STEREO1NORTH AMERICA'SHISTORIC BUILDINGS
by Neal Bullington
The William H. Seward House
This house at 33 South St. in Auburn, New York was
Seward's home from 1824 until he died in 1872. Serving as
U.S. Secretary of State from 1861 to 1869, Seward is best
known today for his role in the purchase of Alaska, whichcame to be known as "Seward's Folly". Built in 1816, thehouse still contains some original furnishings and much of
his library in a favorite room known as the North Library.
Ownership is in private hands. This view by S. Hall Morris has no number or additional information on the back.

COMMENT (continued from page 3)
3-D." Fozzy explains that 3-D doesn't work that way, but
to no avail. Next, Fozzy runs after a man who has forgotten his glasses. The man refuses them, saying he has seen themovie 97 times. He then pulls what he calls "boomerang
fish" out of a bag. When the killer fish attack in the film, hethrows them at the screen, only to have them go flying backinto an applauding audience.
In the article (March/Apri1185,page 31) you wrote thaton SCTV the titles "3-D House of Pancakes" and "3-D
House of Representatives" were mentioned but nevershown. They certainly have been shown, and I have tapes
to prove it! Also, I recently saw a rock video on MTV thatfeatured a Stereo Realist being used in several shots but I

don't remember the name of the song or the group.
On TV's "Alice" 3-D movies have been mentioned on
more than one occasion. I remember one scene when Mcl
exclaims, "Hey! The Pussycat Theater is showing 3-Dmovies." Another character replies, 'You won't like it, Mel.
Those cardboard glasses give you a headache!"A recent McDonald's commercial promoting their 30th
anniversary shows a pair of anaglyph glasses lying next toa hamburger or something. And finally, a stereoscope andviewcards are seen throughout the 1980version of 'The Blue
Lagoon."Steve Phillips
Moline. IL

Copyriqht it: 1985 By the

NATIONAL STEREOSCOPIC ASSOCIATION

IN THIS ISSUE
J.J. Reilly-Part

Ill-Views of American Scenery . . . . . . . . . . . . . . 4

by Paul Hickman and Peter Palmquist

The Story Behind Color Code Markingof Stereo Slides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23.
by Fritz G . Waack, DGPh AFlAP

Another Stereo Treasure-Inventor
Donates Realist Prototype to California Museum . . . . . . . . . . .24
by David Starkman

3-D At The Fair-Expo 85's High-Profile.
HighTechStereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
by Don Marren.
Computing Real Atari 3-D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -31
by Nick Brienza

The Heart of Alfred A. Hart-A Review
of Recent Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

VOL. 12, NO. 3

JUL.IAUG. 1985

Board of Directors
CHAIRMAN Louis H. Smaus
MEMBERS Paul Wing and T.K. Treadwell
Officers
PRESIDENT T.K. Treadwell
EDITOR, STEREO WORLD John Dennis
SECRETARY John Weiler
TREASURER Linda S. Carter
VICE-PRESIDENT FOR REGIONALAFFAIRSTom Rogers
VICE-PRESIDENT FOR MEMBERSHIP
Laurance G. Wolfe
ART DIRECTOR Richard 6. McClellan
CONTEMPORARY STEREOSCOPY DavidStarkman, William Shepard and Paul Wing
PUBLICATIONS Jack and Pat Wilburnby Peter E. Palrnquist

New Stereo Equipment from Europe . . . . . . . . . . . . . . . . . . . . . ..40
by Dieter Lorenz, F.R.G.

The Anatomy of a Negative Sandwich . . . . . . . . . . . . . . . . . . . . . .44
by Peter E. Palmquist

REGULAR FEATURES
Editor's View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 2
Comment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.
Holmes Library Report. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..33
Newviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34.
Theunknowns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36.
The Society-From the Society Notebook . . . . . . . . . . . . . . . . ..42
Classifieds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46.
Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

COVER:"Young America. San Francisco, Cal." b y 1.

1. Reilly. From the feature in this issue, "1.1.
Reilly, Photographer: Views of American
Sceneryp'- Part 111

This is the third in our series of four articles on
the life and work of photographer J. J. Reilly,
covering his later years in Sun Francisco andMarysville. Part T w o covered his years at
Yosemite and appeared in the Jan./Feb. 1985
issue. Part One covered his time at Niagara andhis move to Yosemite and appeared in theNov./Dec. 1984 issue.

STEREO WORLD IS publ~shedblmonthty by the Nat~onal
Stereoscop~cAssoc!at~on Inc Box 14801 Columbus Oh1043214 USA Annual dues $20 3rd class US $27 1st class US
Canada and forelgn surface $37 ~nternattonatalr mall All
membershtps are based on the publtshmg year of Stereo
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Issue of the next year All new memberships recetved wlll
commence wtththe MarchlAprll tssueot thecurrent calendar
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Mater~alIn thts pubt~cationmay not be reproduced wlfhoul
wrltten permlsslon of the NSA Inc

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INTERNATIONAL STEREOSCOPIC UNION

Editor's View
PART I11
STEREO WORLD has never specified any maximum
length for feature articles, as the installments of the current
series on photographer J. J. Reilly certainly prove. A workof scholarly research on the scale of this one by Paul
Hickman and Peter Palmquist is hardly an everyday eventin the field of photohistory in general or the study ofstereography in-particular.
Rare as such efforts are, getting them published anddistributed to any but the most limited academic audience
is difficult at best. STEREO WORLD is very nearly alone
as a publication open to work like this-precise, detailed
and illustrated. If the magazine is to be faithful to its goals,
we can't shut out any particular article for reasons of lengthalone-or demand that it be condensed to "convenient" size.
An article with no hope of fitting into a single issue canalmost always be published in parts, with careful planning.
While the four-part article on J. J. Reilly is the most ambitious project of this sort we've undertaken, there are othermaior features ~ossiblethat could benefit from our exverience with this one. Some even longer- articles could be
run in shorter installments in more issues. In general,
STEREO WORLD has the capacity (human and otherwise)
to handle about one of these extended features per year.
-John Dennis

STEREO FEATURED AT
PHOTOHISTORY VI"The History of Stereo Photography" will be one of thepresentations this year at PHOTOHISTORY VI-thephotohistorical symposium set for October 11 to 13 at
George Eastman House in Rochester, NY. The lecture by
famous photohistorian and collector S.F. Spira will be illustrated through stereo projection as part of the weekendlong program sponsored by the Photographic Historical
Society, Inc.
Experience the atmosphere of Eastman's stately home.
View the museum's internationally famous collections, including special showings of items not normally displayed
and a major exhibit by contemporary French photographer
Lucien Clergue. And learn about the Eastman House sup-porters' program to retain this important cultural asset inRochester.
The opening reception Friday evening includes a
Godowsky/Gershwin musicale commemorating the 50th
anniversary of Kodachrome film, with performers from theEastman School of Music.
A full day of lectures Saturday includes three curatorsfrom the International Museum of Photography at George
Eastman House. Seldom-seen items from the museum's unmatched archives will be presented by Robert A. Sobieszek,
Director of Photographic Collections ("Treasures from theEastman House Vaults I-Images") and Philip L. Condax,
Director of Technology Collections ("Treasures from theEastman House Vaults 11-Apparatus"). Andrew H.
Eskind, Director of Interdepartmental Services, will
demonstrate how high technology provides improved access to historical materials with "Computer Output
Microfiche on Photographers."
The preliminary list of speakers includes: Michel Auer,
internationally known author, collector and researcher
from Switzerland: "Photographers Encyclopedia International"-a resource for future research on photographers.
Morris Moses, an engineer and noted researcher into thetechnical aspects of the history of photography: "Definitive
History of Subminiature Photography." Naomi
Rosenblum, professor at Parsons School of Design, New
York, and author of a major history of photography: "From
Mentor to Friend: Alfred Stieglitz and Paul Strandu-new
research on the human dimension of photography and achance to see Strand's important early work. S. F. Spira,prominent New York photohistorian and collector:"History of Stereo Photography"-as depicted by images
and apparatus.. .projected in stereo!
Saturday evening, enjoy a candlelight dinner in Eastman's
impressive mansion. Seating is limited, so reserve early.
(The afterdinner presentation in the auditorium is available
to all symposium attendees.)
Sunday is photographica day, featuring an exhibit andsale of antique equipment, images, and literature.
Symposium and trade fair registration is $40, $20 for
students. Banquet tickets are $25. Advance registration isadvised, especially for the banquet.
To make reservations, or for more information, contact
The Photographic Historical Society, Box 39563, Rochester,
NY 14604.

Comment

ty is lost and you can choose a pair that gives a hyperstereo
view that may actually enhance the image.

Jim Lawter
Greenwich, CT

FUSION CONFUSION
I recall reading some request for fusing experiences.
(Editor's View, Jan./Feb. '85) Perhaps you can handle these
episodes of fusion and confusion.
Awaking from a nap, I found myself staring at the carceiling on which had been stamped rows of spots regularly
spaced like the holes in a peg board. I could feel that botheyes were not on the same spot. Continued staring revealed
that about half of the spots were up to half an inch in frontof or behind the plane in which they were supposed to lie.
Closing and then reopening my eyes would fuse a different
path of spots, with the result that a different group of spots
would be displaced. Those spots were not as regularly spaced as had been intended.
I believe the above is called the "wall paper" effect.
Almost any repetitive pattern can be tested thusly for possible stereo effects. Meticulously spaced patterns remain flat.
My weirdest stereo sight was offered one night by looking through two runs of vertical slat fencing at a lighted
background in the neighbor's yard. I thought I detected adark object about 3 feet high (the fence is about that height)
standing between me and the near fence. The near fence appeared a bit larger so that down the length of the superimposed views of the fences, groups of slats alternated betweenaligning (letting light through the spaces between) andblocking off openings (creating a dark band). Alternating
the eyes shifted the positions of the dark bands several slats;so each eye was seeing a different set of bands. Where a lineof sight from a band to the left to the right eye crossed a linefrom a band to the right to the left eye was the point at which
the shadowy dark image seemed to be-this time on thenear side of the near fence. It was like looking at the shadowof the little man that wasn't there.
A stereo experience is sometimes offered by a photographof a building which has repetitive elements evenly spaced.
These might be pilasters, deep window recesses, or views
back into the building through evenly spaced windows andshowing repetitive patterns of lighting. If there is too muchperspective in the picture, size disparity between adjacentelements may foil the effort. But a little perspective requires
only that the tilt of your horizon be adjusted depending on
the angle of presumably horizontal lines at the level you attempt to view. Fuse two elements by crossing the eyes (themore elements between fused elements, the more pronounced the stereo). The element to the left is a right eye view ofthe fused element, and vice versa. I have had a field day witharchitectural magazines, getting a better impression of thebuilding pictured than 99.5% of the other readers.

Vernon Paulson
Omaha NE

HOLOCOPY
I recently discovered a neat trick: by photocopying ahologram at various angles (always flat against the glass
plate) you can reproduce different images that can be viewed as stereo pairs. With a good copying machine, little clari-

A FIRST REACTION
I should like to make some comments on STEREOWORLD, having read only my first issue.
The overall quality of STEREO WORLD, as you are wellaware, is excellent. Most of the halftones seem to be good,
although I prefer dull paper to the gloss enamel because I
don't like to continually adjust to eliminate light reflections.
Typographically the magazine is pleasing, even if I don't
know the names of the typefaces used. I like the stereo pairs.
I have never had a problem with free vision.
The March/April issue's story on dinosaurs was particularly timely for me because I had visited the Academyof Natural Sciences in Philadelphia in the past month andbrought home some miniatures for my family.

Richard Orr,
Omaha NE

HISTORICAL 3-D TRIVIA
In the 1951 British film "The Magic Box", the entire film
deals with the life of William Friese-Greene who in 1897 invented the motion picture camera. (Which by the way wasa 3-D movie camera-it photographed a series of twin images, of which only one image was projected, by magic
lantern.)
In the film, Friese-Greene (played by the late RobertDonat) strives to perfect his invention, but in so doing loses
his money, his property and his self respect. He dies penniless. The film is 103 minutes long and has a large cast of
British stars of the day, including Peter Ustinov.

Robert Meretsky,
Rego Pk, N Y

MORE 3-D TRIVIA
The following is a listing of movies and TV shows using
3-D as a background element.
In "Bachelor Party", there is a scene which takes place ina theater showing a 3-D film. While a fight is taking place
directly in front of the first row of seats, a couple (wearing
anaglyph glasses) comment on the film, which is also in the
middle of a fight sequence. The man says, "This is the best
3-D I've ever seen!" His date replies, "Nah, I've seen better!"Almost immediately, she is punched in the nose during thebrawl occurring before her. "It is real!" she replies, orsomething to that effect.
In "The Muppets Take Manhattan" there is a funny 3-D
sequence which shows Fozzy Bear working at a theater. The
marquee and several posters all read "Attack of the Killer
Fish in 3-D." As Fozzy hands out polarized glasses to thetheater's patrons, we see the Popcorn Man (who often appeared on "The Muppet Show" as the mixed up chef) complete with 3-D glasses and all. He throws popcorn into theair, and when it falls into his face, says "The popcorn's in(continued on inside front cover)

-F.

.
:*

'4

.
No. 205-PULPIT ROCK, U.P.R.R. [Published by E. Nesemannon a curved, orange and lavender card.]. Pulpit
Rock lay forty-one miles to the east of Ogden at the westernentrance to Echo Canyon. Like A. 1. Russell (the first railroad,'

photographer to visit the region), Reilly also had theability to arrange men and machines into harmonious relationships with the t -.
surrounding natural environment. Looking back in the opposite
direction, from the mouth of the canyon toward the broad valleyof the Weber River, Russell had conceived of the red con.
dglomerate formation as being the "Sphinx of the Valley.

