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NIMSLO 3D Reference guide
Reference guide for NIMSLO 3D. 65 pages in English. Read the original PDF, download or print a copy without registration.
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- Nimslo
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- NIMSLO 3D
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- Reference guide
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- English
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- 65
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Ree[3'D)EmterBrnses' Guldetothe Nnmsflo3D Gamera INCLUDING: NIMSLOHISTORY LETIITICUTAR3.0 PRINTTIPS MAKING& VIEWING3.0SLIDES BY DAVIDSTARKMAN MAKINGANTIOUESTYLESTEREOCARDS & SUSANPINSKY CLOSE.UPSWITHTHENIMSLO OTHERUSESFORTHENIMSLOCAMERA NIMSTOCAMERAMODIFICATIONS ANDMORE....ooooooooView original page 2
Page 5 · Read text
INTRODUCTION
The dream of producing a three.dimens-ionalpicture that can be viewed directly without any special
viewer or 3-D glasseshas existedsincethe beginning of-stereophotographyin the late lg30,s. As early
as lK72H' Swan described and createda dwice he called the "Crystal Cube,,,which first made this
possible'(An original exampleof this can be seenin the ScienceMuseum in t-ondon, England.) The
cubemadeuseof a stereopair and tworight-angledglassprisms. when an observerlooked at the cube from exactly the correct position a 3-D-image"couldbe seen.
The nextdevelopmentwasaflat prin!3-D imngethatcould be vieweddirectly without any specialviewing
aid' The first major patent application f9l ru".h prints was by F.E. Ives in 1902.This type of print was
called a "parallax stereogram".During this century severalothers havemade significant contributions
in this field' Somewere by H.E. Ives ir.e. Ives son, lg28-1g33),G. Lippman (lg0g), w. Hess (1912),
c'w' Kanolt (1918),Dr. Estanave.andJ..zafiropr"rlo(1933),Maurice Bonnet(1935)and Douglaswinnek
(1948)' More information on this subjectis coveredin'chapter 17 ofthe book..stereoscopicphoto-
graphy" by Arthur W. Judge(tnndon, 1950).
In early 1982the four-lensedNimslo 35mm 3D Camerawas introduced. It provided an easy-to-use
camerayielding three dimensionalprints (like the plastic 3-D postcardsfound at souvenirshops)that
could be viewed without a viewer or 3-D glasses.Previouslenticular systemswere designedstrictly
for commercialapplications,and were not-suitablefor amateuruse. In many casesthe equipmentwas
custombuilt, ahd prints were only availableby hiring the companywhich owned the equipmentto do a customjob.
$$$g
;i :i, .r.iii:.,rr'
)ff r'
The Nimslo is a simple four-lensed3-D cameracreatingfour images.All of the sophisticatedtechnical
work is doneby the Nimslo-licensedprocessinglu.b.uslng a special3-D printing systemthe four nega-
tives are combinedonto a photosensitivemate-rialcoateiwitir a plastic lenticular sheet.For the first
time, Nimslo has made lenticular 3-D prints availableto the urr*tru, snapshooter.
www.orphancameras.com G U I D E T O T H E N I M S L O 3 D C A M E R AView original page 5Page 6 · Read text
In orderto createthe Nimslo 3-D print, the imagesfrom the four lenses(now4 negativel)ury optically
slicedintohair thin strips,alternatlngunderthelenticularridgeson thesurfaceof the print. Eachridge
is a long cylindricalleni, andservesihe purposeof channelingandrecomDosingthe imagesat different
unlf".iuch that the right eyeand lefi eyeare always seeingtwo slightly differenl views. This is
thi basic principle of 5-p ptrotography,and why all traditional methods of presenting 3-D use
two images-one for the right eye,and one for the left eye.
By 1986, Nimslo had failed to Lenlicular Screen
./ ,/ capture a sufficiently large market, \ ., and had already halted camera Pro- \\ \ v/
duction. In 1988 the special lentic- \ . a \ ' .,)
ular 3-D print Processing service \
was taken over bY: The Nissei CorP-
oration, 3 Sunset WaY, Building E'
Henderson, Nevada 89014, Phone
(7O2r 451-7005. TheY were then - \
honoring the old Nimslo PrePaid \ processing mailers. Film sent to any
of the old Nimslo lab addressesmay PrintLmulsro
be delayed or returned.
The remaining stock of original Nimslo camerashave been selling new for $30-50.00, considerably
less than their original $259b0 price. The best sourcesfor theseare the mail order cameradealerswhich
run ads in the pJpular photogiaphy magazines.This could be considereda real bargain by both the
beginning anObxperienied 3lp pnotogiapher if you consider the alternate3-D uses that the camera
miy be put to. We will explore these possibilities more later.
TIIE NISSEI/NISHIruT3D CAMERA
As of July lggg the Nissei Corp., the only company offering le-nticularprint processingfor the Nimslo
camera,iru, ^nnouncedthat thiy will be introducing their own four lensedcameracalled the "Nishika"'
Indications are that it will haveidentical lens spacingand negativeformat as the Nin'rslo.We haveheard
unofficially that it will have some plus and trrinus adjustment o-nthe automatic exposure, ard will run
off Z AA batteries.It may also have an enlargeablelilm chamber to take a special larger load 35mm
film cassette,allowing m"oreshotsper roll. There's also talk of a more powerful dedicatedflash unit.
Any applicationsin this book that apply to the Nimslo camerashould apply equally well to the Nishika
3-D camera.
*Nissei and Nishika are trademarks of The Nissei Corporation
GUIDE TO THE NIMSLO 3D CAMERAView original page 6Page 7 · Read text
DESCRIPTION OF CAI\,TERA
The Nimslo 3D Camera uses standard35mm film in either ASA 100or ASA 400 speeds.print film
must be used for the Nimslo/Nissei prints, but slide film can be used for creating stereo pairs
for 3-D slides (see Slide Thking Section, page \2*).
