Our (old) Stereo View Sets

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Fast Find>> 5" card viewers - Stereography - Peg's oil painting - My work -
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* We've stopped selling views and I've backed away from the 5 inch card format. They're certainly viable, commercially and for amateurs, given the convenient access we have to photographic printers like the Fuji Frontier system and several brands of excellent desktop ink jet printers, but satisfactory 7 inch (card) print pairs can be printed with common office type printers (using premium papers and appropriate settings). However: my main objection to 5 inch is the lack of extended legend and verso space --which my "T-5" format didn't fix.

Traditional 7 inch card trimming and mounting (front and back/verso) has been a labor of love, amply mitigated by the advent of computer graphics and good printers. Still: the front and back must be sized, trimmed and fitted to a mat board card. However, practice within the Stereoscopic Society of America's "Letterbox Circuit" has developed an answer to all that, which only requires printing one side of a single sheet of premium paper: the "bifolder".

The sheet is composed to a prepared format, printed, cut within printed lines, folded, and corner rounded.

Set 03.11: San Francisco "c"
View-02: Golden Gate Bridge At Dusk

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Set 08.30: Oregon - Central Coast "c"
View-11: Yachats' Lava Rock Bridges

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Set 08.31: Oregon - Central Coast "d"
View-10: Bliss' Hot Rod Grill

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Set 08.32: Oregon - General Coast & Shipwrecks "a"
View-05: The Classic Shipwreck (Peter Iredale)

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View-08: Wave Action

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Set 08.41: Oregon - Shore Acres
View-01: Garden & Lily Pond

(This is the new "T-5" format. The ruler is for size,
in case your display/monitor is different. In the
old format, the legend is on the back side or "verso".)
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Set 08.51: Oregon - Bastendorf
View-01: Bastendorf Area and Coos Head

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Set 08.52: Oregon - Sunset Bay
View-01: A Placid Park Scene

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Set 08.53: Oregon - Charleston
View-01: Charleston Docs (& verso)


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Set 14.02: Oregon - North Bend Fire & Rescue
View-01: NBF&R's New Pumper

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Set 44.01: Stereoradiogram Series
View-01: Stereoradiograms

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View-02: A Simulated Stereo X-ray Pair

The foreground subject is illuminated with a single, clear, straight filament incandescent lamp, which
casts a shadow image onto the background card --which I've inverted (white for dark). Notice that
the shadow is in stereoscopic relief.
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View-03: Another X-ray Simulation Setup

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View-04: (5" lateral source head displacement)

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View-06: (2.5 degrees subject rotation)

The point I'm trying to make: rotations in excess of about 3 degrees aren't
needed, plus they result in distorted stereoscopic perspective. If possible,
X-ray head lateral displacement (perhaps 1:15 the distance) should be used instead.
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View-07: (5 degrees subject rotation)

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View-08: (10 degrees subject rotation)

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My Work (2018b):

Some attractions of print pairs are simply due to their being stereoscopic: a fascinating play of perspective, an ethereal feeling of having "presence" in another time and place. There are subtleties as well: a graceful balance between a moment of life on the front of the card and its interpretation on the verso, a felt connection with the subject and the stereographer.

The view card (or "folder") in your hand is a mixed medium with power, reach, and an inherent poetry. Print pair stereography is an art form to contend with, worthy of both lighthearted and serious practice.

With these strengths, print pair views do well as a humble witness to life. Simply match appealing images with well edited thoughts on worthwhile subjects. The medium itself carries my ordinary efforts with its engaging illusion and recognition of life. Each card completion becomes a self-documented cultural artifact, registration for a visual delight or bit of history, and another portal to the Nature and human endeavors.

And as life rushes by, new images and mental abstractions of old ones quickly displace the few visual experiences we even try to focus on --like the press of so many curiosity seekers gathering to the scene of a happening. But in the view card's stillness, we can find the personal time to clearly see and "take in" --perhaps a detail made visible only through stereography, the seeming reality of a scene otherwise lost to living eyes, --a face: still fresh and earnest in the warm light of a distant summer.

Craig