{"id":115601,"date":"2017-12-27T09:30:34","date_gmt":"2017-12-27T09:30:34","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=115601"},"modified":"2022-08-11T12:07:15","modified_gmt":"2022-08-11T11:07:15","slug":"film-stars-stereo-camera","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/film-stars-stereo-camera\/","title":{"rendered":"Film stars: Stereo camera photography"},"content":{"rendered":"\t\t
\n\t\t\t\"Stereo\t\t\t

Stereo pair produced digitally from negatives shot with a Stereo camera (Stereo Realist). Credit: John Wade<\/p>\n\t\t<\/div>\n\t\t\n

We see in three dimensions because each eye takes in a slightly different view from the other. The brain compares the differences and uses the information to create the illusion of depth in the single view we see every time we open our eyes.<\/p>\n

Before photography, artists used this theory to draw stereo pairs. So when photography came along, cameras were produced with two lenses that shot two pictures simultaneously. When the resulting images were placed in a viewer, so that the left eye saw only the picture taken with the left lens, and the right eye saw the one from the right lens, the illusion of three dimensions was recreated.<\/p>\n

Stereo photography dates back to the 19th century and the daguerreotype era, when images were made on silver-plated copper. It regained popularity in the 1900s using glass plates, died away, then made a comeback in the 1950s and early 1960s, with cameras made for 35mm, 120mm and 127mm rollfilm, and even 16mm subminiature film. These are the cameras that you can still find second-hand for use today.<\/p>\n\t\t

\n\t\t\t\"Gaumont\t\t\t

Gaumont Stereo-Spido (left) and Unis Monobloc (right). Credit: John Wade<\/p>\n\t\t<\/div>\n\t\t\n

Using a stereo camera<\/h2>\n

Stereo pictures should be shot to include strong foreground subjects, with interesting detail in the middle distance and an attractive background. This requires a good depth of field, working at the lens\u2019 smallest aperture. The best method is to focus the lens at its hyperfocal distance. Do this by setting infinity on the lens\u2019s focusing ring against the aperture you are using on the depth-of-field scale. Then look at the opposite end of the scale to see what distance is set against the same aperture. Everything between those two distances will be in focus.<\/p>\n\t\t

\n\t\t\t\"Good\t\t\t

A good stereo image needs strong foreground interest and a deep depth of field. Credit: John Wade<\/p>\n\t\t<\/div>\n\t\t\n

You\u2019ll need a viewer to see the stereo effect. Many of those made for specific cameras only accepted 35mm slides or transparencies, viewed by direct light, sometimes with the aid of a bulb and battery. Ignore those and go for a viewer that accepts prints. One very simple and inexpensive example was made for the VistaScreen system. These and similar types turn up regularly on eBay, often complete with a set of commercially produced stereo cards.<\/p>\n

\n

The cameras<\/h2>\n\t\t
\n\t\t\t\"Stereo\t\t\t

The Stereo Realist, a 1947 camera that’s still usable today. Credit: John Wade<\/p>\n\t\t<\/div>\n\t\t\n

Stereo Realist<\/h2>\n