STEREO (3D) PHOTOGRAPHY

There are a very large number of Internet sites that provide huge amounts of information on how to take and view stereo photographs. Listed below are just a few of the easier (or more interesting) approaches.

Vintage Stereo Cameras

The 1950's saw the introduction of a range of stereo cameras, beginning with the Stereo Realist from the David White Co. about 1952. Before production ceased by the early 60's, such cameras were being produced by Bell and Howell (TDC Colorist series), Revere, Graflex, and Kodak, to name just a few. Shown to the left is the Kodak stereo model. These cameras are very convenient to use, even though they lack many modern features. They were produced in very large numbers and are readily available on the used market for between $150 and $400, depending on condition and the rarity of the model in question. You can find plenty of listings on the Web if you do a search with stereo AND camera.

 Pros

• While a bit bulky by modern "point-and-shoot" standards, these cameras are very compact compared to other stereo options.
• While they do not have the "bells and whistles" expected on modern cameras, all of the important functions such as shutter speed, shutter synchronization, and focus are fully integrated - these are designed as stereo cameras.
• Within the limit of their shutter speeds, these cameras are suitable for action photography and handle normal motion with ease.

Cons

• These cameras produce pictures in either the "Realist" or "European" formats. The Realist format is almost square, while the European format is a bit more rectangular. Composition can be a challenge, especially if you are wedded to the wider 35mm full-frame format.
• The cameras were designed to shoot slides and it is getting harder to find places that can mount the slides properly. The result is somewhat higher cost and a delay in seeing your pictures. Almost all the stereo supply houses stock slide mounts however, and it is possible to simply get your slide film returned without mounting, doing the job yourself.
• No auto focus, auto-exposure, or zoom lenses. If you are going to shoot slide film, you will need a light meter. With B&W or modern color print film, the general exposure guidelines included with the film will probably prove satisfactory. In short, you need to learn some photographic basics.
• Finding a camera repair specialist for these cameras will take some shopping on the net. However, these are collectable cameras and will only appreciate in value with tender, loving care!

Personal Notes:

I have owned several different models over the years and now have a pair of Kodak Stereo cameras that I am quite happy with. When I first started using these cameras, slide-mounting was still universally available. As the decades have passed, what few stereo processors that are still around are quite expensive and the time required to get your pictures can be significant. If course you can mount slides yourself, but I find slides, despite their high quality, to be limiting when it comes to sharing images with friends. My format of choice is the classic Holmes stereoview:

The stereoviews are easily viewed with either an antique or reproduction stereoscope, lorgnette, or even by parallel free-viewing. What I find especially nice is that others can appreciate the basic photographs while someone else is using the viewer. I use standard color negative film, scan the negatives with a film scanner, and use the computer to format and print the actual stereoview cards.

If you see essentially square pictures on this site, they were probably shot with the Kodak Stereo camera or by one of my older (and long-gone) TDC Colorist or Realist cameras. I got top dollar when I sold these previous cameras, but now I would not have done so! The cameras each have their own idiosyncrasies and limitations, but if you get serious about stereo photography, you will want one in your camera bag.

Modern Stereo Cameras

There are few companies today that manufacture traditional (two-lens) stereo cameras. One outstanding exception is  RBT, a German company that manufactures several camera models based on modified bodies and lenses of conventional cameras. These cameras are very highly regarded and they produce images with the "conventional" 35mm format, thus simplifying many aspects of slide mounting or printing. They are also quite expensive!

Twin Camera Systems

Since the basic premise of stereo photography is to take two simultaneous pictures, spaced by roughly the distance between the eyes, the same objective can be achieved by using a matched pair of cameras arranged to take simultaneous exposures. Here is such a "twin camera" stereo system based on the use of two Olympus XA-2 point-and-shoot cameras. This system was marketed* by Rocky Mountain Memories ($225 with flash) and featured electronically synchronized shutters. In the case of cameras that will take a cable shutter release, dual cable/single actuator shutter release cables are available from vendors on the Internet. Absolute synchronization is not possible with a mechanical cable release, but you can come close enough in most cases. If there is not a lot of motion in the scene, you can even do reasonably well by triggering the two shutters by hand, especially if the mounting bar is tripod mounted. In a pinch, two disposable cameras can be taped to a piece of wood and triggered manually. Modern cameras with a remote shutter jack, such as the Canon Rebel, can be perfectly synchronized with very little effort.

