Bibliografías temáticas / Photography, Stereoscopic – History

Literatura académica sobre el tema "Photography, Stereoscopic – History"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 31 de enero de 2023

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Artículos de revistas sobre el tema "Photography, Stereoscopic – History"

1

Wade, Nicholas J. "On Stereoscopic Art". i-Perception 12, n.º 3 (mayo de 2021): 204166952110071. http://dx.doi.org/10.1177/20416695211007146.

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Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made public at about the same time and their marriage was soon cemented; most stereoscopic art is now photographic. Wheatstone sought to examine stereoscopic depth without monocular pictorial cues. He was unable to do this, but it was achieved a century later by Julesz with random-dot stereograms The early history of non-photographic stereoscopic art is described as well as reference to some contemporary works. Novel stereograms employing a wider variety of carrier patterns than random dots are presented as anaglyphs; they show modulations of pictorial surface depths as well as inclusions within a binocular picture.
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2

Sommer, Bjorn. "Hybrid Stereoscopic Photography - Analogue Stereo Photography meets the Digital Age with the StereoCompass app". Electronic Imaging 2021, n.º 2 (18 de enero de 2021): 58–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.2.sda-058.

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Stereoscopic photography has a long history which started just a few years after the first known photo was taken: 1849 Sir David Brewster introduced the first binocular camera. Whereas mobile photography is omnipresent because of the wide distribution of smart phones, stereoscopic photography is only used by a very small set of enthusiasts or professional (stereo) photographers. One important aspect of professional stereoscopic photography is that the required technology is usually quite expensive. Here, we present an alternative approach, uniting easily affordable vintage analogue SLR cameras with smart phone technology to measure and predict the stereo base/camera separation as well as the focal distance to zero parallax. For this purpose, the StereoCompass app was developed which is utilizing a number of smart phone sensors, combined with a Google Maps-based distance measurement. Three application cases including red/cyan anaglyph stereo photographs are shown. More information and the app can be found at: <uri>http://stereocompass.i2d.uk</uri>
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3

Nicholson, Paul T. "Three-dimensional imaging in archaeology: its history and future". Antiquity 75, n.º 288 (junio de 2001): 402–9. http://dx.doi.org/10.1017/s0003598x00061056.

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Whilst digital cameras and computer graphics are starting to be used in archaeological recording, stereoscopic photography tends to be overlooked. This technique has been used successfully in three recent projects and could be beneficial as a means of 3D photographic recording.
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4

Moran, Leslie. "Carte de visite of ‘The Lord Chief Justice of England’ (Sir Alexander James Edmund Cockburn, 12th Baronet) by London Stereoscopic and Photographic Company, circa 1873". Northern Ireland Legal Quarterly 68, n.º 3 (7 de noviembre de 2017): 245–57. http://dx.doi.org/10.53386/nilq.v68i3.38.

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The carte de visite of ‘The Lord Chief Justice of England’ (Sir Alexander James Edmund Cockburn, 12th Baronet) by London Stereoscopic and Photographic Company that dates from the early 1870s is an object that provokes and challenges ways of thinking about the judiciary and visual culture and research on the judiciary more generally. It demands that consideration be given to a history of the relationship between the judiciary, photography and mass media that has been hidden from history by the long shadows of cameras in courts research. It provides an opportunity to consider how the technological innovations that turned photography into a mass media phenomenon impacted upon the making, distribution and use of pictures of judges.
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5

Quintana, Àngel, Alan Salvadó-Romero y Daniel Pérez-Pamies. "An Archeology of the Metaverse: Virtual Worlds and Optical Devices". Baltic Screen Media Review 10, n.º 2 (1 de diciembre de 2022): 202–12. http://dx.doi.org/10.2478/bsmr-2022-0015.

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Abstract The following article comes as a result of a Spanish Ministry R&D funded project entitled “Virtual Worlds in Early Cinema: Devices, Aesthetics and Audiences”. Our starting hypothesis is that some of the central ideas that define the metaverse’s virtual imaginary can be found in some of the visual devices and apparatuses from the 17th to the early 20th centuries. The article contextualizes and details how the desire for immersion, three-dimensional images, observation of replicas of our worlds, and living a non-narrative experience are contained in early optical devices such as magic lanterns, stereoscopic photography, panoramas, maréoramas or phantom rides. The main purpose is to illustrate that, despite the technological transformation, we ultimately are part of a long history where equivalences, parallelisms and returns arise between past and present times. The metaverse’s visual culture is no exception, and it gathers the imaginary of virtual worlds figured in some of the optical devices and visual spectacles of the past.
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6

Pushkarev, A. A., O. V. Zaytceva, M. V. Vavulin y A. Y. Skorobogatova. "3D RECORDING OF A 19-CENTURY OB RIVER SHIP". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (15 de junio de 2016): 377–81. http://dx.doi.org/10.5194/isprs-archives-xli-b5-377-2016.

