players are far apart.) important ads would have to be color, so full-color it would be. (We October 1998 managed to digitally desaturate the I met with various production colors enough to keep retinal rival- people at Sports Illustrated in New ry to a minimum.) York, to show the test inkjet Unfortunately, it seemed as anaglyph conversions of the foot- though the project might fizzle out ball pairs and offer technical due to lackluster response from the advice for the test CMYK (offset advertisers. Fortunately, Steve Hoff- press) prints. I brought in Mark Ober of Theatrical Support, who St. Louis University vs. Valpamiso, NWBosketboll, Missouri Valley Tournament. Shot had produced very high quality with dual HasseIMods with 80 mm lenses and illuminated with the same ceiling anaglyph glasses for the OMNIMAX mounted flash system used for the bull riding shot. anaglyph film We Are Born of Stars. (He created a cyan filter for the blue eye of the glasses that extin- guished well, but also was much brighter than the typical blue.) We strongly advocated going with the higher cost, better quality 3-D glasses. They agreed, but it would be necessary to get a number of advertisers interested @ order to pay the substantial cost of the glasses (not perforated, but tacked in, full-armed 3-D glasses). Early on there was some debate whether or not to go with the "cleaner" grayscale images or work in full- color (looking through red and blue lenses to view an anaglyph image does compromise colors, strong reds are particularly objec- ...... Initmlk a 3-0test cover for the 51

was that it was impossible to get her face clear (converged at the plane of David E. klutho with Lujan during the 51 shoot in Mexico. the page) without the foregmnd rocks being a problem. Another test cover with model Lujan was much more successful, but 51 decided not to go with a 3-0cover for their bg 2000 swimsuit issue.

SlERBD- Volume 28, Number 1 7 man, creative director for the very bathing suits that were painted lucrative Swimsuit Issue, thought on!) 3-D was just the ticket! (He'd been Many tests were done for this looking for something to surpass very important issue. The publica- the ptevious year's novel* tion people had me convert a regu- lar Toyota ad to 3-D to see how well it would work. (The fmt ad they presented had very little potential for 3-D. Luckily, they came up with a second choice.) I also worked with a computer artist, who created some abstract stem- scopic environments into which we inserted some "rounded" ZD swimsuit models. The next big step was conversion to CMYK (computer images are RGB-red/green/blue, but printing inks are cyan/magen- ta/yellow/black). This conversion process is an art in itself, many variables can cause the subtle anaglyph colors to become cor- rupt. The test proofs, however, turned out excellent! And so did the test run they did on the stock papet that is used by spwts niw- trated.. .technically, we were on track. (At this writin& we're hop ing that this .issue of Stereo World can do the same!) Steve Hoffman thought it would be fun to include a historical section. I scoured my collection, especially looking for any mix of sports andbe!achwew.Afterfindhgafew View-Master possibilities, I contacted Fisher-Price to see if the origi- nals were available. Excited and helpful, they managed to find at least heoriginal pair (Miss Ameri- ca contestants), which they copied for me. However, the legal depart- ment was very reticent: no model releases were found! The various concerns of reproduction rights were apparently softened by the fact that the images would appear in a purely editorial context.

Anecdotes From Sydney by David Stuckey

. .I action at the net. David S is in the press tribune packag- i&d6r.41.d The Filter Incident Beach Volley Ball Stadium. David K has ing exposed file in readiness for the courier who will himself in the stand to photograph the transport it to the Sports Illustrated office at the Main Meanwhile, Klutho not only Angeles and Chicago. They too hired and test photographed vari- were excited, but it was necessary ous swimsuit models, but he creat- to point out certain restrictions in ed mock ads in 3-D to show the design when creating color possibilities that 3-D offered to advertisers. He worked with vari- To show what could be done with ads in 3-0, Klutho "made up" a series of over ten ous stereo artists including Boris ads. for most of them he did all the original photography and graphic design. For Starosta, John Roll and myself to "Absdut Protection", the author did the bottle cage in 30 Studio MAX, and john Roll supplement his own 3-D photogra- braded the underwater dmtmm~hv. phy and graphic design. At Studio 3-D we put together a 35mm slide show that included some of his best sports, swimsuit tests and ads. We presented it to the Sports I2lu.s- trated staff in New York: they were blown away! Of course they wanted to know how these incredible images would look in print form, and Klutho was prepared. We passed around his portfolio, which contained prints of many of the images they'd just seen projected, now in anaglyphic form. The special glasses from Theatric Support had just come in that morning! The presentation left no doubt that this would work and that Klutho was the man to do it-but Heinz Kluetmeier was still the photographer-Hoffman directed Ktutho to assist. Understandably, this led to some contentiousness: finally it was decided to allow the two to co-shoot.. .possibly a htin the history of the Swimsuit edition. Directing two photographers was not an idea relished by Hoff- man-but as it turned out, the pairing worked out just fine. The staff was so impressed with our presentation that they felt it was important to bring it also to the advertisers, who were going to have to pony up an additional $100,000 each to cover the cost of the glasses. Two key staff members accompanied me to show it to sev- ABSOLUTEll- a*OI-mqmIOA PROTECTION,-II).IOIIYUUIO L wr~~auo.loucrm--m~n-~IuI nr eral of the big agencies in Los I m."DY.~W.rn.,NWI~ ~DIIImDL*IMIP#+nnv~-

Press Centre for processing. Courier arrives and collects manager should come past, I would be asked to move the film. David K to David S: "Why don't you grab the quite quickly. RBT X3 with the 20mm lenses and see whether you can I start shooting, the marshal keeps looking at her get some wide stuff near the net.?" watch ...y ou guessed it, the venue manager decides to So I wander off laden with cameras to see where I can have a wander around the stadium. The marshal sit for a good angle. I have David K's RBT X3 plus two of becomes quite agitated knowing quite well that she will my Ricoh twin rigs for some close up stuff. I spot a good be in more trouble than me because she allowed me vantage point, however, it is reserved seating for the there in the first place. "Sir, sir! You have to leave that "Olympic Family" only. My press pass does not permit area!" entry to this section. It is totally empty and I approach "Okay, okay, just a couple more", swap cameras. one of the marshals to seek temporary access for a couple "Now, please, please!!" I feel sorry for the marshal and of shots only. After some convincing, I am allowed to sit start up the stairs back to the press tribune. To ease her down at the front for a short while, however, if the venue anxiety, I start to jog up the stairs. Of course, I only fall anaglyphs for CMYK printing. parallax produced a ghosty image. Ghosting is very difficult to avoid On top of that, the image was set with high contrast images, and red in a field of solid red (to match is a particularly Wcult color to their other ads). use in anaglyphs. The stereo win- I tied to convince Universal Stu- dow was explained, as well as the dios to use already created stereo fact that people like things to images from their theme park come out of the window (contrary rides, Spiderman and Terminator 2 to what some purists might 3-0.They had no license to use think!). They were urged to shoot the image of Schwarzenegger, and or create their ads specifically for they had already created an ad 3-D, but this was mostly not possi- that was running in other publica- ble. Studio 3D worked with the tions. Studio 3D converted that ad advertisers to get the best 3-D to 3-D: thankfully they were able within the constraints that each to provide the bottom collage in demanded. layers-otherwise it would have Jim Beam set up a shoot specifi- been a nightmare! cally for 3-D. We gathered in a Wolverine Boots decided to strip club around 6 am, so we shoot their ad in 3-D. It was going could be out of there by noon to be a vertical ad, so we decided when the doors opened. An RBT S- to shoot it with my vertical Konica 1 camera was used for the shoot, 35mm rig. I worked with the and the image turned out very well agency's photographer, who shot but the high contrast and strong the pictures under my direction for stereo effect. A morning shoot was scheduled in the Florida Keys and This unidentified swimmer was steregmphed during David klutho's preliminary test- my plane was booked to leave that ing, using dual HaJJelblods with 180mm lenses and sric Elinch- 500 watt second afternoon. However, the art direc- strobe units. tor wanted to shoot several more images that afternoon. As I could - not get a later flight, I left my camera rig behind for them to use. The cameras were shipped back without a problem, but it turned out that one of the images shot in the afternoon had a flare - and natu- rally it was the one that the client decided he liked! So the photographer was told to shoot again! The cost for the re-shoot may have been as much as $20,000. The photographer was convinced that a flare problem was due to my cameras.. . that I should help pay for the re-shoot! I knew that it was not my camera problem. Even though Sports nlustrated helped bail the photographer out, I did not get

over at the very last step and collapse flat on my stomach other Americans could not get used to the idea that tip- ' on the landing. Lets see now, 200mm rig to the left, ping is not practiced in Australia. If you received extra 135mm rig to the right ...what's this under my chest??? good service, you might leave a couple of dollars as a Ah, David K's RBT X3, now carefully redesigned. reward, but it is by no means expected. Back at the press tribune, "Err Dave, I've made a We had all befriended a young waitress, Roxanna, whr change to one of the filters on your X3". "What? Did you knew in advance what we were going to order. For clean it or something?" "Smashed actually". instance, David Klutho would order a coffee "to go", bu. would drink it at the table. It was 20 cents cheaper you The Tipping Dilemma see. One morning after a particularly animated discussion Our days worked themselves into a routine, I would on Australian customs, we were settling up the bill and drive into the city and pick up David Klutho and any of David K was concerned about tipping Roxanna. I the Sports illustrated staff who needed a lift. We usually explained that it wasn't necessary and she didn't expect. had breakfast in the hotel cafe. David Klutho and the !d anvthina. "Watch this", I said to David K...the bill wa paid for my time (but at least I easy to add type normally: it will wasn't sued!). He did the re-shoot float over the background (which with a pair of his own Nikons and is behind the window) and look 3- a bar from Jasper Engineering. D itself since anything you add Incredibly, the image that was will be at the window. finally chosen to run in the maga- Unfortunately, the Toyota ad- zine was one that was shot on that which is a two-page spread-was first morning that I was there with totally put together by the agency's my cameras! (The background par- photographer, who decided he allax is a bit strong, but the pho- understood enough about how the tographer had a very hard time process worked after my explana- ignoring his 2-D impulses! And tions and his own research. He who's looking at the background?) shot several elements in 3-Dand The Lexus ad is disappointing combined them to create an ad because the image that they pro- that would've been impossible to vided would simply not translate do in one shot. It was pretty good well to 3-D. Not all scenes make for someone who has not done good 3-D images. much 3-Dl but there were quite a The Celica ad, however, turned few errors which cause the image out pretty well. It was a combina- to be uncomfortable to view. tion of having their agency's pho- I was consulted by the writer of tographer shoot the foreground the editorial about some of the element (a woman's hand with facts in his writing... he had previ- keys) in 3-D and my converting ously not known anything about the 2-D background to 3-D. It's 3-Dl and had found his informa- ...... Swimsuit model Heidi Klum (minus The shot of Heidi Klum as a stereo pair reveals the degree to which color is subdued for swimsuit here, so this shot didn't anaglyphic printing. appear in 51). Stereographed using an RBT X3 with 50mm lenses.