Here is a twin-camera rig constructed from a pair of Kodak EZ200 digital cameras. Click on the image for more information on this project.

Pros

• If modern cameras are used, all the features you expect - auto-focus, auto-exposure, and electric wind/rewind are available. Zoom functions may not be practical unless you can couple the lenses on the two cameras.
• If the shutters are coupled electronically, the cameras are suited for action photography.
• Standard films, slide mounts, and printing are all that is required.
• Images can be full-frame 35mm or even medium or large format, depending on the cameras used.
• Can be relatively inexpensive if simple "point-and-shoot" cameras are used.

Cons

• Most camera pairs will produce a slight to significant hyperstereo effect since the distance between the lenses is greater than the inter-ocular (eye to eye) spacing if mounted horizontally. Vertical mounting can solve the interocular problem, but locks you into a "vertical" format that can be a challenge in terms of composition..
• The better the cameras, the more expensive the dual rig will be.
• The twin rig will be significantly heavier and bulkier than a purpose-built camera. Some larger rigs are not at all handy and require a tripod for regular use. Note that the digital camera system shown above is about the same size as a Realist-format camera and somewhat lighter.

Personal Note:

This is one of the few practical ways to shoot medium or large format stereo (the other is to use a slide-bar - see below), unless you want to wrestle with the problems inherent with the Eastern European Fed and Sputnik cameras. I think that twin-camera systems will increase in popularity with the advent of digital cameras. I build the digital twin-camera on a whim, just to have a simple system for stereo snapshots. Despite the camera limitations, I find that I use it a lot!

Since building the Kodak digital twin-rig, I have purchased a very nice digital twin camera system (shown above), produced by Co van Ekeren in the Netherlands. The link will take you to a description and evaluation of this interesting camera.

* A more advanced (and expensive) version of this twin-rig is now being marketed that basically slaves ALL camera functions to the master camera of the pair.

Hobby Cameras - Stereo Hacking

The really dedicated stereo fans combine the convenience of a dedicated stereo camera with more modern cameras by literally building their own! These "stereo camera hackers" are a creative bunch! Here is an example from Sam Smith's stereohacker page (which, unfortunately appears to be no longer active), where he has fused a pair of Praktica 35mm SLR cameras. One of the big problems with twin camera rigs (arranged in the "normal" horizontal format) is getting the cameras close enough to approximate the normal interocular distance (~65 mm). As a result, most twin camera systems have a slightly exaggerated stereo (hyperstereo) effect. Custom-built camera-fusion projects like this one solve the problem. The workmanship exemplified by such projects is really a testimonial to the enthusiasm of these stereo devotees!

No Pros and Cons here - this is a highly specialized activity, driven by the love of cameras!

 Beam Splitters

Beam-splitters are mirror-equipped adapters that mount to the front of the lens of a standard camera. This one is produced by Pentax for use with their cameras. The result is that the two stereo pairs are combined on a single slide/print frame. As a result, the image format is taller than it is wide.

This narrow, vertical format presents some interesting (challenging) problems with respect to composition. The Pentax system is no longer in production but you can still buy them (along with a matching slide viewer) from many sources. Recent prices I have seen are in the $250-300 range, although I understand there is a Chinese "clone" on the market at a more reasonable price.

 Pros

• Simple accessory for use with standard cameras and films.
• Standard processing/mounting of prints and slides.
• You can mix standard and stereo images on the same roll of film.
• Suitable for moving scenes (but see below).

Cons

• Very significant compositional limits imposed by the narrow, vertical format.
• For optical reasons I will not go into here, your f-stop range will be limited to f5 to f8.
• Misalignment between the beam-splitter and camera body can cause rotational problems that are difficult to compensate for.
• Distortion of very fast-moving objects (rotor blades and airplane propellers) with modern focal-plane shutters.
• The depth-effect is definitely hypostereo as the distance between the mirrors is less than typical inter-ocular spacing. Best suited for close-in work, not scenic shots.