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A 3D recording of a 19-century wooden ship discovered on the bank of the river Ob (Western Siberia) was performed in autumn 2015. The archaeologized ship was partly under water, partly lying ashore, buried under fluvial deposits. The 3D recording was performed in October, when the water level was at its lowest after clearing the area around the ship. A 3D recording at the place of discovery was required as part of the ship museumification and reconstruction project. The works performed were primarily aimed at preserving as much information about the object as possible. <br><br> Given the location and peculiar features of the object, a combination of close-range photogrammetry and aerial photography was considered to be the best possible solution for creating a high-quality 3D model. <br><br> The dismantled ship was delivered to Nizhnevartovsk Museum of Local History in October 2015. The ship is going to be reassembled using the created 3D model to be exhibited in the museum. The resulting models are also going to be used to make a virtual 3D reconstruction of the ship in the future. We shot a stereoscopic video for Nizhnevartovsk Museum of Local History to let visitors see the place of discovery and explore the ship in greater details. Besides, 3D printing allowed for creating a miniature of the ship, which is also going to be included in the exposition devoted to this unique discovery.
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7

Pushkarev, A. A., O. V. Zaytceva, M. V. Vavulin y A. Y. Skorobogatova. "3D RECORDING OF A 19-CENTURY OB RIVER SHIP". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (15 de junio de 2016): 377–81. http://dx.doi.org/10.5194/isprsarchives-xli-b5-377-2016.

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A 3D recording of a 19-century wooden ship discovered on the bank of the river Ob (Western Siberia) was performed in autumn 2015. The archaeologized ship was partly under water, partly lying ashore, buried under fluvial deposits. The 3D recording was performed in October, when the water level was at its lowest after clearing the area around the ship. A 3D recording at the place of discovery was required as part of the ship museumification and reconstruction project. The works performed were primarily aimed at preserving as much information about the object as possible. &lt;br&gt;&lt;br&gt; Given the location and peculiar features of the object, a combination of close-range photogrammetry and aerial photography was considered to be the best possible solution for creating a high-quality 3D model. &lt;br&gt;&lt;br&gt; The dismantled ship was delivered to Nizhnevartovsk Museum of Local History in October 2015. The ship is going to be reassembled using the created 3D model to be exhibited in the museum. The resulting models are also going to be used to make a virtual 3D reconstruction of the ship in the future. We shot a stereoscopic video for Nizhnevartovsk Museum of Local History to let visitors see the place of discovery and explore the ship in greater details. Besides, 3D printing allowed for creating a miniature of the ship, which is also going to be included in the exposition devoted to this unique discovery.
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8

Wade, Nicholas J. "On the Art of Binocular Rivalry". i-Perception 12, n.º 6 (noviembre de 2021): 204166952110538. http://dx.doi.org/10.1177/20416695211053877.

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Binocular rivalry has a longer descriptive history than stereoscopic depth perception both of which were transformed by Wheatstone's invention of the stereoscope. Thereafter, artistic interest in binocular vision has been largely confined to stereopsis. A brief survey of research on binocular contour rivalry is followed by anaglyphic examples of its expression as art. Rivalling patterns can be photographs, graphics, and combinations of them. In addition, illustrations of binocular lustre and interactions between rivalry and stereopsis are presented, as are rivalling portraits of some pioneers of the science and art of binocular vision. The question of why a dynamic process like binocular rivalry has been neglected in visual art is addressed.
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9

Mach, Ernst. "Remarks on Scientific Applications of Photography". Science in Context 29, n.º 4 (diciembre de 2016): 441–42. http://dx.doi.org/10.1017/s0269889716000168.

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It is undisputed that all scientific knowledge proceeds from sense perception. And the way in which sense perception is fostered by the graphic arts generally, and in particular by photography (stereoscopy included), likewise needs no further explanation here.
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10

Muriuki, Godfrey y Neal Sobania. "The Truth Be Told: Stereoscopic Photographs, Interviews and Oral Tradition from Mount Kenya". Journal of Eastern African Studies 1, n.º 1 (marzo de 2007): 1–15. http://dx.doi.org/10.1080/17531050701218783.

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Tesis sobre el tema "Photography, Stereoscopic – History"

1

Fiveash, Tina Dale Media Arts College of Fine Arts UNSW. "The enigma of appearances: photography of the third dimension". 2007. http://handle.unsw.edu.au/1959.4/44259.