$1 5.80.1 gathered the exact money and gave it to Rox- opening. anna, who started back to the cash register. David K I pointed at the screen and asked in a loud voice "who could not bear it any longer, summoned Roxanna back is that guy?". Stunned silence and blank stares from and gave her an extra 15.00 from his pocket. Roxanna everyone in the room. Some even had their mouths looked at me, "These Americans are strange aren't they?" open. They really couldn't decide whether I was kidding Mr President or not. Following the opening ceremony, there were all sorts Are you THE David Klutho? of discussions, reconstructions, flash backs and reports on Some days were busier than others and would require the television. We were watching one of the telecasts dur- different equipment. Sometimes, David K would be ing a quiet period at the Sports Illustrated office. One shooting an event and I would have to race back to the channel was playing back a tape of the Atlanta Games presi centre with some unrequired equipment for safe where President Clinton was making a speech at the storage and retrieve some other gear for the next event.

sl91pso- Vohme 28, Number 1 tion at the library. I made some headaches! I could not fathom additions and changes, but he why he wanted to include this would not change the line about misinformation, which also put a 3-D glasses causing splitting very bad light on 3-D (which I thought they were trying to pro- ...... - mote!). Swimsuit model Lujan and David E. Klutho proctice an important SI pose. David is the one While I was working with the w~n'ngthe RBT X3 with SO mm lenses and RBT Wh100 mm /en-. thot with RRT tl. advertisers and SI staff, Klutho and Kluetmeier were down in Mexico stereographing supermodels. David Burder was also there with Craig Adkins, shooting a 3-D segment that would air on TNT (I had cau- tioned against it, as anaglyph colors simply do not hold up in the NIXcolor space. It aired, unre- markably.) Various locations were scouted before the models arrived. A beach isnlt exactly the most dimensionally robust environ- ment! Rocks, splashes, sand (David built a sand castle at about 4am for a shot that didn't get used), leaves, boats, pillows, animals... they used what they could to fill each space with layers. The photographers had one model per day, and would Craig Adkins using his specml3-0 dual video tig to document the swimsuit model shoot in MPX~.David BurdPr arwidwl the anaalvbh canverJibn techndmv fw the MT video. shoot from about 630 to 10 in the morning, then again from 4:30 to 7:30 sunset. After their long day of shooting by the pool, they could relax and socialize.. .food and drinks were brought out.. .when has a 3-D photographer ever had it so good? I met Klutho and Kluetmeier back in New York to help edit the 25,000+ exposures from south of the border. Definitely the most pleasant work of the entire project! Original 35mm and medium format pairs-taken with the best equipment, seen with the best viewers-of what are arguably some of the best swimsuit models, by two of the best photographers. Finding and collating the pairs was left to some of the staff help two

Most photographers were wandering around with huge The Boxing Portrait lenses slung over their shoulders balanced with a mono- Following a session in the Boxing arena, the crowd was pod over the front. David's Nikon twin rig with the syn- exiting and I wandered down from my seat in the press chronising units and 400mm lenses was a little conspicu- tribune to assist David pack up his equipment. We'd set ous, not to mention quite heavy. One day, heaving this up a remote controlled twin rig on a catwalk, high above rig through the basketball stadium, I hear behind me the ring. "David! David! Stop, can I have your autograph?" As we were leaving through the public seating, I Fame at last I thought! "I saw your 3-D shots in the noticed some of the police security were still hanging Sports illustrated Swimsuit Edition." "Ah, actually,- -you around chatting. I offered my digital camera to David K. iant the other David ...he's over there!" "I'll just go over there and get the guards to pretend to throw me out of a seat, you can get a snap with the digital ...It'll look great on the website, I can see the caption 1 long, but glorious days were spent world," says Klutho, "and usually doing the rough edit.. .down to there's only one or two spots that maybe 50 or so of the very best would be good 3-D wise.. . in 2-D P*. you can go up in the stands and We were so excited-we showed shoot but you're limited in 3-D". people some of the most incredible Klutho and Stuckey came up with images as they walked by: the what are likely the best Olympic expletives should not be repeated! stereo images wer taken. These shots were totally killer! Pro- 2000 ducer Mane Smith, however, nixed October some of the best images because of The Sportr nlusirated Special what she considered bad hair. (?!) Olympic issue, with 3-D cover and Finally 12 were chosen, including 30 3-D pages (including the 3-D 3 double page spreads (which are ads), is unleashed. In an incredibly also not recommended for short amount of time, David Klutho not only took the art of aM81YPhl). stereography to new heights, he February 2000 managed to bring the thrill of the The 3-D issue hit the stands! third dimension to millions of Apparently, it was quite successful, people around the world. He works since the editors decided to go as hard as any of the athletes he with 3-D again for a special photogmph~~~dhe very much Olympic issue! likes to win. If there was a gold medal for stereo photography, Anaglyphi~VkWW cOU~Of September 2000 David Klutho would take the Studio 30 and 7Mbkal Supoft. Sw flluslrated sends a solo David Klutho to Sydney, Australia prizes- to shoot the Olympics with assis- In this mre shot of a swimsuit model octualty swimming, Sporb Illustrated model tance from Australian ISU (Interna- ShQkQm d-rn &,.r.ri- dthn kuic, nibM tional Stereoscopic Union) member David Stuckey. The equipment consists of 3 RBT X3s (including pairs of 20, 28, 50 and lOOmm lenses), 2 RBT Sls (59 and 45mm interocular) and a pair of Nikon 1 F4s (with pairs of 16mm, 80-200, 300 and 400mm lenses) with remote radio cbntrols. No flash was allowed, so 800 speed color neg film, pushed one stop, was used indoors. Though they attended most of the events, some (like wrestling and many gymnastics) just didn't lend themselves to good 3-D, especially since it was so dif6cult to get a good vantage point. "You're competing for position with photographers from all over the

now... What do you mean it's Samaranch's seat?" David feel the van getting higher and higher as each bag was brushed me aside ..." l don't do portraits." removed. David seemed unusually fidgety. "Well, it's been 2 of At the Airport the most amazing weeks of my life working with you and One of my last duties at the games was to transport seeing the games Dave. I hope you have a good flight David Klutho to the airport the morning after the closing back." David Klutho was by now heading for the terminal ceremony, before I had to return the hire car. The airport door, he looked back at me and jerked his thumb in the staff had been increased dramatically to handle the large direction of the fast disappearing luggage. "Do I have to lv volume of departing visitors and athletes. As I pulled up tip these guys?" me ; ~cr; " ,,,:, at the departure terminal, several porters with trolleys I descended on the car and started unloadinq David Klutho's quite large c cases and bags. I coul The ser Pmorma Phenomenon by Dr. Dleter Lorenz

viewing stereoscopic images. The was viewed from the outside, qame "Kaiser" was added as a which meant that a panoramic tlon to a workshop held by NSA result of the patriotic fervor that view wasn't seen. Be that as it may, board member Dr. Dieter Lorenz an( swept across the Guman empire Fuhrmann's idea was so well was originally published in the Cer- War this man magazine Museum-heute (No. S after the Franco-Pmsdan of received by the public-and is June 1995, pp. 45-52). It is reprintec 1870.71. This might lead to a the phenomenon-that it became here (translated from the German b) belief that August Puhnnann, the extraordinarily widespread Duncan Woods of Cygnus Graphic) "inventor"of this devlce, was throughout the German empire of with the permission of the publisher, devoted to the German emperor, that day and could be found in providing the more detailed article but he wasn't really all that selfless foreign and wen some overseas promised in "Remembering the Kais~ and his choice of this name most countries. Kaiser Panoramas were Panorama", which included 10 color likely came from a welldeveloped installed in some 250 locations, reproductions of tinted glass views ir byshess sense. and the central office in Berlin Stereo WoddVol. 21 No. 1, page 8. The large drcular apparatus had offered over lo00 different picture 25 seats and stereosap, and cus- series. Today we would indeed call I he title "Kaiser Panorama Phe- tomen could view 50 hand-tinted this "franchising." nomenon" brlngs up several photographic stereo pairs shown in The Kaiser Panoramas weren't all pwstions, the fmt of which Is: succession. Why Puhnnann chose placed in permanent locations. what is a Kaiser Panorama? Most the somewhat inappqniate term 'Raveling enterprises used a num- dictionaries don't list this term, "Panorama" isn't known, but it ber of them, and there were still but rather only the word "panora- may possibly be because his device others that usually had permanent ma", meaning "an extended picto- resembled the round panoramic locations, but were also temporari- rial representation of a landscape painting exhibits that were fash- ly moved elsewhere depending on or other scene." The Kaiser Panora- - ionable at that time. These exhibits the season, for example, to seaside ma, though, is something entirely were viewed from the inside, resorts during the summer. diffemnt--it's an apparatus for though, while Puhnnann's device

kondxo Serks, No. 3, "Vcrkchr in der Markt- straw nohe des Lon- dun-" Fmf- Ric an Ma& Street the kny ...... LNding.j -7 - The heyday of Fuhrmann's The~knownphotoofaKaiserPamtna(ca.1913)mliwnthrphoto ,rf #g estate of the Meister family of Bautzen. State Libmy of Saxony, PhoQmphy section, enterprise lasted from the 1880s up' Number 46456. into the First World War. In addi- ...... tion to travel photos, there were a view of a scene or an event, an opments. There were, of course, no "Pamotic" pime themegt*~ outline of developments over time sharp dividing lines between these we'd probably C" them poUticaC (, U, table below) shorn that developments, and each individual "at Ofien may* the lmPrlal the Kaiser Panorama followed such medium overlapped others during family, thus adding justification devices as the arcade viewer, the their various times of develop and legitimacy to the use of the diorama, the panoramic painting ment. name "Kaiser Panorama." and the magic lantern, and was in The most important advance Development of Picture turn succeeded by moving pic- made by the Kaiser Panorama in Presentation Media tures, television, and video, among comparison to its predecessors was As a presentation medi- which interactive television and that it could not only show stereo- which provides the user with virtual reality are the latest devel- scopic images, but also that it

Son Fmncisco Series, No. IS, "Stmsse im Chinesenviertel und Verkehr. " [Street in the Chinese district and ...... tmfic.]

9lXRt33~Volume 28, Number 1 1 5 I could present an entire series of in spedakd fields. In recent of Glass Stereoscopic Slides of a them one after the other to a times, the introducth of interac- New Type." One reason for this group of people. W had been tive teimand virtual reality, may have been that he wanted to possibk before only with the in which the spectator can take an give up all of the traveling and its magk lontem, although its images active part, may Wluence the assadated problems that had weren't stereoscopic. Among the fuhwcourseofevents. always been part of his enterprhs succemm to Fuhnnann's system, The history of this enteqmise and establish a business with a moving pMures took the lead, but revolves around Ayrwt Puhrmann, fixed location. Along with this was audiences had to give up the thtrd who was born on December 13, the boom in stemsmpy (even dimension, and for a time, even 1844, in Namslau (today Namb thenitwasspokenofas"skre0 color. Color eventually returned low) in Silesia. He studied physics mania") which had developed decades later (if the early inade- and became an avid experimenter with increasing intensity after quate attempts at monoduomatic and "inventorr" In the 1870%he stereo images were shown at the coloring of entire lilm segments promoted the so-called "telephone World Exhibition in London in and the coloring of individual concerts" in such resorts and spas 1851. frames =diswFied), am as Bad Ems, Wiesbaden, and Stereo images were already wide- thatoccurredagainintheMop- Bade!n-Baden, and during this spread by the time Puhnnann ment of television. After a long same time, his "Nebelbild" ("fog began his enterprise, but viewing absence, the third dimension final- pMure")pro~rn~e them was done only in small ly returned, but only fcnmmm of today's multMsion lplps, -Y within the MY, even today, it hasn't gained-*; penna- shows-appeard Then he turned and the viewer ana image had to nent acceptmce and is used ody be passed from person to person.

Son FmKbco Series, No. 18, "€in Chinesen- nmoumnt H~UKT- pwr. " [A Chinese mtwmnt a pair of ...... huiMIngs.]