.

"

"

" I , . -'"-*r;,.

(Q 1985

by Paul Hickman and Peter Palmquist
For five years-three in Nevada and two in CaliforniaMark Twain lived in the Far West and worked as a journalist. Before he sailed from San Francisco on December 15,
1866, he secured a position as the "special travelling correspondent" of the Daily Alta California. In New York, themerciless abuse of local art critics almost dissuaded Twain
from going to see the latest painting of Albert Bierstadt, The
Domes of the Yosemite." Eastern art critics of the midnineteenth century tended to judge landscape paintings ofthe Western cordillera against an established norm: the Catskill Mountains as painted by the Hudson River School. According to one of Bierstadt's critics, the Sierra Nevada wassimply not a fit subject for a painting: "It may be faithfulscenery, a jury of twelve men might so declare it, but weshould nevertheless fall back upon abstract conceptions of
nature."' Another New York columnist called the entire
state of California "a land that hasn't any nature in it-at
least any nature such as we know ...Such a climate andcountry may be possibly a very good place to live in, but it
makes very uncomfortable pictures, and we wish Mr.
Bierstadt would look up a field for his talent as an artist inwhich he might find some proper food."zTwain, on the other hand, was a Western journalist
whose only norm for mountain scenery was the Sierran--YOUN(FRANCISiCO, CAL. (Orange. I* ~lavenderdcard; collectioti of ,J,,,.n,,w n c P . ,I,- "n,,,..,.,.

1. Reilly u:)as a yoltng Scottish t?wrigrant i~II search oj[ a new life
hen he arriued in California in 1;956. After:Serving as rz zlolunteer
. .
.
.. .
.. .
' the u m o n A r m y , he becamea naturalized A m e r r a n c~tlzen
In
366. The economic depression that still plagued the nation in the?ar of the centennial had not yet shaken his basic, positive atrude toward his adopted homeland. His views "from the Pacific'lore" were the first photonravhs t o be received at theI~iladelphi~
I world's f~ lir. Ten ye!ars later, a fter anothi?rbusiness
Ltmp and crtlother br oken marleiage, Reilily's optimiistic views..

Nevada. He had grown accustomed to the scale,
topography, and climate of the Far West, and he waswriting his letters for an audience in California. The Alta's
special correspondent decided to try his hand as an art critic
on June 2,1867. Twain was impressed by the physical size
(sixteen square yards) and by the topographical accuracy ot
the Domes of the Yosemite, but he thought the atmosphericeffects of the German-American painter were "imported.. .from some foreign country" and "smuggled into a
portrait of the Y ~ s e m i t e . "To~ an indigenous writer like
Twain, whose literary quest for a unique, American identity was marked by an almost obsessive concern with European civilization, it was not only unnecessary but improperto smuggle an alien German sky into a "portrait" of an
unrivaled American place.
Six days later, the young writer embarked on "the firstorganized pleasure party ever assembled for a trans-atlantic
voyage." It was a memorable excursion. For the first timeon record, "Everybody was going to Europe," and Twain
was aboard the steamship Quaker City as a spokesman forthese "Innocents Abroad," these "New Pilgrims." Hebecame an unofficial laureate for the kind of lowbrow,
middle-class, American tourist that had just begun toreplace the middlebrow, upper-class variety on the grand
European circuit.
tt the natlAre of art and life ir? America I were abclndoned,"tL"" h . , t F?." rCL","-"A:.."" <:it,,""", I,,.;,. ? explicit,ccrrcr, vclr
rzr p rabol tt the naticma1 chara cter of his work.
He d'evised a tc)tal of eigh t different logos for I iis stereo c.ards betwee!nDecernb er 1871 an d A u "~ u sitI886. He u pdated his imprint,..,.- l't'
1.,!,L", 'lever he fc,. "r r~r c u"l r l uissolz~ed
rl"."A.,.L"a p,,""t,"",~ t rr L r r a r1.:r g p urru
u r l e I't'L'T,
mad e a seasonal or permanent change of address. ( A f~ 'W of hisunnl~ m b e r e dcards fail t o specify any place of publicatic ,n.) The
phot ographer was forever changing his logo, but it1 fifte en years
11. .
w a s one nlirase that he tieaer
o carn. . changed. Every k r ~ 7Utl
e period is inscribed 7uith the oblvious yet 5;igt~ificatit fact thaty's stereog:raphs wer-e "Views (,f AMERIl C A N SCE NER Y .

.", .

I v r

w r r c ,C L C M I I I ~II,ICT,L

A"

v r

y

c

~

n i,,",l ,L
r C~ W M J ~ U I L I%.

"

No .127-SA N FRANC 'ISCO FR( IM NOB 13ILL. ("Pasteipeograph crffixed to iIn orange and lavender card;ma rketed b y .E. Nesema. Palm- .
.. .mn.1... (Collection of 1'etersubsequent, uncredited illustrations are from the IJalmquist collection.) Halfa dozen California photographers and publishersC . E. Watkins, N. M . Klain, Lawrence & Houseworth, E. 1.
Muybridge, and J. J. Reilly-have each provided the historian
with dozens of bird's eye views of architectural eclecticism in mid-Victorian San i?xample,hone aspect of tl
I it was do7
tracery (foregr
uers (Tem
Italianate bays (lJalaceHotel).
Reilly moved from Stockton (a town of 10,000)to San Francisco(a city of 150,000) during a lull between the financial panics ofSeptember 1873 and August 1875. His three places of residence
in the city were all located within five blocks of the Palace Hotel.

An English aristocrat was forcibly struck by an idea thatsoon became known as photography during his third visit
to "classic Italy," during his honeymoon "on the lovely
shores of the Lake of C O ~ O .A" ~generation later, thefamous alpine lake was reappraised by the Alta's travellingcorrespondent in more colloquial, Western terms:"COMO? PSHAW! SEE LAKE TAHOE!"=Several months
later, the New Pilgrim made another comparison between
the scenery of the Old and New worlds: "THECELEBRATED Sea of Galilee is not so large a sea as Lake
Tahoe by a good deal-it is just about two thirds as large."6Afterwards, he explained in a footnote, "I measure all lakes
by Tahoe, partly because I am far more'familiar with it thanwith any other, and partly because I have such a high admiration for it."7 To someone who had experienced the
awesome scale of the American West. the scenerv of the Old
World was bound to seem pallid, domesticated, dwarfed.
From his travel letters and his unpublished journal, Twain
compiled his "record of a pleasure-trip" in the spring andearlv summer of 1868. A vear later. two months after thecompletion of the transcontinental railroad, it was published in the East.
The previous generation of upper-class Americans had
made its annual summer migration at home as well as
abroad. It had sailed not only across the Atlantic to Europe,
but up the Hudson to Saratoga, the most exclusive
American spa of the 1840s: "0Saratoga, Saratoga-if proof
demonstrative be wanted of fashion's omnipotence, truly
thou dost furnish some four thousand unanswerable
arg~ments!"~
Saratoga was the chosen resort of the idle rich.
Six years after the completion of the Hudson River Railroad(1851),each of the big Saratoga hotels was accommodating
twelve hundred guests. The affordable, fivedollar fare from
Manhattan was bringing a new class of summer visitors to
the Springs. Once carloads of these coarse Yankee
businessmen began to fill the resort hotels, Saratoga was nolonger exclusive, therefore no longer fashionable, and it wasshunned by cultivated circles of high society. 'The company
is dreadfully mixed," lamented Henry James, in describing"the dense, democratic, vulgar Saratoga" of 1870.
"Gentlemen at Saratoga are at a premium," observed theAmerican expatriot, "far more.. .than at European wateringplaces."
Near Saratoga, James echoed one of Ruskin's positionsthe American wilderness was an unfit subject for art,
because its nameless solitude lacked meaningful, historicalassociations:You feel around you, with irresistible force,the serene inexperience of undedicatednature-the absence of serious associations,the nearness, indeed, of the vulgar and trivial
associations of the last picturesque of greatwatering- place^.^
Ruskin's basic assumption about the need for a relationship between nature and culture in art was rejected by many
artists of the Fudson River School, but even those whoshare the English critic's anthropocentric bias toward art
would have taken issue with his ambivalent disciple, Henry
James, when the young anglophile dismissed scenery near
Saratoga, the site of an important British defeat during theAmerican Revolution, as devoid of "serious associations."
The egalitarian and historical meanings of Saratoga were-anything but "vulgar and trivial" to patriotic American artists in the Era of Manifest Destiny. Before leaving upstate
New York for his new home in California, Reilly visited thefamous watering place. He also photographed it,lo
presumably with the intention of selling his views tocustomers of his own social class.
By 1870 the most exclusive circles of high society had
already begun a new migration pattern for the spring andsummer months. Thousands of select Easterners were flocking to California, but it was not really "the West-the newer
part of the New World-that many of the gentlemen
tourists sought beyond the Missouri River," writes Earl
Pomeroy, in his social history of Western tourism, "butrather Italy, and the older part of the Old World. Californians hoped that the building of the Pacific railroad in 1869
would bring them traffic that had moved from the East
Coast resorts to Eurove." The transcontinental railroad did
indeed bring many Eastern and European tourists to the
Pacific Coast, but many of them were nonetheless obsessedby "the transatlantic standard." Metaphorical comparisons
between the railroad journey and an overseas voyage
became a literary convention in travel books of the late nineteenth century, and to those whose faith sustained them,
California was "the Italy of America ...or perhaps thelo. 135--PALACE HOTEL, SAN FRAN(

eilly, Marysville, Cal./Views of American xenery. (margins
f recto, ora,nge and lazlender car6i). Also pirated by E. P. Best andy Miller O Best, and on anonyimous imp]
'iews" and "Stereoscc>picView:;. "1. .
he Palace was the largest and most sumptuous hotel in the world)henit opened on October 14,1875. Its monotonous, corrugatedlulls of bay windows sprawled to the southeast and southwest.om the busy intersection at Market and New Montgomery
streets.

nn--MONTGOMERY ST., SAN FRANCEK O . [Repfrom an albumen print hand-tipped into LCConte's Jc-'-----"Ramblings (1875).Also pirated as a .rrrrvg,uph
by Miller O Best.]
The photographic gallet.y of Brad1ey O Rulofson can be seen on
the right, on thesouthwest comer of Montgome y and Sacramen,-I
L A glimpsed,
to streets. The Palace Holrr
Lwrc
in the distance, at thefool !of Telegrrzph Hill. "I t stands lik.e a dark menace to &lontgomerY Street, remarked 17 local neiwspaper in Noveml ler 1874,
bef(,re a coat (~f whitewczsh hadsut7dued the hotel's "fluming red.Ir ,f ..--.
nro
bric..
~ pron qoter and
The Palace Hotel was built by Califomia's l elding
financier, William C. Ralston. Thif l a g hung:at half miast might~ on A ;ugust 27,
conceivably be marking his deathI by d r o wving
187

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Palestine."" Each New Pilgrim tended to describe his own
intellectualbackground as much as the new land he visited,
and through the changing pattern of his expectationsand his
observations, he not only helped to write the social historyof the trans-Mississippi West, but to a surprising degree, hedetermined it.
The inaugural year of Yosemite's tourist industry was
1855. The total number of visitors in the first ten years was
653; the total number of photographers was two (Charles
L. Weed and Carleton E. Watkins).
During the year 1864, the number ofvisitors to the Yo Semite Valley was 64; in
1869, the list thus far foots up 1,113. The next
season will undoubtedly show a muchheavier influx of t o ~ r i s t s . ' ~By coincidence, 1864 was also the year that Pullman introduced the first modem sleeping car, "the Pioneer." Fiveyears later, after the conclusion of the 1869 tourist season,

passengers who travelled by rail from the East to San Francisco, as opposed to only 7,831 who travelled from San
Francisco to the East, during the first five months of 1870."
The prohibitive costs of first-class travel and the physicaldiscdmforts of second-class travel made it a foregone conelusion that each one of these Eastern travellers was either
very rich or very hearty.
Four photographers travelled from New York to California in the springs of 1870 and 1871. J.J. Reilly and Charles
Bierstadt journeyed from the most photographed place inAmerica (Niagara) to the most photographed place in theWest (Yosemite). Thomas C. Roche and Charles L. Pondcame from Brooklvn and from Buffalo. Each of thesephotographers created a large body of work (at least a hundred stereographs) in the Yosemite region. The
characteristic style of each visitor was determined in largepart by his preconceptions about the West, by the nature of
the cultural baggage he brought with him from the East.18
Unlike his fellow travellers, Reilly was an emigrant, not an
excursionist. Bierstadt, Roche, and Pond toured the region
for a season or two, making views of all its curious sights,
then they returned home to photograph more familiar
scenes in the East. Reilly lived and worked on the Pacific
Coast for the rest of his life, a period of twenty-five years.
The West became his home, his norm for American scenery.
Like the great twentieth-century photographer, Ansel
Adams, Reilly received his first impressions of Yosemite's-NO. 115--CHINESE STORE. SACRAMENTO STREET. SAN
FRANCISCOI, CAL. 10range and lavender card. Also yMiller b Best.:.---..It
I-- .*-A-.*I .. - -I".,-.":
product of his'times in describinga Chinese butchershc,p similar
to the one at 743 Sacramento Street: "The regularprovis ion storesare met with at frequent intervals along the street, appeyes and nose with squalid stalls and halfputrified delicaczes; dlsjointed pieces of meats are cast in all directions, and suspicious
looking carcasses of smoked pig dangle from the hooks. " Bancroft's xenophobic distaste for foreign food is sanitized anddeodorized in Reilly's si mple, stra ightfonoardstereograph. The
photographer's closed, centralizizd composition serves as theframework for a pictur,D of extern a1 facades. By posing his subjects, Reilly obtained a r n - ~ n r " A but stereotyped view o f theirsubculture.
L-

CVIIIvVJCM

it was by no means a coincidence that Pullman's latest andmost luxurious car was named "the Yo Semite."13.
The Eastern tourist in the Far West was invariably "agentleman," quips Earl Pomeroy, "at least to his banker."I4
Only the rich could afford to ride in one of Pullman's Yo
Semite cars. The first-class, round-trip fare from New Yorkto San Francisco was $370 in 1869,15and the cost neverdropped much below three hundred dollars till the rate warsof 1886-87. Most school teachers earned around two hundred dollars a year in the America of the 1870s and early
1880s. Six-week, round-trip excursions from New York to
California had an average total cost of about eight hundred
dollars; one-week, round-trip excursions from San Francisco to Yosemite were around $150. After the railroads, theaverage per-diem cost of travel in the Far West came toabout two and a half times the cost of similar travel in
Europe.
The alternative to travelling cross-country in a Pullman
car was riding in the spare, cramped quarters of a secondclass car attached to a freight train. Emigrant passage fromNew York to San Francisco was seventy-six d ~ l l a r s ~ ~ - amore affordable, one-way fare that lay within the means ofmany frugal, middle-class Americans. There were 13,114-- - --.
NO.
NESE
W<
ND CHIL.D, SAN FRAN..
, " L,-.,."."A
CISCO. CAL. / P u b l i s h e ~v y L .
L I r V C w , orange' as No.
and lavender card. Also published b y Richarl
IVCJCrllurtll

557.1

Occasional stereographs such as Reilly's Chi,,,,, ..,.,tan andChild-or Beauties of Santa Barbara, a casual portrait of young
Hispanic women b y Carleton E. Watkins-seme to demonstratethat in the late 7870s a few San Francisco photographers weresometimes still able to transcend racial stereotypes and perceive
ethnic beauty.

