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PRICE FORTY CENTS
ABROAD 1'8
STEREOPHOTOGRAPHY
ods in use. With illustrations.
Photographs in colors-a new
process. News and Comment,
VOLUME XVI 1923 .,t NUMBER,19OView original page 2Page 3 · Read text
The Photo-Mlniaturc: No. 174 The Photo-Miniaturc: No. 142
Home Profitable
a nd Garden Photographic
Po rtra itu re Processes
The only handbook.to this A collection of minor
fascinating field ,of work, processes, not availablein which the amateur can elsewhere, which photog-excel th€ best professional
raphers can turn to pgof-work-, and the professional
can find a gold-mine of new itable account as side lines
business. to the regular business of
the studio.Plain and practical infor-
mation, from beginning Original information,
to end, giving working with practical working in-
methods and discussing the structions and formulas.
possibilities from the view-
point of experience. PHOTOGRAPHSON WATCH
DIALS, CAPS, SFOONS,
rne rrelD EourpMENT j colNs, ETc.
LIMITATIONS OF The carbon transfer and
. HAND CAMEHAS c o l l o d i o n s t r i p p i n g p a p e r
_IENSES ANq THETR USE methods-complete,
INDOOR ILLUMINATION PRTNTS ON S|LK, SATEEN
ROOMS, STA| RWAYS, AND FAtsRICS
DOORWAY, AND WINDOW IMITATfON ENAMELS
PORTRAITS (Pseudo Photo Ceramics)
REFLECTORS, ON CHINAWARE AND
BIICKGROT.|NDS METAL SURFACES
LIGHT TONE EFFECTS BI RD'S.EYE PHOTO.
M I RROR PORTRAITS GRAPHS FOR NOVELTY
DE MEYER EFFECTS SPECIALTI ES
PORCH PORTRAITS ENLARGEMENTS ON
GARDEN PORTRAITURE SATEEN AND OTHER
I LLUSTRATED FABRICS
Price 40 cents postfree Price 40 cents postfree
TENNANT AND WARD TENNANT AND WARD
103PARK AVE., YORK 103PAFK AVE., NEW YORK ryEW
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The No. 3 Ansco Junior
Forpictures 3% x44
r\ brancl-new ,A.nsco rnodel for
the discriminating arntrteur rvha
u'ants Ansco qualit;' ancl Per-
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U. S" 1 R.;rpid Rectilinear lens,
speci:rl I)eltax shutter--sPeeds
I ;t 25, I i 50, I / 100, Buib, and
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leather bellor,.ts, nici<el tr:imrnings,
ar-rd the farmous Atrsco Auttlrnertic
Finclr:r.
Price $18.50
The I{o. 3 Folding Ansco
For pictur es 3% x 4%
Tire iogical ctroice fc,r aclvatrced
;rmateur photographers who cle*
sire a high-grade all-purPose
camera of this size at a moclerate
cost. Clear-cutting Ansco tr7" 5
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s l r u t t e r - s p e e d s l , L l 2 , l l 5 ,
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genuine leather and nickel, *'ith
thumb-lever ftrcusing and Ansco
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Price $30
Catul0g,ue on Request
AT{SCO COMPANY
Binghamton, I\T. Y-
Kindly nrentitltr'I'iru Prtoro-\[rnrrATL RT.View original page 4Page 5 · Read text
PllofuMnla tf A monthly magazine of photographic information, edited.
by John A. Tennant, for the man who wants the plain facts
about one thing at a time. It is unique among photo-
graphic journals in the following vital points.
J[ Each number is a complete book in itself. Each number
deals with a different subject and tells all worth knowing about
its subject.
fl Its information is fresh and original, simply written; without
waste of words or space, by practical workers from actual ex-
perience. Always clear and to the point, comprehensive, not
long-winded.
fl rt is carefully edited, well printed and linen-stitched so that
it opens flat iike a book for easy reading. Its pages are com-
pactly filled, giving as much information as the average dollar
book, in flexible form, fitting the coat-pocket.
1l Sold by dealers everywhere at 40 cents per copy [or I /S
abroad]. Subscription, postfree $4 per year. [Abroad 16l-.]
Jf A complete set of all the numbers published: Volumes I to
XVI offers the most comprehensive library of photographic in,
formation in the language. Apply to American publishers for
price of sets or out-of-print issues needed to complete your set.
PUBLISHED BY TENNANT AND WARD
AT 103 PARK AVENUE, NEW YORK "
C h i c a g o W h o l e s a l e A g e n t s : B u r k e a n d J a m e s , I n c .