...... 4 Sariw Fmncisco hies, Although there were viewing from 20 to 30 minutes, although ticularly difficult task with stereo devices that could show a series of the picture wheel could be speeded images since each member of a views, they could be used by only up when large numbers of cus- stereo pair must match the other one person at a time, and nothing tomers were waiting for a seat. exactly. After many attempts, he existed that could allow viewing While this system couldn't accom- was finally successful in applying by a number of persons at one modate mass audiences like the special transparent colors to the time. magic lantern and "Nebelbild" diffusion screens behind the image The lack of such a device led projection shows, it nevertheless transparencies, a technique which Fuhrmann to the construction of made public showings of stereo created a slightly out-of-focus the viewer that he later called the images possible. Fuhrmann doesn't effect in the colors and helped Kaiser Panorama. It was built in appear to be the "inventor" of this minimize the possibility of seeing the form of a cylinder 12.3 feet system; as early as 1860, the Frank- any slight differences in them. He (3.75 m) in diameter and 7.9 feet prter Intelligenzblatt had reported called this invention "Indirekte (2.4 m) high, and was equipped on an art exhibition at which, durchschimmemde Poly- with 25 stereoscopes and seats among other things, stereo views chrornierung" (which can be trans- around the outside. Inside the were shown in "an elegant rotating lated approximately as "indirect cylinder was a "picture wheel" apparatus for 24 persons". polychrome transmission") and with 50 stere slides in a 170 x 85 Another problem in Fuhrrnann's was obviously very proud of it, as mm format; a "precision drive time was the lack of a practical can be seen in his advertisements. mechanism" rotated the wheel to method of producing color photo- The stereo transparencies were place the 50 views, one after graphs. He himself had experi- illuminated by petroleum, gas, or another, in the fields of view of the mented in this field without any electric incandescent lamps, stereoscopes. The time required to satisfactory results, so he decided depending upon what was avail- view all 50 images was usually to color the images by hand, a par- able at each location. Gas lighting

...... Trieste Series, No. 27, "Hauser der via Punta del... " f&rildinas of the ...... Trkste Series, No. 29, "Sqkr und khHe im Hofen. " [Sailers and boats in the harbor..]

was predominant, and it was also tary of the Destruction of San letters. On September 4, 1897, he preferted because brightness could Frandsco on April 17 and 18, became supplier to the court with be adjusted with a dial at each 1906"). The weekly dunging of the title "Hermglichsachsisch- individual stereoscope for a day or the picture series did in fad pro- Coburg-Gothaischer Hoflieferant"; night effect, a technique also used vide a certain degree of up-to-date he called himself "Stereo-Moment- for dioramas. reporting, which was later taken Photograph" (a term meaning Fuhrmann's htKaiser Panora- over by weekly newsreels in movie roughly "Instant Stereo Photogra- mas began operating around 1880 theaters and daily news reporting pher"), since he was using relative- in Breslau and Frankfurt am Main, on television. Spedal picture series ly fast negative emulsion films and and shortly after that in Berlin as were also produced for schools and exposure times were short enough well, where he had set up his cen- were presented to them at addi- in most cases to show moving tral office on the 6rst floor of the tional showings. objects and persons as clear, "grossen Passage Unter den Linden This program continued to unblurred images. After 1909, he nu Behrenstrasse" (a covered expand steadily until the begin- received another court title, pedestrian mall between Unter den ning of the First World War. Pic- "Koniglich Preussischer Comrnis- Linden and Behren streets) to sup ture series went in part to sover- sionsrat". He had a good relation- ply his approximately 250 loca- eign rulers, but they were also seen ship with the imperial family that tions with images. As noted before, by scientists and many teachers, resulted in, for instance, his pho- topics included travel photos (both from whom Fuhrmann received tographing a stereo picture series in Gennany and in foreign coun- many positive letters of praise that on the opening of the Nord-Ostsee tries), "current events" (and above he used extensively in his advertis- Canal "by imperial decree". Picture all here "patriotic" events), and ing. In 1909, he published his series were enclosed within the disaster scenes such as the great "Golden Book of the Kaiser capstone of the Nord-Ostsee Canal earthquake of 1906 in San Francis- Panorama Central Office", which in Holtenau and the foundation co (e.g., "Photoplastic Documen- contained some 250 pages of these stones of various monuments to

Wme 28, Number l SllB&KBm ...... Btihmisches Erzgebirge Series, No. 3, "Fuhm- eke, Weg zur Schnei- demiihle. " [Carts on the way to the ...... sawmill.]

The back of the glass view "Carts on the way to the sowmillNas seen by retlected light. This reveals the transparent colors applied generously to the diffuser behind the favorites and that he had begun view to avoid sharp color edoes that could create anomalies when the imaaes are working with even before he devel- fused. Fuhrmann called this 'Indirekt durchs@immemde ~olychromieenm~(which oped the Kaiser Panorama. Before can be translated approximately as "indirect poEychrome transmissionN). this, though, he had already turned his archives of non-stereo- serve as contemporary documents belief that "they wouldn't prove to scopic slides over to the Bildspiel- of that time. have a permanent wide appeal" bund Deutscher Stadte e.V. During the First World War, sev- because of their disturbing and dis- (Lantern Slide Projection Society of eral series on the "Volkerkrieg" ruptive images--had so improved German Cities, Inc.) so he could ("The Great War") were produced. and perfected their technology devote more time to the produc- When the war ended, though, that interest in still stereo images tion of artistic lantern slides. there was no longer an emperor, so faded away. Fuhrmann was very August Fuhrmann died in Berlin the firm's name was changed from elderly by this time and he eventu- on August 10,1925. Kaiser Panorama to "Weltpanora- ally gave up leadership of the Welt- Afterwards, the Weltpanorama ma" ("World Panorama"). panorama in August 1923. As Iate enterprise more or less wasted The end was soon in coming, as 1925, he occupied himself with away. No further picture series though. By this time, the theaters slide projection presentations and were produced, and those already with their moving pictures-which "changing pictures", fields of inter- in existence eventually became Fuhrmann had dismissed in the est that were his particular worn out, damaged, or lost. Indi- vidual panoramas still existed during the 19309, and the one in Altotting continued to operate long after the-end of the Second World War, even though the Cen- An od fm August Fuhmmnn in the Office Photogmphic Times of September, tral in Berlin had closed in 1908, W. 40 No. 9, page 289. 1939. Thonks to Dave Tinder and john Equipment and Images Camfor the adwtising examples. The most widely-& Kaiser ThaKtwo~frwn~st Panorama was the classic model Fuhnnann -red on poge 238 of with 25 viewing stations that the Mq1898 issue of The St. Louis death, the collection of stem- showed 50 stereo images. In 1907, and Gmodkn Photog*. graphs became lost little by little, and after the firm was liquidated, this unit cost 3,450 Marks includ- was ingpacking. ESrhrmann also sold advertkments he placed in Ger- there no one left to look after two models of a coin-operated mann~persandn~Pthe estate. Despite this, some of "Small Kaiser Panorama Automat" in foreign countries such as the the images survived the wartime for 900 Marks that had 8 viewing U.S.A. and post-war turmoil in Berlin; stations; one could show 24 stereo they turned up after a number of Competitors years and are now in the posses- images and the other 32 stereo August Fuhrmann's great success images. He offered a sion of Prof. Erhard Senfs Kaiser also coin- gave rise to a large number of M- Panorama Picture Rental Company operated arcade-type multiple tators of his system who used the stereo viewer for by one person in Berlin. use name Kaiser Panorama for their A few of the original Kaiser at a time. Along with this variety own enterprises. In his publica- of stereo slide presentation media, Panoramas themselves still exist. tions, Fuhmann warned against The most well-known of these is he also offered standard non-stem the illegal use of the name "Kaiser slide projectors and even a moving the one in Altotting that, as noted Panorama" and the term "Photo- before, remained in operation picture film projector, although in plasticon", which he had patented, his description of this last item, he there up into the 1960s. In 1969, by competitors for their own this unit (including its stereo pic- was very quick to point out all of "Kaiser Panoramas" and pichue ture series) was moved to the its dhdvantages in comparison to series in their a-ents. Museum, his Kaiser Panorama. Munich Photo where it's Fuhrmann at times employed up What Became of the now displayed as a star attraction. to eight of his own photographers Kaiser Panorama? Another one that wasn't built by to take stereo pictures. Spedal pic- Fuhnnann--itcame from the August Fuhnnanncalledhis Netherlands-could be seen in the ture series, such as those of the enterprise a "first-rate institution German emperor or the Pope and now-closed Berlin Museum, while . of art" and his collection of stereo another onwainnot one of his chambers were photographed images an "archive of stereo docu- byFuhrmaMhimself.Heals0 Fuhrmann's-with many picture ments." As early as 1914, he had series is part of the collection of bought stereo images from other hoped his archives would be taken Bernhard Paul of the Circus Ron- photographers-this is evident not over by the state, but the end of only in the images themselves, but calli in Cologne. Other original the German empire in 1918 put an units, some of them with picture also from the "images wanted" end to this wish. After Fuhnnann's

nenwirbelhiiusem. a [Lace makm at the S0nnwirbel HouSes.1 series. A modem reproduction built in the antique style belongs to the Kaiser Panorama Picture Rental Company in Berlin and is used for special exhibitions, such as those that have been held in Bonn and Paris. Newspaper and magazine articles have also aeated interest in the Kaiser Panorama, and it has attracted academic attention. An almost forgotten picture presentation medium, a predecessor of moving pictures and television, is being rediscovered and thus saved from disappearing completely. Its reappearance, especially in 1995, series, are known to exist in Aus- letters of praise; and posters, the year in which the 100th tria (in the Museum of the City of leaflets, admission tickets, and sim- anniversary of the moving picture Wels); Haarlem, Netherlands (on ilar items. Contemporary photos of film was celebrated, is particularly loan from the Amsterdam Film Kaiser Panoramas are quite rare; gratifying. Museum); Antwerp, Belgium; Bmo, the oldest one known by the Czech Republic; Warsaw, Poland author probably dates to 1913 and Sources (there are even two of them there); is found in the archives of the Andries, P (Feb. 1986): Het "KeIzerpanora- and Swan Hill, Australia. Of these, Deutsche Photothek in Dresden. ma" van het Foto- en the "Photoplasticon" in Warsaw is Another photo was published Filmmwum. Rrovinde Antwerpen, contact, especially interesting-it's still in much later in 1937 in the Munch- Nr. 11, S. 19-22 operation at its original location, ner Neuesten Nachrichten and Anonym (1914): Ein Pionier der Stere- and during the Communist era, it afterwards in the magazine "Das oskopie. Die Photographische Industrie, even played a political role: it was Raumbild" ("The Spatial Image"). Jg. 12, S. 1182 Berliner Festspiele GmbH (Hrsg.) (1984): Das considered unimportant by the Kaiser-Panorama (Ausstellungskatalog). censors and thus could serve as a The Kaiser Panorama Today The nostalgia wave of the last Berlin window on the West by showing Blum, R (Sept./Oct. 1994): "The Kaiser stereo pictures taken by those who decade has reawakened interest in Panorama in Australia". Stereo World, were allowed to travel to the West the Kaiser Panorama. Besides the Vol. 21, NO. 4, p~.3-4 during that era. one in the Munich Photo Muse- Centre Geoqes Pompidou (Hrsg.) (1994): Some of Fuhrmann's company um, other original units have been Walter Benjamin. Le passant, la trace. documents still exist, including a restored, and new ones are being (Ausstellungspublikation). Paris catalog from 1907 which lists not built in both antique and modem Fuhnnann, A. (1907): Spezial-Kunstinstitut designs. Units have been installed ftir Kaiser-Panoramen (Firmen-Katalog). only the picture series available at Berlin that time, but also includes in museums in Berlin, Kiel, Dussel- dorf, and Dinkelsbuhl; some are Fuhnnann, A. (1909): Goldenes Buch der descriptions and illustrations of Zentrale ftir KaiserPanoramen (Firmen- equipment; the already-mentioned equipped with old picture series, schrift). Berlin while others have modern picture "Golden Book" of 1909 with the (Contlmrrd on pagc 23)