The exposure is fully automatic, electronically programmed to select speedsfrom ll31 to l/500
second, with apertures from f15.6to f122. A green LED (light emitting diode) in the viewfinder
indicates sufficient light; red gives low light warning for slow shutter sp6ed and underexposure.
Four images are exposed simultaneously side-by-side. Negative size is vertical, 22mm x l8mm.
SPEGIFICATTOlIS
GameraType: 35mm,Automatic3-Dimensional
Film Size/T}pe: 35mm
Film Speeds: ASA IOO/DIN21 ASA 4OO/D]N27
Shutter: Automatic,ElectronicaflyProgrammedSpeeds from 1/30 to 1/SO0Second
Lenses: Quadra Lens System:Four 30mm, f/S.6,Air Spaced Triplets,with Coated, High_
Index,OpticalGlassElementspre-focused6, (2m) to infinity Flash
Synchronlzation: DedicatedHot ShoeContactfor CordlessFlashConnectionto NimsloOpti-LiteElec-
tronic Flash(OtherTypesof FtashUnitsMay Be Used)
Vlewflnder: BrightFrame,VerticalFormat
Information: GreenLEDsufficientlightand batteryOK condition;Red LED low lightwarning.
FilmAdvance: Single-StrokeFilmAdvance Lever
ExposureCounter: AutomaticReset
FilmRewind: RewindCrank liftsclear from body
ExposureControl: CdS Cell measureslight to program shutterspeed and aperturesize for best combi-
nationto achieve correctly exposed negatives
PowerSource: Three (3) No. 386 Evereadyor Duracell,SilverOxide Batteries,Equivalentbatteries
are: MaxellSR43W PanasonicWL11and Ray-O-VacRWZ4|44
Other Features: Built-inDouble ExposurePrevention
Dimensions: 5W'x27/eux1rb"
Weight: 12 ounces
Th-ecamera is powered by three No. 386 Eveready or Duracell Silver Oxide batteries. The camera
will not operate without batteries. (Note that without batteries,or with weak batteries,it still sounds
like the shutter is firing, when, in fact, it is not! When the batteriesare weak the red or green LED's
also appear dimmer than normal.) Do not use the camera anless the LED is visible in thZ viewfinder.
WARNING: Pressureon the shutter releasebutton will drain your battery whether or not the film is
advanced,so be sure the camerais not under pressurewhen itored. Current consumption is a hefty
60 milliamps if film is advanced,or l0 milliamps if alreadyfired when pressureis applied to the shutter
button. In short, any constantpressureon the shutter button will drain your Uatteiiesprematurely.
www.orphancameras.com GUIDE T O T HE NIM SLO 3D CAMER AView original page 7Page 8 · Read text
DESCRIPTIO}IOF PARTS
1. FilmAdvanceLever
2. ShutterReleaseButtonwith Cable
ReleaseSocket
3. DedicatedPinfor NimsloOpti-LiteFlash
4. AccessoryShoewith Automatic
FlashContact
5. FilmSpeedSelector
6. ExposureMeter
7. ViewfinderWindow
8. FramelinellluminationWindow
9. FilmRewindCrank
10. FilmRewindKnob/Back
CoverRelease
1 1 . OpticalGlassLenses
12. NeckStrapLug and Ring
13. ExposureCounter
Window
fF
14. FilmGuidePins
15. ViewfinderEyeprece
16. FilmGuideRails
17. FilmTake-upSpool
18. FilmPressurePlate
19. CameraBack Cover
20. FilmRewindFork
21.FilmChamber .)
22.TripodSocket
23. BatteryChamberCover
24. FilmSprocketGear
25. FrlmRewind
ReleaseButton
26. FilmPerforation
HoleHook
G U I D E T O T H E N ] M S L O 3 D C A M E R AView original page 8Page 9 · Read text
TIPS FOR MAKING BETIER NIMSLO LENTICULAR PRINTS
Tfrg original camera instruction manual gives good basic instructions (see pages 28 to3l ).'Because
of the constraints of the Nimslo print systemthb distance relationships of tie"subject to background
have to be considered in a way that has nothing to do with the actual depth-ffield of the"lrnrrr.
Supplementaryinstructions provided by Nimslo are shown on pagestO anO tt'.
You will note that Nimslo recommendsthatyou never get closer than 6 feet from your subject. They
say this to keep things simple, since at f15.6this is truel and subjectscloser than 6 feet will be out of
focus. However, if you are outdoors on a sunny day the apertureyou are getting is generally closer to
f/ll. Nimslo prints may then be sharp as close as 3 to 4 feetunder sunnyconditi6ns,lut you must limit
the backgroundto be within a couple of feet of the subject. If you don't th"r" will be too much Iparallax, and the background of the print may be too much out of register.
Note thit depth-of-field (the range within which your image will be in sharp focus) and stereoscopic
depth range (the total amount of parallax betweenthe nearestand farthest objects in your picture) are
not the same thing- For example, on a bright sunny day your aperture *uy b" smali enough to give
you sharp focus from 4 feet to infinity. However, if a main subject at four ieet is included uiong with
prominently visible subjectsat infinity, this is beyondthe rangeof the Nimslo print systemto give frop",
registration of both subjects.It is most likely that the print *itt Ue made wiitr the ioregrouid subjectsJ in near-register,with the background subjectstoo fai out of register for comfortable"viewing.
Another thing which Nimslo doesnot tell you is that the areo of your negativewhich they actually print
is about Imm smaller on all 4 sides of the actual negative orii. That translates into total cropping of
about 30% off the so keep your main subiecls centered, or you may find arms, heads o, l-.g, 99ges, unexpectedlycut off!
Nimslo seemsto make all of their prints a bit on the light side, so whites tend to get washed out.
Pictures with a wide range of colors throughout look the best. Nissei seemsto be belter at providing
good color saturationthan Nimslo was.
Finally' there is only ONE lab which doesthe special Nimslo printing. There are no other labs offering
this special service. While Nimslo used to take 6-8 weeks to processand return your prints, Nissei
generally returns your order within 2 weeks.