Agents for Great Britain: Iloughton's, Ltd., London
Agents for Australasia: Kodak (Australasia) Ltd., Sydney
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The Photo-Miniature Series
OF PRACTICAL HANDBOOI(S ON PHOTOGRAPHY
A List of Numbers Obtainable from Most Dealers:
No. 190. STEREOSCOPIC PHOTOGRAPHY. (Ready in June.) A practical hand-
book to this fascinating field, by an expert. 40 cents.
No. 189. MAKING AN ENLARGER. Complete instructions, with working drawings,
for the construction of an auto-focus eniarger for miniature camera negativss. Illustrated,
40 Cents.
No. 188. THE EXHIBITION PRINT. Wherein a successful exhibitor tells how to
make pictures (instead of mere photographs). Illustrated. 40 cents.
No. 187. PHOTOGRAPHIC LENSES-IN USE. Practical information about the
choice and use of lenses for different purposes. 40 cents.
No. 186. BROMOI L PRINTS AND BROMOT L TRANSFERS. Simple instructionsin
the working of these popular pictorial printing methods. Fully illustrated,with formulas. 40cents.
No. 185. KALLITYPE AND ALLI ED PROCESSES. For home prepared papers giv-
ing black, brown, sepia, red and blue prints. Reliable formulas. 40 cents.
No. 184. SOFT FOCUS EFFECTS lN PHOTOGRAPHY. By lenses,disks, screens,
rt and other devices. Describes all soft-focus lenses, Illustrated. 40 cents.
No. 183. COLOR PHOTOGRAPHY. The best statement of the problem to date.
By C. E. Kenneth Mees, D.Sc. of the Eastman Research Laboratory. 40 cents.
No. 182. THE PHOTOGRAPHIC STUDIO. Its Construction and Equipment. Illus-
trated. 40 cents. A practical guide for all intending to build or refit.
No. 181. THE AIR BRUSH AND THE PHOTOGRAPHER. A practical working
manual for all the uses of the air brush in photography. Illustrated. 4cl cents.
No. 178. PHOTOGRAPHY AS A CRAFT. Practical and pointed methods of varying
tl begin.the resultIllustrated.obtained 40in cents.negatives and prints, for those who know what they want before they
t amateursNo. 174.and professionals.HOME AND CoversGARDENthe wholePORTRAITURE.field. Illustrated.Plain40andcents.practical methods for
No. 173. FIcURES, FACTS AND FORMULAS OF PHOTOGRAPHY. Second
Series, r9r4-r9r8. A reference book. 4o cents.
No. 169. PHOTOGRAPHIC WORDS AND PHRASES. A pocket dictionary forin-
stant reference. 40 cents.
No. 168. HOW TO DEVELOP THE NEGATIVE. Apracticalhandbooktothetwelve
best methods. 40 cents.
No. 151. REFLEX Cl\MERAS AND FOCAL PLANE SHUTTERS. The only guide
to photography with Graflex and similar reflex camera equipments. By an expert. Illus-
trated. 40 cents.
No. 142. PROFITABLE PHOTOGRAPHIC PROCESSES. Printing on fabrics,silk,
etc.; watch dials and caps; imitation enamels, enlarging on fabrics; pictures on metal,
charms, etc. 40 cents.
No. 115. PLATINUM PRINTING. A handy guide to the making of all sorts of plati-
num prints. 40 cents.
No. 60. WHO DISCOVERED PHOTOGRAPHY ? The most interestins account of
che beginnings of photoSraphy and the men who made the 6rst photographs. Illustrated'
40 C.ents.
SOLD BY DEALERS EVERY\ryHERE
TENNANT AND WARD :: PUBLISHERS NEW YORK
Kindly mention Tsn Psoro-MTMATUTEView original page 6Page 7 · Read text
IFor Amateurs and ProfessionalsSeefung
lnstruction in the U se of Art Principles
in Photography
A SPECIAL COURSE OF ILLUSTRATED LESSONS ON
THE APPRECIATION OF
THE FTNE ARTS
has been prepared by
F. C. TILNEY
the English painter and art critic, whose books and papers on art subjects, and
critiques of the Londonj*i#j,**; are lavorably
"".Jf:lf"ns
This course, the only one of its kind, is designed to meet
the needs of those who seek a better understanding of
the principles of art expression-so essential in picture
making.
It affords, in six clear and enjoyable lessons, a valuable
and rapid training in the formation of judgment and
taste, giving the ground-work of a complete education
in art matters.
It directly stimulates the student's powerof expression in
his work, by the creation of feelinS andthe development
of his pictorial sense,based on knowledge.