Mhmisches Erzgebige Series, No. 23, "Schniedemiihle, Tea- scenerie in Hammer- )ohnsdorf. " [Sawmill at Hammer-john&, scenery on the pond.] News from the Stereoscopic Society of America Norman 6. Patterson rrhe,t Circuit those photographers and learn point lead Joel Matus earned over everal columns back, the ques- ways to improve their own images. the rest of the field. In this case, a tion of the role played by vot- The system is far from perfect- single picture can have a considering in the Society circuits was some views carry over from one able effect in getting one into the discussed and it was indicated that year to the next and no two mem- running-+ second can put one although it is useful and of interest bers ever vote on exactly the same over the top. package of views. I try to include to most participants it is not high cards First Place Votes on the list of reasons for the Sod- only voting dated from Janu- ary through December. " Looking at 1st place choices ety's existence. Still a detailed adds some more insight to the study of voting patterns sometimes The Short Report scoring. Each Caprine voting mem- can be interesting, and, if one can First we will give the short ber makes a 1st place pick as well interpret them (usually beyond my report of the vote tallies and then as 6 more picks in decreasing order ken) it can be informative. At best, look at the results in a little more of preference for each folio. judging pictures is a subjective detail to learn something about Those stereographers earning process and interactive as well. the voters. The total points first place votes for any images The Caprine Print Circuit recent- attained by all members for the were: ly went through a difticult period year was 1228. Joel Matus of Los Thom Gillam, 7 votes for 5 cards; of adjustment following a transfer Angeles, CA, was the clear leader Joel Matus, 7 votes for 4 cards; of leadership to the new Secretary, with 147 points. Tied for second Steve Braun, 4 votes for 4 cards; Ron Kriesel of Gladstone, Oregon. place were Quentin Burke and Ken Quentin Burke, 4 votes for 4 cards; All of the traveling boxes are now Ken Carpenter, 3 votes for 3 cards; Carpenter with 112 points each. Bill Patterson, 3 votes for 3 cards; back on track and Ron was able to Thom Gillam was fourth with 109 report on the voting results for the Tim White, 3 votes for 3 cards; points and Bob Kruse was fifth John Baker, 1 vote for 1 card; calendar year 2000. Ron Kriesel with 97 points. Carole Honigsfeld, 1 vote for 1 card; reports: The next five places were Carole Bill Kreitzer, 1 vote for 1 card; "The fundamental we keep in Honigsfeld 88 points, Bii Patterson Ron Kriesel, 1 vote for 1 card; mind is that the circuit folios are 84 points, Tim White 82 points, Harry Richards, 1 vote for 1 card. for enjoyment and education. A Jack Cavender 76 points, and Steve One is struck by the fact that way that works well in document- Braun 69 points only cards by Thom Gillam and ing these virtues is the use of the Favorite Views Joel Matus were selected best more Voting/?tacking Cards that are than once--all others were chosen sent to the Secretary each time The total number of stereo cards only once. This seems to speak to a that a member reviews a folio. considered in the Year 2000 voting rather even level of quality among Tallying up statistics from the was approximately 125 views. The the Circuit's folio entries over the votes received honors those who top scoring individual views were: calendar year. No "super view" was 1 "Mission Santa Barbara" made the favorite and best views able to blow all the others away. and gives everyone a chance to by Joel Matus (52 points) 2 "Cemetery at Brigels" Since voting is optional, one is take note of the techniques of by Quentin Burke (41 points) restricted to the input of those 3 "The Pier in Winter" by Joel Matus (37 points) choosing to participate. rtc a&rrevrrvr\.a--cry vz mrrrrrcu ra u 4 "Dedmated Ranks" Votable Card Count by Thom Gillam (28 points) I gmup of armnt/y active st- Finally, if we look at the number phcrs who circulate their work by means of 5 "Grand Rue" postal Mias. Both pdnt and tmnsparency ti by Jack Cavender (27 points) of occasions when a circuit mem- mats or0 used, and sevseveml groups are oper- "fly Fishing" ber received any vote (whether lst, ating fdio chits to met the needs in each by Harry Richards (25 points) 2nd, 3rd, etc.) we see just how format. When a folio aMs, a member vk "'RuningofaLeg" evenly the talent is distributed. and makes comments on each of the entrie by Stwe Braun (24 points) of the other participants. His or her own "Air Show" among the circuit's viewmakers. view, which has tmveled the cidt and haJ by Quentin Burke (24 points) Tim White, Ken Carpenter, and been examined and wmmented upon by tl "St Francis Church" Tom Gillam each had their cards other members, b removed and @aced m by Ron Kriesel(24 points) selected 22 times in the voting. a new entty The fdio then continues its en "Restoration" less tmwls oround the ci~uitMany long d by Bill Patterson (24 points), Joel Matus and Quentin Burke tame friendships have fomred among the "Stereowindow" made it 21 times; followed by Bob participants in this manner over the pars. by Tim White (24 points). Kruse 20 times, Bill Patterson 19 Stem photcgmphen who may be intere One can see that having two pic- times, and Carole Honigsfeld 18 ed in Society membership should write to th times. All in all, the Caprine stere- Membership S&ary, Shab Levy, 6320 SW tures in the "top three" when all others could score only once in the ocard makers seem to have "top eleven" explains much of the enjoyed a pretty good year. Exhibition Judging If the above tips us off to the uncertainties of interpreting voting results in folio circuits, one should not be surprised that it is all revis- ited in the judging of Salon Exhibi- tions. Currently, there are at least a dozen photo exhibitions around the world which have a stereo card competition with Photographic Society of America approval where acceptances count toward PSA "star" ratings. There are more opportunities than that for those competing in the several formats of stereo transparencies. The mys- teries of judging remain the same, "Taming rurkey" mrs David WKesner's SSA-ONLINE entry for August 2001, posted on the though, wherever it occurs. Cimit's Internet site. The SSA-ONLINE group operates entirely online. Judging is far from being a science. It is subjective and interac- picture you did not regard highly tures that were well received in tive. Years ago, when the mainstay may receive accolades while the Society circuits will likely be seeing of PSA competitions involved Black one you counted on may be passed one another again for a while in & White prints mounted on 16 by over repeatedly. A viewcard that the exhibitions. 20 inch white, pebbled mounting has done well -in several past com- boards, a popular proverb said, petitions may not be accepted in SSA4NLINE "Change a judge and you change the next one. But if a view you like Illustrated is one of the recent all of the winners". I still go with flops several times in a row, forget entries by David Kesner of Boise the proverb. Judges bring their life it. Pictures run their course. Idaho in the Society's electronic experiences and their biases with Though exhibitions may be sepa- circuit that does all of its business them, just as we all do. They make rated in 'time and geography, their at its Internet site. Dave reports it their selections in good faith as catalogs do get around, as do the as "a close-up of a friend's pet they see the situation at that time. judges. The initial "impact" of an turkey taken just before I left for But one should be prepared to outstanding view evaporates and the NSA Convention. Camera was accept some things as inevitable, the judges move to the newer an RBT X3A with macro attach- without bellyaching about them. It ones--been there, seen that. Select- ment and dual Metz 3222 flashes is part of the process. To wit: ing the accepted views is generally recorded on Fuji Velvia film" A picture may be "Best of Show" not all that trying a process. Select- Persons interested in partidpat- in one competition and fail to ing the award winners can be. Pic- ing in SSA-ONLINEshould contact receive any honors in another. A Shab Levy, [email protected]. am

Kaiser Panorama Phenomenon ,Hndm,, Fuhrmann, A. (o.J., ca, 1916): Das Kaiser- Htllbig, K. (1992): Das Kaiser-Panorama Lorenz, D. (Okt. 1993): Mumllches Uber drei Panorama und das Welt-Archiv poly- Celle. Fillale von Berlin. We. Celler Etagen. Das Museum 3- Dimension in chromer Stereo-Urkunden auf Glas (Fir- Beitrtlge zur Landes- und Kul- Dinkelsbilhl. MFM Fototechnik, 41. Jg., menprospekt). Berlin turgeschichte, Heft 21 Heft 10, S. 16-18 Fuhrmann, A. (192511): Aus meiner Nebel- Hansen, F (gez. F. H.) (1924): Ein Veteran Poch, B. (1 989): Ein Besuch kann ads bildarbeit. Der Bildwart, 3. Jg., S. 305-308 der Photographie. Die Photographische W-te empfohlen werden. Das Kaiser- Fuhrmann, A. (192512): Die Kaiser-Panora- Industrie, Jg. 22, S. 1139-1140 Panorama in Ostfriesland. In: D. Hoff- men in der Geschichte des Lichtbildwe- Hansen, F. (1937): Die Stereoskopie im Dien- mann und J. Thiele (Hrsg.): Lichtbilder, sens. Der Bildwart, 3. Jg., S. 523-526 ste der Volkshildung. Das Raumbild, 3. Lichtspiele. AnWge der Fotografie und Jg., S. 161-163 des Kinos in Osffriesland (Ausstel- Gernsheim, H. (1983): Geschichte der Pho- lungskatalog). Marburg, S. 258-268 tographie. Die enten hundert Jahre. Kunst- und Ausstellungshalle der Bundesre- Frankfurt a.M., Berlin, Wen. Propylilen publik Deutschland (Hrsg.) (1993): Seb- Rauschgatt, D. (1994): Kaiserpanorama. Die Kunstgeschichte, Sonderband 111 sucht. Das Panorama als Massenunterhal- Institutionalisierung massenmedialer Pro- duktion und Rezeption stereoskopischer Geschka, H. (1991): Kaiser-Panoramen in tung des 19. Jahrhunderts (Ausstel- lungskatalog). Frankfurt a.M., Basel Fotografien im 19. Jahrhundert. Diplo- Whrnen, Maren und Schlesien. In: marbeit Universittit Wen Jahrbuch fiir sudetendeutsche Museen Lemke, H. (o.J., 1913): Das Kaiserpanorama, und Archive 1991. Miinchen, S. 105-134 seine Geschichte, seine EnNcklung und Selle, W. (1964): Meditation In Uclnchner Museen. Fotopost, Jg. 17,.S. 246-248 Grahner, H. (gez. hg.) (April 1993): Das seine hohe Bedeutung fiir Schule und Kaiserpanorama. CD Aktuell, Informa- Volk. Storkow (Mark) tionsdienst des Club Daguerre, Nr. 36 Lorenz, D (199, 199 ): Das Stereobild in Wis- senschaft und Technik (Ausstellungskata- log). K6h, Oberpfaffenhofen

sDIRl33- Volume 28, Number 1 SkooPlkg Sam Rmc&co C 34fmm a Helicopter by Robert Bloornberg

he client came over to look ever been up in a helicopter, then tographer himself, gave me a quick through my stereo slides of the contacted various Bay Area heli- lesson in helicopter aerodynamics, pointing out the Enstrom's many I TGolden Gate Bridge and San copter rental companies for pric- Francisco Bay Area for use in a new ing. I discovered that for the price safety features. He also listed all 3-D project. He liked the bridge of one hour in a big Bell Ranger the famous people who had I images but kept asking if I had four-seater helicopter with room thought enough of the Enstrom to

4 anything "really dynamic with the for an assistant to change my film buy one, a rather eclectic group ; towers coming at you through the and hand me cameras, and a five- that included Clint Eastwood, I window." I half-joked "the only point safety harness, I could book Wayne Newton, and Dolly Parton's I way you're going to get that shot two hours in the telephone booth- husband. I in turn gave Cameron a is to hang off the bridge in a heli- sized Enstrom changing my own quick lesson in the unique require- copter," and that's how I ended up film, strapped in with duct tape. ments of shooting 3-D hypers, in an Enstrom 280-C the size of a (The duct tape, I should point out, which included the following top I Volkswagen bug, hovering 150 feet was simply a precautionary mea- four: above the Bay, hanging out of a sure to keep me from accidentally 1) Fly level at a 90-degree angle to i hole where the door should have tripping my suitability buckle, your subject. which of course I never, ever been. 2) Fly as slow and shoot as fast as would have done.) I've shot hyper stereos out of possible. 1 many a scratched jet window and I had the utmost confidence in 1 even a few small planes, but this the helicopter, thanks to pilot 3) Keep the sun to your back. was my first time shooting hypers Cameron Rolf, who was also the 4) Don't bump into anything. local Enstrom rep and a full-time from a helicopter. I immediately In preparation for the shoot 1 called everyone I knew who had flight instructor. Cameron, a pho- made several trips to the Golden

A close-up of the Cold- en Gate Bridge North Tower. Stereolet postcard #CCBC 0 1. .. , ......