CC-L-'--- - - - -

---

-

"-

-

-

-

0 , -

-

""a"._a1%.___,

No. 443--?MEXICARI CACTUS. [Orange and lavender card.]
Reilly had already V [sitedI"a great portion" of the Pacific CoastI
r Barbara, where
OY J U ~ Y01.2874. He travelled as far south as Santahe photographed the old Spanish mission i,n addition to these dapper gents seated beneath a "Mexican" cacfus. After the openi?1gof its first resort hotel in 1874, Santa BarbrIra was vi:
regular basis b y a small and unpretentiot1s circle oto24rrists w h o sought Izn arid c,h a t e and a quiet, relaxedatnqosphere.

waterfalls in the month of May. The spring thaw had justreached a crescendo in the fountainheads of the high Sierra.
For Adams, the first experience was "so intense as to bealmost painful"; he returned to the Valley every year for the
rest of his life. From 1916 to 1984, Ansel's life was "coloredand modulated by the great earth-gesture of the Sierra." Thepreceding autobiographical statement introduces an anthology of writings by John Muir,19who coined expressions
like "earth gesture" and "mountain sculpture" in the early
1870s. Muir's friend Reilly unquestionably preceded Adams
in sharing intense feelings about Yosemite and its uniquesense of place.
A pleasure trip to Yosemite was de rigueur for well-bredvisitors from the "the States." Afterwards, at least one such
visitor had the audacity to admit why she-and many other
Eastern tourists-had really made the trip. It was prescribedby fashion as the proper-if not compulsory-thing to do.
"Wo betide the wandering Easterner," she warned in mockinjunction, "if he seek the Pacific without bringing a trip to
Yo Semite back with him!"20 The trip had become
fashionable, but many of those who made it had little realinterest in seeing the place.
Thousands of excursionists travelled from the Atlantic to
the Pacific in May of 1870. First by stagecoach, then on
horseback, "the fashionable hordes" proceeded to descend
upon the beloved Yosemite of John Muir:
They climb sprawlingly to their saddles likeovergrown frogs pulling themselves up a
stream-bank through the bent sedges, ride up
the valley with about as much emotion as thehorses they ride upon, and comfortable
when they have "done it all," and long for thesafety and flatness of their proper homes.. .
The tide of visitors will float slowly about
the bottom of the valley as a harmless scum,collecting in hotel and saloon eddies, leaving
the rocks and falls eloauent as ever and instinct with imperishable beauty andgreatness. And recollect that the top of thevalley is more than half way to real heaven,and the Lord has many mansions away in the
Sierra equal in power and glory to
Yo~emite.~~The following summer, Muir and Reilly were standing amile above the floor of the Valley, revelling in the mountaingloom and mountain glory of Cathedral Pass and Cathedral
Peak. Four years later, Muir wrote another letter from theValley:THE SUMMER FLOOD OF TOURISTS
As soon as the winter snow melts. an
ungovernable avalanche of tourists comes
pouring pel1 me11 into Yosemite, flooding thehotels, and chafing and grinding against one
another like rough-angled bowlders in a
pothole.22
Reilly lived and worked in Yosemite Valley for sevensummers (1870-76).In these years, he had some satisfying,
mountaintop experiences with Muir, but neither
photographer nor guide was really free to leave the Valley
for any length of time during the peak months of the tourist
season. The financial success of Reilly's photographic
business depended on the patronage of a heavy, seasonal influx of tourists. He sold these tourists his hard-earned viewsof alpine scenery, and he made countless portraits of themt

7

e hot spri n g and f ,umaroles of the region emittedp strange
vors, whic h promote brand pubi licists delig:hted in cal'ling infer.. ," ,,r. , , rnal. prom 1110s.nousewortti t* L O , or tsraarey a nuroyson a
tourist might purchase stereo views of the Devil's Canyon,
Laboratory, Office, Pulpit, Tea Kettle, or Washtub; Pluton Creekor River; Vulcan's Steam Works; the Witch of the Geysers or the
Wlitches' Caldron.
Orle of these eerie scentes was des cribed b y Benjamin P. Avery,
ajc~urnalistaind art criti,c of the per iod. The VVitches' Calldron was"C;,ll~A?,.;+I.
" tl";,-l? .LIP.,
LUII,I
CI
l,lnY l;"-#;A LA; I;-" L A + t L, n t trlmhlne. ",Aunder the pressure of escr
n , emittin:q a smell like thatd from sol,ne Plutoni c reserof bilge-water, and seems. ~ a c o e t h sovoir. One irresistably t h ~ n oy
~ stne hell-brotn, ~n,'thick andslab, 'and repeats the words of the weirdsisters: 'Double, double, toil, and trouble, Fire b u m and caldron bubble. ' A
clever photographer, Mr. Muybridge, conceived the idea ofgrouping three lady visitors about this caldron, with hands linked, and alpenst,ocks held 1ike magic.wands, in :which position hephotographed t hem amid the vaporc)US scene ulit/[telling effect.
(Avery was "inresistably' ' led to thii. ~ ofk Shak ,espeare's play by.
' " bridge's narrarlve subtitles for rrlese rwo stereo)yrapns:':beth, Act 4, Scenes 1-2.") Elsewhere, Muybridge etchedz himself into a stereo negative of the Devil's Tea K rettle.
y's view of the Devil's Punch Bowl is not so "c1eoer"assomeof Muybridge's : more "te1ling" effec ts, nor has: he populr zted his
infernal scene uvith a largt tourist gr oup-a strzndard ma rketing
practice in the smaller z~ i e w sof GVatkins. tgousewo.rt -11, andBradley G- R u I>LF ,c~~ ~M ~ . .

in front of Yosemite Falls. These stereographs fulfilled asocial need that subsequent generations have satisfied bysending postcards and showing slides to friends at home.
Each kind of picture has in turn seemed to say, "We did it
all in Yosemite Valley."
From 1870 to 1872, Reilly was forced to share the tourist
trade with Yosemite's other resident photographer, M.M.
Hazeltine. After Hazeltine returned to Yosemite in 1876,
rather than fight over a limited supply of customers, theformer rivals made the only sensible business decision. They
joined forces and formed a monopoly. After Reilly left theValley, Hazeltine continued to do "a good business" in thetaking and selling of "landscape photographs and groups(with the Yosemite Falls as the background)."
S.C. Walker and Gustavus Fagersteen succeeded Reillyand Hazeltine as proprietors of the local photographic concession. Business continued to follow the old, establishedpatterns. Old views were marketed on new cards; newgroups of tourists were photographed near the site of the old"Stereoscopic View Manufactory."

One of these artists has set his skylightkennel in front of the Yo Semite Fall, andblazons in big letters: "Photographs takenwith the Yo Semite in the background!"Think of the impudence of the thing! Offering to throw in twenty-six hundred feet ofcataract; pairing off your little dot of a face
and figure with a half mile tumbling glory,and selling cascade and tourist for eight
dollars a dozen.24.
Ten years earlier, Twain was more enraged than even thepreceding observer when a souvenir hunter from his ship
had attempted to chip a "specimen" from the face of theSphinx. The American writer was truly awed by thehistorical associations of the ancient monument: "Egyptian
granite that has defied the storms and earthquakes of alltime has nothing to fear from the tackhammers of ignorant
excursionists."25Likewise, the granite walls of the Yosemite
were not only unscathed, but untouched, by most of Reilly's customers. Twain's travelling companions sought to

No. 442--DEVIL'S PUNCH BOWL, GEYSI3R SPRINtGS, CAL.
/"Paste-over"stereograph affixed to an orang:e and lavender card;2bably marketed by E. Nesemr--- ',m San Francisco, reaching "tile Geysers required athevolcanic
ur trip by boat, rail, andstage. 1:ram 1865
I
!ion beyond Sonoma attracte~r r L w r t . y vL;itors who were un\ling to ml;~ k thee lonrger, more arduous t rip to Yosemite.
"

9.;,

.-

.T.* 8l,IICn..

flllYMLM, VuLllrlr)

lluL,

LUrllYICJ

Yn",.,* I I I M I

.#

7

"

. I

RIDGE, FI4RRALLC)NE [sic]I!
LL.(Orans:e and lavtw d e r cardyond the (Jolden Gate. South Farallon I.sland w a s a natural
bitat for se>alions, ja ckrabbits, and murries. A c o v ey of thesepds can b e seen perch ted atop Jdlurre B r i d re
~ in Reill31's view.
.- ..
krom 1876 t o 1886 all of Keilly's stereographn e w Bergner ct~ t t e r T. h e Iresulting p rints were larger an6
A d a ]mesque a rch of squartter propc >rtions.M uch of the
1
.
I .
~n .
. arrrlouraole.I ., . , , . .,. a )la snape
esque oeaury
OTlAarural
Drlage 1s
ro rfieS1Zeof the n e w dies and t o the positioning o f the uncropped p7rints inthe cutter. T h e variety and irregularity of theserrated 1il7e at thet o p of the picture was m u c h enhanced b y the decision to place itin such close proximity t o,uat arch of the pictur e frame.

deface the wonders of the ancient world for the sake of asouvenir. Excursionists who visited the natural wonders of
the New World tended to be richer, better educated, more
Fashionable, and less destructive. Most of Yosemite's early
tourists were content to survey its cliffs, falls and domes fora short time and from a safe distance. At worst, taking
souvenir portraits of these people "as the foreground of theGreat Falls"Z6was a harmless enterprise. The resulting
mementos seem to have satisfied the social requirements ofa generation of tourists. These tangible proofs of a visit may
also have sublimated the baser instincts of a few ofYosemite's visitors. More "innocents" of Twain's generation
might have sampled the park's forbidden fruits-more "ignorant excursionists" might have left behind more than footprints, taken away more than photographs-were it not forthe concessions of Reilly, Hazeltine, Walker, Fagersteen,
Fiske, and subsequent rivals.27
Taking portraits of the rich, the famous, and the innocent
was a lucrative, seasonal business for Yosemite's earlyphotographers. The resulting stereographs were intended associal documents, and never for a moment as works of art.
Reilly was a businessman of the Reconstruction, not a naive
limner of the early Colonial period. Earning a living plays
a necessary, supporting role in the making of art, and in thecases of Reilly, Hazeltine, and Adams, to name only the
proprietors of Yosemite's first and last photographic concessions, a picture gallery in the Valley has served as a financial and logistical base of operations for successful artistic
campaigns into the surrounding high country.

'"National Academy of Design," New York Evening Post, 10 May 1871.
2"FineArts: National Academy of Design-Fiftieth Annual Exhibition,"
New York Daily Tribune, 1May 1875.
)Mark Twain, "The Domes of the Yosemite," San Francisco Daily Alta
California, 4 August 1867, p. 1, col. 5.
4H. Fox Talbot, The Pencil of Nature (London: Longman, Brown,
Green & Longmans, 1844), "Brief Historical Sketch of the Invention of
the Art," n. pag.
SMarkTwain, "Lake of Como, July, 1867," San Francisco Daily Alta
California, 22 September 1867.
"ark Twain, "Capernaum, September, 1867" San Francisco Daily
Alta California, 19 January 1868.
'Mark Twain (Samuel L. Clemens), The Innocents Abroad, or, the New
Pilgrims' Progress- (Hartford: American Publishinn Company, 1869),p.
507.
8GeorgeTempleton Strong, The Diary of George Templeton Strong,
edited by Allan Nevins and Milton Halsey Thomas (New York: Macmillan, 1952). vol. 1, p. 186, quoted by Hans Huth, Nature and theAmerican: Three Centuries of Changing Attitudes (Lincolnand London:
University of Nebraska Press, Bison Book, 1972), p. 107.
'[Henry James], "Saratoga," Nation 11 (11August 1870):87-89.
'"No. 415-CONGRESS & COLUMB. SPRING SARATOGA By J.J.
Reilly SUSP. BRIDGE N.Y. (bottom of recto), collection of Ward F. Ryan.
"Earl Pomeroy, In Search of the Golden West: The Tourist in Western
America (New York: Alfred A. Knopf, 1957), p. 32.
'2"Increase of Travel," Mariposa Weekly Gazette, 26 November, 1869,
p. 2, col. 1.
13"A Sleeping Car-The Yo Semite," Mariposa Weekly Gazette, 24
December 1869, p. 4, col. 1.
14Pomeroy,In Search of the Golden West, p. 7.
lS"Ratesof Pacific Railroad Fare," Mariposa Weekly Gazette, 14 May
1869, p. 2, col. 1.
lb"The Pacific Roads," Mariposa Weekly Gazette, 5 November 1869,
P. 2, coi. 1.
'erara'lons were asmall group OT.'sla"as aoour m'nY-Tlve
mlies
P .