When your prints are returned be sure not to write on the back of them with anything but a soft lead
pencil. Ink and adhesivesfrom some stickers will bleed right through, ruining youiprints.
FILM SPEEDS
Standard lenticular pictures appeal no grainier whether 100 or 400 speed film is used, but color
saturation is better with the 100 ASA film.
LENTICULAR 3-D CLOSE.UPS
It is possible to get closer than the distancespreviously indicated, if a supplementaryclose-up lens
is used. For this method a plano-convexlens which is large enoughto covei'all4 Nimslo lensesat the
same time is necessarv.
-.---
www.orphancameras.com G U I D E T O T H E N I M S L O 3 D C A M E R AView original page 9Page 10 · Read text
The flat side of the lens is placed againstthe lens board and the user must find a method to hold the
lens in place (tape, a bracket, etc.)luring exposure.It is up to the user to determine the new focus
distances.The curvatureof the singie lens compensatesfor the closer subjectdistance,so that the Nimslo
processinglab can print in its noimal fashion. In order to avoid distracting, out of register images in
itt" tu.tg"-und, it will be necessaryto reduce the depth of the scene by using a close or neutral
photographic "plus" lensesmay also be used, if you can find one large enough to cover backgrorind.
all four lensesat once. See "Nimslo 3-D Close-ups" Section.
3.DIMENSIONALPICTURE SUGGESTIONS
.The worldaroundyou is three-dimensionaland it is usu- .For best resultsoutdoors,try to keep the sun over your
ally best to take piitures of subjectsand objectsjust the shoulderwhileavoidingposesthat haveyour subjectfac-
way they are naturally. ing directlyinto the sun.
.Look at the picturebelow.Scaleand depth in the 'Posingsubjectsdirectlyagainsta wall,will resultin flat
pictureare providedby the relationshipof each objectto picturetlackingdepth.Movethe subjectto a morein-
the others,as well as the height,width and depth of ob- terestingarea- onewithgreaterperspective-withmore
jects.A varietyof itemsin the picturewill enhancethe space betweenthe subjectand background'
3-Dimensionaleffect.Brightcolorfulareasin pictures .Picturesof scenesbeyond25 feetwill not appearto
also add depth. Youcan achievethis by havingyour haveas much depth as you mightanticipate'In this pic-
subjectwear colorfulclothesor by taking picturesof turetakingsituation,positiona subjector object at ie-a.st6
colorfulscenes. feetfromyour cameraand use the settingbeyond25 feet
.Frameyour pictureto includesubjectand background as your background.
objects.
.For scenicpictures,includeperhapsa tree' a person'
etc.,so thatyour picturehasforegroundinterestas well
as backgroundand scenery.REMEMBER,KEYPIC-
TURESUBJECTSMUSTBE AT LEAST6 FEETFROM
THECAMERAFORBESTRESULTS.
G U l D E T O T H E N ] M S L O 3 D C A M E R Al0View original page 10Page 12 · Read text
TRICKS & USESWI{ICH NIMSLO NEVER INTENDET)
TAKING AND MOT]NTING NIMSLO 3-D SLIDES
Start by loading the camera with ASA 100 or 400 SLIDE film of your choice (9.e. nnachrome 100,
Fujichiome l0d, etc.). Be sure Film SpeedSelectoris set to the correct ASA. We suggesta piece of
tapeover the switch to keepit from accidentallybeing moved.When you finish the roll be sureto specify
"DO NOT MOUNT" when you have it processed-
once you have received your uncut roll of processed
to get the curl DO NOT slide film. re-roll it for a couple of hours
out. The fllm should hang flat before you begin' Now MOUNT you are ready to start.
S a m p le o f "DO NOT MOUNT" sticke r
provided bY Eastman Kodak ComPanY
you have three choicesof slide mounts: CardboardSlip-in Mounts for Nimslo size (Reel 3-D stock
No. 4716),Sigmaaluminum Nimslo size slide masks(stockNo. 2116),and separate2"x2" half-frame
35mm mounts, such as Gepe stock No. 6101.
Slides mounted in the cardboard slip-in Mounts for
Nimslo and the Sigmaaluminum masks are compatible
for viewing in any Stereo Realist-format stereo viewer
(for stereo slides with a mount that has 1 5/8" x 4"
outer dimensions),and may be projected in 3-D with a
StereoRealist-formatstereoprojector'
Slidesin two separate2" x 2" half-frame mounts may
be viewed in special twin 2" x 2" 3-D viewers or may
be projected in 3-D with twin slide projector systems.
TDC 116 Ster eo Pr ojector
USING REE,L 3.D STOCK NO. 4716SLIP-IN MOI.]NTS
Take the mount and lay it down so that the side with the film insertion slotsfacesup (as in the picture
below). This is the side with the Reel 3-D Enterprisesaddresson it-
{ F ilm sliPs into slots her e
0rder3-0 Supplleshom: ttL_l 3.0 EHTERpBtsEs,1N0.,P.0. Box 2368,CULVERGITY,gA 9C231 REEL
T O T H E N I M S L O 3 D C A M E R A12 G U I D EView original page 12Page 13 · Read text
Next, take your film and start cutting from the begin-
ning of the roll. The film edgeis numbered from 0 to
36 (or 24), with intermediate "A" numbers, such as
1A, 2A,3,A., etc. Start with the lowest edgenumber.
Scissorsmay be used, but the job is much easierwith
an illuminated film cutter that lets you see exactly
where you are cutting. The Nimslo slideshave a small
black frame line between each picture. cut into the
center of this line. This is not super critical, as the
mount opening is smaller than the film image area,
but the more careful you are the more room you will
have to adjust the imagesproperly.
lA lllum inated 35m m F ilm Cutter
For simplicity we will number the images
of each slide group I through 4, as shown
at left. Number 4 is always the one with
the red dot over it.
Now you are ready to start cutting. Cut the first film chip (#1 of the group of 4) and slip it into the
slot abovethe left openingof the mount, with the glossyor viewing side (the side that readl correctly)
facing down, and the image right side up. If the film is too wide to fit into the slot, trim the smallest
amountpossiblefrom the edgewhich has more black showingon it. With practiceyou will get a better
feel for where to visually cut the film.