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The Enigma of Appearances is an examination into the medium of three-dimensional photography, with particular focus on the technique of stereoscopy. Invented in the mid-Victorian era, stereoscopy was an attempt to simulate natural three-dimensional perception via a combination of optics, neurology, and a pair of dissimilar images. Whilst successful in producing a powerful illusion of spatial depth and tangibility, the illusion produced by stereoscopy is anything but ??natural??, when compared to three-dimensional perception observed with the naked eye. Rather, stereoscopic photography creates a strange and unnatural interpretation of three-dimensional reality, devoid of atmosphere, movement and sound, where figures appear frozen in mid-motion, like waxwork models, or embalmed creatures in a museum. However, it is precisely stereoscopic photography??s unique and enigmatic interpretation of three-dimensional reality, which gives it its strength, separating it from being a mere ??realistic?? recording of the natural world. This thesis examines the unique cultural position that stereoscopy has occupied since its invention in 1838, from its early role as a tool for the study of binocular vision, to its phenomenal popularity as a form of mass entertainment in the second half of the 19th century, to its emergence in contemporary fine art practice in the late 20th and 21stt centuries. Additionally, The Enigma of Appearances gives a detailed analysis of the theory of spatial depth perception; it discusses the dichotomy between naturalia versus artificialia in relation to stereoscopic vision; and finally, traces the development of experimental studio practice and research into stereoscopic photography, undertaken for this MFA between 2005 and 2007. The resulting work, Camera Mortuaria (Italian for ??Mortuary Room??), is a powerful and innovative series of anaglyptic portraits, based upon an experimental stereoscopic technique that enables the production of extreme close-up three-dimensional photography. Applying this technique to the reproduction of the human face in three-dimensional form, Camera Mortuaria presents a series of ??photo sculptures??, which hover between reality and illusion, pushing the boundaries of stills photography to the limit, and beyond.
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2

Taylor, C. J. "Collapsible Time: Contesting Reality, Narrative And History In South Australian Liminal Hinterlands". Phd thesis, 2017. http://hdl.handle.net/1885/131791.

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My practice-led project explores the indexical lamination of memory, history, narrative and reality afforded by photography imbued with the illusion of spatial dimensionality. This thesis investigates the notion that far from freezing a ‘slice of time’ photography reanimates perception through sensation rendering duration flexible and elastic. Using the liminal landscape of South Australia as time’s stage, I contend that time is ‘collapsible’, constantly unfolding and repeating. In embracing this temporal flow, I submit that photomedia becomes our most compelling connection to time itself, as lived experience. It is this connection that can act as an ethical agent of change for the betterment of the landscape in which we live. The project includes work created in South Australia, the ACT, the United States and the Outer Hebrides and Shetland Islands of Scotland. It includes artefacts photographed in the Adelaide Civic Collection, The South Australian Museum and the National Museum of Australia.
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Libros sobre el tema "Photography, Stereoscopic – History"

1

California in depth: A stereoscopic history. San Francisco: Chronicle Books, 1994.

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2

Pellerin, Denis. La photographie stéréoscopique sous le second Empire. Paris: Bibliothèque nationale de France, 1995.

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3

Palmquist, Peter E. Return to El Dorado: A century of California stereographs from the collection of Peter Palmquist. Riverside, CA: California Museum of Photography, University of California, 1986.

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4

An American journey: The photography of William England. Munich: Prestel, 1999.

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Nippon: Meiji no Nihon o tabisuru. Tōkyō: Shōgakkan, 1994.

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6

Raydán, Carmelo. Las vistas estereoscópicas marabinas de 1865. Maracaibo: Acervo Histórico del Estado Zulia, 2004.

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Greg, Dinkins, ed. Minnesota in 3D: A look back in time : with built-in stereoscope viewer, your glasses to the past! Minneapolis: MBI Pub. Co., 2009.

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8

Zeller, Bob. The Civil War in depth: History in 3-D. San Francisco: Chronicle Books, 1997.

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9

Copley, Richard Loren. The Civil War: A History in 3-D : Restored Stereo Photographs from 1861-1865 With Historical Narrative. Milford, N.Y: Richard Loren Copley, 2009.

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10

Antonio, Rodríguez José, ed. Arqueología de la imagen: México en las vistas estereoscópicas. México: Museo de Historia Mexicana, 2000.

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Capítulos de libros sobre el tema "Photography, Stereoscopic – History"

1

Goode, Mike. "History in Three Dimensions". En Romantic Capabilities, 99–168. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198862369.003.0004.

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The chapter analyzes how the nineteenth century’s two most significant immersive media—panoramas and stereoscopic photographs—comment on and draw attention to their differences as media through their respective uses of Walter Scott’s novels and poems, and, in turn, how these medial differences bring into relief the aesthetic and philosophical novelty of Scott’s own efforts to write visually. To make its argument, the chapter draws on a wide variety of archives and forms of evidence, including: period guidebooks to panoramas; the histories of media technologies like camera obscuras, linear perspective, and stereoscopes; Victorian stereographs of Scotland, especially by George Washington Wilson; readings of visually evocative passages in Scott’s Waverley, Ivanhoe, and The Fair Maid of Perth; Eugène Delacroix’s painting Rebecca and the Wounded Ivanhoe; and Romantic writings on optics and vision, including Scott’s Letters on Demonology and Witchcraft and his friend David Brewster’s scientific treatises on monocular and binocular vision.
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