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A stereo transparency viewer is a type of stereoscope that offers similar advantages, e.g. the View-Master. Disadvantages of stereo cards, slides or any other hard copy or print are that the two images are likely to receive differing wear, scratches and other decay. This results in stereo artifacts when the images are viewed.
Stereoscopy creates the impression of three-dimensional depth from a pair of two-dimensional images. [5] Human vision, including the perception of depth, is a complex process, which only begins with the acquisition of visual information taken in through the eyes; much processing ensues within the brain, as it strives to make sense of the raw information.
In 1833, an English scientist Charles Wheatstone discovered stereopsis, the component of depth perception that arises due to binocular disparity.Binocular disparity comes from the human eyes having a distance between them: A 3D scene viewed through the left eye creates a slightly different image than the same scene viewed with the right eye, with the head kept in the same position.
Tru-Vue, a subsidiary of Rock Island Bridge and Iron Works, was a manufacturer of stereoscopic filmstrips and corresponding stereoscope viewers, based in Rock Island, Illinois, from 1932 to 1951 and in Beaverton, Oregon, from 1951 until the late 1960s.
Between 1915 and 1921 Keystone View Company purchased the negatives of nearly all of its competitors; they also continued to have staff photographers travel the world, so that by 1935 Keystone had approximately two million stereoscopic negatives. [8] Keystone View Company produced stereographic sets up through the mid-twentieth century, and had ...
A View-Master Model E of the 1950s. The practice of viewing stereoscopic film-based transparencies through a small magnifying viewer dates to at least as early as 1931, when Tru-Vue began to market black-and-white 35 mm filmstrips that were fed through a handheld viewer made of Bakelite.
The stereo viewer could show a motion of two phases repetitively. During the next two years, Claudet worked on a camera that would record stereoscopic pairs for four different poses (patented in 1853). [41] Claudet found that the stereoscopic effect didn't work properly in this device, but believed the illusion of motion was successful. [42]
In Victorian times it was the prism stereoscope (allowing stereo photographs to be viewed), while in the 1920s it was red-green glasses (allowing stereo movies to be viewed). In 1939 the concept of the prism stereoscope was reworked into the technologically more complex View-Master, which remains in production today.