Let’s get acquainted before I start talking about stereoscopy. My name is Pascal, born in 1986. I live in Mainz, Germany, a city near Frankfurt. I work as a teacher for maths and music and as a media education consultant for the educational authority. You can also listen to my choral compositions in concerts or buy them as sheet music.
I started my stereoscopic journey in late 2016 soon after I spotted a small handheld cardboard viewer of the French brand Brugière from around 1940 with a bunch of films on a local antiques market. To be honest, I did not pay much attention on this item because that time I was after anything concerning early photography but the Brugière viewer was just too expensive, the views were pale and foggy and the design was not catchy after all.
But at home I remembered a Viewmaster that my parents had bought during our holidays in California and what joy it had brought to me as a child. I would not have thought there was anything older than this. But, upon doing further research, I soon found the same Brugière viewer for a takeaway price on a local advertisement website. I was quite surprised to find the stereo photos on glass slides instead of the films and was totally excited after I looked through the viewer. This was the experience that sparked my interest in stereoscopy.
Not much later I had discovered that there was a broad field that was called stereoscopy. My first collector’s item was a French Taxiphote that looked like it just fell out of a Tim Burton movie.
While expanding my area of interest and adding more items to my little collection I also wondered if it would be possible to make stereo photos with a modern camera. I had absolutely no clue that there is an active community of modern stereo photographers. Maybe someone might be interested in that kind of photo, so why not reactivate my old Instagram account for that purpose? The next chapter of my stereo journey started immediately.
Meanwhile my collection expanded into dozens of wooden viewers, both handheld and tabletop, sometimes including their storage furniture, cameras and developing tools as well as historic documents like catalogues and thousands of stereo views. I also started restoring viewers that are in a bad condition including complete disassembling, cleaning, replacing, repairing, adjusting and so on. Bringing back the original beauty to a viewer or camera that was long forgotten in an attic or basement is a really joyful experience.
I soon came to the point where I had to set borders to my collecting activities. So at the moment I am limited to glass slides, their specific viewers and the time before 1945. So my collection remains one-sided despite its diversity but I rather see it as a kind of focus.
Nevertheless that’s why I try to include guest authors on this website to share their knowledge, treasures and photos. So don’t hesitate to get in touch by e‑mail to email@example.com if you’d like to share anything stereoscopic here. Finally, I welcome your feedback to help me improve the Stereosite.