Stereo Realist guide — part 3 Reference guide

SECTIONI/
     For  Successful  Viewing

 CHAPTER 16     /   MOUNTING
       In  order  to prepare a stereo slide, the frames  of each view,  or
 pair, must be cut  apart, transposed, and then mounted  in  special
 masks for  comfortable,  relaxed viewing'
           If  you   ur"   interlsted   only   in  viewing  paper'mounted.  non'
  p"rro-un"r,t slides, then  it  is suggested that Ylu -pulchase Kodachrome
  hl-  No. gg5 (outdoor  type)-ir   No. 355A  (indoor  type)  because
   ii.  pri""  includes  factory'm_oulti"g:   This  film  is  first processed and
  then mounted  by Eastman Kodak  comp_lny-ull    for  immediate  viewing'
  Countless Realist camera owners have     pto"".sing-done,for.  them
  in  this way and enjoy  their  camera thoroughly,  without  having  to
  *orry  about the mechanics of preparing  slides'
      However,   if  you  prefer  to huve a mole  permanent  slide, you
  should mount  yo''. nm  under  glass, especially  i{ you plan to P|giect
   y"",   .ria"s.  If you wish to take pleasrrt"  itt preparing  your own slides,
  then  it is advisable for you to l"uttt  the complete mounting  technique'
     .    Before  the  development   of  the  Realist  system, mounting   of
  stereos was  a  difficult  procedure  that  discouraged   *9tt.   novices'
  Poorly  mounted  slides  oft"r,  caused so much  viewing  fatigue  that
  many camera owners lost interest  in stereo. With  the Realist system,
  however, mounting  has been made so simple  that  beginners can
  mount  slides u" qo"i"kly and  skill{ully  as the experts who have mas'
.  tered the  art only  after years o{ study and practice'
                   Tnn  SrsnEo REALIST SYSTEM
                  o'must"                             units  of the Realist system that simplified  and      The basic
   standardized  stereo mounting   are the  Realist  film  cutter  and  the
   Realist sorting box.
,      The  Realist  cutter  is a precision  instrument   that  is  carefully
   designed  to  cut  aII  film  frarnes with  a high  degree  of - uniformity'
  Once the  cutter   i,  ulign"d   for  size,  all  fiame  dimensions  can be
                                                 all mounting  methods depend on the    Jofti"ur"a
                 "orrtinrrully."Sinceof the individual  frames  (especially-true   of   dimensionul
                         ";ii";;ity    tr"u.rr"   of the fine tolerances required)r-on]Y   {rames for. ptol""tion
   the Realist  cutier  will  assure the exact duplication   of  size and the
    parallelism  of the film margins'
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                    The Realisimounringkit
    The Realist sorting box was designed to hold cut frames and to
                                                                 '. Since the frames cannot be used
                                      ar on the film when  it comes from
                                   rsed. The sorting box  is the only
                                       itions without  becomirg  involved
'our filmis cutin correct,"no:i:::'iTi"ru?,h#:1r"Jjl"::
                                       B3

hold  the  film  so that  the images are upside down  and the  curl  is
away from  you. Holding  the film emulsion side down,  start cutting
the right-hand  end  first;  then place the frames  in the marked com-
partments  (IL-X-2L-LR-3L-2R,   etc.)  of the sorting box. When  the
film  is mounted later with the emulsion side up, the top of the subject
facing away {rom you, you are instantly ready to view the slide in
correct  transposition when  the mask  or  holder  is turned  so that
the shiny side of the film faces you.
     Center-to-center Separation. The separation of your homologous
infinity  points must never be greater than 63.5mm  (2.496 inches).
By 63.5-mm separation of your  infinity  pointsr ]ou  are only  dupll
cating the center-to-center distance of the separation of the eyes.
     Alignment.  The need for  per{ect horizontal  and vertical  align'
ment  of your camera has been stressed. If  your  easily recognized
horizontals  (floors, ceilings)  or verticals  (tall buildings)  in the slide
are incorrect,  little can be done to correct them  in mounting. They
may cause projection  difficulties because people will  turn  their heads
to see them  correctly, and  in  doing  so, lose the polarization  and
stereo efiect of their  viewing  glasses.
    Window Frame Placemenr. With  a stereo viewer, you are look-
ing  out through  a window  frame  into  the world. By  careful mask
 cutting,  you can place the edges of  this window  frame  in space at
any position, €.g.: 21/2feet,4f.eet,  or 7 feet. If you take a subject that
was photographed   at  2t/2  feet and place   it  in  a mask  that  has a
window  outline  set at 7  feet, the efiect will be as real as though  the
 subject were standing  in  front  of the window.  However, masking
 in  this way  is not recommended  as a standard  stereo procedure
because the rear position  of the window  outline on the view soon
becomes a  distraction.  Aty   device  that  detracts from  the  stereo
 efiect by competing  for the viewer's  attention should be avoided.
    When your near subjects seem too close for comfortable  view-
 ing,   it  is possible to  cut the mask  in  half, change the spacing by
 moving  the halves apart by approximately  lmm,  and then remount
 the halves  at the new separation  so that  the view  is  in perspective
 and  therefore  more  restful.   If  this  is done, be  certain  that  your
 background  is not more than two  or three times the lens-to-subject
 distance. By  cutting  and separating  the masks  in  this way you  will
 bring  out  the background  to  the 63.5mm  limitation  and,  at  the
 same time, make the foreground  easier to view.  This method  is the
 principle  of the Perma-Mount,  which has its center-to-center distance
 moved apart to compensate for near-distance subjects. Such subjects
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                 Sorting box