Your first film chip should now be in place! Cut off frames 2,3, and,4,and insert #4 (the one with
the red dot on top) into the right hand film slot, just as you did for number 1. Note that when the film
is insertedcompletelyinto the slot that the top edgeof the film seatsinto the slot so that it cannotslide
back out (unlessit is bent upward first).
For most pictures (where the subject starts about 6 or 7 feet from the camera) this completes the
mounting process,with an accuracythat should be fine for hand viewing.
Now turn the mount over (the side oppositethe film slots is actually the '6f1sn1"-the side to finally
y_t.* from), and put it into your StereoRealist-formatstereoviewer (suchas the Life Like, StereoRealisi,
Kodak or Brumbergerstereoviewers). You should be lookingataproperly mounted Nimslo slide!
Stereo Realist 3-D Life-Like Stereo Viewer
G U I D E T O T H E N I M S L O 3 D C A M E R A l3 www.orphancameras.comView original page 13Page 14 · Read text
Now you can go to the next group of 4 and repeat the processuntil the roll is finished.
What about frames 2 & 3? Well, using I and 4 will give the strongeststereo effect. If your subjects
are pretty close (about4 to 6 feet), you may like to try mounting I with 3 and 2 with 4, just as previously
described for I and 4. This will give you two pairs of stereo slides, but with a reduced 3-D effect.
The extra frames2 &3 could also be savedfor non-stereouse, such as mounting in 2"x2" half-frame
mounts for non-stereoviewing and projection, or for putting into half-frame keychain viewers.
Once your slide is finished it is a bit smaller in image size, but with the same outside dimensions as
the more common StereoRealist-formatslides.As statedbefore, it is compatiblewith all StereoRealist-
format stereoviewers or projectors.
ADVANCED MOUNTING WITH THE, No. 4716CARDBOARI)
SLIP-IN MOTJNTS
The previousinstructionsdescribethe "basic" mountingtechnique.It is alsopossibleto precisionmount,
or "fine tune" your slide mounting in the 4716mount. This is usually desirable when you are taking
subjectsin the closer than 6 foot range,where a "flickering band" effect can result along the right and
left edgesof the images. For some people difficulty in fusion of the two images might also occur.
The solution involveshorizontal adjustmentof the two images.Hold up the mount and look at the two
images. Find an easily identifiable object in the picture, which you know is the closest obiect to the
camera when the shot was taken (such as a flower, a hand, etc.), and is close to the right or left
edge. Assuming that the object is a flower near the left edge, you now want to horizontally adjust the
film chips so that more of the flower, or the distancebetweenthe flower and the left edge, is visible
in the right film chip, and slightly less is visible in the left film chip. Without getting technical, this
is a a simple way of setting the proper "stereo window". Put in a different way, the right eye seesa
bit more of what is on the left edgeof a window, and the left eye seesa bit more of what is on the right
edge. Setting a proper window in mounting re-createsthis fact of physical reality.
If there is not enoughroom to horizontally move the film chip, you must take it out of the mount and
trim a tiny amount of film from the edge of the direction that you want to shift the film. After doing
so, insert the film again and slide it right or left as desired. Once in position view the image again.
Repeatthis if necessaryuntil the horizontal adjustmentyou desire is achieved.Be careful not to trim
too much film, however,or the image will no longer fill the aperture and light will leak through. To
keep the film from slipping put a piece of tape over the film slot to hold the film in place.
The samemethodwill work for vertical alignment,by trimming from the top or bottom edgeof the film.
If you want more detail on this subject,or some extra aid in mounting, we suggestthat you get the Reel
3-D Slide Alignment GaugeSet, stock No. 8001.The gaugelabeled "5 PERF REALIST FORMAT"
is the one to use with this mount. The #4716mount is designedwith 62.4mmcenter-to-centerspacing,
so using this gaugewill set your subjectright at the plane of the stereowindow. For more details read
the instructionsincludedwith the gauges.Precisionmountedslidesare more suitablefor 3-D projection.
These brief instructions are intendedto help you get started, but are not a complete lesson in stereo
slide mounting. For more information we highly recommend the book "The World of 3'D" (stock
No. lffil) by J.G. Ferwerda.
G U I D E T O T H E N I M S L O 3 D C A M E R Al4View original page 14Page 15 · Read text
USING SIGMA No. 2n6 MASKS
i :< F itm goes under channels her e) !- - - - - - - ' I
Take the Sigma aluminum film opening
rnask, and lay it down so
that the side with the Sigm a No. 2116 M ask
channelsfaces up. Note that (rear view)
the top of the mask has
more space above the film I (Actual Size)
Iopenings than the bottom. --- --- ---
Next, take your film and start cutting from the beginning of the roll. The film edge is numberedfrom
0 to 36 (on a 36 exposureroll), with intermediate'.A' numbers,such as lA, 2A,3A, etc. Start with
the lowestedgenumber.Scissorsmay be used,but thejob is much easierwith an illuminatedfilm cutter
that lets you seeexactlywhere you are cutting. The Nimslo slideshavea small black frame line between
each picture. Cut into the center of this line. This is not critical, as the mask opening is smaller than
the film image area, but the more careful you are the more room you will haveto adjust thJ imagesproperly.
For referencesimplicity we will number the four images of each slide group I through 4, as shown
on page . Number 4 is always the one with the red dot over it.
Now you are ready to start cutting. Cut the first film chip (#l of the group of 4) and place it in the lower
channel of the left opening of the mask, with the viewing side (the side that reads correctly) facing
down, and the image right side up.
To get the film into the chonnel with greater ease,
Mask pick up the mask and curve it very slightly upward
by squeezing from the top and bottom edges. This
opens up the channel. Curve the film slightly, and
do the same to get it first into the bottom and
then into the top edgesof the channel. Now your
Ma sk first film chip should be in place!
