Stereoscopic photography

[reellis67]

Informal Stereograph Exchange

Come to think of it, I'll be making cards up sometime in the next month or so for one of the exchanges that I'm in outside APUG. If anyone wants one, PM me your address and I'll send one to you when I get them made up. If you want, you can send one back whenever the mood suits you. I can help you get started if your interested - it's really quite straight forward.

- Randy

 

[sanderx1]

OT maybe, but Horseman is working on a new stereo camera based on the Xpan style chassis and two lens. Should be very interesting even if probably very expensive. So stereo photography is rather far from dead.

 

[JG Motamedi]

Anyone out there use a 5x8 (inch) stereo camera? I see them occasionally on eBay.

A few years ago the Metropolitan Museum in NY had an exhibit of early French Daguerreotypes, included were three or four Daguerreotype stereos (not sure about the size) in large wooden viewers. The affect was breathtaking; astounding depth and clarity with that Daguerreian etherealness. Amazing.

 

[reellis67]

Anyone out there use a 5x8 (inch) stereo camera? I see them occasionally on eBay.

Is this a wooden camera? I'm not familiar with the description.

- Randy

 

[Ole]

Anyone out there use a 5x8 (inch) stereo camera? I see them occasionally on eBay.

Next time you see one, let me know. I have some fine old plate holders which may be for one of these - I figured I might make a panoramic plate camera around them. But film is more convenient, and can be cut to size with simple household implements (I can do 6x30cm panoramas now - just finished putting a universal lens mount on the 24x30cm camera). And the holders need glass plates, which are slid in from the end...

 

[JG Motamedi]

Is this a wooden camera?...

Yes, the 5x8 is a wooden camera with a non-reversable back. Attached are two images from the GEH collection.

From: http://www.geh.org/fm/toronto/htmlsrc/m999900017_ful.html#topofimage

From: http://www.geh.org/fm/mees/htmlsrc/mR29000001_ful.html#topofimage

Ole, If I find one for sale I will let you know.

Also, I know that Ray Morgenweck, of Star Camera builds "authentic reproduction" wet plate 5x8 Stereos

 

[reellis67]

Excellent! I'm sure they go for a small fortune on ebay. Thanks for the link to the camera builder!

- Randy

 

[KenS]

Linhof monorail for 4x5 stereo

Has anybody else out there trie 3D photography and if so what gear/film did you use?

Rob

Many years ago, I assisted a friend who was contracted to make stereo pairs of what was regarded as some “Heritage” buildings. He used a pair of Linhof master technicas with what he claimed were 240mm “matched lenses” (ie. they were identical focal lengths such that the contact prints could be viewed as an accurate “pair”). The two cameras were mounted side by side on an extruded aluminum bar…. and it sometimes took quite a while to “level”.

I have been thinking that it might be worthwhile to re-visit the experience of making stereo pairs…. but, since I am unable to afford a “real” stereo setup, I wonder if anyone can point me in the direction of making stereo pairs with my (monorail) Linhof bi-Kardan and a 240mm lens (capable of covering my 8x10 with some room for shifts).

My questions are in regard to, if it is possible, as to whether shifts should be applied to either the front or to the rear standard…or both… and, since my ageing memory seems to be failing me, how much “overlap” of the images might be required?

Ken

 

[reellis67]

When I use a slide bar with medium format it moves the entire camera, which approximates the 35mm stereo camera lens/film plane positioning. With such a large rig, you may have problems moving the entire unit far enough with movements. Here is a link to a spreadsheet that will allow you to calculate the optimal distance based on your subject.

http://home.globalcrossing.net/~zilch0/tools.htm

Or you could use the 1:30 rule

Dead Link Removed

I'm not sure how moving just the front standard would impact the stereo effect. My understanding is that moving the rear standard will move the same image around the sheet of film but moving the front standard will alter the image itself because of the changes in the relation of the lens postition to the subject. Probably better described by others, but basicaly the closer objects relation to the more distant objects changes with front shift while rear shift leaves that relationship intact.

Since depth perception relies on changing the relationship of the near and far objects you might be able to work something out by shifting the front standard only, but I've not done this so I can't really say how it would impact the end results. You could end up with too much stereo base (separation) due to the shifting of the image on the film plane, or it could results in something that just wouldn't 'fuse' visualy when viewed.

- Randy

 

[Helen B]

Front shift can be used to converge the two fields of view the two lenses (or the two positions of the same lens if using a slide bar), rather like our eyes. Instead of 'looking straight forward', the lenses can be shifted slightly so that their field of view coincides at a certain distance.