 uT" t-o9 close together {or some people who cannot converge their  line
 of vision when the slides are p.ojected. To overcome this  difficulty,
 the window   is brought  nearei  by  *u.king   the outer edges of the
 frames. For certain extreme (Stereo Angle-iens)   closeupr"i, ,,'uy b"
 necessary to mask as much as 7mm from the outer edge to bring the
 window  within  a distance of I0 inches.
      cleanliness.  The  Realist  viewer  magnifies  your   film  approx-
 imately  five times. Dust and  grit must be-avoided  b""u,rr"  thesl  too
 are enlarged  in viewing. To cllan. the glass, use trisodium  phosph;;,
 calgon,  or oakite                         yalhing;   then iinse'with  clean water and dry                       {or
 with  a lintless cloth. under  no circumstances should  yo,  *urh-  o,
 rinse  the  film.  Any  attempt  to do so  wilr  scrat"h   urri  du.rrug"   it.
surface  dust can be removed  with  a  soft camel,s-hair brush" and
polonium,  a substance that  dissipates the  static  electricity  in  th"
dust. The  combination   is  availjle    only  in  the  static-l\iarbr;;
brush  that removes dust from  the film  ,,,rfu""  and at the same time
leaves an  electrical  charge  that  repels  dust  particles.  you  should
also_keep a towel within  reach so that you can keep your  fingers dry
at  all times.
     Film  curl must be avoided. It can be eliminated by hanging your
film  with  a  leaded  weight   after    it  has been  received  from  the
processing laboratory  or  rerolled, emulsion side out,  for  at least 2
hours. Film  curl may cause the film  to buckle with  u fo*";;;
enough to separate some of the mounts.
    The regular  stereo-Realist heater mounting  kit produces slides
                                    B5

The Simplicity of the Permq'Mount System

    vFIIcH PERMA.MOUNTSHoULDBE USED?
 N ear       Far      Distant,    hledium'    Clo s e-uP ,
 Subi ect   Subi ect   sT21-10  sTz1-12  sT21-11
   5 t      Iofinity     x
   4 l      201             x
   4 l      Infinity     X
   ZYrl      4 r                       x
   2rAl     201             x
   2y2l    Infinity     x

that are satisf actory for ordinary hand viewing. Projection, however,
requires  a much  greater  accuracy- -of image  separation  than  the
paper masks produce. The p"rmu-Mount,   d"u.Ioped  by  the David.
white  co-puny    after a great deal of research, assures eas): auto-
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 rnatic, accurate mountitg   of slides for  projection.   It  is available in
 three models, which  differ  in  the  ,"puruiion   of  the homologous
 points and in the size of the openings flr  placing the stereo wintow
 at different positions  in  tpu.".  The  differlnce   i"  the separation  of
 the homologous points readily permits relaxed viewing      ail slides
 whether they are regular, near, or cfose-up subjects, uniwhether"f       tfuey
 are intermixed  or  in order. With  the Pei-u-Mount  system projector
 adjustments are unnecess&rl, once the  first  slide hur be"n fotused
 and the image overlap set.

 Using the Perma-Mount
    The Perma-Mount,  in actual use, is very much faster than the
heater method  of mountirg  slides.
         I.  The mount   is  laid  on  the  table, open end up,  with  the
         notch in the upper right-hand  corner.
      2.  One piece of clean glass is inserted in the cut-out recess.
      3.  Each frame  is properly positioned  in  its own recess. Some
           film may be too                                          foi  the recess. In these few instances,                          _large
          cut approximately  LlL6  inch from  the top edge only.
    The film should be handled with  tweezers or witliglorre-covered
{nger9.          carefully  position  yo_yr film   in  each  ,r""rrJd   groove  so
that the bottom edge of the  film  is exactly  flush with  th;  srraight
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edge of the bottom  of the inside  of  its recess. Be careful  in placing
the- top glass piece over the  film  so that  this  flush mounting   is not
disturbed.
      4.  The second piece  of glass is placed  in  its proper  position.
      5.  The  special paper  covering,  coated with  pressure'sensitive
         adhesive,  is then placed  over the  entire  back.
     Glass must be used fo,r stereo proiection   Only  glass slides will
maintain  correct  polarization  angles. Acetate or vinylite  slide-protec'
tive strips  ur"  ,rof recommended because they absorb l1Sht, are. often
totally  unreliable  for  projection  polarization,  cause Newton  (inter-
ference)  rings,  or scratch easily. Glass is the ideal co-vering medium,
and as yet no completely acceptable substitute  for   it has been found.
    When your stereos have been mounted, one final item remains-
labeling  and  identifying.     I  suggest  that  you  get  stock  pressure'
sensitive labels and record  any necessary information  on them. An
added touch  of  individuality   can be secured by having  your name
printed  on labels. Work  out a code with  colored scotch tape _so that
 *h"tt    it  is placed on the top edge of a slide  it  will  indicate  the type
 of subject. Fot example, all green-colored tape could identify  pictorial
slides I red-colored  tape, human  interest.
     Since your  stereo slides represent a great deal of  effort and ex'
 pense, you should store them carefuily. Use a labeled wooden or metal
 Lox to protect your  slides from dust and light, and keep the box away
 from heat and humiditv.