1

t

1

. . I .

1

1

F C ~ U1NOTES""Passenger Traffic," Mariposa Weekly Gazette, 24 June 1870, p. 2,
col. 1.
"For a brief discussion of these styles and preconceptions, see Paul
Hickman, "Art, Information, and Evidence: Early LandscapePhotographs of the Yosemite Region,"Exposure 22 (Spring1984):26-27.
19AnselAdams, Introduction to Yosemite and the High Sierra, by John
Muir, edited by Charlotte Mauk (Boston: HoughtonMifflin Company,
1948), p. xiv.
zooliveLogan, "Does It Pay to Visit Yo Semite?"Galaxy 10 (October1870): 498.
"John Muir to Jeanne Carr, 29 May 1870, printed in JohnMuir, Letters to a Friend, Written to Mr. Ezra S. Carr, 1866-1879 (Bostonand New
York: Houghton Mifflin Company, 1915), pp. 81-82.
"John Muir to San Francisco Daily Evening Bulletin, 14 June 1875,
reprinted in John Muir, Iohn Muir Summering in the Sierra, edited byRobert Engberg (Madison: University of Wisconsin Press, 1984). p. 68.
z3HermannW. Vogel, Vom indischen Ocean bis zum Goldlande (Berlin:
Verlag von Theobald Grieben, 1877), p. 447.
"Benjamin F. Taylor, Between the Gates (Chicago:S.C. Griggs & Company, 1878), p. 217.
z5Twain,The Innocents Abroad, p. 630.
lbC.F. Gordon Cumming, Granite Crags of Califomia (Edinburgh andLondon: William Blackwood & Sons, 1886), p. 129 (8 May 1878).
='Fora survey of Fiske and his later rivals, see Paul Addison Hickman,"The Life and Photographic Works of George Fiske, 1835-1918," M.A.
thesis, Arizona State University, 1979, pp. 43-45.

nn--MAIN MIAST RO(ZK, FARRLALON ISLANDS, PACIFICO C E A N . I"]. 1. Reilly, 1>. 0 . Box 4 20, San Francisco, Cbl. (verso, orange an1d.lavendercard). Als o pirated Llnder an in?print en.
titled "Stereo Views. ''I
Natural Brid;qe and MIain Mast .Rock wercT photogri zphed b y
Watkins with his mamrnoth- plat^ camera ir1 the late 1860's and.. ..
. . . ----. -. ...
b y Reilly w i t h h ~ binocularscamera In the late 1870 s . liellly carried a pair of "Wide-AngleRectilinear" lenses, with wider angles
of coverage than a "Globe"lens,so he could have obtained results
similar t o those of Watkins, but both times he made the intuitive
decision to use his other, standard focal-length tubes. Little decisions like selecting the proper lens o r choosing the appropriate
print size and format were all part of the mechanical process b ywhich the "view photographer" might hope t o define acharacteristic, "artistic" style.
"I

The Reilly Chronology

PART 111: SAN FRANCISCO
AND MARYSVILLE
1875-79: Reilly published unnumbered views of thefollowing places on his San Francisco imprints: "Yosemite
Valley and the Big Trees of Calaveras and Mariposa
Groves; Sierra Nevada Mountains; Central Pacific Railroad
and Union Pacific Railroad; Geyser Springs; San Francisco;Santa Barbara; Stockton; Sacramento; Salt Lake [City]and
Niagara Falls; also, the Farralon Islands, in the Pacific
Ocean, 30 miles distant from San Francisco . . . J. J. Reilly, P.O. Box 1790, San Francisco, Cal." Reilly first published his views of the Farralons after changing his P.O. box
from number 420 to number 1790. He sold his views
wholesale to booksellers and news vendors; his largest local
distributor was Chilion Beach. The photographer also accepted assignments for a variety of outdoor work: homes,
animals, graveyards, and tombstones. [Verso of unnumbered cabinet and stereo cards, collections of the
Nevada Historical Society, Peter Palmquist, and Louis H.
Smaus. ]1877: By the end of the year, Reilly had traveled to Utahand photographed the Ogden train depot. [MS, verso, unnumbered stereograph, collection of the Sacramento
Railroad Museum.] Boarding an eastbound train of theUnion Pacific, he continued his photographic excursion.
Later, he published a small group of stereographs of Colorado scenery.
Reilly's cards were being marketed by Amos Woods, ofMarysville, California. [Logo, verso, unnumbered
stereograph, collection of Peter Palmquist.] Two years later,
Reilly succeeded Woods as the proprietor of the Marysvillegallery.
1878: By February the photographer had moved from 729
Califomia Street to 526 Pine Street. [Langley's Sun Francisco
Directory, p. 713.1
By July, Reilly had left San Francisco and moved to
Marysville, where he proceeded to establish hi-mself as aportrait and landscape photographer.
For the remainder of the year, he ran a seven-stanza
advertisement in one of the local papers. He touted his many
years of experience in posing sitters, his chiaroscuro lighting
effects (the so-called "Rembrandt effect"), "the latest style"(bust portraits in three-quarter profile), correct exposureswith shadow detail, great skill in retouchirig eyes and in
hand-tinting lips and cheeks, and "a picture that neverfades . . . Fine work is done in Woods Photo Gallery, Odd
Fellows Bldg. Marysville by J. J. Reilly, inventor of the new
magic process for making the baby's pictures in from one totwo seconds." ["At Woods Photo Gallery," Marysville Daily Appeal. Reilly had already succeeded Amos Woods as
proprietor, but he retained the gallery name, which local
residents had associated with the business since 1860.1
1879-86: Reilly operated the gallery for the next sevenyears. It was situated on the top floor of a three-story
building that still stands on the northeast comer of Thirdand D streets in downtown Marysville. [History of Yuba
County, California (1879), p. 142; Yuba County Census(1880), p. 414, information courtesy of James Abajian;215--EASTERN-BOUND TEA TRAIN, C.P.R.R . , CAL.
to an oran)3e and lavemnder card;
Paste-over" stereogra,
rn. Also pi rated on a "Diamond.obably marketed by I
card. 1'he can yo^u lay alon;q the nght-07-way or the ~ e n t r aPacificllilroad, 216 miles to the east of San Francisco, on the western
3pe of the Sierra Net )ads. In creating a sense of the rapid mor,n o~,-rolr~ngs .t o c, ~i<eilly's,
views were often more successful
0.

"than those of the Central Pacific's own photographer, Alfred A.
Hart, but in portraying the billowing smoke of steam engines,
Reilly's unmanipulated wet-plate views of the 1870s were often
surpassed in the following decade by the retouched dry-plate
views o f a Colorado railroad photosyapher, William H. lackson.
Yet Jackson's pictures, like Hart':srstill ten,d to lack r1 sense o f
m ovement, a sense that' Reilly waIS sometim!es able to engenderb y ;means of tlhe arcs and'diagonals of his ope,7, baroque composi-

9,.

McKenney's City and County Directoy of Yuba, Sutter,
Colusa, Butte and Tehama Counties (1881),p. 105; McKenney's Business Directo y of the Principal Towns of California, Nevada, Utah, Wyoming, Colorado and Nebraska(1882), pp. 322, 589; Heald's Business College Directorv(1882);~ c ~ e n n ePacific~ ' s Coast Directo y fo; 1883-84,
664; McKenney's County Directoy o f Yuba, Sutter, Colusa, Butte, and Tehama Counties (1884-85),p. 200; McKenney's Pacific Coast Directory for 1886-7, p. 566.1
Reilly photographed one hundred and eleven surviving
members of the Marysville Society of California Pioneers
in his studio. He combined his vignetted bust portrait ofeach "forty-niner" into a single, mammoth-sized,
photomontage. [Collectionsof the California State Library
and Peter Palmquist.]
On a lower note, he was also paid at regular intervals, by
the city of Marysville, for taking "mug shots" of local
prisoners. [City council minutes, July 1879-August 1886,
John Packard Library of Yuba County.]
After he had reestablished himself as a portrait
photographer, Reilly resumed his former practice of
numbering his stereo views. He devised new numbers for his
better early work, and he assigned numbers for the first time
to many of his later negatives.
1880-83: Employed a Chinese assistant named Sooy. [Information courtesy of Paul T. Shafer.]
1880-84: Sometime in the early 1880s, Reilly visited theMonterey peninsula. He photographed the Hotel del Monteand the Mission Sari Carlos. [Theresort had opened on June
3,1880; the church was restored in 1884.1

i.

nn-1
E...
CITY,
AL. [sic. C)range and lavender. ..C.
hi" ,.,
card. Also published b y Keilly in .,,,,,,,Aln . *'7..'7.7 I., .,w n 7 , . E n W;,,Cnr,

572 miles to the east of San Francis co, the tra cks of the (Z.P.R.R.
passed through Palisade City; t he small .Nevada tc,wn was
situated on the Humboldt River at the western entrance to TenMile Canyon.

dustry and Agriculture, Louisville, August 1885; 3) the
North, Central and South American Exposition, New
Orleans, November 10,1885-April 1,1886. [CharlesB. Turrill, Catalogue of the Products of California (New Orleans,1886), pp. 3, 93.1 Yosemite's most influential publicist
acknowledged Reilly's contribution "in advancing its
renown." [J. M. Hutchings, In the Heart of the Sierras(1886), p. 131.1
1885: December: "Every person having pictures taken at
the Woods Gallery during the month of December will bepresented with a ticket which will entitle the holder to achance in a fine large picture of him or herself . . . J. J. Reilly, photographer." [MarysvilleDaily Appeal.]
1886: August 15: Reilly abandoned his second wife andhis life's work in Marysville. His master set of stereo
negatives-a body of work twenty years in the makingwas acquired by Enno Nesemann, the proprietor at Woods
Gallery for the next fourteen years. Like his predecessors inthe small, country town, Nesemann earned a living by taking "dogtypes" and "mug shots", and by marketing views
to a regional audience.
, q'q-* $nn--0GDEN DEPOT, UTAH, LOOKING E:AST. [Orange andlar~endercard, presented b y one lady to anolkher in 187 7; collection of the Sacramento Railroad Museum.]
Lying 882 miles to the east of San Francisco on the ~ e n t r aI'aclJlc,
l1032 to the west of Omaha on the Union Pacific, andforty to thenorth o f Salt Lake City on the Utah Central, the main Ogden
depot was a major transfer point for travel by rail. To the east,
the rnonotonc,us scener.y of the G I.eat Basin was reliev ed by the
faint outline (,f the Wasatch Rang .e .

His views of the trestles and tunnels of the Santa Cruz
narrow-gauge railway may date from the same excursion.
[The narrow-gauge line from Santa Cruz to Watsonville
was completed in 1876. Three years later a branch line waslaid to the California Powder Works. The munitions plantis also the subject of a Reilly stereograph.]
1881: February: Boarding at the Western House, on thecorner of Second and D streets, in Marysville. [City andCounty Directory of Yuba, Sutter, Colusa, Butte, andTehama Counties, pp. 105, 118.1
March 1: At the age of forty-two, Reilly was married in
Sacramento to his second wife, Jennie.
1883-84: "Awarded the First Premium at the last Fair for
1883, For the BEST PHOTOGRAPHS . . .
Pictures copied and enlarged to life size, in Water Color, India Ink or Oil Painting." [Verso, cartede-visite and cabinetcard portraits, collection of Peter Palmquist.]
1884: January: John and Jennie Reilly were residing at thecorner of Eighth and D streets in Marysville. A block fromJohn's place of business, Jennie was working as the proprietress of "Bon Ton Millinery Store/Dealer in French
Flowers, Feathers,/Ornaments, Laces, Etc./Also an Excellent Stock of Hair Goods." [CountyDirectory of Yuba,
Sutter, Colusa, Butte, and Tehama Counties, pp. 200,220.1
1884-86: Reilly's Yosemite views were displayed by theSouthern Pacific Company at a succession of national andinternational exhibitions: 1)the World's Industrial and Cotton Centennial Exposition, New Orleans, December 16,
1884-June 1, 1885; 2) the Southern Exposition of Art, In-

nn--DEVIL'S SLIDE, U.P.R.R. /Orange, rlr~rilur~o~rf~,rc-ard. Also
pub
Reilly in his new series as No. 184.1
Round a curve and across a bridge from the 1000 Mile Tree, writes
Alfred A . Hart, "we behold across the river The Devil's Slide, acurious formation, formed by two paralleled perpendicular strata
of granite, which, cropping out from the side of the mountain,
extend from the river at its base to the summit at about thirty feetapart, and from thirty to eighty feet high. The photographer
wrote the preceding descriptive passage for The Traveler's Own
Book: A Souvenir of Overland Travel (1870). To meet the demand for mementos of such "a curious formation, The Devil's
Slide was photographed by A . 1. Russell, A . A . Hart, W . H .
Jackson, C. R. Savage, C. E. Watkins, E. 1. Muybridge, and]. 1.
Reilly. Every known view b y each of Reilly's predecessors provides at least one point of reference, either the farshore of the riveror the top of thesteep canyon wall. Rather than add yet anotherdescriptive, topographical view to the list, Reilly chose to portray the long shadows he saw casted by these cross-lit granite outcrops in the waning hours of the afternoon.
""