Alcatraz with San Francisco in the bock- ground. A slightly closer shot from the other side of the island was used for a Stereo- let postcard, but more of the structures on "the rock" can be seen in this view. Gate Bridge at different times of day to observe lighting conditions and shot a couple of test rolls from high vantage points at the approx- imate time of day I planned to fly. I knew from these tests and past experience that I would need to shoot at a shutter speed of between Vsoo to Vloooth of a second to compensate for the speed and vibration of the helicopter and to deliberately underexpose the Fuji Provia lOOF film from M to a full stop (resulting in a final exposure of between Vlsoth-Hoooth Isec Q 5.6.) It was then just a matter of monitoring on-line weather sites and waiting for a cloudless, wind- free day. I looked forward to the first flight with a mixture of excitement and trepidation; the trepidation due to one friend who told me "you know if those blades stop moving, you're just a brick in the . . tlrr Cdkn Gate Bridge looking north to Marin. Stereojet postcard #CCBM 01. sky." (Note: Cameron wants me to ...... "...... "....." ...... - point out here that if the blades stop moving you are not a brick in the sky. You're a really expensive brick in the sky.) My camera of choice was a Canon AE2 that I shot at its maxi- mum speed of 5 frames per second. No filters or artificial ingredients of any kind were used in the taking of the photos. I had also brought along my trusty, twin Konica ET-1 rig on a custom 2-ft.bar I had built at a local machine shop. I figured that if I had the opportunity to get close enough to the towers, I might get some usable pairs and save the client many hours of Pho- toshop work moving cars and boats around to eliminate anomalies. Although I did get some acceptable pairs with the Konicas, the results with the single SLR were much more dramatic and the ones the client eventually chose for the prolea...... "...... One thing I had learned from shooting landscape hypers at sent any major problems and Pho- from the best two out of only ground level was to always shoot toshop touch ups were kept at a three frames shot.) my sequences moving in the same minimum. Despite all the 3-Dfor- Despite the myriad of things I direction as the clouds to prevent mulas and esoteric bridge facts had to keep in mind-loading them from becoming pseudo. I tucked away in my head, the reali- film, getting the pilot to maneuver therefore had the pilot whenever ty of the situation eliminated all into position, keeping keep an eye possible fly in the same direction but the basic rule of "shoot a lot out for other aircraf-I did man- as any moving objects in the and shoot fast." Given some of the age to enjoy the flight, The voice- scene. Some anomalies were quick maneuvers, I often only had activated headsets Cameron and I unavoidable, but since most were the time or inclination to shoot a wore made for quick and easy far enough away, they did not pre- few frames (The close-up of the communication and a minimum Transamerica pyramid was chosen of aircraft noise.

Jawllo- Vdurm 28, Number 1 pointed out two consenting adults on a nearby rooftop "not having sex" (as Bill Clinton might testify). Of course Iwas changing film at the time, didn't have my 300mm lens, and left my model release forms in the car. In any case, I'm pretty sure this was not the "dynamic, coming through the window shot" the client had in mind. You can judge the results for yourself if you drop by the Golden Gate Bridge Gift Shop where Stere- A~rrnn,xa~uprrrrr-beg and camems in the very open door of the "hyper active" oJet's new 3-D postcards are being Enstmm 280-C test marketed*. Bottom line: the client loved the images, Ihad a great time, and we didn't bump into anything. Can't ask for more than that. Note: I would like to give special thanks to Allan Grifln and Steve Aubrey for their invaluable pre-flight advice and support. Ordering codes for StereoJet postcards: Alcatraz (Azol) Coit (CT01) GG Bridge north tower looking to Marin (GGBM 01) SF skyline (SFO1) Bay Bridge (BB01) Close up of GG bridge north Tower (GGBC 01) North tower GGB & Sausalito (GGBS 01) Tans Am. Bldg. (SFTA 01)

Ifa trip to the bridge isn't practical and you absolutely can't wait to get your hands on them, postcards can be ordered directly from San Francisco Imaging Services, Inc., Coit Tower with Son Francisco Bay and Akotmz in the badcgnnrnd. ~,,,v?oJet Postcard 300 Broadway, Suite 14, San Francisco, CA bcTO1. 94133, (415) 957-1369, or viewed at www.stereoiet.co~.Cost is $19.95 per postcard (includes glassine envelope, matte, One of the more memorable during a low pass over Coit Tower. and 3-D cardboard glasses) California resi- moments of the flight occurred . Cameron tapped my shoulder and dents please add appropriate sales tax. 00 What is a StereoJet Postcard? by John Dennis "The StereoJePthree-dimensional printing process was tereoJeP3-D polarized digital prints and transparencies developed at the Rowland Institute for Science, a non- Shave been displayed at NSA conventions and numerous profit scientific research institution in Cambridge Massa- other trade shows and museums since 1997, but until chusetts. The Institute, was founded in 1980 by the now have not been available as over-the-counter retait inventor and industrialist Edwin H. Land. ... images for the general public. The StereoJetwebsite Each StereoJetprint or transparency consists of a pair of www.stereoiet.com provides both historical and technical superimposed, oppositely polarizing digital images, one information as well as comme~ialproduction and order- representing the left-eye view and the other representing ing contacts. the right-eye view. The two images are printed on oppo- The prints are, in effect, digital ink jet cdor Vectographs site surfaces of a single transparent support sheet. An viewed with polarized glasses-but that name appears observer wearing polarizing 3-D glasses views only the nowhere in the material on the Stereojet website. Two assigned image with each eye. Just as in natural binocular paragraphs from the site's history page provide a concise stereo vision, the brain processes the information so that description of the process: the observer pe~eivesthe pair as an image in depth." ma I Germany Digitizedby Dr. Dieter Loren- in 3-D CD Maps

n geodesy and cartography, digital techniques have been applied Ifor years. In Germany, private users will be able to do their own mapping now by using the digital data on special CD-ROMs offered by the Federal Offices of Land Sur- vey. These came on the market for nearly all of the Gennan federal states at the beginning of 1997. These first CDs have been replaced by new ones with added elevation data. The first upgrade was prepared for North Rhine- Westphalia, and this was followed by upgrades for Mecklenburg-West Pomerania and Bavaria. New CDs for the remaining states are in preparation now. There are two CDs, named Top - 50, for Bavaria, one for the north- Dgitd~~~tcmoin~oddd~rmaUKctiond~ur~~~d em section and the other for the DdIwtein with a reJdution of 50 meters. Q Bovorian Office fw Land Survey, Munich southem section. They contain, .flopogmphicar...... Map ...... 1:50,000)...... along with other information, digital topographic data for maps at model with a resolution of 50 anaglyphic stereoscopic views scales of 1:50,000 and 1 :200,000, meters. This feature allows the user (anaglyph glasses are included). It as well as a map at the scale of to prepare an elevation profile isn't possible, however, to generate 1:1,000,000 that covers the entire along any route, which would be single images or stereo pairs from ~ed~~al~~bli~ of Gemmy. ,t,lso most useful, for example, in plan- the CDs, so the user can't bring included is an index to locations ning bike tours. onto the screen or print out 3-D (Ortsverzeichnis) which allows the The digital terrain model can be color maps with different colors user to select the area wanted. used mainly for three-dimensional (for example, to indicate vegeta- The main product of Top 50 is a imaging to produce, for example, tion and water surfaces) that can digital three-dimensional terrain perspective panoramas or be viewed with a lens stereoscope or an overlunder prism viewer). Minimum system requirements are a 486 pro&ssor, 32MB of RAM, 80MB of free space on the hard drive, Windows 95, 98, 98SE, 2000, or NT4.0, and a graphic chipset with 256 colors. Unfortunately, there are no versions of these CDs for Mac and Linux systems; this is regrettable, since Macs are often July 11-15,202 favored for graphic applications. At the Holiday Inn in Riverside, California The software of the CDs now avail- Contact Mike Aversa: able and those planned comes or Lawrence Kaufmam from EADS Dornier GmbH. for m The CDs for Northern and Visit the N.S.A. 2002 Southern Bavaria are available from: Bayerisches Landesvermes- July 23-29,203 sungsamt (Bavarian Office of Land At the Embassy Suites in North Charleston, South Carolina Slllvey) Alexandrastrasse 4 D- Contact Bffl Moll for more info or qwstions: 80538 Munchen (Munich) Fed. Rep. of Germany The CDs cost 78 Deutschemarks each or 128 E July 2004 At the Doubletree Jan-n Beach in Portland, Oregon Deutschemarks for both. The Contact Wane Rden for more info or questions: organizational web site is htt~://www.bavem.de/v~.am