Cut off frames 2,3, and 4, and insert 4 (the one
with the red dot on top) in the right opening
M a s k c h a n n e l s , j u s t a s y o u d i d w i t h t h e f i r s t f i l m c h i p .
If the red dot is not coveredby the mask, the mask is upsidedown. Thkethe film chips out, rotatethe
mask 180degreesand repeatthe previoussteps.
Now hold the mask up to the light and look at the images.Find an easily identifiable object in the
picture, which you know is the closestsubjectto the cameraat the time the picture was tiken (such
as a flower, a hand, etc.), and is close to the right or left edge.Assuming that the object is a flower
near the left edge, you now want to horizontaliy adjust the tilm chips so that more of the flower, or
the distancebetweenthe flower and the left edge,is visible in the right film chip, and slightly less is
visible in the left tilm chip.
www.orphancameras.comc u r D E T o r H E N r M s L o 3 D c A M E R A | 5View original page 15Page 16 · Read text
Withoutgettingtechnical,this is a simpleway of gettingthe proper "stereowindow". Put in a different
way,the ight eye seestnore of what is on the left edge of a window, and the left eye seesa bit ntore
of what is on the right edge.In the mountingprocessthis observationof physicalreality is imitated.
Now turn the mask over(thesideoppositethe channelopeningsis actuallythe one tofinalll'vlglvfront),
andput it in your Realist-formatstereoviewer (suchasthe Life-Like, StarD, Brumberger,StereoRealist
or Kodak Stereoviewers).You shouldnow be looking at a properly mounted3-D slide!
The next step is optional. Tape one eclgeof each
filrn chip so that it will not move in ftrture. If
you don't ttse tape you can critnp the top and
bottom channels of the tnask to hold the filtn
more securely.
The final step is to pr"rt the mask into a card-
board foldover (stock no.2l30). an altttnit-ttttn
Inask frame for Llse withottt glass (stock no.
2400), or to bind it in glass with atr altttrtilttlllt
binder frame (stock no.2500 binder fratrteswith
no.250l glass).The choice is yottrs.
P u t t i n g A l u m i n u m M a s k i n t o C a r d b o a r d F o l d o v e r Now yoll can go to the next grollp of 4 and
repeat tlte process trntil the roll is done.
What aboutfrantes2 &3'! Well, using I and 4 will give the strongeststereoeffect.If your subjects
areprettyclose(about5 or 6 f-eet).you may like to try mountingI with 3 and2 with 4. just asdcscribed
fbr I and 4. This will eivc you twt-rpairsof stereoslides,but with a reduced3-D effect.
Onceyour 3-D slideis finishedit is a bit smallerin imagesize.but with the sameoutsidedinrensions
asthe rnorecommonStereoRealist-formatslides.It is compatiblewith ALL StereoRealist-fornratstereo
viewersor pro-jcctors.
TWIN 2,,x 2,,NIMSLO 3-D SLIDE MOI-]NTING
Becauseof the autonraticcapability and ready availability of standardslideprojectorsfor 2 " x2" ntounted
35mrn slides(such as the Kodak Carousel),it has been increasinglypopularto usethis fbrmatfbr stereo
projection rvith a nratchcd pair of projectors.
The Nirnslo cart be used f or this type of systern by tnottnt-
ing franres I and 4. as described previously. itrto two sepa-
rate 2" x 2" ntottnts which have Nitrtslo size opetrings.The
closest size available is the standard l8mrtr x 24ntn half-
frarne opening (strch as the GE,PEno.6l0l ). which is abottt
2mrn taller than the Nirnslo size. On frarne I this can be
ignored. letting the black fihn area forrn the top nlask
edge. On frame 4 the red dot shows, so tltis ttrttst be
rnasked rvith opaque tape. Alternatively, the red LED in
the carnera can be covered with a dab of black paint to
get rid of this problern permanently.
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you only need TWOprints for this type of 3-D, and the best effect comeswhen the prints are from the
right oia Up end nigativis of each group of four. To avoid confusion, and so that the lab can easily
pr"intjust thosenegatfuesthat you want, we suggestthat you coverthe middle two lensesbeforeshooting'
Since there were no lens caps made to fit the Nimslo camera,one method is to tape two small wads
of black velvet over the center two lenses.Before you considerthis to be a wasteof money, keep in
mind that the developingand printing of the negativesis fairly cheap-it's the cost-per-printthat adds
up. With this method you will get only the correct frames printed.
(If you can't standthe thoughtof wastedfilm, seethe descriptionof the "Teco-Nimslo" later on in this
book, under the "NIMSLO MODIFICATIONS" section.)
iI'\,{
Next, you will need to mount the ii ' two 3Yz" x 5" Prints for viewing.
The simplest method is to cut a
piece of cardboardor mat board to :
5" x 7" size,and to mount the two ': '{
vertical prints side-by-side,with the i-*i;.SS .-t$\s
--
,d r:#:an old-fashioned*'Irilf;#.itHSWstyle print stereo-
scope. With this method the top of
the print maY not be visible in the
stereoscope,so You may want to
trim the height closer to the more
traditional 3/z inches.
ta'*i,' Tlte easiestway to tell whiclt is tlte' '"" teft vtew, and whiclt ,s the rigltt '" A M oder n Replica of an Old- F ashioned Ster eoscope
view. is to rest the views on a blank
card in the stereoscopeand view them. If the view seemsstrangeor inverted,transposethem and see
if it looks more normal. You will automaticallyseethe differenceeasily once you trY this.