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  CHAPTER 17    PROJECTION

     .       sucge_ssfulprojection  of stereo slides is not difficult if.you  follow
  the carefully planned Realist projection  system. This system requires
  the use of three basic pieces of
      1. ThePerma-Mount.Far"q,rip-"rri.(sT2r-rO), medium(sr2r-r2), and
         close'up(sr2l-rr)  mounrsare used fo, ih.i,  ,"rp"ttiu"
         s_ubjects.When so mounted,the homologouspoirri, are
             different  so that the audience  is assured of"r"lu*"d
                                                                                                        "i;;;     xJ't;:',Lr:::lJ;:TJ:t'r:l#u?unT
        Perma-Mount is the onry kind that can be used easilv bv the         amateur.
       2.  The siluerscreen. The second essential cornerstone  for  suc.
           cess{ul projection   is a polarizing  screen made  specifically
            for  stereo. In  addition  io  its urrlque fabrication  of  plastic
         on which  powdered  aruminum   is bonded  for  a  ,rru*i-,l.r,
           polarization  efiect, the silverscreen  incorporates an exclusive
              tilting  feature that increases the ,"r""rr'brilliance    u,  -,r"t,
          as 50 per cent. The  tilt enabres you  to reflect the maximum
          amount.of_light  toward  the audience, so that  right  is not
         wasted b_y bouncirg   .rp to the ceiling  or down  to"the  floo..
         The  brilliance   of  this- screen enharrJes the stereo         io
         such a degree  that  the  yi"y-t"q  audience becomes"n""ttotaily
        unaware  of  the  screen  itself.  th"   silverscreen  is manu--a
          factured  in  a 40x40-inch  (srgrAs)    table moder and
         54x59-inch  (srBrBS)    floor moder. Larger  sizes, such as a
          9x12-foot size, are available on special i.der.
      3.  The stereo  Realist projector   is the  final  cornerstone. The
            efficient design  of  this  projector  guarantees  approximatery
        50 per  cent increase in  ,".""r,   biilliance  ou"r'other   pro-
          jectors with 500-watt lamps. with  r000-watt lamps yor'u*
         able to project  for  an auditorium-sized  audience with  the
         assurance that  the screen brilliance   is adequate  for   all  to
         see equally  well.
    These three  cornerstones  of  stereo projection  constitute  the
bu_ilding blocks of a proven  edifice-The    R;"lii;                                                *stem   for success-ful Stereo Projection.
How Stereo Projection   Is Accornplished,
  _    The  only  recommended method  of  stereo projection   utilizes
polarized  light  to  project  both  stereo imases. The  viewer  wears
                                    B9

