Basilica, from New Work: Newark in 3D.
Stereoscopy, or 3D imaging, has been around as long as photography, at least since1840, when the English inventor Sir Charles Wheatstone, who first explained binocular vision, fashioned his original stereoscope for displaying photos in stereo pairs. Stereoscopes were widely popular, even common, throughout the second half of the 19th century, as evidenced by their easy availability at flea markets today. I have two wooden models from that era on my bookshelf.
By comparison, theatrical 3D movies enjoyed only two brief spikes of popularity, first in the early 1950s (Creature from the Black Lagoon, Hitchcock’s Dial M for Murder), then in the 1980s (Friday the 13th Part III, Jaws 3-D). Regarded as curiosities, they never achieved mainstream status, either with production crews, audiences, distributors, or exhibitors. Loading and equally exposing two strands of motion picture film was never a picnic, never mind the added interaxial and convergence lens issues unique to 3D. Dual-strip projection (in the ’50s) and funny glasses that induced headaches failed to endear the format to anyone.
But as virtually everyone attending movies today knows, 3D is experiencing a vigorous revival, propelled this time by digital technology. Compact HD cameras are easily mounted side-by-side at the human interocular distance of 55mm to 75mm (when appropriate to the image). For instance, you can strip down and slap together two Sony HDC-F950s as 3D innovator Vince Pace did for Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour and James Cameron’s forthcoming Avatar, or position a pair of Flip UltraHD cameras in your backyard, as you wish. more