After that you can easilycheckeachpair beforeyou mount them to the card. Double stick tape,rubber
cement,diy mount tissueor spraymount adhesivemay be usedto mount your prints'
The followingare a few basictips on mountingyour prints. Sincethe labs havea bit of leewayon how
they comporJ your prints, it's p'ossiblefor on. iruge to be a bit higher than the other. [,ook along the
top or bottom.Og. of the priniand find a seriesof iecognizablepoints-(?to*, a flower or someother
smallitem)andsJerheirrelationshipto the edge.That relatiortshipshouldbethe sarneforBOTH prints'
For example,say you look at the right print and seea single reclflower about l/8" fronr the bottotrt
near the left edgeof the print, and a y.llo* flowcr at the santedistancenear the right edge'
yotr shouldfind thesame relationshipon the lefi print. If you found that on the left print there was
a ll4,,clistancebetweenthe two flower.sandthe bottirnredge,you shouldthencarefullytrim the bottonr
to matchthe right view.Now the topsof the printswon't be the sameheight,so lay a straightedgeacross
themandtrimlhem evenly,also.Oncethis is donethe viewsnravthenbe mountedon a card.as already
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r David Burder, of Great Britain, hasdeterminedthat photographic"plus" lensesmay also be used. They
usually come in setsoffering +I, +2,and *4 diopters.The approximatefocus distancesare *l :2g,,i
*2 : 18"; and *4 :9", all measuredfrom th; film plane.
Using the *l close-up lens has qrove{ very effective for head and shoulder portraits with no sign of
depth distortion. A simple techniqug for approximately measuring 28'is to^reachyour arm out and
touch your subject's nose with your finger while you composethrorigh the viewfinder. This is also sure
to give you a perfect smile for your portrait.
Technical Enterprisesoffers custom made lens sets for taking close-upsat 6,,, 12,,,ot 30,, for use on
t!"it specially modified version of the Nimslo camera.For morJnformation seethe "NIMSI,O MODIFI-
CATIONS" section.
When.usingsupplementarylensesthe subjectshould be placed as close to the backgroundas possible,
to avoid large and exaggeratedparallax differences. The brighter the general lighiing the smaller the
automatically camera-chosenaperturewill be, resulting in grealerdepth-6f-field. rft"t"ior", sharpresults
forclose-ups will be much more likely in bright sunnyJond]tions. Measuring distanceto subjectcarefully
will also help insure sharp focus.
USING OTTTERASA SPEED FILN{S
Bill Duggan, of the PotomacSocietyof StereoPhotographers,has put Neutral Density (N.D.) filters
over the exposuremeter sensorof the camerato "trickJ it into giving correct exposureswitir filmspeeds
other than the indicated ASA 100 or 400.
It follows that io-go from ASA 100to ASA 50 or from ASA 400 to ASA 200 involves lowering the film
speedby one full f-stop. This may be achievedin four ways. l) Use a Kodak Wratten0.3 Neutril Density
filter- 2) Use a Hoya No. 2 Neutral Density filter. 3) Use ilor.o No. 3402 Neurral Density filter material
4) Use one or more layers of frosty Scotch tape (sellotape,if you're British) over the sensor.
The two other speedsyou would most likely want to use are ASA 64 and ASA 25 for Kodachrome.
y]tl the film speedselector switch set at 100 use Wratten No. 0.2 over the sensor when using ASA
64 film- For ASA 25 use Wratten No. 0.6 (2 stops) over the sensor.The normal polarizers ma"defor
camerasalso reduce the light by about two stops, ild therefore could also be urbd to go from ASA
100to ASA 25- Again you may experimentwith frosty tape or other filter material to obtiin the speeds
that you want.
Note: Thesesuggestionsare approximate,and should be testedon yourparticular camerato determine
best results-Other film speedsare obviously obtainable,but you will haveto experimentto determine
the proper combinations.
VIAI\TJAL APERTLIRE CONTROL
We've alreadystatedthat both apertureand shutterspeedsettingsare fully automaticon the Nimslo
camera, however,some manualcontrol of the aperture is possidle. By covering the Exposure Meter
Sensorwith opaquetape you will automaticallyget the slowestshutterspeedof tl:Ottr of a secondand
maximum apertureof f/5.6. This can be useful if you are matchinga particular film speedor flash unit,
and these settingshappen to match what you wint.
To obtain the fastestshutterspeedof 1/500thsecondwith the smallestaperture of f l22Dr. paul Milligan
of New Mexico came up with a clever solution. In an article in "The StereoFlash", newsletterof the
eurDE To rHE NrMsLo 3D cAMERA 21
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ChicagoStereoCameraClub, he wrote that all you needto do is to put a light right in front of the Exposure
Sensoi.To do this he bought a small wheat grain bulb from Radio Shack, mountedit directly in front
of the sensor,and powerEOit by a couple of AAA batteries,with a small toggle switch thrown in'
Wheneverhe wantsa small aperture(such as for flash photography)he just turns on the switch, the
light comes on, and the camerais fooled-
David Burder achievesthis by an internalelectricalmodificationvia a micro switchon the body which,
when pressed,stopsthe cameradown to f/ll.
Michael Starks,from San Rafael,California, accomplishestime exposures(bulb setting)by reversing -'s face the * the batteriesin his Nimslo camera. (Reversethe direction of the batteriesso that the
symbol direction.) He strongly suggestschangingthem back to their normal positions after you are
through so as not to damageyour camera, or depletethe battery power prematurely.
FLASH PHOT]OGRAPHY
WITH YOTJRNIMSLO 3.D CAMERA
Like the Nimslo camera, the Nimslo Opti-Lite Flash is
extremely simple to use' Wheneverthe light level is low
enough that the red indicator is showing in the calnera
viewfinder, the flash should be used.
The opti-Lite Flashis "dedicated" to the Nimslo in that
when the flash is charged and ready it will indicate in
the viewfinder by changingthe red LE,D to green. The
flash itself does not make any automatic adjustments
to the camera, and is not dedicatedin any other way
(except being matched for AsA and exposllre as
indicated).
It shouldbe notedthat any flashcanbe usedon the Nimslo, as long asthe automaticor manualexposure
settingsof the flash are able to work for the film speedyou are using with the cameraapertureat f 15.6.
(Wheneverthe red LED showsin the viewfinder the camera is at f/5.6 aperture.)
When other flashesare usedthe red LED will not disappear,however,this simply meansthe camera
is at f/5.6 and picturesmay still be taken if flash settingsare properly made.
