Mt Rainer, fantasy unicorns and the beautiful lake, a fantasy scene in the shimmering water. In STEREO GRAPHICS this picture can also be done in 3D , seen as a STEREO Pair or an anaglyph picture, you see it as in real 3D and feel that you can walk right into the picture seen here below.
This is called a side by side stereo pair. It can be seen in 3D using stereo glasses or using the freeview method of looking at the stereo pair. (see "Tutorials" for this method)
This stereo picture is called a Anaglyph seudo color picture. It can be seen in 3D by using red blueanaglyphic glasses (free on request from the artist)
For further information, questions, tutorials you can reach the Stereo photographer artist by E-Mail.
goto@uci.net
PMB-123 / 3696 Broadway North Bend, Oregon 97459
a pleasant day taking pictures of a stormy sea
Doing what ever it takes to get the pictures of those big breakers.Even though these are single pictures, they can be made into stereo by special methods.
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The stereoscopic ("3D") image not only places solid appearing objects at distances one can sense, it also places the person viewing the
image --in relation to the objects. Those "objects" therefore become subjects.
Many people reading this will have scant acquaintance with 3-D imaging
--save, perhaps, for those curious posters which fall into depth --if you
stare at them long enough. But "stereo", as in "stereography", is older
than photography --yet breathtakingly recent (1833) as a concept in scientific
circles. (Yes: my research and that of others negatively supports Sir Charles
Wheatstone's priority in even noticing that we have 3 dimensional vision.
No Greek philosopher nor even Leonardo Da Vinci had previously mentioned
it --!)
Today, stereography struggles to take its place among disciplines accepted
as legitimate art forms, falling some distance behind normal photography.
Prejudicing its case in the eyes of artistic establishmentarians is that
stereography's inherent nature lends its purposes best to the masses, popular
topics, simple, humble, transparent reportage and witness.
How then, can I tie our deep and ancient aspirations for love, peace,
and place --to such an obscure phenomena as the "solid image"? --Well:
by pointing out that Love, ideally, is also wonderfully common, "de classe",
indiscriminate, and unconditional --flowing like rain upon the receptive.
Accordingly, I offer an ode to my chosen Muse.
VERSO
(About my work: about as many words as one might place on the back
of a standard viewcard.)
The attractions of stereo view cards can be obvious: a fascinating
play of perspective, an ethereal feeling of "presence" in another time
and place. But their lasting appeal is in subtleties: a graceful
balance between a moment of life and its interpretation, a sense of unspoken
bonds among the subject, observer, and stereographer. Here in your
hand is a mixed medium with power, reach, and inherent poetry. Here
is an art form to contend with, worthy of both lighthearted and serious
practice.
With these strengths, stereography does well as a humble witness
to life. Simply match appealing images with well edited thoughts
on worthwhile subjects. The medium itself carries such ordinary efforts
with its engaging illusion and recognition of life. Each completion
becomes a self-documented cultural artifact, registration for a visual
delight or bit of history, another portal to the vastness of life.
Presently, you might afford taking all the world's serious print
pair workers out to dinner. But stereo images are upon us as novelty
art. They're becoming a familiar part of our lives through cinema
and computer display. Stereo illustrations for books and periodicals
as standard practice are likely to follow.
As life rushes by, new images and mental abstractions of old ones
quickly displace the few visual experiences we even try to focus on --like
the press of so many curiosity seekers gathering to the scene of a happening.
But in the view card's stillness and silence, we have the personal time
to clearly see and "take in" --perhaps a detail made visible only through
stereography, a scene otherwise lost to living eyes, --a face: still fresh
and earnest in the warm light of a distant summer.
How to see the "3-D" in traditional print-pair viewcards
"FREE VISION"
Can you do it?
If you can see the "magic picture" in all those puzzle poster art works,
you already know how. Another big "YES" results if, perhaps as a
kid, you once entertained yourself by "making a wiener" --twixt your index
fingers.
Is this all strange to you?
OK: let's play some childhood catch up. Touch your index fingers
about a foot from your face, holding them level to your vision. Now
look just over your fingers and across the room. See the "wiener"?
Free vision is nearly as easy.
To
get from here (the wiener) to there (the pairs of images below), simply
stare "through" the monitor (perhaps looking vaguely at the reflection
of your face) at arm's length --and hold your vision level. Allow those
black spots to float "together" as you relax your vision. Instead of beholding
a wiener, this time the pair of images below the spots becomes 3 --and
it's the middle one that you want.
The trick is to casually drop your vision onto the
pair/triad whilst maintaining the perception that there are still 3 pictures.
Straight away you'll get impressions of the middle picture's depth
--but only fleetingly so because that middle image flies apart into 2 flat
images --soon as you try to study it with more interest! --Again:
relax and you'll beat this problem within a few more tries.
The easiest images to view over the Internet are "anaglyphs" --but
you have to use "red-blue anaglyph glasses" to see them in 3D. Possibly,
a friend of yours has such a viewer --or: I'll give you a pair if you send
me your self-addressed, stamped envelope.
(use red-blue
3D glasses for the kitty)
Chicago - 1968
(use red-blue
3D glasses / click for 100Kb version)
Stereosynthesis
It's fun to take a regular (non-stereoscopic) photo and render it
into a 3D image. I use to do both complex and simple renderings, but I
can barely find the time to work on my own images anymore. Gradually, my
"Tutorials" section will supply
the information you'll need to do this work on your own --skills that quite
a few stereoscopists have now mastered.
*** Click
for the Very Simple "ST-VS" Steps --or the
template
patterns and trim/mount steps you'll need for trimming/gluing
print pairs to open cards and Q-VU-AT/X
mounts.
* Please immediately sleeve your uncut film
or strips. Don't let part time kids handle your film at a one-hour
joint. Instead go to a professional shop that retains its talen and pays a living wage.Again, you can't do much better than(Evergreenand you can work with them via mailorder.
It might be that that the average shooter will be better off when photography is all digital: no dirt or scratches to permanently ruin your images. We have our old stereo film cameras but mainly shoot digital media.
Happy Shooting!
If exchanging stereoscopic imaging
samples and ideas sounds interesting to you (either digitally or with traditional
photographic pairs), check into the NSA
and SSA sections of the *3D
Web or go directly to the new NSA
web site. Costs can be kept low in the photographic circuits by
(say) simply "shifting" a conventional camera to make stereo pairs (an
SASE brings you instructions) or joining the potentially camera-less and
film-less "SSA-ONLINE and "Cyber Circuit". (There are modest NSA/SSA dues.)
To
get from here (the wiener) to there (the pairs of images below), simply
stare "through" the monitor (perhaps looking vaguely at the reflection
of your face) at arm's length --and hold your vision level. Allow those
black spots to float "together" as you relax your vision. Instead of beholding
a wiener, this time the pair of images below the spots becomes 3 --and
it's the middle one that you want.
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