polarizing  glasses that  are coordinated  so that  the  left eye will  see
the  left view and nothing  else, and the  right  eye will  see only  the
right  view. Eabh       ,"".1ts   respective view, and the brain  fuses the
                     "y"t#o  images so that                      the viewer  senses depth. _Because there  are two
views,  tliere must be two  projection  lenses. Both  lenses have  their
respective polarizing   filters which  vibrate  li_Sht i-n directions  opposite
to each  oth"r.  The  screen must be coated with  aluminum  powder
or  paint  because only  aluminum  maintains  the  transmitted  angle
of polarization  of the projected beam. You cannot use crystal beads,
white walls, or bed sheets for a screen.
    The following  points should be borne  in mincl for a successful
presentation of stereo slides: "      1.   Realist mounts are designed to keep the horizontal  separa-
           tion  of  the images  within  comfortable   limits   for  relaxed
          viewing.
      2.   verticils.If   your camera has not been held level sideways,
          the  verticals   in  the  slides may  not  be  in  register  when
          proiected. Do not  project  such slides. while  they may be
           irund-rri"*ed,  they  wili  cause projection  difficulties.  Slight
           vertical adjustments may be safely mlde, To see what you
          are  doing,  cut  ofi  the  bottom  half  of  ygtt  _polarizing
           spectaclerl'If yo,, li{t your head, you can see the direction  of
               . your  vertical  corrections. Otherwise, when wearing the  full
          polarizing  glasses, you cannot see what you are doing.
       3.  Do not pioJect yooi  slides for more than 50 to 100 seconds
         because^the inside temperature  of  the projector-is  almost
         100 degrees and *uy   ufi""t  the  slide  if   it  is subjected to
         such heat for a longer time'
       4.  For  ideal  projection  take your  pictures  with  these stereo
          depths of  field:
                A.    InfinitY  to 5 feet 9 inches
                B.  20 to 4  feet
              C.  5b21/zfeet
        When  these groups  are mounted  in  their  specific_ Perma-
          Mounts,  you-wifl  be able  to  project   all  taking  distances
          together without  adjusting the projector'
           If Perta-Mounts   are not available, you can cut the paper mask
  in two as a stop-gap, and separate the halves so that the near points
  are 6I.5m*        To muk"  a mounting  templ_ate, draw two  vertical
                  "puri.                by this distance and_place both halves of the cut mask   iirr".  ,"purated
  so that  the near  points  rest on  this  line;  tape  the masks  in  this
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position and then cut'ofi the excess on the ends. It  is, however, much
easier to use the Perma-Mounts because the compensating separation
is built  into the mount  itself.
     Since  all  uncorrelated  landscapes, seascapes, dogs, pets, and
children  tend  to  look  alike  after  a time,   it  is  highly  desirable  to
group them  in  story sequence when showing them on slides so that
they  will  hold  the  interest  of  your  audience. A  short  presentation
script   will  help  you  to  arrange  your  slides so  that  they   tell  an
interesting story.  It  is even better to shoot your pictures according to
a script so that  all the slides are unified.  In addition, a series of story-
telling  pictures may  carry  one or two shots that form  a link  in the
story, but which without a script would have to be discarded.
      5.  Preview  each  slide. A  discarded  bad  slide  never  hurts
        anyone while  a badly mounted  projected  slide can be a
        source of displeasure.
    The importance  of correct mounting  of stereo slides cannot be
over-emphasized. Poor  stereo, whatever  its source, can only be dis-
couraging  while  good  stereo, properly  projected,  can  give rnany
people pleasure through  their simultaneous enjoyment  of  its duplica-
tion  of  life-like  depth.





             The  Stereo  Reqlisl  Silver  Screen, Showing   Tilf  Control
                            snd  Tubulqr  Corrying  Gose

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   CHAPTER 18  /   HYPO.STEREO    (CLOSE.UP)
         close'ups  with  a  stereo camera  are  entirely   difierent  from       -
    close'ups with  a  single lens camera. The nearer you  approach  a
i    subject, the more do your eyes toe-in or point  toward  each other
l
   as they concentrate on the  subject.  Since the lerrs"s of your  stereo
   camera are rigidly   fixed,  they  are not able to toe-in as the camera
     is brought  neare-r to  the  subject. This  lack  of  toe-in produces a
   serious problem- because when you mount close-ups, the i-ug",    ur"
   too close to each other  for  comfortable  viewing   in  the sterelscope.
   To  permit  comfortable  viewing,  you must  so place your  i*"g",
    further  apart on the  film.  Ther"     many  methlds  possible which
    will produce ccmfortably  viewed  "r"       The more practical  are:                                         "lose-rrps.
              l.   1/50  Formula   (projection)-I/2s      (viewing)-shilt      Bar
       The theoretically  ideal stereo efiect has been calculated  to result
   from an inter-lens separation which  is l./50  of the camera-to-subject
   distance. As you come closer to the subject  (24 inches or less) ihis
   separation must become greater  in  order  to secure a better model-
    i:q  d  the subject. Rut  the problems  of  projecting  stereo require
   this  L/50  formula  be used io  avoid  too  great hJmologous  point
   separation  of  the scene.
       close-ups require  that  a much  narrower  homologuous  point
   separation  than  the 70mm  interocular  can  produce.  You      do
   this by using your camera on a sliding  shiff  bar  for two  separate""r,
  exposures. With  this  bar,  the r/50  formula   is used  in  the  follow-
   ing  way. You  measure your  subject  to  lens distance.  If  the sub-
   ject  is 40  inches from  your  lens,  the  interocular  movements  be-
  tween exposures  will  be 4/s  of an  inch. you  cap your  right  lens
  and  take your   first  picture.  Then,  the cap  is changed  to  the  left
   lens. The  right  lens  is moved  to  the  position  where  the  left  lens
  was formerly  and_ then moved  4/s  inch  to  the  right.  The second
  picture  is then taken.   If  the  subject  to  lens distan-ce is 20 incheso
  then  the                          points   will  be  2/s   inch,  etc. The  separating            ,separating
  distance between  the two  pictures   will  always  be  r/sO    it     l"rr-s
  to subject distance. In  using a  shift  bar you must remember"   the
  sequence of  the  exposures  that  are  being  made.  you  must  also
  remember  to change your  supplementary  lenses as you come closer
   in  order  to keep your  subject  in  focus.  In  order  to  standardize
                                         93