(fnreservedly praised by eminent artists, art teachers,
students and the art and photographic pcess
The Course: Comprises six booklets of from 32 to 64 pages each, with test papers I
by which the student can check his progress and six Postal Lessons, given upon
the student's answers to the Test Papers accompanying the booklets. These l
Lessons are individually written to meet the needs of the student, extending
and supplementing the booklets, but full and complete in themselves. The fee I
for the complete service including the Lessons, Test Papers and Answers is $25. I
This course is open to groups of 20 persons (clubs, etc.). i
Correspondence and Remittances (International Money Orders
at any Post Office) should be addressed to
Mr. F. C. TILNEY
"Walden," CHEAM, Surrey, England
A circular fully describing the course can be had on
application to the Editor of The Photo-Miniature
Kindl_v mentionTur Pnoro- Mrxrarunn tI
www.orphancameras.com IiIView original page 7Page 8 · Read text
@belFbots=frliniuture
A Magazi,neof Photographi,cInformat'i,on
E D I T E D B Y J O H N A . T E N N A N T
Volume XVI June, 1923 Number 190
bttrtopUotogrnpb?
Perfect photographic records. This, in three words,
is the unique accomplishment of stereoscopicphotog-
raphy or stereophotography as it is called today. The
ttriee words mean just what they say. In the stereo-
photograph we have the perfect, i. e. complete repre-
ientation of the object photographed, as it appeared
to the eyes when the record was made. Not the partial
and incbmplete record given by the ordinary, single-
lens camera in general use, but a real, honest-to-gooll-
ness, height, briadth and depth reproduction, which,
when seett for the first time, amazes those who haye
never before come into touch with this sort of photo-
graph. The ordinary flat-print photograph, made
with one lens, gives us the subject as it would appear
if viewed with one eye only: it cannot do otherwise.
The stereophotograph, which is a photograph com-
bining the two itigtrtty different picture image-s ob-
tained by photographing the subject with two lenses
separated 6y the diitance between the two eyes with
which we ourselves see it, gives us a complete and
truthful record of the subject as we see it-with two
eyes. There can be no comparison between the two
records. No other photographic method can give the
marvellous illusion of reality, the depth, roundness,
relief and perspective effects which constitute the
outstanding features of the stereophotograph. It is asView original page 8Page 9 · Read text
454 THE PHOTO-MII{IATURE
if we viewed the subject itself, so perfect is its realism.
Especially is_ this so if we vi"*'a color_stereografin,
such.as can be produced by the Autochrom"--%ffia
descnbed on later pages, for then we have not only the
mass, lighting and ptrspective, but also the coli,r- of
reproduced with all the unapproachable 1h,",:rrbJ"St,.
hdelrty of the photographic process. Such'a method
oI photography_is surely of special interest to the d. 'r'sn pnoro-nlrlirATuRE reacrers ot and well worthy of
their careful consideration.
The "how" and ,,*hy,, or theory and practice of
al9, very simple ind as i"i"r..ii"g 1t_ergonhotog{ap\y as they are simple. The method offers no difficultv t<.r
anyone who understands the handling of .the ordirlary
hand camera. In this discussion oi tf,e sulj;.;-i;;y
geep t9 go into minute detail; but this shouid not mis_
lead the reader into. thinkin! that there i;-.;yt;i;g
myst-erious or difficult about !t, *y intention U*lrrg io
enable the reader to rearize that siereophotosraph-v is
merely an additional method of picto.iut ."ir"i.itu-
tion, by which he can obtain bettir pr.t,tr.s'tt u.r lt
singleJerrs camera can give him. "
The.Jhqop of It. When we look with one eye at
any solid object, we perceive it in two dimen.io"i"o"t"
viz.,-its-lengrh and breadth. The third dimen;i;;.i;'
its. thick,ess, depth, soliclity, or relief, thrs by looking_with one eye centrally "..up",at fhe face"r.'t#of a Ij
cube or an ordinary round bottle. Similarly, looking
with one eye at several solid objects in u'g.oro o.
scene, \r'e are unable to perce-ivetheir separition by
planes of distance or thejr relative positibn i" ,p".;
with regard to each other. Thus near and far obiects
appear, as in a picture, to be flat and piled up or pasted
against each other, instead of standing out separately
in reliff as-they actually do in the group or scene. It is
tyg.!|rat, Uy th" associationof ideas, by our experience
of differencesin th-e size and shape of oflects,'u"Att
illumination or light and shade effects, tle brain-teils"
us that the cube has depth and solidity', that the bottle
has thickness and roundness, and ihat tte se"eraf
obje.cts in thc gro-up or scene are separated by pt"";;
of distance. But the fact remains thai this third .ii-""-
iIIIt\ www.orphancameras.com IView original page 9Page 10 · Read text
STEREOPHOTOGRAPHY 455
sion is not perceived bY normal, unaided monocular
vision.