1887: June 15: As a veteran of the U. S. Army, Reilly filed a successful reapplication for a disability pension. He wasresiding in San Francisco, where he could be addressed careof Oscar Foss, a photographic stock dealer at 841 Mission
Street.
1889: May 24: Divorce papers were filed in Marysville byReilly's wife. [Jennie Reilly v. John James Reilly, suit no.
989, Superior Court of Yuba County, bk. 38, p. 380.1
June 17: Served summons to appear in divorce
proceedings.
July 20: Failed to appear at the prescribed time in the
Superior Court of Yuba County. The judge therefore
awarded his wife all the property already in her name.
[Judgementno. 337, bk. 7, p. 785.1 Two years later, his exwife was remarried to the local baker, Joseph Meyers. For
another six years, however, she continued to run her
millinery shop as "Mrs. J. Reilly." Seven years after retiringfrom business, she died in Redlands, California.
1890: May: Reilly was listed as an "artist" who resided at
313 Stockton Street. [Langley'sSun Francisco Directory, p.
1108.1
1891: On the 4th of March, he wrote a letter of inquiry
to C. W. J. Johnson, a portrait photographer in Monterey:"Have you found a man yet to run your gallery for the summer? If not, I think I would try it, provided the place would
pay anything above living expenses. I have been in thebusiness for 25 years, but always for myself till lately. I ama steady, sober man, which you can find by enquiring of
Foss or his bookkeeper Shilcock, as the two of them have
known me about 20 vears. Give me an idea of the amountof business done in the gallery and the prices you get forcab[inet cards]." Once again, Reilly gave the business address of Foss as his mailing address. [C. W. J. Johnson file,
California State Library.]
1893: February 13: The New York Photograph Gallery
was open for business on the top floor of the Vance Blockin Eureka, California. The photographer in charge was J. J.
Reilly, "a man of many years' experience." His partner wasa man named Evans. The itinerant photographers remained in town for three months. [Humboldt Standard.]
1894: Tanuarv: One of Reillv's views of Eureka was
reproduced in a professional trade journal. It was described by the editor as "a fine architectural view," as an exemplary bit of work done by "an expert." [St. Louis andCanadian Photographer, vol. 18, pp. 44, 50.1
Sunday, June 24: Reilly was boarding at the Pioneer
House, on the comer of Fourth and Mission streets, in San
Francisco. He had already exhausted his disability pension.
He was out of work and running out of monev. Infirmed
and despondent, he wrote the following suicide note, which
he addressed to Coroner Hughes and to anyone else it might
concern:"This is to certify that I, J. J. Reilly, am tired of this lifeand so close up my accounts with all humanity on this earth.

NO.450-NATURAL MONUMENTS. IN MONUMENT PARK.
OL. [Oranrge and lavender cart1.1

its Eastern and English excursionists. According to the author ofan 1873 guidebook to Colorado Springs, any significant historicalmonument to be found anywhere in the Old World invariably
had its natural, New World counterpart somewhere within the
Garden of the Gods. The visitor to "Monument Park"might "passunder the shadow of China's great wall, muse among Palmyra's
shattered and fallen columns, stand face to face with themysterious Sphynx of Egypt, gaze upon the Temples of Greece,n v + l ~Castles
eof England and Germany, or the old Abbeys which
1s monks tipreared.

[idwaybetiween Ogden and O m ,aha, Reilly has board!~da south3und train of the Denver Pacific at Cheyenwe, Wyowling. From
Denver, he travelled as far west as the mining district ofGeorgetown, and as fa rsouth as t
,nts"of the
Garden of the Gods.
-.
1, 1871 the Denver O l<io Grande Kailroad had transformed a:olorado tcIwn into a fashionab\-"

~ collec--MR. AN D MRS. J. J. R. [Orange and lavender c ard;n of lames P. Crain.I

D,:ll.. ....
,J , 4LI." r t c tI ,u.,-"IL u t IVIU,.YJVIIIL.
A,?"..
,--.;11- V-I."
4" ""ll"".,1. 1. I\rrlry
wu3 p,up,tc'ur u
rtuLu X u t t L . r . y
LA"

fro m 1879 to1 1886; ]en
m i llinery sho p from 18i

was prop rietress of : th;e local
She made? the transi'tionfrom

My reasons for doing so are: First, I am 55 years old: I havebeen disabled in the War of the Rebellion. Second, I am outof money and can find no work, so life to me is not worth
living for. What are the few days, weeks, months or years
which might be ahead of me? I am no good to any one,neither to myself, and why should I allow myself to suffer
and go hungry? No, I will never do it. And as I see the country is in a very bad condition, and the Government is rotten, and it is only bloodshed that will purify it.
I request that my trunk and its contents be delivered to
Oscar Foss, at 841 Mission street, who I know will forward
it to my son, as I have directed him to do. I also request thatmy body be given to the Dr. Toland Medical College, as I
am afflicted with liver and other troubles, which may be ofuse to the medical men. As I claim man should know andshould be allowed to be his own judge as to what is best forhimself, I claim this privilege. So good-by to all my acquaintances." ["Did Not Care to Live: The Reasons Given by J.
J. Reilly for Attempting Suicide," San Francisco Examiner,
June 29, p. 6 , col. 6 ; "No Hope in Life: J. J. Reilly Prefers
Death by the Gas Route," San Franciso Morning Call, June29, p. 12, col. 6.1
Wednesday, June 27: Returning to the Pioneer House in
the evening, Reilly stopped at the front desk to settle his account. After writing a letter to Oscar Foss, and setting aside
five dollars that belonged to his old friend, he added apostscript to his suicide note: ''My business is all settled, andI am in my right mind as much as I ever was. I am no
drunkard, and know what I am doing." The oldphotographer then locked his door, and shut the window.
Extinguishing his lamp, he turned the gas on full, "and went
to bed to die."hous ewife to b
recesrsion.

e flrst yea",A ~rrrrttel",,:John uru.l
Reilly lib,, ~ , ~ , , , , einr appalcrt8
years,
fro?n 1881 to 2886. ~ e i 'l yi was dim
five.
conaI, estranged wife thrt?e years la ter in 1885

rcMrrLa

Thursday, June 28: The next afternoon, a chambermaid
detected a strong smell of gas coming from his room. "Whenthe door was burst open he was found in bed unconcious."
He was rushed to the hospital in a patrol wagon. His suicide
note and a sealed envelope for Foss were found on his bedside table.
Friday, June 29: "Hovering between life and death at theReceiving Hospital."
Saturday, June 30: The following evening, Reilly diedfrom the effects of carbon monoxide asphyxiation, and his
body was removed to the Morgue. ["His End Accomplished: J. J. Reilly Dies from the Effects of Coal Gas," San Francisco Chronicle, July 1, p. 24, col. 6; "J. J. Reilly Succumbs,"
San Franciso Morning Call, July 1, p. 8, col. 7; San Francisco Examiner, July 1, p. 12, col. 2.1
Monday, July 2: At two in the afternoon, a funeral service was held for the late photographer in the parlors ofMartin & Morrison, at 118 Geary Street. [San Francisco Examiner and Morning Call, each on p. 8, col. 71. Afterwards,
his body was given to a local medical college, in accordancewith his instruction. Reilly was survived by two ex-wives
and by a son from his first marriage. A trunk filled with personal effects was shipped to the son. Some scattered remnants of his abandoned body of work are the photographic
legacy that he left behind for the rest of us. He had succeeded
in ending his life, but he was unable to erase his life's
passage. In the final analysis, he was unquestionably a
failure in business and in marriage, but his works were often
an artistic success.
"The Fourth of July closes the Midwinter Fair-it will be
Independence Day, San Francisco Day, and Closing Day all
in one. Patriotism, sectionalism, and city pride will forr.1 ann--[STUDIO PORTRAIT OF A YOUNG GIRL.
"WOODS'/PHOTOGRAPH GALLERY,/Odd Fellows'
Building,/MARYSVILLE, CAL." (verso, off-white cabinetcard).]Upon his arrival in Marysville, Reilly began describing himself
as the inventor and patent applicant for "the new magic process
for making the baby's pictures in from one to two seconds.
O n the backs of these cabinet-card and carte-de-visite portraits,
Reilly announced that his gallery had once again captured the firstpremium for the best photographs at the 1883 fair (presumably
the state or county fair).
"nn--MEMBERS OF THE MARYSVILLE SOCIETY OF
CALIFORNIA PIONEERS, ARRIVED IN CALIFORNIA IN
1849. ["PHOTOGRAPHED A T W O O D S ' GALLERY, O D D
FELLOWS' BUILDING, BY 1. 1. REILLY. (recto). A 13 x 18"
photomontage on a 79% x 24" off-white mount.]
North of Sacramento at the head of steamboat navigation on the
Yuba River, Marysville was situated in proximity to the rich miningdistricts of the Feather and Yuba rivers. By the end of the firstyear of the California Gold Rush, the small river town was
boasting a resident population of five hundred and a floating
population of another thousand. Thirty years later, a small but
proud fraction of these Marysville "forty-niners" were
photographed b y Reilly in his studio.
"A CHECKLISTOF STEREO VIEWS
BY J.J. REILLY

trinity of motives that will make the day one that will belong remembered in State annals." The San Francisco fairwas "a detriment to the city during the hard times," and it
was overshadowed by its obvious prototype, the Chicago
world's fair, but in retrospect it was regarded as a partial
success: "it has startled the world into a realization of thefact that the land of the sluice-box and the rocker has
become the land of the plow and the pruning-hook."[OverlandMonthly, 2d series, vol. 24, July 1894, p. 107.1
Almost a full year before Reilly's death, a brilliant and influential young professor from a large Midwestern university had already given birth to the "frontier school" of
American historiography. The 1893 convention of theAmerican Historical Association was held in Chicago in
conjunction with the World's Columbian Exposition. Prof.
Turner read his essay on "The Significance of the Frontierin American History" before the July 12th session: "Thefrontier has gone, and with its going has closed the first
period of American history . . . In the crucible of the frontier the immigrants were Americanized, liberated, and fused
into a mixed race, English in neither nationality nor
characteristics.The process had gone on from the early days
to our own . . . Moving westward, the frontier became
more and more American. As successive terminal moraines
result from successive glaciation, so each frontier leaves its
traces behind it, and when it becomes a settled area theregion still partakes of the frontier characteristics. Thus theadvance of the Frontier has meant a steady movement awayfrom the influence of Europe, a steady growth of independence on American lines. And to study this advance,
the men who grew up under these conditions, and thepolitical, economic, and social results of it, is to study thereally American part of our history." [Frederick Jackson
Turner, The Frontier in American History (NewYork: Holt,
Rinehart &Winston, 1962), pp. 4,23,38.] And to study theworks of men like Reilly and Twain is to study the truly
American part of our art and literature.

The second checklist is a preliminary compilation of the "new series"
views. These numbers and titles were devised by Reilly after he had
established himself as a portrait photographer in Marysville, California.
Negatives of different subjects were subsumed under a common number,but designated by separate titles, in at least three instances. Variant negatives
are known to be designated by the same number and title in three additional
instances. The "new series" views are crossreferenced, insofar as possible,
to Reilly's "old series" numbers, to other photographers and firms thatpublished his views from duplicate or copy negatives, and to various
wholesale and pirated imprints. Whenever numbers were assigned to theseviews, the numerical designation is listed after the name of the maker or
the name of the anonymous imprint.
Enno Nesemann acquired Reilly's master set of stereo negatives, and heprobably also acquired an inventory of leftover Reilly cards. At first,
Nesemann retained Reilly's "new series" number and title for each view,
but he reset the information into a letterpress caption inserted beneath theleft image of each negative. (Reilly's captions were electrotyped onto his
Marysville cards beneath the right image.) Since "Reilly's paste-overstereographs" are invariably labeled in the typographical style of Nesemann,the vast majority of these hybrid views are presumably the product ofNesemann's early, transitional period as a stereo publisher in Marysville.
(At least one example, however, seems to date from a much later period
in his publishing career.)
At a later date, Nesemann renumbered a few of his Reilly negatives. He
also updated and expanded his inventory of stereo views. For example, hepublished a stereograph of San Francisco's second Cliff House (1896-1907)
under a number that Reilly had assigned to an outdated negative of the first
Cliff House. From his provincial headquarters in Marysville, by 1890
Nesemann had become involved in producing comic scenes for the international audience of the Universal Stereoscopic View Company. The ambitious, small-town photographer also acquired several lines of European
views, and several others of subjects nearer to home. A Nesemannstereograph of a San Francisco skyscraper was assigned the number 887;
another of Mount Rainer was assigned his highest known designation, thenumber 915. the second example is a "paste-over stereograph' affixed to a
curved Reilly card. To the best of our knowledge, Reilly never traveled up
the Pacific Coast beyond Eureka, he never devised a "new series" number
higher than 479, and he never marketed his work on curved stock. We canrnge andN o . ,403--MARLYSVILLE LOOKING WEST. (CAL. [Or&lave1ader card; collection of John I/V. Weiler.I
Mar ysville was the third largest toiwn in Cali,fornia wht?nReilly

first crame to the land o f El 13orado in :2856, but bly the time he had
beconqe the tow17'sportrait a n d landscape photc qrapher ir11879.
its poi oulation h ad droppe,d from 8,[ 100 to 4,3C10.