The Opti-Lite Flash may also be used on other camerasthat havehot shoes,as long as the camera
apertuie is set to f/5.6. Read the scale on the flash for exposureinformation.
Our own experiencewith the Opti-Lite Flash when used for taking lenticularprints is that it seems
to work bestwith both headsalwayspointeddirectly at the subject.Using the bounceflash featureseems
to offer no advantage.
TIYPERSTEREOSLIDES
Hyperstereoslidesor print pairs are 3-D imagestaken*lt! a wider than normal lens separation'The ,.more resulthas 3-D" thunyou would get-possiblewit[ the normal lens spacingof the Nimslo camera.A wider
than normal lens spacingcin make it to see things in depth that would normally be too far
T O T H E N I M S L O 3 D C A M E R A22 G U I D EView original page 22Page 23 · Read text
away to have any relief, such as a scenic view of far away mountains with no very close foreground
subjects.The result is the photographicequivalentof what a giant might see, whose eyesarJ much
farther apart than our own.
One way to take a Nimslo hyperstereois to modify the camera so that it can take double exposures.
See "Non 3-D Uses for the Nimslo 3-D Camera" sectionfor how to make this modification. When
you composeyour scenemake a mental note of how all of the subjectsare framed in relation to the
viewfinder edges.Thkeyour first picture with the two left lensescovered.Move severalfeet to the left,
uncoverthe two left lenses,coverthe right two lenses,re-cockthe shutterwithout advancingthe film,
and you re ready to take your secondhalf of the picture. Compose the sceneagain exactly is you did
for the first picture. Thke your second shot. If you aligned everything properly you stroutOget a
hyperstereoNimslo image.
Hyperstereoslidescan alsobe donewithout modifying the cameraby taking a picture, quickly advanc-
ing the film to the next frame, steppingslightly to'theright or left and taking u s.cond picture, carefully
keepingthe samecomposition.This will give you four setsof hyperstereosby .o*bining one of the
frames from the first set with one of the frames from the secondset (four times)
NIMSLO MODIFICATIONS (FOR NON-LENTICI]LAR APPLICATIONS)
David Burder demonstrates
one of the more violent
steps in the conversion of a
Nimslo to a two lens auto-
matic stereo snapshot
camera-the "Burdlo".
Photo: David Starkman
The recentclose-outpricesof Nimslo camerashaveled many peopleto do a bit of experimentingand
tinkeringto customizethe camerato other-than-intendeduses.Two of the most successfulmodificutiont
that we haveseenare the "Tbco-Nimslo"by TechnicalEnterprises,and the "Burdlo" by David Burder.
T he "T eco- Nim slo" 3- D C a m e r a
G U l D E T O T H E N I M S L O 3 D C A M E R A 23 www.orphancameras.comView original page 23Page 24 · Read text
The Tbco-Nimslois essentiallya standardNimslo with a modified transportmechanism,and provision
for a speciallens cap for the centertwo lenses.With the lens cap in place, and the advancemodified
to travel half the normal Nimslo distance,slides may be taken a pair at a time (with the outer two
uncoveredlenses)with nofilm wastage!Like the StereoRealistsystem,this leavesroom for two frames
(eachthe half of two different stereopairs) betweeneach stereopair. Thus, a 36 exposureroll of film
will yield 36 Nimslo size (l8mm x22mm) stereopairs. Dependingon what you normally pay for film
and processing,the costof the Teco-Nimslocameraconversioncould easilybe coveredby the additional
pictures you would get on shootinga dozenrolls of film.
TechnicalEnterprisesalso offers three different close-uplens setsfor the Tbco'Nimslocamera,each
snappingon like the speciallens cap. The first model is set to focus at 6", and utilizes the center two
3/a inches.The secondmodel is set to focus at 12",and usesthe first and lenses,with a stereobaseof
third lensesfor a stereobaseof lt/2".A parallax-compensatingviewfinder deviceis includedfor these
models.The third model is set to focus at 30", using a lVz" base.This is a perfectdistancefor 3-D
portraits.Parallaxviewfinder compensationis not needed.All threesetsare designedto automatically
coverthe lensesnot beingused.For prices.more detailsand orderinginformationcontact:Technical
Enterprises,l40l Bonnie Doone, Corona del Mar, CA 92625. Telephone(714) &4-9500.
The Burdlo is a much more radicalmodificationof the basicNimslo 3D camera.The camerais totally
strippedto the chassis,the lens board and shutterbladesare completelyremoved,and the first and
third septumsare removedfrom the back of the carnera,leavingonly one in the center.The height is
milled open 2mm, back to the 35mm film standardof 24mm, with the final result being two adjacent
normal film framesof 24mm x 36rnm.
R e a r i n t erio r vie w o f th e B u rd lo
conversion showing the "factory
f i n i s h e d " q u a lity o f th e sid e -
by-side 24 x 36mm apertures.
The reduced lens spacing makes
i t u n s u i ta b le fo r g o o d sce n ic
3 - D , b u t id e a l fo r p e o p le a n d
port ra rts.
G U l D E T O T H E N I M S L O 3 D C A M E R A24View original page 24Page 25 · Read text
To accommodatethis the lens board is modified into a two lens systemwith new shutterblades,and
a lens baseof 36mm to matchthe centersof the new full-frame film apertures.All of this is done while
retainingthe full automaticexposurefeaturesof the original camera.
The new lens boardalso featuresthe additionof 72mmfilter rings which allow the useof 72mm..plus,,
lensesor filters for close-upsor special effects.
The end resultis a two-lensedNimslo, theBurdlo, which takestwo normal full-frame 35mm 3-D pairs
at a time, yielding 18pairson a 36 exposureroll. On the negativesideit shouldbe notedthat for techni-
cal reasonsthe cameravignettesincreasinglyat smaller u["rtu..r. At worst they still mount well into
the 24mm x 28mm "Europeanformat" stereomounts.Also, the 36mm baseof tn. two lense,!iu., a reducedstereoeffecl!1the typical scenictype of shot. It lendsitself to work wherethe bulk of stibject
materialis within 6to25 feet.With a *l lensunatn. at28"it is an excellenr.u-".u f- p**i,r. rybject For more informationcontact:David Burder,3-D Images,Ltd.,3l The chine, l,ondonN2l 2EA,
ENGLAND. Telephone:0l-364-0022.EAX number: ot-:o+-tsza.