Binocular Vision. If, however, we look with our two
eyes at a solid object or group of objects, at .wqnormally
o-br"t.t" them, tle third dimension is added-, and we
actually perceive the depth, solidity, and. natural
relief oi th" objects, together with their relative-posi-
tions and. sepaiation by planes of distance. This is
the effect of binocular or stereoscopic vision, -the word
stereoscopic being derived from two Greek words:
stereos,solid, and- scopeo, I vie-w. The- explanation. of
this differenie between monocular and binocular vision
is simple. As the eyes are set horizontally il the head
and separated by a distance of about L% inches' so our
r"" two diitinct and slightly iJfferent pictures of
."it"ry"y". object to which they are directe{- the object
bein! viewed from two different- points. Thus the left
e,re J".t more of the left side of the object and the right
...r more of the right side of the object. These two
"y.similar but slightly different picture-images arebleldgd
or fused in tf,e 6rain to form a single record of the
subject in all its three dimensions, so-that, in.addition
to perceiving the length and breadth of objects,. we
can estimatJ their aepttr or solidity, and appreciate
their separation in sPace_.
The Stereodcopic Method. Stereophotggrqply' then,
is simply a metEod of photogr.aPhy which follows the
natural way of seeing tfiings with.two- eyes, and^which
therefore gives us alhree-dimensional record of what
we see, as"the eyes see it. The stereo camera is fitted
with two lenses, set horizontally side by side and sepa-
rated as our eyes are. Such a camera naturally giY.gs
two pictut". oi the subject, each from a slightly dif-
ferenl viewpoint becaussof the separation of the lenses'
Placed side by side in the form of positives on glass or
paper, these two slightly dissimil.ar pictures are viewed
itt i st.t"oscope or viewing box, in which the two views
are merged oi combined tb form a single record of ,the
subject,lust-ttre as the two retinal images are blended or
fused in brain, with the result that we obtain in
the stereophotograph an exact reproduction of the sub-
ject-as tie eyei siw it when the record was made'View original page 10Page 11 · Read text
456 THE PHOTO-MII{IATURE
-L-eqsSeparation. On your mother's or grandmother's
table in the-old parlor was, years ago, the stereoscope-
an object of childish awe-with its collection of pape.-
p_lints (o{ c.o-urseon cardboard mounts) of " Niagara in
Win-ter," "Leaning Tower of Pisa," ',Pyramids and
Sphinx" and other world-known views. fhe pictures,
set between the wire brackets of the cross-arm of the
stereoscope, were moved back and forth until they
came into correct focus when viewed through the lenses
oJ the stereoscope-whereupon they fused into one
three-dimensional _imags-"-tereo-d,1, we say, today,
for short. Those first pictures of this type were made
with cameras having lens-separations of 3 to g)/ inches
(usually the latter figure) and this separation is used
today on American-made stereoscopiCcameras. The
pictures,_themselves,are 3ft inches wide and 3a/,0-Overseas,inches
\igh. This size is the American standard.
the standard size is radically different-there are, in
fact, two stindard sizes. The smaller, and more popular,
is, over aLl, 45 x ro7 mm. (t% x +% inches)l the
larger, over all, is 6 x 13 cm. ("/s t !2C inches).' fle
American standard size is not manufactured in
Europel the European standard sizes are not
manufactured in America-an unfortunate situation,
as both sizes have their good points. The principai
American makers, however, market film-packs ior
the smaller European standard size (45 x io7 mm.),
which has done much to add to the popularity of that
size in this countrv.-sheer '
As a matter of optical fact, some eye-strain is
-required to view any stereophotograph taken with
lenses separated more than onb-quaitef inch (approxi-
mately) more or less tha! the separation of youi eyes.
fn the case of a normal man, the eye-sep-aration is
(for all practical purposes) z/ inches, so the stereo-
photographs which are most comfortable for the eves
are those made with cameras having lens separations
between zrr( andzsry' inches. With a properlylbalanced
stereoscope, however, having lenses suited in both
focal length and separation to the size picture being t
viewed, al_y of -the standard sizes malie acceptable
pictures. Naturally the American standard size cdmera.
iftrn
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l
STEREOPHOTOGRAPHY 457
being larger than the European standard sizes, is
equifped *ith lenses of greater focal length and, con-
seqrr^eittly,produces larger images than the imported
insi.uments-a point very much in favor of the large
size and rapidly becoming more- so as the value of
stereophotofraphy in commercial work is becoming
better understood.