Part 11: New Series

No. 458--5ANTA CRUZ NARROW GUAGE /sic] R. R.
BRIDGE, CAL. [Orange and lavender card; collection of Louis
H . Smaus.]

7880 the tt.acks of tw o railroads: had brouj3ht the northem end
Monterey Bay withi1T three hot.irs of San Francisco.-and for

only surmise that Nesemann had modernized his remaining supply of oldfashioned Reilly cards by the turn of the century. If each of the precedingassumptions is correct, then Nesemann was responsible for marketing ahuge, abandoned stockpileof Reilly's cards, and Reilly was responsible fortaking a little more than half of Nesemann's final inventory of negatives.
Both the chronology and the checklists are works in progress, and eachremains regrettably incomplete. We wish to acknowledge the assistance ofLouis H. Smaus, who has made major contributions to both of thechecklists. Can you, from your collection, provide us with any additional
information?Any numbers and titles? Any cross-listings? Please direct information about views of the Yosemite, the Big Trees, the High Sierra, andMono Lake to Paul Hickman at 945 Buena Vista Drive SE, Apt. H-204,
Albuquerque, NM 87106. Information about views of all other subjects
should be addressed to Peter Palmquist at 1183 Union Street, Arcata, CA
95521. We shall conclude our series of articles on Reilly in the next issueof Stereo World.
For a subsequent issue, we plan to compile a list of additions and corrections to the series, and we hope to be able to acknowledge yourcontributions.

"NEW SERIES VIEWS
100-STATE CAPITOL, SACRAMENTO, CAL.
101-GRAND COURT, PALACE HOTEL, SAN FRANCISCO, CAL.
102-CHINESE STEAMER IN THE BAY OF SAN FRANCISCO, CAL.
103-SAN FRANCISCO LOOKING SOUTH, FROM NOB HILL.
104-RESIDENCE OF C. CROCKER, NOB HILL, SAN FRANCISCO,
CAL.
105-SHIPPING IN THE BAY OF SAN FRANCISCO, CAL. [E.
Nesemann, No. 105.1
106-LOTTA'S FOUNTAIN, SAN FRANCISCO.
107-RESIDENCE OF MARK HOPKINS, NOB HILL, SAN FRAN.
CAL.
108 CHINESE MERCHANT AND HIS WIFE, SAN FRANCISCO,
CAL. [E. Nesemann. No. 1081
110-BALDWIN HOTEL, MARKET STREET, SAN FRANCISCO,
CAL.
111-CLAY STREET, FROM SANSOME, SAN FRANCISCO, CAL.
112-BANK OF CALIFORNIA, SAN FRANCISCO.

,. .-,

a thi rd of the 0 1 Id cost of travelling b y stagecoac h orsteatner. The
San t.a ~ r u !<ailroadzCompany was willing: to make special.
.I.--...-..
,heduled stops to drop
and fi~rrrrrrrrrr
mywhere. offcampers,.
along its route -beneath coastal rtr beside rrrountainstreczms of the coastal ra nge.
1.

I

113-CALIFORNIA STREET-LOOKING DOWN HILL TOWARDSSHIPS IN BAY.
114-BALDWIN HOTEL DINING ROOM.
115-CHINESE STORE, SACRAMENTO STREET, SAN FRANCISCO,
CAL. [Miller & Best; E. Nesemann, No. 1151.
116-BALDWIN HOTEL AND POWELL STREET, SAN FRANCISCO.
117-SAN FRANCISCO FROM TELEGRAPH HILL.
119-KEARNEY ST. PLAZA, SAN FRANCISCO.
120-RESIDENCE OF GOV. STANFORD, NOB HILL, SAN FRANCISCO, CAL.
121-MARKET STREET FROM 5TH LOOKING EAST, SAN FRANCISCO, CAL.
122-BIRDS-EYE VIEW OF SACRAMENTO FROM T O P OF
CAPITOL, CAL.
123-GOLDEN GATE. FROM TELEGRAPH HILL. SAN FRANCISCO.
, 123.1
CAL. [E. ~ e s e m a n nNo.
125-SAFE DEPOSIT BUILDING, SAN FRANCISCO.
126-CLAY STREET HILL, SAN FRANCISCO, CAL.
127-SAN FRANCISCO FROM CALIFORNIA AND TAYLOR
STREETS, CAL. [E. Nesemann, No. 1271.
130-CHINESE JOSS HOUSE, SAN FRANCISCO, CAL. [E. Nesemann,
No. 130.1
134-TOP FLOOR, PALACE HOTEL, SAN FRANCISCO, CAL. [E.
Nesemann, No. 134.1
135-PALACE HOTEL, SAN FRANCISCO, CAL. [E. Nesemann, No.
135. Also variant negative; American Scenery/American Scenery;
E.P. Best; Miller & Best; Stereo Views; Stereoscopic Views.]
137-THE BAY FROM TELEGRAPH HILL, SAN FRANCISCO.
139-CLIFF HOUSE AND SEAL ROCKS, SAN FRANCISCO, CAL.
141-GRANT AVENUE, SAN FRANCISCO, CAL.
142-CHINESE WOMAN AND CHILD, SAN FRANCISCO, CAL.
[Richard Behrendt, No. 557; E. Nesemann, No. 142.1
143-SEAL ROCKS, SAN FRANCISCO, CAL.
144-LOOKING SOUTH FROM NOB HILL.
145-CHINESE RESTAURANT, SAN FRANCISCO, CAL. [E.
Nesemann, No. 145.1
147-COURT OF THE PALACE HOTEL, GROUND FLOOR, SAN
FRANCISCO.

150-MONTGOMERY STREET, FROM CLAY ST., SAN
FRANCISCO.
153-MOUNT TAMALPAIS, FROM SAUSELITO, SAN FRANCISCO.
154-LEIDESDORF STREET, SAN FRANCISCO, CAL.
156-CACTUS ROCKERY, WOODWARD'S GARDENS, SAN FRANCISCO, CAL. [E.Nesemann, No. 156).
157-RUSTIC FOUNTAIN, WOODWARD'S GARDENS, SAN FRANCISCO, CAL.
162-FAIRY LAKE. WOODWARD'S GARDENS.
166-FERNERY, WOODWARD'S GARDENS, SAN FRANCISCO,
CAL. [E. Nesemann, No. 1661
171-CALIFORNIA ORANGE TREE, WITH FRUIT.
173-SANTA BARBARA MISSION, CAL.
174-MEXICAN CACTUS. [E. Nesemann, No. 1741.
176-TENAYA LAKE, SIERRAS, CAL. [Diamond H; Joseph LeConte. J
178-THUNDER CLOUDS ON THE SUMMITS OF THE SIERRAS,CAL.
180-SUMMIT LAKE, C.P.R.R., CAL.
183-LAKE ANGELINE AT THE SUMMIT, C.P.R.R., CAL.
184-DEVIL'S SLIDE, U.P.R.R. [E. Nesemann, No. 184.1
185-MONUMENTAL SAWMILL, C.P.R.R.
186-SALT LAKE CITY AND THE WASATCH MOUNTAINS, UTAH.
[Also variant negative.]
190-HUMBOLDT HOUSE, C.P.R.R.
191-SUMMIT HOTEL, C.P.R.R.
192-SNOW SHEDS NEAR BLUE CANYON, C.P.R.R., CAL.
195-OGDEN DEPOT, C.P.R.R. [Also new view and title: "Bridal Veil
Fall, height 900 feet, Yosemite Valley, Cal.": Old series, No. 431;
L. ~ o w i . 1
200-SILVER RAPIDS. BLUE CANYON. C.P.R.R.. CAL.
201-RAILROAD TRESTLE WORK CROSSING BEAR RIVER, CAL.
203-FIRE TRAIN AT THE SUMMITS, C.P.R.R., CAL. [E. Nesemann,
No. 203.1
205-PULPIT ROCK, U.P.R.R. [E. Nesemann, No. 205.1
207-RAILROAD TRESTLE WORK, CROSSING BEAR RIVER, CAL.
208-MOSHER FALLS, BLUE CANYON, C.P.R.R., CAL.
210-UTAH CENTRAL R.R. COMING INTO OGDEN, CAL.
215-EASTERN BOUND TEATRAIN AT BLUE CANYON, C.P.R.R..
CAL. [Diamond H; E. Nesemann, No. 215.1
216-LONG RAVINE BRIDGE, NEAR COLFAX, C.P.R.R.. CAL.
217-BLOOMER CUT, C.P.R.R., CAL.
218-GOLD BEARING PYRAMID, GOLD RUN, C.P.R.R., CAL.
219-HYDRAULIC MINING, GOLD RUN, C.P.R.R. [E. Nesemann,
No. 219.1
221-PALISADE CITY, C.P.R.R.
223-OVERLAND TRAIN COMING ROUND CAPE HORN,
C.P.R.R., CAL.
224-1000 MILE TREE, U.P.R.R.
225-CAPE HORN, C.P.R.R., CAL.
227-GOING THROUGH THE PALISADES, C.P.R.R.
228-PASSENGER TRAIN GOING THROUGH THE PALISADES,
C.P.R.R.
233-DONNER LAKE AND SNOW SHEDS, C.P.R.R., CAL.
235-C.P. RAILROAD BRIDGE, SACRAMENTO, CAL.
237-PICNIC GROUNDS IN BOWER CAVE, NEAR YOSEMITEVALLEY, CAL.
238-ENTRANCE INTO BOWER CAVE, NEAR YOSEMITE VALLEY,
CAL. [American Series/American Series; American
Views/American Views; E.P. Best.]
239-AMERICAN RIVER, FROM CAPE HORN, C.P.R.R.
241-C. P.R.R PASSENGER DEPOT, SACRAMENTO, CAL.
243-YOSEMITE VALLEY FROM 3000 FT. ABOVE.
244-LAKE IN BOWER CAVE NEAR YOSEMITE VALLEY, CAL.
245-BIRDS ON THE FARALLON ISLANDS, PACIFIC OCEAN, CAL.
246-LYELL GROUP, FARALLON ISLANDS, PACIFIC OCEAN, CAL.
249-LIGHTHOUSE POINT, FARALLON ISLANDS, PACIFICOCEAN, CAL.
251-LIGHT HOUSE, FARALLON ISLANDS, PACIFIC OCEAN, CAL.
[E. Nesemann, No. 251.1
252-NATURAL BRIDGE, FARALLON ISLANDS, PACIFIC OCEAN,
CAL.
256-FROM THE GATE OF GRANITE CASTLE, SIERRAS, CAL.
[American Scenery/American Scenery; Miller & Best; J.G. Parks.]
258-YOSEMITE FALLS, HEIGHT 2634 FEET, YOSEMITE VALLEY,
CAL.
259-SAW RIDGE, SIERRAS, CAL. [J.G. Parks.]
260-MIRROR VIEW OF YOSEMITE FALLS, YOSEMITE VALLEY,
CAL.

nn--[SAN CA'RLOS DE BORROkdEO MIS'CARMEL, CPiL. Orange and lavlender canSpecial Collect'ions, U .C .L.A. Resc>archLibn

URCH,
nent ofFive miles sout hof theM onterey pr esidio, on the side of a knoll
by thre mouth o f the Rio Carmelo, t11,e Mission San Carlos was theseat c~f authorit,y for the ckrain of twervty-one missions that extendc-.- ";egon:.--- rrr:-nrta
A 1
to Sorrurrru
California, and it became
ed frurrr Jurr
the burial place of the fi irst Padre-,presidente of the missions,juniper0 Serra. The third c:hurch t o olccupy thesite was completed
in 1797. The large stellar u~ i n d o wpie rcing its massive stone facade
and the attenuated moresque dome capping its staunch, square~sualexample of Spar~ i s hcolcam)Yanario rnrzke the chu
onia 1 architect,ure.
.
,By a aecree or tne lvlexrcan
Longress, rne rranclscan
missions
were secularized in 7835, and most of the old 1buildings s oon fell
into a sadstate of disrepair. The barrel vault o f the C a m e 1, church
came tumbling to the ground in 1852. The idei7 of- presen~ i n gthe
- .
"roofless and ruinous"church was conceived on San Carlos Day,
7879, by Robert Louis Stevenson. "As an antiquity"in the New
World, "a quaint specimen of missionary architecture, and amemorial of good deeds, "the young British writer thought "it hada triple claim to preservation. "His letter to the Monterey Californian made a direct appeal to Yankee pragmatism by stressing afourth reason for preserving the mission: its indirect value as a
tourist attraction. Within weeks, both local newspapers had joined the campaign for preservation. The Californian thought a
restored church might indeed "add much of interest to engage theattention of tourists. The expense will not begreat and then, it isbut casting our bread upon the water. " Alocal Catholic priest was
placc ?d in charsce of the atctual resto ration.
B4, the 10; w-pitched tile roof o,f the old C'armel chu rch was
zced by cI steep sk ringle roof , and th e sanctua ry was
J:--L-J *A
I"I-- 1
:1-.CAI-- .---..---.C.
,.---..redeuz~utru
LU wursrrrv. 1 nr rrvrrirrrrlrss ur rrrr rrrw ruur wu>>ur'bind thepass1ed only by the incon>{ruity of it:
old f hcade.
I-:.
T - L. .,-.1-:c-.-.1A1:.?Jr
I
I
Watnrrrs,
1 uorr, rr>nr,urru ~ \ r r r r , y rruu urrruuy puuti>rccu ucrLu=of th e old church's ruins in the earl!y 1880s. before over-zealous
struc:tural altt?rations t ransformed these photographs into
valu able docu,ments for the architc?ctural historian. The entire
church recelued a ru~iand accurate restoration in the 1930s.
.
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262-LEIDIG'S HOTEL AND SENTINEL ROCK, HEIGHT 3012 FT.
YOSEMITE VALLEY, CAL. [Old series, No. 563; Richard
Behrendt, No. 538; G. Fagersteen. ]263-CLOUD'S REST AND MERCED RIVER, YOSEMITE VALLEY,
CAL.
264-MERCED RIVER AND GLACIER POINT, YOSEMITE VALLEY,
CAL. [M. M. Hazeltine; S.C. Walker & G. Fagersteen.]
265-HUTCHINGS' COTTAGE, YOSEMITE VALLEY, CAL.
266-CAP OF LIBERTY AND NEVADA FALL, YOSEMITE VALLEY,
CAL.
267-HUTCHINGS' HOTEL, YOSEMITE, CAL. [also new view and title: "Nevada Fall, 700 feet high, Yosemite Valley, cal.''; Old Series,
No. 548; Stereoscopic Views.]
269-SENTINEL DOME, HEIGHT 4500 R. YOSEMITE VALLEY,
CAL.
270- YOSEMITE VALLEY FROM INSPIRATION POINT, CAL.
271-MIRROR LAKE CANYON, YOSEMITE VALLEY, CAL. [Oldseries, No. 535; G.H Aldrich & Company, No. 862; C.P. Hibbard,
No. 62; Littleton View Company, No. 862; Union View Company,
No. 572; C.W. Woodward, No. 572.1
272-FALLING CLOUDS, OVER YOSEMITE FALLS, CAL.
274-CATHEDRAL ROCKS, HEIGHT 2660 FT.YOSEMITE VALLEY,
CAL. [Old series, No. 452.1
275-YOSEMITE FALLS, HEIGHT 2,634 FEET, YOSEMITE VALLEY,
CAL.
o. 384-DEL MONTE HOTEL DINING R(