Personal Notes:

I have done a lot of shooting with my Pentax beam-splitter, which I got years ago for a very good price. I would not buy one at current prices - the money would be better-invested in a Realist-format used camera! If you are serious about using a beam-splitter, take the time to build a jig to hold the camera and beam-splitter unit in precise and constant alignment.

NOTE: The beam-splitter option has gotten a lot more attractive with the introduction of the Loreo 3D Lens-in-a-Cap! Use the Beam Splitters title link to look at the details.

 Argus/Loreo Cameras

The only readily-available, low-cost, current-production stereo camera is the Loreo/Argus available (with a print viewer) from outlets such as Berezin Stereo Products (current prices are in the $80-90 range), other stereo vendors, and even some of the larger camera stores that market on the Internet. The camera works on the beam-splitter principle and, like those adapters, produces prints that can be viewed directly with no special processing. The camera has only two aperture settings (one for daylight, the other for flash) but works well given the wide latitude of modern color print films. It would not be suitable for slide film. While a "snapshot quality" camera, it would be entirely adequate for generating Internet photos if the vertical format were tolerable.

 Pros and cons are similar to the beam-splitter without the potential for alignment problems. A good knock-around snapshot camera within its limits and a good "first" stereo camera for the casual photographer. If you are serious about photography, you will out-grow this camera after your first few rolls of film! All that said, it is a simple snapshot camera that is a lot of fun. Check out the title link for some examples.

Stereo Slide Bars

Probably the simplest approach to taking stereo photos is to use just one camera. The camera (film or digital) is used to take one stereo view. It is then is shifted right or left by the equivalent of the inter-ocular distance (~65 mm) to take the second member of the stereo pair. Although this could be done by hand, the results are best if the camera orientation doesn't change (other than the lateral shift) between exposures. The easiest way to achieve this is to mount the camera on a slide bar that will let in move sideways, but maintain the camera orientation in other axes. There are many different approaches to constructing a slide bar and several commercial versions are also available. The one shown here is a precision unit from Jasper Engineering.

Pros

• Only a single camera is needed
• All the features one would expect on a modern camera are available
• The same slide bar can be used with cameras of different formats (digital, 35 mm, medium format, etc.)
• Stereo and "flat" photos can be mixed on the same roll
• No special processing or mounting is required
• The spacing between the views can be adjusted to fit the circumstances. If close-up work is required, a shift smaller than 65 mm can be used (hypostereo) to avoid over-emphasizing the stereo effect. In contrast, if you want to enhance the stereo effect for a subject at a greater distance, the lateral shift between exposures can be increased to enhance the stereo effect (hyperstereo).

Cons

• Only suitable for scenes with no significant motion.

Personal Note:

My Jasper Engineering slide bar is my favorite stereo accessory as I can use it with any of my standard cameras. My PDC640 Polaroid digital camera is fun to use as it takes 640 x 480 images that I can load directly into the computer without having to wait for prints and then scan them in. More recently I have been using the slide bar with a Canon "Digital Elph" 2 megapixel camera with superb results.   Every serious stereo photographer should have a slide-bar in their camera bag!

 Software

In the "old days" you only had to worry about getting the film exposed and printed or mounted. Today, if you want to put your stereo pictures on the web, there are software issues. There is a fair amount of freeware out there for playing with stereo images and a number of commercial packages.

Site Images

With the exception of a few sample images that I have appropriated from other sites on the Net, stereo photos on this site were done using one of three methods:

• If the image has essentially a square format, it was shot with a Kodak or TDC Colorist stereo camera.
• If the image has a horizontal rectangular format, it was done with:

1. a slide-bar slide bar in conjunction with either a digital camera or standard 35mm film camera, or
2. my ez200 digital twin-camera rig
3. a Sony twin-P43 digital camera

• If the images have a narrow, vertical format, they were shot with a Pentax beam-splitter (or 3D Lens-in-a-Cap)  and a 35mm single-lens reflex camera, or with a Loreo camera..

Other Information Sources

This discussion has barely scratched the surface of a very interesting subject. Fortunately, there is a tremendous amount of stereo information on the Web which you can get to with some simple searches. Listed below are some informative pages that also contain good stereo photography links:

Rocky Mountain Memories Stereo Encyclopedia

Dan Shelley's Excellent Stereo Links Page

Ralph E. Taggart (taggart@msu.edu)