Viewing the Picture. Naturally, since two- pictures
are taken] as has been described, it follows that both
oictures'the must be viewed at the same time to produce
three-dimensional effect which is the purpose of
stereophotography. Either the old-fashioned stereo-
scope br thJ mbd-ern viewing box is available. To give
the best results, the stereoscope (or viewing box), for
the viewing boi is merely the most modern form of
the stereoscope) should be equipped with lenses of
approximately the same focal length as the lenses used
iri iaking the pictures to be viewed. This is not such a
task as itight^ut first be thought, for each of the three
standard size cameras (American and European), uses
lenses of approximately standar$ focal.Iength.and any
reasonable^deviation from this length is readily taken
iare of by the focusing device of the stereoscope'.The
average stereoscopeliklwise has standard .separation-
StoSi6 inches for the American standard size;z)Ato z/6
inchls (58 mm. to 65 mm.) for- the smaller European
standard size; and z/, to zy't inches (62 to 7z mm')
for the largei European standard size. Thus every-
thing is arianged to duplicate in viewing .(as far.as
duplication be-possible) thos-e optical conditions undcr
which t""r" *ude the original exposuresfor the pictures
to be viewed.
The mind, accustomed to makils otte composite
image from the two actual and different images. seen
bv lhe two eves, does the same thing automatically
#th the two piciures of the stereoscopi-c-print and-
behold! we hive, through the slightly- different Yig*-
points and slightly different images, in the superposition
topiicutty)' of"thi two images, the actual reproduction of oerspective-not becauie a three-dimensional- pic-
i"ri t ul actually been produced (for this has not been
ao".) but becalse the mind has received all that i'tView original page 12Page 13 · Read text
458 THE PHOTO-MINIATURE
needs to visualize perspective. Mentally, the stereo-
photograph creates perspective. 'What
Makes a Good Stereophotograph. Because the
stereophotograph has, as its basis, perspective as the
human eyes visualize it, this type of photography
makes a marked increase in the number of available
photographic subjects. Not every scene makes a good
ordinary (single-lens) picture. In many cases the
photographer views a scene that in color, lighting,
perspective and mass combined is pictorially effective.
When reduced to a one-plane monochrome, as in the
ordinary print, much of the effectiveness and beauty
have gone because, between scene and print, both
color and perspective have disappeared. The stereo-
photograph restores perspective, leaving color, alone,
lacking in depicting the scene as it actually existed
when exposure was made. The use of the autochrome
plate naturally restores the element of color so that
the stereo-autochrome actually reproduces all the
elements-color, lighting, mass and perspective-that
made up the beauty of the scene when photographed.
Briefly, then: any scene that in lighting, mass and
perspective is effective to the eye will make an accept-
able stereophotograph.
Foreground Necessary. fn taking into account the
making of a stereophotograph,there is one point that
it is impossible to emphasize too strongly: an acceptable
stereophotograph must have a strongly-accentec
foreground or object in the foreground-foliage, a
human figure, portion of a building, or something of
the kind. Some such object is necessary to bring out
perspective fully. So necessary,in fact, that a stereo-
photograph without at least one strongly-emphasizec
foreground object will be flat and entirely uninteresting.
This is particularly noticeable in such pictures as shore-
views in which there are neither waves, rocks nor
vessels in the immediate foreground-beautiful as
the eyes see the view, but miserably flat and unimpres-
sive in the stereoscope. Incidentally, it may be added
that the stereophotograph (for reasons explained
fully. later, herein) does not permit of the making of
" f.uzzy "prints.
a, a
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IView original page 13Page 15 · Read text
46o THE PHOTO-MINIATURE
Cornmercial Possibilities. Business has just begun
to appreciate the fact that a distinct field-is cove-recl
by stereophotography. One general commercial as-
pgct of the work will be taken up in some detail in an
addendum hereto, because of- its presentation of
problems of technique that are largely 6ased on mathe-
matical optics. Suffice it to say,-now, that the same
principles which make possible a three-dimensional
photograph of an outdoor scene likewise make possibie
a three-dimensional photograph of a piece of lewelry
a chair, a-frock or a motor car. So much for the ge.reril
theory of stereophotography.
Problems in Practice. In the actual practice of
stereophotography, four main divisions of the field
present themselvesas-problemsof equipment or manip-
ulation. In order, they are: (r)-tlie camera, with
its mechanical and .optical equipment; (z)-the nega-
tive, including details of choice of emulsion, exposire
and development; (3)-printing - the positive, inciuding
the important matter of transposition and the ?ll
questions. involved in making positive transparencies
on glass (most satisfactory of piesent day -ethods) or
or ordinary-prints on plper; and,-(4)-viewing, 9".fiI1,
including ty.pes of _ stereoscopes and viewing boxJs
and the handling of them.
This is, of . course, the same list of problems that .
is- presented in considering the practic6 of any kind
'of photography-plus the problems that arise from
the use of two lenses, instead of one. The practice of
stereophotography is not any more difficul[ than the
practice of ordinary, single-lens photography; nor
is the additional slight tediousnessinlidenito lengthen_-dra*-
ing-of the-printing process by transposition a
back worthy of serious consideration. The results.
where completeness of record is desirable, are so much
more s.atisfactory t!rq" in single-lens photography,
that with the simplification of modern ptrotographic
methods and equipment it seems reasonabieto sirppose--o.ethat stereophotography will continue to make *
and more converts as time passes.