AL. /Orange and lavender card. /ie Hotel dlel Monte zuas the fir:st of the g;reat Western tourlst
sorts. It wcrs built ana!finished ir7 three moinths by the Southern
zcific Railrload's cons truction st rbsidiary, the Pacific Improve.
. .,ent Lompany. l n e management threw open its door "fornteel patronage" on June3,1880. The Improvement Company
id disregarded both local and national traditions in building its
sodem hotel of Swiss Gothicarchitecture"more like "a modem
lglish cou,ntry man:;ion than an Amer;ican wate ring-place~ t e l , and its 1880s guidebooik to the 1Honterey peninsula
blighted in boasting ol f its recen t "improvlmerits.
A

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276-NEVADA FALL, HEIGHT 700 FEET, YOSEMITE VALLEY, CAL.
[Old series, No. 437; New Educational Series, No. 273.1
277- NORTH AND SOUTH DOMES, YOSEMITE VALLEY, CAL.
278-YOSEMITE FALLS, HEIGHT 2634 FEET, YOSEMITE VALLEY,
CAL. [M.M. Hazeltine; E. Nesemann, No. 278; S.C. Walker & G.
Fagersteen. ]279-THREE BROTHERS HEIGHT 3,830 FEET, YOSEMITE VALLEY,
CAL. [Richard Behrendt, No. 531; Diamond H: E. Nesemann, No.
279.1
280-BRIDAL VEIL FALLS, HEIGHT 900 FEET YOSEMITE VALLEY,
CAL. [American Scenery/Yosemite Valley, California; J.W. & J.
S. Moulton, No. 25; Ropes & Company, No. 25; C.W. Woodward,
No. 592; Woodward & Albee, No. 592.1
281-GLACIER POINT, HEIGHT 3,200 FEET, YOSEMITE VALLEY,
CAL.
284-MIRROR LAKE AND ITS REFLECTIONS, YOSEMITE VALLEY,
CAL.
285-MT. HOFFMANN RANGE FROM SENTINEL DOME,YOSEMITE VALLEY.
286-DAY DAWN, YOSEMITE VALLEY, CAL.
287-YOSEMITE FALLS, HEIGHT 2634 FEET, YOSEMITE VALLEY,
CAL.
288-SNOW'S HOTEL AND NEVADA FALLS, YOSEMITE VALLEY,
CAL.

;, and pos :ted in thetiser1 in the n... srurluns, us u resurr jur
L-railwuy
wealth and f h s r r r u r ~ .C ~ I L II U~ I 'rre
little town! It is not strong enough to resist t'he influenIce of the'ss native,flaunting caravan-serail, and the poor, quail~ tpennile
gentlemen of Monterey must perish, like a 107 uer race, blefore the,*,.
mill tonaire vulgarians of the Big Bonanza.
o visited the United"In Europe, remarked aI French trr
d. In America, it is
Staties in 1887, "the hot6t h o ,end. People travel nunureus, nay, tnousands of miles for the
Hotels are for thempleasure of putting up at certain hc
Fns, and thi? beauties(Americans]what cathedrals, mont
re Souther n Pacificof Nature are for us. From 1884","-:!road had displayed Reilly's view, , ,,,,,,=,I""",,,,hibitions
in ti~esoutheastemUnited States. In 1887 the Hotel del Monte wasdest'royed by fire, then rebuilt and enlarged in record time. Reil1~ P robably made a second trip to Monterey in 1891, and he may
nav e taken some souvenir portraits of c ' " illionaire
vu1>
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~ r At r u r r c r ~ c v> v L i r r y uraLrrrurrt

v r ' ~ r a ~r v ~ v r c ~, ~r L r~ &~ L y~ , J L ( JI VMI

e opening of the De,I Monte H 'otel. Speaking "as it strikes aranger, "Robert Loui s Stevenso~nhad fostered preservation ine name o f tourism in.November ,1879. but twelve months later.
had comi to regret the excnange of the ~ o n t e r hee ~had known
r the new r.esort of "uvealth and fashion ":y is adverI

1\U11

3"

290-MIRROR VIEW OF NORTH DOME, YOSEMITE VALLEY, CAL.
[Old series, No. 560.1
291-NORTH DOME, HEIGHT 3568 FT.,YOSEMITE VALLEY, CAL.
IAlso view and title: "El Capitan, height- 3,300 feet, YosemiteValley,~ a l . " ;E. Nesemann. No. 3011
292-AGASSIZ COLUMN, YOSEMITE VALLEY, CAL. [M.M.
Hazeltine.]
294-THREE GRACES AND BRIDAL VEIL FALL, YOSEMITEVALLEY, CAL.
296-VERNAL FALL, YOSEMITE VALLEY, CAL. [Old Series, No. 426;
American Scenerv/Standard Series, No. 49; Pacific Coast Westfrom Omaha, N.; 49.1
297-REAR VIEW OF SOUTH DOME AND CLOUD'S REST FROMGLACIER PT., YOSEMITE VALLEY, CAL.
298-MIRROR VIEW CATHEDRAL ROCKS, YOSEMITE VALLEY,
CAL. [Old series, No. 573; E. Nesemann. No. 298; Pacific CoastWest from Omaha, No. 29.1
300-HALF DOME, WASHINGTON COLUMN AND NORTH
DOME, YOSEMITE VALLEY, CAL.
302-WASHINGTON COLUMN AND HALF DOME, YOSEMITEVALLEY, CAL. [Old series, No. 544; M.M. Hazeltine; S.C. Walker& G. Fagersteen.]
304-CLOUD'S REST, HEIGHT 6034 FEET, AND THUNDER
CLOUDS, YOSEMITE VALLEY, CAL.
305-THE LOST ARROW, YOSEMITE VALLEY, CAL. [Old series, No.
438; Pacific Coast West from Omaha, No. 15.1
306-MIRROR VIEW OF CLOUD'S REST, YOSEMITE VALLEY, CAL.
311-CAP OF LIBERTY, HEIGHT 6034 FEET, AND NEVADA FALLS,YOSEMITE VALLEY, CAL.
312-VERNAL FALL, YOSEMITE VALLEY, CAL. [Old series, No. 407.1
314-YOSEMITE UPPER FALL, FROM TOP OF LOWER FALL,YOSEMITE VALLEY, CAL.
315-THE FIRST HOUSE IN YOSEMITE VALLEY, CAL.
316-WASHINGTON COLUMN AND NORTH DOME, YOSEMITEVALLEY, CAL. [Miller & Best.]
317-YOSEMITE FALLS, HEIGHT 2634 FEET, YOSEMITE VALLEY,
CAL. [Old series, No. 543.1
318-YOSEMITE UPPER FALLS, FROM TOP OF LOWER FALLS,YOSEMITE VALLEY, CAL. [Old series, No. 516; Femer & Soulier,No. 10264; M.M. Hazeltine; E. Nesemann. No. 318; S.C. Walker& G. Fagersteen.]
319-GLACIER POINT, YOSEMITE VALLEY, CAL. [Old series, No.
497: Pittsburgh Dailv News, No. 569; C.W. Woodward, No. 569.1
320-A STROLL AMONG THE CALAVERAS BIG TREES.
321-BEAUTY OF THE FOREST, MARIPOSA GROVE, CAL.
324-PYRAMID PEAK, YOSEMITE VALLEY, CAL. [J.G. Parks.]
328-BALL-ROOM ON STUMP OF BIG TREE, CALAVERASGROVE,
CAL. [Richard Behrendt, No. 549; Miller & Best.]
329-GRIZZLY GIANT, 32 FEET IN DIAM., MARIPOSA GROVE,
CAL. [E. Nesemann, No. 329.1
330-CHIP OFF THE OLD BLOCK, CALAVERAS GROVE, CAL.
333-MIRROR VIEW OF 'THREE BROTHERS," YOSEMITE VALLEY,
CAL. [E. Nesemann. No. 333.1
334-ABRAHAM LINCOLN, CALAVERAS GROVE, CAL.
335-TUOLUMNE RIVER, SIERRAS, CAL. [Old series, No. 525.1
340-WINTER FRUIT TREES AT NIAGARA FALLS, N.Y.
344-SECOND BRIDGE T O THE THREE SISTERS ISLANDS,NIAGARA FALLS, N.Y.
352-MOONLIGHT VIEW O N NIAGARA RIVER, NEW YORK.
354-CRYSTAL GROTTO, UNDER THE NIAGARA FALLS, NEW
YORK.
356-CORALTREES OF NIAGARA, I h WINTER. [Old series, No. 52.1
365-NIAGARA IN WINTER. FROM CAVE OF THE WINDS, NEW
YORK.
366-TERRAPIN TOWER, FROM CAVE OF THE WINDS, NIAGARAFALLS, N.Y.
367-BRIDAL CHAMBER, NIAGARA FALLS, YEW YORK.
370-CENTRAL PARK, NEW YORK.
374-ICE ALLEY, NIAGARA FALLS, N.Y.
378-BRIDAL CHAMBERS, NIAGARA FALLS, CANADA SIDE.
380-CALIFORNIA THRESHING MACHINE.
383-DEL MONTE HOTEL, MONTEREY, CAL.
384-DEL MONTE HOTEL DINING ROOM, MONTEREY, CAL.
389-BATH HOUSE O N THE BEACH AT MONTEREY, CAL.
392-GEORGE WASHINGTON, CALAVERAS GROVE, CAL.
395-GOLDEN GATE FROM BLACK POINT, SAN FRANCISCO,
CAL.

22

398-D ST., MARYSVILLE, CAL.
399-D STREET LOOKING SOUTH, MARYSVILLE. CAL.
400-STEAMER "BAY CITY", OAKLAND FERRY, SAN FRANCISCO.
[E. Nesemann, No. 400.1
401-OAKLAND HARBOR, OAKLAND, CAL. [E. Nesemann, No.
401.1
402-BUTTE MOUNTAINS FROM MARYSVILLE, CAL.
403-MARYSVILLE LOOKING WEST, CAL.
405-EAGLE ROCK, YOSEMITE VALLEY, CAL.
406-TEN THOUSAND FEET OF LUMBER ON ORE WAGON,MARYSVILLE, CAL. [Also variant negative; Richard Behrendt, No.
534; E. Nesemann, No. 485.1
407-C.P.R.R. DEPOT AND BUCKEYE MILLS, MARYSVILLE. CAL.
409-COURT HOUSE, MARYSVILLE, CAL.
410-HOFFMANN TOWER, SIERRAS, CAL. [J.G. Parks.]
4U-CATHEDRAL CASCADES, SIERRAS, CAL.
413-UNICORN PEAK, SIERRAS, CAL.
414-EAGLE PEAKS, SIERRAS, CAL.
416-CRATER OF THE VOLCANO AT MONO LAKE, SIERRAS, CAL.
417-CATHEDRAL PASS, SIERRAS, CAL. [J.G.Parks.]
418-VIEW FROM CATHEDRAL PEAK, SIERRAS, CAL.

nn--1ctsll)ENCE AT EUREKA, CAL. llreproaucea rrom a photoeng,raving in t he St. Louiis & Canaclian Photolgrapher (1894).]
The o:stentatiou:5 , three-stc,ry home (~f William Carson is one of
Idaborate e,xamples o,f late Victolrian archit.ecture
Amer;ica's .most
.
. -.
. ..
in the Eastlakestyle. The building project had kept many of Carson's mill workers on the payroll through the recession of themid-1880s. His gawky, redwood mansion was photographed byReilly in 1893, at the outset of the worst financial panic of the-

The highest unr
nt rate of the entire depressio n was
rlerant
recorl fed in Jut!Inwanted and adri ft, the iti~
1.... 1.
.- J UL--1c-.- rl*photograpner
nuu wunuerru
U L K LV ~ u r ~l ~ U ~ [ L I > 1L1 ULULZS.
a cit y with a hundred and fifty millionaires, but 1. 1. Reilly was outof work and out of money. By the end of the month he had resolved his feelings of ennui and despondency; he had committed
suicid1-