SlEl&D- Vdume 28, Number 1 Stereoviews from Old Europe and the Stories Behind Them Denis Pellerin & Pierre Tavlitzki The English Colors of James Elliott

james Elliott, "Nice Duck, Sir?" 1 nolor was a natural purpose in I ...... the beginnings of stereo. Early Among the earliest paper views studios. James Elliott was a very Udag~erreoty~eswere painted which were exquisitely water-col- good genre photographer working with transparent colors which ored, we have to acknowledge the for the London Stereoscopic Com- took the observer One step results achieved by the =ondon pany from 1856 (or even as early to reality. as 1855, referring to Russell Nor- I ...... I ton's article in ~&eo World Vol. 16 I lames Elliott. "The Weddina. " I No. 2). He sold his negatives to )41116~~€vt?ningsdHwne.'...... Charles Gaudin in 1861, but few Elliott views are known with a and one with the door closed!) 5. Other staged scenes: ("Pic Nic", Gaudin imprint. 2. Home views (many titles). "The Golden Age", and "Very The Elliott views are identified Pretty Indeed" are three views in 3. Lovers in seventeenth century the same forest-like setting.) by an Elliott imprint or by one or costumes (including "The first two of three possilble blindstamps: love-letter"). 6. Historicals. "J. Elliott" or intertwined JE 4. Staged indoor occupationals 7. Bizarre ("The Pursuit", "Wicked (scarce), or a crown: he was the (including "Fortune-telling", Eyes"). king of stereophotographers! "Nice Duck, Sir?", and "The 8. Artistic Arrangements. 00 We have a fair idea of his work Inventory"). with the samples reproduced here and also with figures 51, 54, 55, and 57 of Darrah's World of Stereo- graphs (1977). The attribution of these early views is often uneasy: Darrah's figure 60 is an Alexis '50s flavored Finds Gaudin view, and Mark Anthony's (Con- Fom FoPrt -1 "Fine fruit, sir?" (Stereo World Vol. 15 No. 1) is by Elliott. after all these years, there is often reproduce (usually without the A tentative identification of little that can be written about luxury of full-color printing, unfor- Mark Anthonyas a London pseu- them in the form of an accompa- huiately) in each issue. This is not donym of Alexis Gaudin by refer- n*g a contest-just a place to share and ence to his brother Marc Antoine, It seemed that a periodic feature enjoy. Since we'll only have room who was one of the earliest pio- such as this-sort of a "show and to print one or two images per neers of photography, has not tell" with the emphasis on the issue, please limit your submission been confinned yet. In addition, a "show"-might be a good way to to a single slide for now. If the ghost view with an Uliott impdnt share some classic '50s 3-D images, slide's subject, date, location, Orphan's lmks like even if little is known about them. photographer or other details are a typical Silvester. Where is the The first few installments will known, please send that along too, truth? include slides from my own mod- but well understand if it's not Elliott's favorite subjects split est collection, but if you come available, Please inclu& return into eight major categories: across any classic '50s-era images postage with' .your slide. And now that you would like to share the requird legal disclaim 1. Christening, confirmation, through this column, I would wel- will be returned wiw 6 preparing for a wedding, wed- come the help. (I don't claim to weeks, and while we'll &eat your ding ceremonies. (Many titles have a comer on the market on slide as carefully as our own, Stereo exist, "Broken Vows" these slides, and I would enjoy see- World and the NSA assume no , of which three variants are ing the treasures that other enthu- responsibility for its safety. known: One with the door Open- siasts have found!) As space allows, Send your slide to: Fiiflies ing from the left, One with the (and depending on the response) Flavored Finds, 5610 SE 71st, door opening from the right, we will select a couple of images to Portland, OR 97206. 00

-m Vdume 28, Number 1 "Cone. " All fractal images by the author. by Lee Lane

ctals ate beautiful, fascinating designs of infinite structure and F"complexity, the sort of intricate patterns that capture your attention and evoke a sense of wonder. They combine contemporary mathematics and the high-tech computer revolution, but are nonetheless a phenomenon as close to home as the flowers in your garden or the pores on the back of your hand. There are essentially five qualities that, taken singly or together, defme fractals an ever increasing complexity of something the closer you get to it, such as a mountain or a coastline; a complex structure at all scales, like the surface of a body of water on a windy day; infinite branch- ing, as in the human circulatory system; a repeating self-similar pattern, as with a fern; and chaotic dynamics, like the flow of water over Niagara Falls. Fractal geometry can often model nature better than classical geometry can, and "Crazy maze. " thus can bring us closer to an ...... - understanding of the world around us and how it works. But perhaps the best thing about fractals is the sheer enjoyment of creating, coloring and contemplat- ing them. They have become pop ular these days because the computer, with appropriate software, allows us to create them quickly and easily in any shape or color. They have become an art form and occasionally show up on calendars or book jackets. But despite their artistic appeal, they are nothing but pure math and so represent a D sort of marriage of math and art. -dlue scares. ,. Fractals that we create on the computer are the graphic realiza- tions of calculations repeated many times, using the result of one calculation as the basis for the next. The key is that the calculations are always done with what are called complex numbers, each of which is actually the sum of two numbers, the second of which is a multiple of the square root of negative one. Fractals owe their fascinating designs to the particular things that complex numbers do when used in computations. Computer screens are a grid of points of light called pixels, each of which can be identified by two numbers indicating its horizontal and vertical position. Fractals can be generated on a computer screen by converting each of these number pairs to a complex number and then using it to do a series of computations on each pixel. The first and most famous of all fractals is named for Benoit Mandelbrot of IBM's Watson Research Center, who introduced the notion of a fractal in his book The Fractal Geometry of Nature (Wilt Freeman and Co., 1977). It is produced by doing no more than squaring a number and adding another one to it (using the formula Zn+1=Z2n+C, where Zo=C=pixel),and repeating this over and over. This simple process produces what has been called the most complex object in mathematics: a curiously shaped geometric form, the border of which is a chaotic region of infi- nitely repeating patterns of exquis- ite intricacy. Investigating this region and choosing colors to delineate the patterns can produce beautiful images. Thousands of formulas have now been written that produce amazing fractals, and there is literally no end in sight.

-WQRKD Vdumc 28, Number 1 downloadable files of formulas and tutorials, and an annual contest. But for our interests, the best thing about Fraaint is that it has programs for creating 3-D transfor- mations, stereo pairs, anaglyphs and random dot stereograms with dot or image backgrounds. Stereo effects from fractal images can be derived either from the range of numerical results from the computations on each pixel, or from the "LiIly pod. " gradations, or grayscale, of the col- ...... " ors chosen to represent those results. It is easy and rewarding I I II and, as fractal images graphically show the beauty in math, the 3-D option enhances it by adding the magical third dimension. The appeal of computer generated fractal images depends to a large degree on the colors chosen to delineate the patterns created by the formulas. Fractint offers virtu- ally infinite color palettes, and the same fractal with different color- ings can be totally different but equally appealing. Color printing is therefore important, since black and white can only hint at such possibilities. The random dot stereograms here are actually two fractals: the visible and the hidden.They were created without calibration bars since the repeating pattern of the background image served the same purpose. They were, of course, I designed for viewing on a PC Fortunately, you don't have to hm:// triumf.calwwwlfractW screen, making it unfortunately understand any math at all to fiat&=. a was mted as open easy to hyperconverge them when make beautiful fractal images. All source freeware by a dedicated printed in a smaller size. you need is a computer that's not group of programmers called the Anyone interested in investigat- too old, some time, Naosity and Stone Soup Group, two of whom "g can 'Ontact me via e- the appropriate software. The fore- wrote a book called Fractal Cre- mail at [email protected] for some most software is called Fraaint (for ations (Waite Group Press, second hints On getting and for fractals with integer math) and is edition 1993). There is also a dis- some parameter to generate available free at its web site: cussion group on the internet these and other stereo images along with numerous galleries, on a PC. mm

I Kaiser Panorama Phenomenon ,contin& Serif, E. (1989): August Fuhrmann. Stereo- tivischen Bilder. Das Raumbild, 3. Jg., U! Pohimann, Munich; U! Selle, Oberau- Photograph, Keniglich-Preussischer Com- S.50 do# Prof. E. Sent; Berlin; H. de Smidt, missionsrath, Hermglicher, Silchsischer Overveen; Duncan W&, Cygnus Hotlieferant. Vater des Kaiser-Panoramas. For impoPtmtt information and other mpport,theauthorwishestothankthe Graphic, Phoenix, AZ, for his translation In: D. Hoffmann und J. Thiele (Hrsg.): of the original German article to English; Uchtbilder, Uchtspiele. A&inge der follmOW1ngindividuals: H.-Ch. Adam, Got- and Prof. Emst A. Weber, Berlin, Fotdund deKinos in OstMesland tingen; Prof. I. Cameron, Rochester, NY, Gemany U.SA.; T. Chudy, Wmaw; Dr. R Mn& and Sun Ci?: AZ, tiw his review of the Munich; K. Halbig, Celle; G. Kmmer, translation and his suggestions for hentin, C. (1 937): Altrnilnchner Panora- Berlin; G. Kosthofer, Bergisch-Gladbach; improvements. ma. Karl Valentin als Freund der perspek- Dr. E. Mayer- Wegelin, Bad Homburg Dr. Information on the Reel World Wolfgang & Mary Ann Sell Harry Potter and the Sorcerer's Stone escribing the newest offering to impossible to get a whole set of from the folks at Fisher-Price cards without buying a multitude Dis a real delight. Their research of sets. Each 5-card package con- and development team has tains a random assortment of brought us a totally different look cards. Therefore, you may buy a from the traditional View-Master card with Harry on the front and format. (See SW vol. 27 No. 6, get five cards and buy a package . page 28.) Harry Poftter and the Sor- with Hedwig on the cover and get cerer's Stone comes to us in the 2-3 of the same cards. The purpose form of a special "jeweled" viewer of packaging them this way is that uses 3-D windows to tell the twofold. One: it encourages kids to magical story of a young boy and swap cards in order to collect a his journey into wizardry. complete set. Two: it encourages The viewer and the cards are increased buying of cards to obtain currently available at local retail- a complete set. This appears to be ers. Target Stores and Toys R Us very clever marketing strategy on charge $6.99 for a set of cards or the part of Fisher Price. the viewer with one card. Wal- The cards are slightly thicker Mart's price is a bit better at only than the traditional View-Master $5.99 per set. However, it is next (Continued on page 37)

Antique-Photography.com Vintage and Fine Art Photography Auction

Lots of stereoviews and other 3D! A Maaicalcl Stereo Handbook rtvinv by George 7hmulis