your procedure,   it  is recommended  that you use only  the distances
 suggested by the chart.   If  you intend  to take many  close-ups, then
  you may  construct  a permanent  stand with  markings  for  the exact
  focusing distances. You may mark  the back  of  your  camera with
  the illustrated  index marks  to  accurately  guide your  distance  shift-
  ing measurements.
      Should  the depth produced  by  the  L/50  distance  shift  prove
  inadequate for  your needs, then you may  try  a formula  based on
  L/25  or  L/L2.5  distance shift. This  will  increase the separation o{
  your two exposures. The increased separation will produce a greater
 amount  of  "triangulation,"   and  this  in  turn  will  produce  a greater
  stereo effect.
       2.  The Stereo Angle  Lens
      Since any  of the methods  that  require  a camera  shift between
 exposures may  not be used simultaneously,  the Stereo Angle  Lens
 was designed by  the author  to permit  two  simultaneous,  correctly
  toed-in  stereo-camera  closeups. Both  right  and  left  are  taken  at
 once  without   the  bother  and  fuss  of  camera-shift  manipulation.
 Each Stereo Angle Lens consists  of a prism  upon which  has been
 ground  the necessary supplementary  close-up correction.    It  is very
  simple  in design and was engineered to permit  its use in any stand-
  ard series V  filter  holder. You  simply  insert   it  into  the  filter  holder
  with  each red  line  facing  inward  and  then  the   filter  holder   is
 mounted  over the camera  lens.
     To aid precise alignment, each lens is marked  with  a red and a
  black  line. The lenses are used by  placing  the  red  line  facing  in-
 ward  and  horizontal,   while  the  black  lines  face  outward.    It   is
 suggested that  you  use a  ruler  and  align  the  lenses so  that   all
  lines are perfectly  horizontal.  All  you do now  is to  set your  sub-
  ject  at the proper  angle lens focus distance. Measurement may be
 done by  tape from  the  front  of  the prism  supplementary  lens  or
 a pre-cut string. Since the viewfinder presents no parallex problem,
 you simply compose your  subject and you  are ready. There  is no
 change of exposure necessary for the Stereo Angle Lens, but narrower
 openings are always suggested in  order  to secure as great a depth
  of  field as possible.  In  stereo, everything  must be sharp.
       3.  You may always keep your  subject  distance  at 20 inches,
 although  the taking  distance may be as close as 3 inches. As  the
  chart  indicates,  in  order  to  focus  your  camera  at  this  distance,
 you must use a Plus Two  supplementary   (portrait)   lens over  the
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regular camera  lens. Since this  is standard,  no camera  shift  is  re'
qulred,  and  both  pictures may be taken  simultaneously.
    To  correct the decreasing separation  of  your  images as youcome closer (see illustrations),  which makes your  finished stereos q
unviewable, you must so separate the subject between exposures that
the images may  be spaced  further   apart  to  permit  comfortable
viewing.  Since your norm  is 20 inches and the  inter-lens separa'
tion   is 70mm,  then when  you  take  a  picture  at  10  inches, you                                                                                                                                              tIiiseparate the  interocular  distance between the exposures  to 35mm.
Whe.t you do  this, you  enlarge your  picture  twice'  but  your  view'
ing  distance  is maintained   at 20  inches. The 35mm  separation  is                                                  I
                                                                                                                                                                                                                                                                                                                                                                               Iiderived  by  dividing                     :    2. When  you  divide  70mm,  the                        #*#.
20-inch separation Ai  Z,,the  lo-inch  separation number  is 35mm.
    To  g"t  th" 35mm  separation  between  the two  individual   ex'
posures,  it  is necessary that  you mark  your  camera so as to  sys'      il
tematize your  Procedure.      a.   iJse the  tripod  socket which  is  in  the exact center  of  the        II
             left  fram"     u guide  to  enable you  to mark  the  center
                                 ".                                 left  frame  with  white  ink'          point  of  the
      b.   the  wind  release  is  in  the  center  of  the  right  frame,  so                  '           rule a straight  line from  the wind  release completely down
           to the bottom  of the camera and mark  the  right  frame  in
           similar  manner  with  rvhite  ink'
       c.  The  center  of  the  left  viewing  window  marks  the  exact
          center  of the camera. Mark  a white  line  at  this  center as
         a  re{erence  Point.
       d.  Place the camera on a  shift  slide marked  in  millimeters.
       e.  Always  place the correct  supplementary  portrait  lens over
          the  r"gol"t   camera  lens  for  the  distance  at  which  the
          stereos are to be taken.
        f.  Use a tape measure or a pre-sized string to measure -fom
         the fronf of the supplementary lens to the subject in order
          to correctly set the lens-to-subjectdistance'
      8.  View your subject through the Cyclops viewfinder of the