The Camera. In general, the stereoscopic-two camera
consists of a box holding, in its front wall, lenses,
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STEREOPHOTOGRAPHY 46t
and in its back wall a sensitive plate or film; some-
where between lenses and plate a device to regulate*r the exposure (the shutter); and a division of the box,
from fiont to back, midway between the lenses. (This
division prevents the right edge of the left image. from
overlapping the left edge of the right irnage, inside
the camera and on the plate.) This is, of course,nothing
more or less than the simplest form of ordinary camera'
except for the additional lens and the box division.
Camera Types. As in ordinary cameras, there are
two general types of stereoscopic cameras-box form
and collapsible- Each has its strong points-likewise
its weak points. Each type has its ardent advocates
and its violent opponents.'
The usual box form stereoscopic cameras are of
metal construction to avoid warping due to temperature
and humidity variations. Most instruments of this
type have b-een non-focusing up to the time of the
war, but, since the war, focusing devices have been
added to practically all the higher class box form cam-
eras. All-of these instruments are made abroad (the
American made stereoscopic cameras are both of
bellows-type construction) and are of the smaller
European standard size, for the most part, carrying
Iensesof such short focal lengths that everything from
about twelve feet onward is in visually sharp focus,
even at a lens aperture of F /4.5, making focusing devices
really unnecessary, generally speaking.
Two models of box form type, of German manufac-
ture, are fitted with a metal light chamber increasing
in size from lens board to camera back, giving to
the instruments much the appearance of a pair of
binoculars. For the most part, however, the box
form stereoscopic carrieras are of rigid, rectangular
construction throughout, and will stand much hard
wear and jolting-which is not true of all the collapsible
type- instruments.
The collapsibie-of type is, of course, based on the use of
some form betlows, supporting arms and focusing
device. In the small instruments of this type, im-
ported from Europe, there is naturally some-sacrifice
bt .igiaity to permit the use of a bellows. And rigidityView original page 16Page 17 · Read text
462 THE PHOTO-MINIATURE
is most important because the rigid camera front as-
sures both lenses being 'in the sarne plane and pro-
ducing sharp images. A blurred 'i,mage is fatal in
stereophotography. The addition of a rising front to a
a stereoscopic camera naturally detracts from the
rigidity of .a collapsible type instrument, but has no
appreciable effect on a box form instrument-a point
that can not be overlooked in buying a camera, unless a* I
the purchaser is willing to take a chance.
Arnerican Stereo Cameras. Only two stereoscopic
cameras of American manufacture are now on the
market-both Eastman products. The Stereo Kodak
comes equipped with F 17.7 Kodak anastigmat lenses
and with a shutter giving exposures of. t f 25, r /5o and
r/roo second, in addition to "time" and "bulb"
exposures. There is a rising front and focusing is by
scale or rack and pinion movement. The instrument
uses a standard size of film, obtainable everywhere, and
is unquestionably the most popular stereo camera on
the American market. It takes pictures of the standard
American size-each S%by 3t/tuinches.
The Stereo Auto Graflex is the " siege gun " of the
clan. lt comes equipped with a pair o[ F 16.Sanastig-
mats of 6/ inch focal length; has ample rising frontl
the Graflex focal plane shutter; and takes S x Z plates
or films. Each picture is, therefore, 33/roinches wide,
but 5 inches high-thus allowing for cutting off un-
necessary foreground or sky. A peculiarity of this
instrument is the incorporation, in the focusing hood,
of a pair of prisms, making virtually a stereoscopeof the
hood, so that in focusing only one image is observed-
just as in viewing the finished picture.
European Cameras. Unfortunately, the American
line of stereoscopic cameras ends with the two already
mentioned, and if the operator desires to use the smaller
sizes of instruments he must, of necessity, purchase a
camera made in Europe. Before the war, the European
stereoscopid cameras had gained a fairly good foothold
in America. During the war, importation was almost
stopped. Today, most of the pre-war models are again
available-practically all of them with improvements
in manufacture.
www.orphancameras.comView original page 17Page 18 · Read text
STEREOPHOTOGRAPHY 463
From France comes the Verascope, of Richard-
probably best known of aII European makes. It is of
the nott-focusing metal box form and, in its complete
model, carries alt possible equipment for ail kinds of
stereoscopic work. The 6 x 13 cm. model now comes
with foculing device-a post-war development.