Best,
Helen

 

[dwross]

Hello. I just discovered this forum. What's it doing buried in alternative processes? I started playing with stereophotography about a year ago. And I mean playing. I'm a fulltime photographer and I have a tendency to take it all a little seriously sometimes. I agree wholeheartedly with the earlier observation that stereo is a fun way to see familiar subjects from a fresh perspective. I go about it pretty simply. Two rangefinders side-by-side or one camera on a slider. http://dwrphotos.com/stereo/Stereographs.htm#About

btw: I've been finding that my images seem to work best when their focus is in parallel rather than convergent.

 

[Photo Engineer]

Denise;

This is true when the photo is taken parallel, but projected or viewed convergent. That is what your eye does naturally.

I love my Kodak Stereo Camera.

PE

 

[dwross]

Ron: I envy you that camera. You'll have to let me play with it sometime!

 

[reellis67]

Denise,

Great stuff on your website. I really like the handcolored stereographs. There are a handful of stereo shooters here if you sift around a bit. Using a 50's stereo camera is a blast - if you're ever out this way (Florida) you're welcome to take one of mine out for a spin.

- Randy

 

[dwross]

Randy:
Excellent! I've never been to Florida. It's hard to imagine a warm beach. I had to wear thermal longjohns for my morning beach walk today in Oregon.

Thanks for the kind words about the handcolored stuff.

 

[Ole]

I've admitted defeat, and bought a stereo plate camera: An ICA Plaskop.

Oddlu enough I already have a bunch of film holders for it...

 

[dwross]

Ole: From the photo, it looks like retro art all by itself, but I don't read German. What are its technical features?

 

[Ole]

Let's see...

Two Zeiss Novar Anastigmat lenses, shutter time either "Z" (Zeit = time) or "M" ( Moment = short(ish)), uses plates 45x107mm. Quite basic, really; but the film size ,akes for nice contact prints. Much easier than aligning a pair of Stereo Realist frames!

 

[dwross]

Very nice. You're going to be having a lot of fun. Send us some pictures as they come along!

 

[Helen B]

...

btw: I've been finding that my images seem to work best when their focus is in parallel rather than convergent.

Hi Denise,

Are you referring to converging by rotating fixed-lens cameras, or using front shift with a common film plane? I was referring to the latter.

Thanks,
Helen

 

[dwross]

Helen: The former. I just use two side-by-side MF rangefinders on Gitzo ballheads so that they can be aligned perfectly parallel. How does it work with the option of shifts and tilts? Sounds marvelously intriguing.

 

[Helen B]

Hi Denise,

A stereo camera like the Stereo Realist has the centres of the film frames slightly further apart than the separation of the optical axes of the lenses (deviation). This means that the fields of view of the two lenses are convergent, while the film remains in one plane. The fields of view converge as if you are looking through a window, probably about two metres (six feet) away. There is no swing: the optical axes of the lenses are parallel, and perpendicular to the common film plane.

This relationship can be obtained with a two-camera or a slide bar system using front or rear shift. For the reasons that Randy mentioned it is probably better to think of it as rear shift rather than front shift, even if you use front shift (!). You maintain the standard lens separation, but increase the separation of the centres of the film frames.

With such a setup you can print the whole frame. To create the same common window with pictures taken with two fixed lens cameras (or a single fixed-lens camera on a slide bar) you need to make crops from the frames to imitate the deviation - ie you move the centre of each image outwards. As you are making stereo cards with a 6x9, you have no need for shift because you have to make a crop anyway and this will be an intuitive part of your process.

I hope that makes sense.

Best,
Helen

 

[Photo Engineer]

Ron: I envy you that camera. You'll have to let me play with it sometime!

Denise; I got it for a Christmas present when I was about 15 or so. It has served me well. I'll let you take it for a spin if I ever have it out your way or if you ever come this way.

I worked with Pete Chiesa, one of Kodak's great stereo photographers and really learned a lot from him, but now I rarely use the camera.

Regards.

Ron

 

[Photo Engineer]

Denise;

Come to think of it, you are one of the few people here who have met me in person. I walked by an APUGer at the TPHS show here in Rochester as he was buying a studio camera from a friend of mine. I was with Grant Haist and his wife AAMOF, but it shows how we really do talk on-line, but rarely meet in person.

My friend later told me about this.

Ron

 

[meltronic]

Horseman Stereo

OT maybe, but Horseman is working on a new stereo camera based on the Xpan style chassis and two lens. Should be very interesting even if probably very expensive. So stereo photography is rather far from dead.

I played with the new Horseman Stereo Cam the other day at Yodobashi Camera in Osaka. It feels really good and solid and the sample slides were awesome. Oddly, the aperture of each lens is perfectly square (4 blades). I was becoming quite taken with the thing until I saw the price tag. It was about US$4500.