          Realist and frame the subject for the best effect'
      h.  For the Plus Four,  shift the left frame index mark  until
                 it  is moved l7.5mm  left  of the central point. Cap your
           right  lens and take your  first exposure. This  is the  left
                     of the pair. Remove your lens .cap from the right
           "*lpornr*            and place it on the left lens. Then move your camera          lens
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        so  that  the  right  frame  index  mark   is  17.5mm  to  the
           right  of center and take your  right  exposure  of  the  pair.
         For  five  inches, the  Plus  Eight   is used and  the  shift  to
          either  side  of center  is Bs/arnm. With  a PIus Thirteen,  the
         subject  is  at a 3-inch  distance. The camera  shift   is  only
       5.4mm  to  either  side  of  center.  with   this  method,  the
          subject,  although  enlarged,   will  always  be  placed  ?t - u
         2o-inch  viewing  distance and  comfortable  viewing   will  be
         assured.
     Close-up stereo is definitely  recommended as the Realist lenses
are sharp and  clean-cutting.  You   will  find  that  the  stereos made
at close di.turr"",  have a great wealth  of detail when you view them.
Time  and time  again, you  will  find  unnoticed  material  which  you
had  overlooked  even when  the same slide has been viewed many
times.  In  order  to  secure the  best  results  for  close-ups, the  fol-
lowing recommendations are made:
       1.  Use the correct  supplementary  lenses shown  in  the chart
            for  focusing.
       2.  The  lighting   of  your  subject between exposures must be
           ,    identical.  Therefore,  do  not move  lights  between your
          exposures..   If  your  shadows   fall   in  difierent   directions
         due to  light  source movement,  the total  efiect  will  be one
            of mental  confusion.
       3.  Background  considerations are very  important  for  close'
         up stereos. The tone must be neutral  in  color and design.
         The  background   distance  placement  ought  not  to  be
         more than two  or three times the subject-to-lens  distance.
                  If  your  subject  is  l0  inches from  the camera, then  the
         background  should be placed about 20 inches  in  back
            of  the  subject.
       4.  Use a solid  tone  for  the Stereo Angle  Lens background.
        5.  Use  flashlight   or  electronic  flash  indoors,   brilliant   sun
           outdoors,  in  order  to  use narrow  apertures.  In  stereo,
           everything  must  at  all  times be sharp, and narrow  ager'
           tures  yield  the  greatest depth  of  field.                     :
        6.   Position  your  subject  so that  the  front  to back  distance              '
              is at a minimum.  Turn  your  subject to  the side,  if  pos'
             sible, and then your  depth  of  field  will  sharpen  all planes
             your  subject.
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F?                      t .  Always use the Universal LABS formula to calculate the
        amount of  light  for  your  subject. The maximum  ratio
         permissible for color film is limited to four to one.
      8.  Be sure that no part  of your body interferes with  or
        shades your light source.
     9.  IJse a  spirit  level,  if  necessary, to  align your camera
          horizontally.
    r0.  Jot down  all your procedures with  pencil and paper.
        Even one color frame error is a needlessexpense.
    I1.  As your close-upswill generally be standardized,take the
           effort to construct the necessarybackground, lamp stands,
           slide platform, and focusing distance markers, so that
        you  will  always be ready  to take close-up stereos by
         simply placing the camera on  its pre-calculated position
         and snapping  your  picture.
     12.  Mount  your  close-up stereos  in  an  appropriate   close'up
        mask  for  comfortable  viewing.  This  is a very  important
           point !
    When  extreme  close-ups  are  taken  with  the  Realist  by  either
of the close-up methods suggested,  it  is highly  important   to mount
these slides  correctly  so as  to  avoid  eye-strain  while  viewing,  as
well  as  to  avoid  continual  adjustments  and  manipulation   when
these slides are projected.
    The Perma-Mounts  (David  White  Co.) were designed to permit
simple  mounting  which  would  produce  easy viewing  as  well  as
projection.   This   is  accomplished  by  varying   the  center'to'center
distances of the mount  for closer subjects while masking  (covering)
the outer portions  of your mask openings so that the window-frame
is placed  at ideal  distances to  permit  the  subject  to appear  in  its
most  natural  plane. A  l0-inch   subject  distance mask  is  not  the
same as a regular  mask. The  close-up  subject  must  be mounted
only  in  its own mask.  In  like manner,  a distant  subject can not be
mounted  in a close-up mask. Both subjects have specifically designed
masks.
         If  certain  close-up subjects have been taken  at an  angle,  the
odd  subject  position  may make   it  necessary  to mask them  even
more than  is provided  for.  This may be estimated by placing  your
slide  or mask  in  the viewer  and  slipping  two  fine  r/adnch  paper
strips  into each end of the viewer. The paper  strips are then moved
together,  from  each  end,  while  viewing   until  the  most  pleasing
?B