The Gaumont Spido, Stereo Bloc-Notes, Verographe,
Ontoscope and Nil Melior are other French instruments
now finding their way on the American market-all
quite similalr in general instrumental capability and all
of the rigid box form type; some with focusing device-
some wiihout it. Both-European standard sizes can be
had in most of the instruments named. All of them are
equipped for plates or filmpacks, or both, the Verascope
Ueing^ttreonly one for whiih rollfilm holders can be ob-
tained.
Of the German instruments on this market, the
Polyscope (itt both European standard sizes), !!t"
Steieolette and Stereofix, of the Ica line, are favorably# known. The Polyscope is of rigid box form construction
with focusing-front;-the Stereolette is of collaPsible
type, with siparate bellows for each lens; and. the
Siereofix is of- fixed focus construction. The Voight-# lander reflecting stereoscope (in the smaller size) and
Stereoflectoscope;the Goeiz Stereo-Tenax (of the well-
known Tenax-construction); the Duchessa-Stereo (in
the smaller size), Contessa-Nettel Stereax (in only
the larger European standard size) and Steroco-the
Stereaf a focal-plane shutter instrument of abnormal
bellows capacity and unique focusing adjustment, and
the Steroco the lightest weight, fixed focus stereoscopic
camera made;the Ernemann Bob XV, with self erecting
front .and strictly a rollfilm model (of the smalle-r
European standard size) with the Heidoscope:-all
these German made stereoscopic cameras are imported
into America today as regularly established lines.
Catalogues of the various importers give detailed de-
scriptions of the instruments and accessories. All of
thoie mentioned have been tried out in actual use and
have proved sound in principle and in construction.
With each make of camera is a line of accessories-
printing frame, viewing box, developing tank andView original page 18Page 19 · Read text
'THE+6+ PHOTO-MINIATURE
various other devices, all of value in making easier the
taking of stereoscopicpictures.
Shutters. In all of these cameras, American and
European, five types of shutter are to be found: the T-B
type with added automatic speeds of. r f 25, r /5o and
r /roo secondl the guillotine type; the Compound type;
the Compur type; and the focal plane type. Each of
these shutters will do certain things and each has its
limitations. Certain of these limitations are of far
more importance in stereophotography than when the
same limitations show up in ordinary photography.
This will be pointed out as the various shutter-types
are discussedin some detail.
The T-B type of shutter, with added automatic
speedsof"t fz5, r/5o and r/roo secondwill be found on
the Stereo Kodak, the Ica Stereofix, Contessa-Nettel
Steroco and other not-so-well-known stereoscopic
cameras. It is a fair shutter. In most casesthe marked
r/25 second will prove to be about an actual r f zo
secondl the r /5o and r f roo second each about r l4o
second in reality. The use of the " B " marking for slow
instantaneous speeds (a good % to ft second is always
possible in this way) is of great importance and in the
hands of a skilled operator a shutter of this type can
produce thoroughly satisfactory work. With this
shutter, it is a mistake to try to stop rapid motion
nearer the camera than fifty feet-very rapid motion
nearer than one hundred feet.
The guillotine type shutter is found only in instru-
ments of French make, having been discarded by all
other makers years ago. Tests have proved with scien-
tific accuracy that this type of shutter is exactly fifty
per cent. efficient in light-transmission. For example:
if an exposure of 1/rosecond is made with a guiilotine 'trshutter, the light transmitted by that same t"nr r/ro
second without any shutter would be just twice as great
as the light transmitted through the guillotine shu"tter.
The guillotine type shutter has two good points, as far
as stereoscopicphotography is concerned. It is exceed-
ingly accurate as to timing and, therefore, is well fitted
to handle problems of stopping motion. It is, too, of
excr.eedinglysimple construction and quite durable-
www.orphancameras.comView original page 19Page 21 · Read text
466 THE PHOTO-MINIATURE
not likely to "go bad" when far from an expert shutter-
reparrer.
The Compound shutter is so well-known as to require
merely passing reference as the best between-lens
shutter heretofore obtainable. In the smaller sizes of
stereoscopic cameras, the Compound shutter gives
instantaneous speeds up to r f goo second-ample to
handle any motion-stopping problem that may present
itself.
_ The Compound shutter has had one weak point-it
has depended for its timing of instantaneous speeds on
the action of an air-cylinder" This is, at best, pioblema-
tical. The Compur shutter, which has recently made
its appearance, may be non-technically described as a
near-Compound shutter operated (as to timing) by a.
set of gear-wheels instead of by an air-cylinder. The
theory of the Compur shutter is right because it sub-
stitutes for the problematic action of an air-cylinder
the positive action of a set of gear-wheels. Just after
the war, Compur shutters reaching this country were
made of inferior material and came in for severe cen-
sure. That condition has been entirely remedied and
we can expect to see the Compur shutt-er take its place
as the best obtainable between-lens shutter, from this
time on. It has the same range of shutter-speeds as the
Compound.