he puts it, a beginner, busy with deals with the practical aspects of his professional career. stereo photography. This part will It was only in 1995 when he be of most value for the beginner retired from teaching science that as it describes the equipment and new book about stereo is he decided to take stereo photogra- basic techniques for successful always good news. But a book phy more seriously. At this point, stereo photography. Athat is chock-full with infor- like other beginners with intense Some of the subjects discussed in mation and valuable reading for interest in the subject, Dr. Ogram this part include perception of both beginners and advanced had the vision of writing a book depth, stereo photography with an stereo photographers is especially on stereo photography. A book ordinary camera, stereo photogra- good news. This book comes to us that would help put his own phy with a stereo camera, stereo- ' from the UK and the author is Dr. thoughts and knowledge in order scopic formats, review of selected G. R. Ograrn. and also help other beginners and stereo cameras, stereoscopic attach- I remember when 1 got started in advanced stereo workers gain a ments in ordinary cameras, stereo stereo photography, I was looking better understanding of the sub- with twin cameras, freeviewing, for a modem reference to explain ject. But, unlike others, Dr. Ograrn stereoscopes, stereo mounting, both the practical and the theoreti- made his vision a reality with Mag- hyper- and hypostereo, stereo pro- cal details of stereo photography in ical Images. jection, autostereoscopy, photo- a simple and easy to understand In my opinion, three factors in graphic composition and lighting way. No such reference existed in the author's background are work- for effective stereo, trick photogra- 1988. ing to make this book a success: 1) phy and special effects, anaglyphs, Things are not much different Long association with stereo as a stereoscopic drawing, digital imag- today. Newcomers in the field have "beginner", 2) Short time of seri- ing, and more. to rely on older, hard to obtain ous involvement in stereo, 3) A Part I1 (Chapters 16-21) is called books, or get bits and pieces of logical and technical mind devel- "Analysis" and it presents a mathe- information from participation in oped through 30 years of teaching matical theory for stereo photogra- various stereoscopic organizations science. As a result of these three phy. Subjects discussed include the or the Internet. This situation is ingredients, the author possesses a eye and binocular vision, light, about to change with Geoff deep knowledge of stereo photog- lenses, optics, the orthostereoscop- Ogram's new book Magical Images raphy, has everything fresh in his ic image, the distorted stereo - A Handbook of Stereo Photography. mind, and is able to present the image, advanced mounting tech- To appreciate what has been information in a logical and com- niques and image control in stereo achieved here, first a little back- prehensive way. space. According to the author, ground about the author. Geoff The bottom line is that the this mathematical approach is Ogram obtained his first stereo author has achieved this stated valuable because it shows the camera in 1965 and for the next goal of produdng "an all-purpose important variables and how they 30 years he took stereo pictures on book, which would provide not affect the results. It also shows the and off, remaining effectively, as . only practical information and limitations and approximations advice for the beginner but also a used in different formulas. The comprehensive and logical treat- level of mathematics required is Magical rmages - A HOndDOOk ment of the theoretical principles simple high school geometry, of Stereo Photography-. involved, so that the more experi- trigonometry and algebra. The by Dr. C. R. Ogram, 2001 C. R. Orgam, enced worker could study the sub- reader could skip most of the Stafford, UK. Paper, comb-bound, 314 pages, illustrated. Available in ject in more detail". The book is derivations and equations and still Europe from Geoffrey Orgam, divided into three parts: grasp the main ideas presented in [email protected] in the Part I (Chapters 1-15, a bit this part. U.S. from George Themelis, longer than half the book) is called Part 111 is called "Supplements" [email protected]. "Basic Principles and Practice" and and contains more detailed discussion of certain topics that appear in the main text, such as Perspec- STEREO PHUTO TOOLS tive, Pantograph, two-mirror beam SUDEBARS splitter, Elliot and Cazes stereoscopes, criteria for projection of SWCY.. Fo-ubr stereo images, etc. Htavy- UP- 38"- One of the nice features of this TWIN CAMERA MOUNTS book is that it is structured so that, in addition to being a complete vertical-Todn and logical treatment of stereo PANORAMlCPHllTDORAPHY PANO-HEADII photography, different chapters or ENUNEEWNG sections stand on their own so it uspm can be used as a reference to look 124OAPearAve. Mbr.Vkw CA 84043 up a specific subject or technique. H(H(W~.eOM/.lbcaea Examples of such topics include -1- 6L---7-1678 stereo projection, stereo mounting, anaglyphs, lenticular prints, trick photography, hyperstereos, and THE TA- #707 STEREOPTICON VIEWER more. Some subjects are easy to rmm comprehend with a casual reading 'IDLIFn but others need to be studied care- --. p(....-Jd- fully for the full benefit to be -durebilsty. Weighs 1R oe gained. easy Magical Images is self-published ample, AVAlW by the author and printed in a %Fa mm printer (digitally, not a photocopy) lbrt on heavy paper and comb-bound -CREDrrCARW) with a metal spiral and plastic cov- - ers. There are 314 pages printed in TAYLOR- small type (high density of infor- MERCHANT CORP. mation) and there are hundreds of 212 Wert 35th St detailed illustrations, including a WMrk NYm few black and white stereo pairs and a page of color stereo pictures. The quality and originality of the illustrations is particularly impressive. Regarding the style, the book shows its continental origin at places, especially when the Wray Stereo Graphic camera comes before the Stereo Realist and the Hawk stereo projector is mentioned instead of the TDC. Also, the concise, to-the-point, disci- plined and well-organized writing is more typical of a European than a US presentation, which is good news for myself and perhaps other readers with a background in science and engineering. I liked the book so much that I ~~~Corpry have obtained a small stock to sell P.0. Box 100 in the USA. The price set for US dis- savaqe, MIY 55378-99s tribution of this book is $50. It might sound a bit high, but con- PkrnMrltOur-Slb, sidering the size and weight of this [email protected] volume, most of the money goes M#l: -oan, for the custom printing and mailing. Those in Europe can obtain a copy by contacting the author directly at: "Geoffrey Ogram" LmwlhrR..u.ta gonramW.~ackardbeU.org. hllrr- L.r."rrm.w ---8Rm -Gemge Themelis, Wr-3d@a~.&.gg Best Mces 8 Unfmtable I

SlEl@DWtltUfJ Volume 28, Number 1 Current Information on Stereo Today David Starkman & john Dennis Edward's IMAX Theaters Bite the Dust by Lawrence Kaufman now pursue a $29 million claim 90% of the world's largest t might be another nail in the against Edwards for breaking the exhibitor, Regal Cinemas. T coffin of the current 3-D movie agreement. Now that Edwards has North America's second largest lboom. On July 2nd, a judge's rul- the approval to break the contract, theater circuit, Loew's Cineplex ing formally dissolved a marriage Imax becomes a claimant. filed chapter 11 in February and between two financially reeling Imax has suffered its own finan- has been in a bitter fight for con- companies at 14 existing or pro- cial turmoil, reporting a $92 mil- trol. Loew's runs a 3-D LF theater posed theaters, including three in lion loss for 2000 despite a $15.6 at Universal CityWalk and perhaps Southern California. million increase in revenue from the best attended, the Sony IMAX U.S. Bankruptcy Judge Lynne 1999. Imax will continue creating in New York. Anschutz's interests Riddle in Santa Ana granted a films using large-format technolo- will likely control more than 20% motion by Newport Beach-based gy, but very few 3-D LF films are of all the North America movie Edwards Theaters Circuit Inc. to now being planned. screens. With the Edwards 3-D LF cancel its development agreements Some theaters have been explor- screens now history, this does not and 3-D equipment leases with ing alternatives for failing 3-D sound like good news for 3-D LF Canada-based Imax Corp. The IMAX screens. Cathedral City's theaters. motion went into effect Aug. 1. downtown association took over Even though there has been no Edwards Theater chain, along the Desert IMAX 3-D Theater in announcement of what will hap- with numerous other major film January, and Redevelopment pen with the six shuttered exhibition chains, filed Chapter 11 Agency Director Susan Moeller is Edward's LF 3-D theaters, specula- bankruptcy after a miserable year considering folding it into the new tion has been that they will be last year. A combination of over- Mary Pickford Theater complex. "I turned into 35mm theaters. The expansion and competition from think you have to look at expand- removal process for IMAX might rival multiplexes forced Edwards ing the venue, (possibly) bringing take a while, since it involves the Theaters, which racked up debt of in a 35-millimeter projector (for) massive projectors and the nearly $36 million to film compa- showing second-run features," she involved sound systems. The LF nies like Dreamworks SKG, 20th said. theater entrances are currently Century Fox, Warner Bros. Distrib- Billionaire Philip Anschutz has blocked with other film advertising uting, Universal Studios and Mira- been buying large stakes in several and the IMAX signs have been max, to file for bankruptcy last failing theater chains. When covered with plastic. There are August. Commercial 3-D large for- Edwards completes their reorgani- rumors that some of the theaters mat (LF) theaters hadn't been zation, the group lead by Anschutz will reopen with less expensive around long enough to prove will own 51% of Edwards. 8perf -70mm equipment, but that themselves when many theater Anschutz and Oaktree Capital likely won't happen until Edwards chains signed their agreements Management control more than , completes their reorganization. with Imax. The 3-D LF theaters weren't profitable for Edwards and being in Chapter 11 they had to look to maximize creditors' recov- I ery. Lenticular Print Labs The Imax contracts obligated r Corporation, 4850 River Green Edwards to develop the mammoth he assumption that no labs exist Tfor the processing of consumer Parkway, Duluth, GA 30096, (770) theaters and lease IMAX's 3-D large- lenticular prints seems to grow 497-0727, www.orasee.com . screen projection equipment. Six every year or so, but there are two For lenticular prints from three 3-D LF theaTfers had al~eadybeen labs advertising their services on lens cameras only, contact 3D built and another eight had origi- Imaging Systems, Inc, 20700 nally been planned, but were the web. The Orasee Corporation offers Plummer Street, Chatsworth, CA unlikely to ever be built. Imax will lenticular prints in either 3.5 X 4.5 91311, (818) 717-9553, inch or 5 X 7 inch sizes under the www.3dis.com/faa.htm. trademark i3DxTM. Color negative Keep in mind, Stereo World offers 35mm film from either three or no assurance of quality or turn- four lens cameras will be processed around time at either lab, so read- Cuber City, CA 9023 1. and printed. For prices and order- ers should try a single, short roll ing information, contact Orasee first.

Volume 28, Number 1 -m Stereo Camera Web Site e Photographic Historical Soci- T"ety of New England's Stereo Camera web site continues to grow into an increasingly valuable resource for either reference or browsing. There are now 172 camera photos, most in color, with simple identifying captions. Many cameras are covered in two or "Stereo Chajka 4-perf images, more photos (all flat) to show the unknown advance" is one of the camera from different angles or to more obscure cameras to be found show identifying name plates, etc. on the PHSNE site. The cameras, representing a 120 Roll Film Cameras through This London Stereoscopic 5 X 7 wide variety of origins and ages, stereo camera with its royal purple are listed alphabetically within six 118 bellows is one of the site's most format categories: 45xl07mm Plate Cameras ...... elegant entries...... 16mm through 35mm 9 perf 6xl3cm Plate Cameras through advance Cameras 8x10" haven't visited it yet, go to httD://www.~hsne.orn/stereocameras/ 35mm 10 perf advance Cameras Many of the images are nearly STEREOFORMATS.HTM . 35mm Euro through 127 Roll full screen size, and of higher than Film Cameras usual web resolution. If you Can James Cameron Bring 3-D up from the Abyss? I I ames Cameron is going back to lionaire Philip Anschutz. The film- the Titanic for a large-format 3-D maker's brother John David Jdocumentary titled Ghosts of the Cameron will capture making-of Abyss. He's taking a camera crew footage of the exploration, and (and Bill Paxton!) down to the brother Mike Cameron is chief wreckage to shoot for six weeks designer of the deep-diving 3-D using a digital camera system he camera housing and related tech- developed himself. He'll also tour nology. Cameron will use specially the sunken German warship Bis- developed Sony digital-video cam- marck. The final film will be eras on the picture. The cameras shown in both 45-minute IMAX- will be deployed on submarines sized version and a 90-minute launched from a Russian research video. vessel, with subs then deploying Cameron will also co-executive remotely operated vehicles to film produce, partnered with Walden underwater locations that are Media, an educational production particularly difficult to access. oo company owned by Denver bil-

I reel and should hold up relatively I different from the traditional I well over a period of years. They- View-Master format, it give us a are less likely to bend in half than wonderful new collectible to trea- a reel because of the heavier mater- sure. We only hope that the popu- ial. The viewer is also made of a larity of Harry Potter continues for very durable plastic and should many years to come and that all of hold up for a long time as long as Rowling's wonderful books come the diffuser is set back in place to life through the magical world properly upon closing. of View-Master 3-D. 80 This is a great new product in our opinion. Although completely [uflfl' 2Ir2:it Here