window-effect  is reached.  Lift  out the slide with  the strips  in place,
 and mark. Replace the strips with mounting  tape. With  this method,
 you may  adjust  any  slide's window  efiect,  if  necessary. You  will
 find  that window-effect  masking  matched  to your  main  subject  dis'
 tance yields more  interest, and makes  for  easy viewing.


 CHAPTER  19    HYPER STEREO (FAR DISTANCE)

     The  further  you  look  into  the  distance, the  less plastic  is the
 stereo scene, and  at very  great  distances the  background  appears
 as a  flat  curtain.   If  you take a distant  mountain  stereo with  only
 the normal  lens separation,  the mountain   will  appear as a painted
 backdrop.  This  is due to the  fact  that  the  distant  triangulation   of
 your  lerrses, which  are 70mm  apart,   is so small  that   it becomes
 a negligible  angle  for  far  horizon  distances.
      Flowever,  there  are ways  to  use your  stereo camera  so  that
 you  will  be able to see depth even at such distances.  In  order  to
 do this, you must increase the triangulation  by taking two separate
 exposures with  a greater  separation  (extended base). A  lens cap
 is placed  over  one  lens  for  the   first  exposure,  then  the  cap  is
 shifted  to  the  other  lens  for  the second  (extended)  exposure  of
 the stereo pair.
     Long   (far)   distance  stereos may  be taken  by  either  of  the
 following  methods.
       1.  Use the stereo shift bar and calculate your  lens separation
 ?   to  I/50   the  lens  to  principal  subject  distance.  If  your      :liJ:"il:,T""'J"?;'H"il'#J"lJ,:l'"*;l;lilT"d:il
            tion  6 inches apart  (#:      7/r' or  6").  Remember  that   if
          the camera  is used on a shift  stand, you must move each
          lens  to  a  separate position  between exposures. Use  an

            tion  of 70mm  to  the camera  shift  and  so produce  too
          long a base. There have been stereos recorded which  have
         been made  millions   of  miles  apart,  but  for  preliminary
           practical  purposes, a 6- or  l2'inch  stereo bar  will  prove
            sufficient. Remember  that, as you increase your  base sepa'
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     ration,  you  are moving  your  depth  reception  further  and
     further  back  into  space. Try  a number  of  hyper-stereos.
    Their  efiect will be of great interest to you.
2.  A second method to produce hyper-stereo utilizes the num.
    ber O Stereo Angle  Lens. This  lens has no positive pow-
     er-it     is a simple  prism.   If  you  place  the  lenses  in  the
    standard  Series V  filter  mount  so that the black  lines are
    facing  inward  and the red  lines  out,  to take your  picture,
   you  will  find  that  you  have  increased your  separating
    distance  (triangulation)  and  this  additional  triangulation
     will  give you  long  distance or  hyper-stereo. This second
   method  is simple  for  the beginner  because no  extra  shift
    bars  are necessary and  the  results  are  excellent.  Besides,
    both  pictures  are taken simultaneously so that you  don't
   have to remember  to take two separate views or manipulate
    the camera  excessively.
        Hyper-stereos  are indeed  novel,  but  they have many
   shortcomings  which   limit   their  usefulness. They  are  un-
    natural  in that your distant subjects appear as small minia-
    tures of  in  full-size proportions. Because of this unnatural-
    ness, viewing   is  tiring  and  after  a  while  they  become
    visually  unacceptable.
   Take  one  or  two  hyper-stereos  as  a  technical  exercise.
    only. You may not understand what a hyper-stereo actuallv
     is until you have viewed one taken with an extended base as
    contrasted  rvith a regular  stereo shot of the same scene.

