International photographer (Jan-Dec 1934)

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Ten The INTERNATIONAL PHOTOGRAPHER March, .1934 Substituting values we have: 2.48 (1728—144) D = + 1.575 .002*4. (1828+144) D = 263.8 inches, reducing this to feet, we have D = 21 feet 11.8 inches By using a larger circle of confusion .003 of an inch, the miniature and full size building will be soft focus, while the middle distance will be critically sharp, this slight change in the circle of confusion figures the stop at f2.6 and D = 22 ft. 6.5 inches. and to make it possible to double check one's figures, as well as compute for other unknowns I will introduce two more formulas which are as follows: f2D x = f2— ds (D— f) f2D f2+ds (D— f) Glancing at the diagram you will notice that you can now definitely vary distances and values to suit the requirements. Good luck, friends. In order to complete this particular series of equations I wish to take this opportunity to thank my next door neighbor, Paul E. Wylie, former instructor of mathematics for the United States Army. Still Hope For Stero By W. Wallace Clendenin From the earliest days of the motion picture experimenters have worked steadily to give it sound, color, and three dimensions. Sound and color we have had for some time, but the problem of stereoscopic projection is, commercially at least, still unsolved. Photographing a stereoscopic motion picture presents no difficulties, and there are several known methods of projecting the finished print. It is unfortunate that each of these systems for viewing the picture has some drawback that makes it unsuitable for general use. A true stereoscopic photograph consists of two pictures, one for each eye, taken from slightly different viewpoints, just as each of our eyes view objects from slightly different angles. The basic principle of such photography is simple ; each eye must see only the image intended for it ; if we print the images on top of each other, or by any other means permit both eyes to see the same picture, there is no stereoscopic effect. Some years ago, two youthful experimenters came to one of the major studios with the glad tidings that they had the stereoscopic problem in the bag. They were given the run of the lot and the use of anything they wanted in the way of equipment, for two weeks, at the end of which time both they and the studio were both sadder and wiser. Their "solution" to the problem was the crudest and most mistaken one possible. By the use of prisms in front of the camera lens, they photographed a right and left image superimposed on the same negative. There was no way of separating the two images, and the only visible result was a double outline effect. Some years ago, the Educational Film Co. released two or three stereo pictures made by the anaglyphic method. In this, the image for one eye is printed in red, the other in green; when viewed through a pair of spectacles having one lens red, the other green, each eye sees only the image intended for it. An advantage of the anaglyph is that it is possible to make the picture apparently project out from the screen, and the Educational Co. made the fullest possible use of this feature. One shot in particular nearly wrecked the theatre. This was a study of a boy with a hose ; when he turned the hose on the camera, the audience leaned backward so rapidly they almost ripped the seats off the floor. There are three disadvantages of the anaglyphic method of projection. First, the necessity of using the red and green viewing screens by the spectator. Second, the great loss of light from the heavy colors. Third, the fact that an anaglyph does not give true roundness, but instead a series of spaced plane images, making figures appear flat as if cut from cardboard. Other methods of stereoscopic projection give better results, but are out of the question for large audiences. Two examples are the use of synchronized shutters for the projector and spectator, and projecting and viewing with polarised light. A man who has lost the sight of one eye cannot see stereoscopically at any time, but he can get a fair approximation of it by moving his head from side to side. This also applies to the motion picture camera, and has been the subject of experiment for the last thirty years or more. In 1910, the old Urban-Eclipse Co. made a picture "A Trip Down the Rhine." All of it was shot from a moving steamer, and was billed as "The Urban-Eclipse method of stereoscopic photography." More recently, inventors have been using moving prisms or mirrors in front of the lens, instead of moving or oscillating the camera. At best the stereo effect obtained by moving the camera or lens is limited. Also, the movement of the image is always noticeable to a more or less degree. However, since there are no spectacles to be worn, no shutters to be synchronized, and no special screens required, this method certainly invites further experiment. If stereoscopic photography is ever brought successfully to the theatre screen the cameraman will find a whole new bag of tricks at his disposal — and will find that some of his old ones are no longer of much value. Projection backgrounds, for example, may have to go overboard, depending on what method of stereo projection is used. The attempt to light sets so that they present roundness will not be so necessary ; in all probability satisfactory results may be obtained by using considerably fewer lights than at present. A set crowded with furniture is not very desirable under present conditions, but as a stereoscopic shot may be quite effective. "Wings", "Hell's Angels", and other similar air pictures would have gained tremendously by the use of stereoscopic photography. Too little attention has been given by the larger studios to the possibilities of the stereo picture. No one can say positively that stereoscopic projection can never be attained commercially, and as long as this is true, experiment along this line should be continued. Please mention The International Photographer when corresponding with advertisers.