What to do in 2020, these difficult times for passionate collectors? Read about Thomas Asch’s newest acquisition, get some historical background information and look at the different kinds of stereoscopic Tissues.
Unlike painting, in sculpture, the perception of spatial depth may be the most important thing to consider. The relationship of each of the elements distributed in the space is the real challenge to take into account in creating sculpture. In the vast majority of cases, color is dispensed with to focus attention on three-dimensional shapes. In a traditional two-dimensional photograph of a sculpture that perception of depth is lost, and therefore two-dimensional photography is a very ineffective means to represent the spatial awareness of a sculpture.
A 3D photograph usually consists of two images of the same subject taken from different viewpoints. One of the most common questions amongst both experienced and new stereo photographers is how to determine the right distance between the left and right camera positions that should be used when taking the photos. Learn how to achieve the right depth in your photos for a satisfying viewing experience.
3D filmstrip viewers are a family of stereo viewers that gained prominence in the early 20th century. In fact, it was a small filmstrip viewer called Tru-Vue that re-introduced 3D viewing as a mid-century pastime, made it more affordable than earlier stereoscope sets, and paved the way in the hearts and minds of consumers for the popular 3D reel & card viewers that would come later. For this reason, Tru-Vue has often been called “the missing link” in stereoscopy. Explore some of the most interesting filmstrip stereo viewers here.
When considering restoration, I always ask myself one very simple question: What would this stereoscope look like today if it had never disappeared from its owner’s living room, but had been cherished and cared for continuously for over 100 years?
Lenticular photographs can be viewed the same way as ordinary photos, but they show the added dimension of depth. No stereoscope or 3D glasses are required for viewing. This ease of viewing is the biggest benefit of the lenticular print. By adding more than two viewpoints, the prints are easily viewed from a variety of positions and angles.
Stereoscopic negatives are, by nature of their creation, trickier dragons to conquer than are those made by traditional two-dimensional cameras. They are vicious chimeras, products of distinct photographic and stereographic processes, and difficult to tame. Read here how to do it.
The Autochrome was one of the principal ways of producing colour photography in the early 20th Century. The Autochrome Project is a personal endeavour to produce a workable method of recreating the Lumiere Autochrome.
Every now and then you can find stereo illustrated books that incorporate a viewer, to view the printed stereo pairs, rather than anaglyphs. This basic concept and format turns out to be quite old. Read more about it in David Starkman’s abbreviated history of Stereo Illustrated books.
written for the stereosite by David Kuntz, USA Stereo photography is a bit more demanding than traditional flat photography, because a poorly rendered 3D image can be difficult or unpleasant to view. So, the stereo photographer has to take additional steps, not required with flat photos, …
In this post, I will talk about collecting antique stereoscopes for glass stereoviews from the period 1850 to 1930. Some tips from my previous post can also be applied to stereoscopes, so I recommend to read this post first. However, collecting stereoscopes comes with some additional challenges that I will address now.
This is the first post of a two-part series about collecting stereoscopy antiques. This post is about collecting stereoviews. André tells about his experiences based on two years of searching and bidding on glass stereoviews of the First World War, but in general these tips apply to all themes.