                                            til?itiii!.fj,ti$i{ri.iifiriltffiii.,





                 Slereo Angle-lens  Deluxe  Unit  for  Inslonl  Use

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CHAPTER 20     /   COMMERCIAL    STEREO
     Stereo-Realist methods are revolutionizing  the commercial  field.
The days of costly  live models, numerous unused samples, inability
to move  heavy cumbersome  machinery  any  distance  are waning.
With  the Realist, one  is  able to have slides made ad  infinitum   to
save the  cost  of  needless duplication   of  inventory   or  processes.
The  following   listing  shows  the  applicability   of  stereo  to many
fields.
   FOR THE  DESIGNER:   The  Realist may  be used  to show
the  step-by-step model  production   from   its   initial   beginnings   to
the finished  product.   If  the  final  product  proves unusable, a check
of  the  different  modeling  stages from  the  Realist  slides  will  show
exactly where the experiment  failed.
   PRODUCTION  ENGINEER:   A step-by-step assembly analysis
can produce  a check  for  production  and manufacturing   time  and
cost analysis.
   GARMENT  MANUFACTURER:     Each  bdyer  can see all  the
samples  in  a  line  without   having   to  wait   for  time-consuming
changes  of one model  or  of many  costly  models.
    ENGINEER   (CIVIL):   A  complete record  of  the  erection  of
a  building   is  readily made  availbale  for  study  or  duplication.   If
reference  distances are  accurate the  stereo can prove  a source  of
precise  measurement  because you  always  know   the  interocular
measurement  of the camera. Then, by  special instruments,  you can
measure  the  amount   of  parallax   separation   of  the  two  images-
This  parallax  measurement  will  give you  dimensional  information
which can be accurately used for  duplication   of the building.
    SCIENTIST:    Growth  rate  of  plants,  animals, and insects art
permanently  recorded  in  their  true  natural  colors.
    EDUCATOR:    With  polarization  projection,  the  educator  is
able to "take"  his students to museums at any time, and show them
more  detail  than  they  would  be able  to see as part  of a  milling
group around an exhibit.
    MANUFACTURER:     With  stereo, one  is able to set a sample
standard which  the bench worker  can always compare  in  fresh  full
colors.
    INDUSTRIALIST:       All   the  plants  and  enterprises  can  be
seen at once, and any new  buildings,  etc. may be seen in  different
stages of  construction.  Work  progress  is easily checked.
   ARMED  SERVICES:   Recognition under  actual practical con-
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 ditions  of  color  or  perspective  of men,  material,   fields,  surround.
 ings, etc.
    X-RAY  TECHNICIAN:    Depth  studies of  bullet wounds,  etc.
 for  study may be made from  larger  X-ray  plates taken  for  stereo.
    SALESMAN:   Instead   of  a  wholly  bulky   line,  the  salesman
 carries  slides compactly  and has them ready  at a moment,s  notice.
 There  is no need to carry  weighty  materials  aroud.
     sruDENT:     slides of study models eliminate the need to make
 constant  trips  to a museum,  field,  etc.
    MATHEMATICIAN:     Geometric forms  are  clearly  visualized
 in  all planes.
     APTTIST:   Stereo  permits  the  artist   to  paint   the  sunniest
 greenest scenes or  the  coldest, highest mountains  within   the  con]
 fines of  his comfortable home  at any time  of  the  year  with  the
 assurance of having  ideal painting  conditions, and rvithout having
 to worry  about a wetting shower or  a biting  cold.
    NIINEROLoGIST:   A complere range of ore samples for iden-
 tification  may be carried  in  slide form. When  one  is prospecting,
 every ounce of  weight  is important.
    BUILDER  and ARCHITECT:   A  builder can go to the home
 of a prospect and show stereos of his developments lround  the city
 which would otherwise take hours  or days to see.
    ADVERTISING:     Display  set-ups may be visualized and  ex-
 actly  duplicated.
    MEDICAL  MAN:    skin  conditions, physical progress, parient
 orthopedic  studies,  all  are easily shown by  stereo.  ei.o  the  color
 of  the  stereo  provides  disease distinguishing   factors  which  make
stereo a valuable tool  to aid diagnosis.
    DENTIST:    stereo studies show actual progress in mouth  re-
habilitation.
    OPTTHoPTICS:                           eye conditions are helped by viewing                       -Certain
stereos (correction  of cross-eyes, etc. by exercises and non-surgical
methods).
            people  have  made  the  statement  that  anything   that   _Many
single-lens photography  can  do,  stereo can do  better.  it,s  elsy  to
get over-enthusiastic  about  stereo. Stereo cannot  take the place  of
a photograph  or  painting  that  is hung on the wall,  since the  efiect
   psychologically   different.  But    it  can produce,  through   life-likef
depth,  a momentary   reality   that   is  unmatched  a.rywhere  in  the
whole  realm  of  the  arts and  sciences.
                                      r03

CHAPTER  2I       /   MEDICAL   STEREO
    The  Stereo-Realist  is an excellent  aid  in  medical  studies. The
results  that  you  secure  wrth  your  stereo camera  are  such  that
practical  teaching and even diagnoses are  simplified.  In  order  to
be able to diagnose a skin  condition,  very  fine degrees of  color
change may  play an important  part  in  demonstrating  distinguish-
ing  features such as the depth and  quality  of a crust, a wheal,  or
margin  of a lesion. With  your  Realist you are easily able to show
these fine  differentiations   of  color.
    To secure the maximum  amount  of subject detail and contrast,
it  is necessary to have a point  source of  light. The  point  source
may be either  a spotlight  or a  fl   Photoflood.  The lamps may  be
used in  regular  reflectors. For  photographing  small  lesions there
are numerous  clinical  light  arrangements  of  various  types which
are suitable  for  stereo. The  Realist may  be used at distances up
to  28  inches without  any  additional  lenses. Up  to  this  distance
your  rangefinder  may  be  used.  At  closer  distances,  the  Stereo
Angle  Lens  is a must  in  order  to  take  simultaneous  pictures  of
your  subject,  for   it  is  virtually  impossible  to have your  suliject
remain   still between the camera  shifted  exposures
    The  f3  Stereo Angle  Lens  is suggested for  medical  work"  At
the  4  feet range  finder   setting,  the  subject-to-lens  distance  with
this  lens  is  I0  inches.  This  setting  is  particularly   recommended
because it  is your  normal  reading  distance. At  a normal  reading
distance your image to viewing  ratio  is approximately  L:1.
    As the measurement  of  the camera to  the subject  is  cri\ical,
it  is recommended  that  you  use a tape measure  or  attach  a pre-
measured  piece  of  string  to  the  front   of  the  Stereo Angle  Lens
holder. This  string  will  always be ready  for  use in measuring the
lens-to-subject distance. After  the measurement has been made, the
string  can be allowed  to  fall  out  of  the way.
    Use your  chart  for  depth-of-field  settings.   If  you  standardize
at the  l0-inch  distance, then  all your  stereos will  be easy to view
and to project  because of the uniformity   of separation.   It  is always
important   to mention  the constant  need  of  uniformity   and  stand-
ardization.
      Infra-red   film   will  produce  very   startling   results  with  your
Realist.  Any  venous  pattern  may  be  photographed.  The  finished
104