The Stereo Auto Graflex, Mentor Stereo and Voight-
lander reflecting stereoscopic camera, of those available
in this country, are equipped with focal-plane shutters
as is the Nettel-Stereax. The Graflex naturallv carries
the multi-slit Graflex shutter, while the European in-
struments carry the usual European type, with only one
slit which can be varied in width for different exposure
times. It is now well established that the 1oga|-plane
shutter, when properly constructed, is the most efficient,
as to transmission of light from lens to sensitive emul-
sion, that has ever been commercially practical.
The same exceliencies that place the focal-plane
shutter at the head of the list^'in single-lens-ca'-eta
work, likewise are points of strength for the same type
of shutter in stereoscopic work. As between the two
kinds of photography, there is no difference in handling
?
:.
www.orphancameras.com IrView original page 21Page 22 · Read text
i$ STEREOPHOTOGRAPHY 467
the shutter. By reason of its high exposure speeds, the
focal-plane shutter enables the operator to obtain un-
usual^pictures of arrested m.otion; by reason of its
efficiency (ability to pass light) at low exposure speeds,
enables ihe opeiatof to make pictures under unfavor-
able light coriditions. The focal-plane shutter has, of
course, the one objection of no automatic -expol\r1e
speed.s'slowerthan an approximate r/ro.second. This
ii a distinct disadvantage for stereoscopic work because,
for many types of subject, it is absolutely necessary to
stop down ib obtain detail and to--give a-n 9xp99u1eoj
r/r second. Correct handling of the "time" %'to
b"por.t.e mechanism will accomplish this, but in making
snlh e*posures great care must be taken to avoioti vibration of the camera.
No piece of-mechanism is called on to do, so conlinu-
ously,^for so many years, such accurate work as a high
g.ud" camera shutt-er, w'ithout lubri,cat'ion Oil is death
io u.u.t..a shutter becauseit "gums the works." The
shutter made of poor material can not stand this strain.
A good shutter ii worth all it costs, from the standpoint
of Jreedom from worry and repairs, as well as from the
standpoint of accuracy in rated shutter-spee-ds.
The market affordi several devices to add automatic
shutter-speeds to most types of shutteF, .by the use of
air valvei of various kindJ. One such device consists of
a valve set into the rubber tube running from an ordin-
ary bulb to the shutter-trip. -Whgn the shutter is set
otr " brrlb " the valvb holds the shutter open for the
indicated length of time, by permitting slow, escape-
ment of air from the valve cylinder. Another device of
this kind holds a cable releasefor the indicated time, so
that the release, in turn, holds the shuttel (set on
"bulb") open. fhese valves both work with indicated
and, in fact,plffiFitrspeedssecond,oftfius3 seconds,addingz seconds,a very desirabler seco-nd,%,-%.an! %
almost necessary range of speeds to most shutters'
Both these valv-es are of British manufacture and are
exceedingly moderate in cost.
Stoppiig Motion. Detail and sharpness are essential
in a gobd itereophotograph. It is, therefore, sometimes
conv6nient to know just how far to go, in making anView original page 22Page 23 · Read text
468 THE PHOTO-MI*IOtU*U
exposure, to be certain that motion of the principal
objects has been stopped. Here is a simple formula
for finding this:
Let D : Distance of principal object from lens, in
inches. S : Speed of object in motion, inches per
second. F : Focal length of lenses, in inches. E :
Exposure necessary to stop motion.
It can be readily shown that E : in which *Lr.*
formula, movement of the ,image during exposure has
been held to r f zoo inch which, in the average stereo-
photograph seen through a stereoscope or viewing
box, will be inappreciable. Should even this motion
prove too much, however, when the positive print is
viewed, the formula can be changed to allow for an
image-movement of r /3oo inch or r f 4oo inch by
substituting, in the denominator of the formula, the
figure 3oo, or 4oo, respectively, for the figure zoo in
the formula as given. In this connection, the following
table will allow rapid calculation of the general formula,,
as the table gives the number of inches pdr second
(S, in the general formula) equivalent to various
speeds usually expressed in miles per hour.
Mi. per hr. Ins. per sec. Mi. per hr. Ins. per sec.
I r8 r 8 317
2 36 2 0 352
3 5 J 2 5 440
4 7o 3o 528
5 88 J J 6t6
6 . ro6 +v 7o4
7 1 2 3 45 792
8 r4r 5o 88o
9 r 5 8 J J 968
I O r76 6o ro56
. I I r94 65 rr44
I 2 2 T I 7o I 2 3 2
r3 2 2 9 / J r 3 2 o
7 4 246 8o r4o8
r 5 264 9o r 584
r6 z 8 z IOO r76o
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