A cropped
Burdlo "snap-
shot of author
SusanPinsky
with a friendly
Swisscow,
photographed
i n 3 - D b y
David Burder.
In a 1984issueof "Ste.reoscopy",Journalof the InternationalStereoscopicUnion, Burder coveredsome
possibilitiesin his article "l0l Usesfor a DeadNimslo". Burderhaseiperimentedwith modifications
usingthe widestand smallestpossiblelensbaseson his two-lensedNimsio, for normal and macrostereo
effects'He also has createda conversionto an underwaterstereocamera(the Sharklo?Jawslo?),and
evena 24 lens versionfor lenticularprints (but not from Nissei)
We hope that the informationin this sectionmay inspire some successfuladaptationsby others.It has
not been possibleto supply a detailed "how-toi' on-making modifications,ho*"u.., we refer you to
the Nimslo ServiceDept. TechnicalInformationin the back of-thisbook for detailson the internalstructureof the camera.
One final modificationof the camerawhich can be quite usefulis the additionof a shuttercockinglever
which allowsthe possibilityof doubleor multipleexposures.Seenextsectionfor more on this subject.
NON 3-D USES FOR TIIE NIMSI]O I
The unique format of the Nimslo_3DCameramay also be usefulin many non 3-D applications.In the
October 1987issueof "Modern Photography"Mason Resnick suggestedseveral.liu., possibilities
in an article entitled "what to Do wit[ a DLad Nimslo".
G U I D E T O T H E N I M S L O 3 D C A M E R A www.orphancameras.com 25View original page 25Page 26 · Read text
He wrote that even if you are not interestedin 3-D, why not use the unmodified Nimslo camera as a
four lensedregular (flat) camera?Sinceprints are often l6ssexpensiveat the time of original processing
than when reprints are made,this wouldprovide an easyway to get four half price copies of eachimage
by having the whole roll printed th" fitit time. Could be a great way to keep relatives happy!
Resnick suggestsmaking four flip-up lens covers,so that one picture can be taken at a time' This also
requiresthe ability to make douLle'exposures.He indicatesihat this is possibleby cutting"a small j/r,, atthe lower right-handcorner of the plastic lens surround" (lower left as the notch about Vo,,b;
front of the.u..ri facesyou). "The sh"uttercocking lever sho.iryq. easily visible extendingdown from
the top. Using a bent paperclip,push this lever to the right. This will re-cock the shutterl'
For multiple single shotsone alternatelyuncoverseachof the four lensesrecockingthe shutter for.four
successiveshotsbefore advancing.ihJ end result is that you've turned your Nimslo into a mono half-
frame camera, getting, for example,T2pictureson a 36 shot roll'
Resnickalso suggestsother possibilitiesincluding in-cameracollagesand creating a2lmm \.7!^^
panoramicimagElReferto hii article for more details.we're sureyou can come up with someadditional
usesof your own.
A "Family Tree" of some of the possible modif ications of the basic 4 lensedNimslo
3D Camera at the top. if,"t" are all functional (the one lensed model is a ioke) and
servedifferent purposesfor their creator, David Burder. Photo: David Burder
T O T H E N I M S L O 3 D C A M E R A26 G U l D EView original page 26Page 27 · Read text
CONCLUSIONS
The Nimslo 3D Camerais simple,but is not a meretoy.With relativelylow cost and currentavailability,
it providesan easy,focus-free,autoexposuremeansfor takinglenticuiar3-D prints, classicside-by-side
stereoprints, and 3-D slides.It is a goodcamerafor the noviceto enterthe world of stereophotogiaphy,
and may provide some extra portability and simplicity that could be attractiveto the advancedstereo
photographeras a second,third, or back-upstereocamera.
FOR MORE INFORMATION
The best all-aroundbook on 3-D photographycurrently availableis "The World of 3-D: A practical
Guide to Stereo Photography. by J.G. Ferwerda.
Other good sourcesare stereoclubs and organizations.Three of the largestare:
The NationalStereoscopicAssociation(NSA), P.O.Box 14801,Columbus,OH 432l4.Thisorganization
producesan extremelyfine bi-monthly publicationcalled "stereo World" which containsirticles of
interestto both collectorsof vintagestereoviews and to modern3-D photographers.Side-by-sidestereo
views are reproducedin every iiue. A samplecopy is availablefor $4.00,including postage.
STEREO STEREO
Tto
o
o:tL
J
o o
f
q
InternationalStereoscopicUnion (ISU). Devotedcompletelyto the worldwidesharingof information
on modern3-D photography.For more informationwrite to: ISU, P.O.Box z3lg,Bern, S*nZERLAND.
The PhotographicSocietyof America (PSA) is the largestamateurphotographer'sorganizatronin the
U.S.A. It publishesthe monthly ,,PSAJournal" andhasa StereoDivision Oevoteato 3_5 photographers.
Throughthe Stere.oDivision it providesinterestingand educationalmini 3-D slide seti and iomplete
3-D programsavailablefor loan to membersand membersclubs,individual3-D slidecritiqueingjand
sponsorsnumerous3-D slidecompetitionsevery year.For more informationwrite to the StereoDivision
Direclor, Greg Thylor, 1005BarkwoodCourt, SaferyHarbor, FL34691 Telephone(gl3){e_abelhip
826-3356.NationalHeadquartersaddress:PSA, 3000 United FoundersBlvd., Suite tOf. Onahoma
City, OK73ll2. Telephone(405) 843-t4y.
G U l D E T O T H E N I M S L O 3 D C A M E R A www.orphancameras.com 27View original page 27From the M. Butkus archive. Original publisher and archive notices are retained.
Check the model and edition against your equipment.
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