For Sale For Sale I I Wanted I 3-0 BOOKS, VIEWERS, and paraphernalia to suit OVER 3000 STEREO ~r sale, m U.S. ALWAYS BUYING STEREO -VIEWS AND REAL every stereoscopic whim and fancy, all at terrlfic views. Also thousanas or old postcams (many PHOTOS of U.S. Mint, U.S. Treasury, and Bureau prices1 For a free list, write, call or fax Cygnus are real photo) of U.S. cities and towns. Send of Engraving & Printing. High prices paid for Graphic, PO Box 32461, Phoenix, AZ 85064- your want list to: Richard Spedding, 22 Tangle stereo views and real photos Ineed of U.S. Mint 2461. teVfax (6021 279-7658. wood Road. Sterling, MA 01564-2015 coining operations, Treasury and BEP paper money engraving & printing operations 1860s- 30 VIDEOS - XXX adult - straight or gay. Also SAWYERS VIEW-MASTER outfit V/M Personal 1920s. Especially seeking U.S. Mint interiors r-rated horror. 3D-LCS glasses available, wired Stereo Camera, Beige, f3.5 25mm anastigmat, and exteriors from Philadelphia; San Francisco; or wireless, both come with PCRV interface flash, stereo-matic '500" projector in case w 2- New Orleans; Denver; Carson City, Nevada; cable. Call (7600 325-7010, ask for NSA dis- 114 lens, film cutter. Mint condition. $1000. Call Dahlonega, Georgia; Charlotte, NC; plus U.S. count or go to www.vidmax-3d.com. (209) 966-2282. Treasury & Bureau of Engraving & Printing oper- ADULTS ONLY - 30 nudes and Erotica Online. STEREOVIEW PRICE GUIDE. Only $7.00!! Great ations, Washington, DC and various U.S. Assay Visit awesome 3d.com and xa3d.com to see for people buying from auctions and for collec- offices. Please email the image to our naughty collection of 30 anaglyphs, Realist tors who want to know the latest realized auction dsundmanOlrmetoncoin.com or mail or FAX format3D slide sets, CD Roms and other exciting values. Only numbered views over $50 are list- photocopy, with price and condition noted. I'll adult products. Over 50 sexy amateur and cen- ed. Doc Boehme, 1236 Oakcrest Ave. W, reply within 48 hours. Attn Dave Sundman, c/o terfold models on our sites. Take $5 off any Roseville, MN 55113 www.iamdoc.com. Littleton Coin Co., One LMeton Coin Place, Lit- order of $25 or more, just mention this ad. Awe- tleton, NH 03561, FAX 603-444-3512, (est. some 30, 100-E-highway 34 - PMB 155, STEREO VIEWS for sale on our website at: 1945). www.daves-stereos.com email: Matawan, NJ 07747 - Sample Slide set of 8 only ARE YOU SURE you still need your vintage Ger- $25. waad~alkeanllne.nstor contact us by writing to Dave or Cvndi Wood. PO Box 838. Milford PA many stereo cards? Please check your collection and contact me. Klaus Kemper, Kommerschei- BOOK, The Siwe at Port Arth~6hardback with 18337 phbne (570) ' 296-6176. Also wanted, 3-0 viewer. $15 Econ Air. (Cash preferred). Ron views by L. Hensel of NY and PA. dterstr. 146. D-52385 Nideooen. Germany. Blum, 2 Hussey Ave., Oaklands Park SA 5046, AUSTRALLIAN IMAGES, stereo or otherwise, Australia. STEREOVIEWS, CDVs, CABINETS, etc. Direct sale: send me your wants. Tim Mclntyre, 137 ephemera, comics, etc. Pay cash, or trade in CENTRAL PACIFIC RAILROAD Photographic His- Nile, Stratford Ontario, N5A 4E1, Canada. Tel: cards. Warren Smythe, 258 Cumberland Rd. tory Museum. Stereographs of the first 519-273-5360, Fax: 519-273-731 0, email: Auburn, NSW 2144 Australia, transcontinental railroad are now on display at: [email protected] page: -. -. -. I collect: Canada and BICYCLES AND MOTORCYCLES. Any stereoptics, Europe views - let me know what you have. JOHN WALDSMITH'S 'Stereo Views, An Illustrat- photographs, ephemera, medals, catalogs, ed History and Price Guide" available signed STEREO VIEWER LENSES. - two wedge-shaped ,memorabilia, etc. related to early cycling. Sin- from the author, $22.95 softbound, add $2.95 lenses, each molded and embodied in 1.5" gles or collections. Generally 1860-1955. Per- postage and handling. Please note: the hard- square frame. Precision optical quality: build, manent want. Loren Shields, W Box 21 1, Cha- bound edition is sold out. Mastercard, VISA and experiment. $7.95 postpaid (USA). Taylor-Mer- grin Falls, OH 44022-0211, Phone (905- 886- Discover accepted. John Waldsmith, 302 chantcorp. 212 W. 35th St., New York, NY 6911, -. Granger Rd., Medina, OH 44256. 1Owl, (800)223-6694. BUYING SAVANNAH GEORGIA and southern NEW BUBBLE LEVEL for Stereo Realist. Advanced STEREO X-RAY VIEWER. Westinghouse X-Ray stereoviews. Also buying pre-1930 Georgia and polymer ring with precision glass bubble. Sim- Co., probably from the 1920s or 1930s. Elegant, southern postcards. Historical Savannah items ple installation, just snap in the center viewfind- but large and heavy. Stereo X-rays are quite dra- also wanted. Call (912) 447-8968 or write Clif- er. precision engineered by 3D Development matic, and are a 'lost art" today. One stereo x- ford Burgess, 404 E. Oglethorpe Avenue, Savan- Company. Visit us at: ray set included. Free to a good home, but you'll nah, GA 31401. www.raoresentatives.com/3D or e-mail: have to fund all expenses of moving it. Bassett COLLECT, TRADE, BUY & SELL: 19th Century -. -. Stereo Anatomy; (View-Master) complete set, images (cased, stereo, Cdv, cabinet & large and some of the earlier (ca 1900) sets as well - paper) Bill Lee, 8658 Galdiator Way, Sandy, UT interested parties call me, or e-mail at 84094. billleetleOiuno.com Specialties: West- -, -, (831) 423-1397. ern, Locomotives, Photographers, Indians, Min- VIEW-MASTER COLLECTION, 2000 pius reels, ing, J. Carbutt, Expeditions, Ships, Utah and s one or me benefits of membersntp, NS viewers, Chinese Art, Mushroom reels (-11 Han- occupational Amembers are offered free use of classifie~ dlettered, single and three reel, and Foreign. CORTE-SCOPE VIEWS or sets, any subject or advertising. Members may use 100 words p $4,000 for all. Jack Scannell, RR1, Box 232, condition. No viewers unless with views. John year, divided into three ads with a maximur Haskell, OK 74436, (918) 482-2384 or (918) Waldsmith, 302 Granger Rd., Medina, OH of 35 words per ad. Additional words or ad1 494-6298. 44256. tional ads may be inserted at the rate of 26 - per word. Please include payments with ads VISIT STEREOVIEWS.com, the Maine Antique I BUY ARIZONA PHOTOGRAPHS! Stereoviews, We cannot provide billings. Ads will be placl Photographica Gallery, for stereoviews and other cabinet cards, mounted photographs, RP post in the issue being assembled at the time of fine 19th and 20th Century photographs, books, cards, albums and photographs taken before their arrival unless a specific later issue is I ephemera and equipment. 1920. Also interested in Xeroxes of Arizona requested. stereographs and photos for research. Will pay Send all ads, with payment, to: postage and copy costs. Jeremy Rowe, 2120 S. STEREO WORLD C/~ls~ifid~, Las Paimas Cir.. Mesa. AZ 85202. 5610 SE 71st, Portland, OR 97206. (A rate sheet for display ads is available fro1 . . -. ~p Wanted 1 2.5-mil Polvp~ppvlene INDIANS & WESTERN, especially Colorado; all CDV(33WX43W) per 100: $8 case of 1000: $70 formats (especially large); delegation, survey, CDV POLYESTER (2-mil ) per 100: $13 caseof1000: $120 railroad, mining; Jackson, Russell, Savage, CDV PAGE 6-pocket top load per page $0.50 caseof 100: $20 O'Sullivan, Hillers, etc. Rob Lewis, 1560 Broad- POSTCARD (3 3/4' X 5 314') per 100: $9 case of 1000: $80 way Y1500, Denver, CO 80202, (303) 861-2828, 4' x 5' per 100: $9 case of 1000: $80 STEREO 1 U6 3/4 COVER (3 3/4' x 7) per 100: $10 case of 1000: $90 STEREO POLYESTER per 100: 2-mil $16 or 3-mil $22 INFORMATION REGARDING the repair or replace- CABINET l CONTINENTAL (4 318' X 7) per 100: $1 1 case of 1000: $100 ment of the slide changer on a Stereo Realist u10COVER (4 3Wx9 5/87 per 100: $22 case of 500: $100 5' x 7' per 50: $8 caseof 200: $30 Projector Model 81. Guy Kidwell, 28925 Way- BOUDOIR (5 1/2' X 8 1/2') per 25: $7 caseof 500: $90 side Lane, Bay Village, OH 44140, (440) 871- 8.~10' per 25: $9 case of 200: $45 4117. 11'x 14' per 10: $9 case of 100: $50 16' x 20' Newl Improved! Sealed! per 10: $22 case of 100: $140 LOUIS HELLER of Yreka and Fort Jones, Califor- nia. Anything! Also, any early California or west- R-ll N-, PO Bx 1070, NOWHavm, CT 06504-1070 ern views wanted. Carl Mautz, US SHIPPING (48 States): $4 per order. Institutional billing. (2001) [email protected],(530) 478-1610. Comedicul udefs dd 6%tan on entire IoUl including .hipping. MUYBRIDGE VIEWS - Top prices paid. Also Michigan and Mining - the 3Ms. Many views available for trade. Leonard Walle, 47530 Edin- borough Lane, Novi, MI 48374. PRECISION FOLDING STEREO VIEWER For all standard NEWBURYPORT, MASS stereoviews by Meinerth, Realist 3D stereo slides. NEW 35nw. Mosely, Reed and others. Buy or trade. Scott Glass or cardboard LESS IN QUANTITY Nason, 12 Marlboro St., Newburyport, MA mounted. Folds flat, 01950, (978) 462-2953. weighs only 1 oz. - SINGLE VIEWS, or complete sets of "Longfellow's Prepaid minimum order Wayside Inn" done by D. C. Osborn, Artist, Ass- $lO.OO.Add $2.00 for 1 abet, Mass., Lawrence M. Rochette, 169 Wood- sh~pplngand handling. land Drive, Marlborough, MA 01752. FREE CATALOG AVAILABLE TO ORDER CALL TOLL FREE WEST VIRGINIA stereoviews, real photo postcards, other photography, postcards, books, and 800-223-6694 other old paper. I buy from Xerox or e-mall scan. MAJOR CREDIT CARDS ACCEPTED Tom Prall, PO Box 155, Weston, WV 26452, TAYLOR MERCHANT CORP. 212 West 35th Street New York, NY 10001 [email protected].

D.C. Antique Photo Show 7 October, 2001 Ootrbkrd show^-,- 8tem08,ac. w-mk Hd%MNPF"JCIt a. Arlington, VA 22200 R Supplies for Stereographers D 3-D slide viewers 0 Print stereoscopes R 3-D slide mounts Boston Antique CI 3-D slide mounting supplies Photo Show 0 Books about 3-0& in 3-0 24 March, 2002 5OiOtr#.rdDqp,stems, ac. Visit our World Wide Web Catalog at Westford Regency HOW Ballroom www.stereoscopy .com/reel3d I 1495dt32tORaRellOW. I WM,MA 01886 Reel 3-0 Enterprises, Inc. I I P.O. Box 2368 Cuhrer City, CA 9023 1 USA Telephone: + l (3 10) 837-2368 Fax: +I (310) 558-1653 We've moved again!

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40 Volume 28, Number 1 57EREOWDRLD AUCTIONS I

yeffereon stereoptire (Since 1981)

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

Main Phone Line (519) 641-4431 Personal Fax Line (519) 641-2899 ITE:.tl&g

C:ONSTGNMENTS WELCOME FROM ANYWHERIE ON EAjRTII.![

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

TERMS FOR CONSIGNMENT

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

If lot realizes up to $40 ...... 30% "I SPECIALIZE IN If lot realizes $41 .OO to $200.00 ...... 25% CONSIGNMENTS; If lot realizes $201 .OO to $500.00 ...... 20% I BUY TOO!"

cameras and other equipment.

DOGS AND CATS (B620) Abraham Lincoln Sold for $1705.

Liberty Hand at ' the Philadelphia '. THE MIJNSTERS (B481)

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