419-VIEW ACROSS THE SIERRAS, CAL. [Old series, No. 508; J.G.
Parks.]
420-TWIN PEAKS, TUOLUMNE CO., CAL. [J.G. Parks.]421-CATHEDRAL PEAK, SIERRAS, CAL.
422-OUTSIDE VIEW OF THE VOLCANO AT MONO LAKE, SIERRAS, CAL.
425-DISTANT VIEW OF CATHEDRAL PEAK, SIERRAS, CAL. [Oldseries, No. 534; Miller & Best.]
426-MOUNT DANA, SIERRAS, CAL. [Old series, No. 493; American
Scenery/American Scenery.]
427-THE LYELL GROUP, SIERRAS, CAL. [J.G. Parks.]
428-TUOLUMNE RAPIDS, SIERRAS, CAL. [J.G. Parks.]429-BIRDSEYE VIEW OF THE VOLCANOS AT MONO LAKE, SIERRAS, CAL. [Old series, No. 529.1
432-DEVIL'S STEAM BATH, GEYSER SPRINGS.
436-DEVIL'S TEA KETTLE, GEYSER SPRINGS, CAL. [E. Nesemann,
No. 436.1
438-GEYSER SPRINGS HOTEL, SONOMA CO., CAL.
440-DEVIL'S WORKSHOP, GEYSER SPRINGS, CAL.
442-DEVIL'S PUNCH BOWL, GEYSER SPRINGS, CAL.
443-MEXICAN CACTUS.
445-GEORGETOWN, COL.
448-GATE OF THE GARDEN OF THE GODS, COL.
449-THE MAMMOTH ANVIL, MONUMENT PARK, COL.
450-NATURAL MONUMENTS, IN MONUMENT PARK, COL.
451-NATURAL MONUMENT IN MONUMENT PARK, COL.
452-KEARNEY STREET PLAZA, SAN FRANCISCO, CAL.
454-BABY CAMEL IN WOODWARD'S GARDENS, SAN FRANCISCO, CAL.
458-SANTA CRUZ NARROW GAUGE R.R. BRIDGE, CAL.
459-SANTA CRUZ BIG TREES, CAL. [E. Nesemann, No. 459.1
461-LOS GATOS CREEK, SANTA CRUZ NARROW GAUGE R.R.,
CAL.
462-TUNNEL NO.2, SANTA CRUZ NARROW GAUGE R.R.
463-THE SANTA CRUZ MOUNTAINS OVER NARROW GAUGE
R.R., CAL.
464-CAL. POWDER WORKS. NEAR SANTA CRUZ NARROWGAUGE R.R., CAL.
466-SANTA CRUZ NARROW GAUGE R.R. BRIDGE.
470-GOLDEN GATE PARK.
475-U.S. MINT, SAN FRANCISCO, CAL.
476-PHELAN BUILDING, MARKET STREET, SAN FRANCISCO,
CAL.
478-NEW CITY HALL, SAN FRANCISCO, CAL. [E. Nesemann, No.
478.1
479-GEARY STREET, SAN FRANCISCO, CAL.

The Story Behind Color CodeMarking of Stereo Slides
by Fritz G. Waack DGPh AFIAP
Berlin, W. Germany(edited by David Starkman)
Since no true two-lensed stereo projectors are currently
being manufactured, the use of two mono projectors is increasing in popularity. It is not even necessary to have two
projectors of the same brand or model, as long as the focal
lengths of the projection lenses are equal.
For this reason (at least in Europe) the twin 35mm (2 x 2
x2" in the USA or 2 x 50 x 50 mm in Europe)format has been
replacing the single Stereo Realist type of mount. This ishelped by the availability of mounts with opening sizes
suitable for stereo, such as CEPE or Bonum.
Because it is important not to exchange the left and rightsingly mounted views when viewing or projecting, the question arises as to the best way to put distinguishing marks on
the slides. In Germany a standard marking system wasdecided upon long ago, and given DIN No. 4531 (DIN is theGerman equivalent to ASA, used to give standards to all industrial products).
The standard for separated right and left view mounts is
as follows: Green color code for the right slide and Red forthe left. The code is in the form of a color dot placed in thelower left corner of the slide, when viewed with the correctside facing you, right side up. When projecting, this "thumbspot" appears on the upper right when viewed from the rearof the projector looking forward.
Of course, it is understandable that this standard is not
generally known to amateur 3-D photographers. There isa similar problem with stereo sound equipment, where nocolor standard has been set for marking left and right channels. There is a related standard (DIN 45592) dealing with
3 and 5 pole plugs for microphones and headphones. Thisis an optional use standard which indicates yellow wire forthe left and red for the right channels. As a memory device
Red and Right both begin with the letter "R". However, few
factories follow this optional standard, and the " R memory
device is only applicable to the German and English
languages.
Thus, there is no reason for us stereographers not toadopt the oldest established standard of red for left andgreen for right.
In connection to this, it may be of interest to know that
this standard is based on the earliest international navigation standards for indicating port and starboard.
In 1863 there was a convention established between the
English and French governments for marking ships, which
has become the international standard still in use todav.
Until the beginning of the 19th century ships were mariedwith only white signal lights. This made it difficult to judge
the direction of a ship, and increased accidents resulted,
especially with the increased speed and traffic of the fastersteamships.
In 1834 the British engineer Shaw proposed the use of ared light on the port side to a Liverpool shipping company.
In 1836 a Southhampton shipping company introduced a
red light on port and a green light on starboard.
Now, with 3 different systems in use for signal lamps
there was even more confusion. This caused the British
Navy to settle on an obligatory standard in 1847: Red for
port, green for starboard, and an additional white light on
the stern.
As already mentioned, in 1863 the French government
adopted the same standard, and over the years other nations
have followed. Thus. this standard is one of the oldest international conventions.
This, therefore, is the basis for the left and right stereo
slide color marking system. I urge all stereographers to
adopt it for their own.

by David Starkman
As the story of the discovery of the Tomb of King TutAnkh-Amun goes, in November of 1922 the archaeologist
Howard Carter and his wealthy backer Lord Carnarvon
made their way to the debris covered entrance that theEgyptians had sealed some 3,500 years earlier. This led themdown an approach corridor to the sealed entrance to thetomb chambers. A hole was broken through at eye level,
and Carter shone a light through it into the space beyond.
He was struck dumb by what he saw, and when Carnarvon
asked impatiently, "Can you see anything" his reply was,"Yes, wondrous things!"
This is how Susan Pinsky and I felt on the afternoon of

INVENTOR DONATES REALIST PR(
April 23,1985 when we went to the California Museum of
Photography at the University of California at Riverside tovisit Seton and Isabelle Rochwite. For those readers who
don't know Seton, he is the inventor of the Stereo Realist
camera. His working design produced exactly the same format which was used in the production version of the Stereo
Realist, and was to eventually become the "American Standard" for stereo photography. Kodak, Revere, Wollensak,
TDC and numerous others all followed the same format.
This day was special because Seton had decided that it
was finally time to donate all of his prototype cameras to theMuseum, and we wanted to be on hand for the occasion(and take a few stereo pictures, too!)"Wondrous things!" is just what came to my mind as
Seton began taking one marvelous item after another out ofplain cardboard boxes. Among the treasures:
Camera No. 1. Built in 1931 out of 2 Kodak 50th Anniversary box cameras that cost 406 each (an amount which
required some debate before purchasing in these early
Depression years!) This took large size rollfilm, and he madecontact prints which were mounted on 3% X 7 inch cards,
for viewing in an antique style stereoscope.
Camera No. 2. Seton had a friend who was taking themuch more expensive 45 X 107mm transparencies, whichwere far superior to the prints. This inspired him to makea much more sophisticated camera in 1933, from two German Dolly half vest pocket cameras ($11 each). This used
127 rollfilm in a way which left no film wastage. Positive
slides were made from the negatives in a transposing print
frame.
Camera No. 3. In 1935 Kodak introduced Kodachromein 16mm, followed by 35mm size in 1937. Seton was excitedby this, and thought that this new possibility would inspirea camera company to make a stereo camera to take advantage of this new color slide film. No such camera was introduced, so in 2940 Seton made his third and most significant design.

Using the lenses and other parts from two Univex Mercury's, he created a simple design with pictures 5 perforations wide, and a spacing between them of 15 perforations.
This resulted in a uniform film advance of ten perforations,and left room for two frames between each pair. This meantthat the entire film area was used, except for one frame at
the beginning and end of each roll.
There were no masks for this format, so Seton made hisown, stamping each film aperture with a die stamp made forhim by his father. The only thin glass readily available in asuitable size was made for the 3% X 4" lantern slides. Simply cutting it in two along the long dimension resulted in the
now familiar 1 5 / 8 X 4" size. This is the design that he took
to the David White Company, and led to their making theStereo Realist.
StereoscopeNo. 1. Seton used a German 45 X 107viewer
to view his slides. After negotiating with David White Company he knew he had to have something better to go withthe camera. For this he designed and built the prototype forthe first stereoscope with built-in battery illumination. It
was remarkably similar to the familiar "Red Button" Realist
viewer that we now know so well.
All of the above mentioned items, and more, still exist,
and are now in the possession of the California Museum of
Photography, available for researchers to study, and to be
exhibited. I don't know when they will first be put on
display, but they will definitely be part of a large stereo exhibit that the Museum will have in conjunction with the National Stereoscopic Association Convention there in June
1986. Susan and I plan to work on a "History of the Stereo
Realist Through Advertising" slide show, which may appropriately be shown at the same time.
Also the home of the huge Keystone-Mast stereo view
collection, the California Museum of Photography islocated in Watkins House on Canyon Crest Drive, University of California, Riverside. Telephone number for more
information is (714) 787-4787.

'OTYPE TO CALIFORNIA MUSEUM\a ,Seton Rochwite unpacks the prototype/of the Stereo Realist Camera. All
photos b y David Starkman.

Seton explains the prototype Realist
and the story behlnd it to Museum
Curator Charles Desmarais.
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3-D AT THE FAIR-

cene from "Earth Song-Erika's Dream", the film at thelitorno Pavilion's ' 2 - 0 Fantasium". (shot and prdjected withk'

the twin camera, dual projector Stereo-Space (TM)70mm system.)

EXPO '85's HIGH-PROFILE,
HIGH TECH STEREO
by Don Marren

Not everyone is lucky enough to attend Expo '85 in
Tsukuba, Japan, this year-including the author of this article. Our 3 - 0 eyes for this report belong to Brian Holmes
who recently visited the world2 fair along with colleagues
from The Far East Society of Architecture and Engineering.
Brian, who is currently working on three film presentations
for Vancouver's Expo '86, was consultant and technicalcoordinator of the 70mm dual projector 3 - 0 film,"Wilderness", at Sudbury's Science Centre (see STEREOWORLD, Jan./Feb. '85). His first-hand observations,
together with the technological data supplied b y thepavilions themselves (see acknowledgements), form thebasis of this article. Brian considers 3 - 0 to be well
represented at Tsukuba (pronounced scuba with a short u)and he believes he got to see all the presentations. The bottom line of his observations: if you have any kind of interestin 3 - 0 stereo photography, make tracks for Expo '85 immediately! The fair runs until Sept. 16. (Some very stylish
photos o f the fair grounds and buildings can be seen in theJune '85 issue of OMNl magazine.)
No one seems to know why there is such an interest in 3-D
at Tsukuba's Expo '85. Is it a result of Hollywood's mini 3-D

revival a few years ago? Not likely. Many of the projects at
Tsukuba would have started production after that bubble
burst. It may just be a coincidencethat many of the businessgroups in Japan, the most technological of modem societies,
chose advanced 3-D techniques to illustrate the fair's theme,"Dwellings and Surroundings: Science and Technology for
Man at Home."
However, one of the likeliest reasons can be found in thecontents of the films themselves. All of the 3-D presentations
have futuristic or scientific themes which seem to be expressed best-and more effectively-with creative 3-D filmmaking. Under controlled 3-D projection conditions, which
you'll find at Tsukuba, the impact can be astonishing.
Never underestimate the power of 3-D even in thesophisticated 80s. When used only as a gimmick, 3-D has
always been an attention getter. The producers at Tsukuba,
realizing 3-D's potential to help generate interest, have used
the medium effectively to create films that are both popularand critical successes.
It's particularly interesting to note that three of the four
major 3-D presentations use stereo techniques developed in
the U.S. and Canada.

1

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o .8701'1.870"-935"

0;@ 1983 StereoVision Int'l, Inc.
Camera film for the TENPERF (TM) system isn't as wide as thefull 70mm release prints. For each pair, the film moves ten

sprocket holes (nearly 2") in the camera or projector, the lenssystems separating and combining the images.

Some of the 70mm over/under frames from "Eternal Iron andMan", the 3 - 0 film at the Steel Pavilion shot with the new
StereoVision (TM) TENPERF (TM) camera. Left and right images
are separated b y the "soft"frame line.

For the record, about four million pairs of 3-D glasses will
be given away at Expo '85. Most are the standard 2" lens
The only exceptions are the approximately 2% "lens glasses used for the a n a d ~ film
~ h at the Fujitsu Pavilion
and the huge 3% "wide glasses used in a slide show presentation at the Electric Power Pavilion. The latter glasses area gimmick and are reported to cost about $13 (U.S.) each--amajor expense for such a minor show.

Lasers plus 124 speakers
The imaginative suspended structure (really a sea bridge)of the Steel Pavilion is itself an exhibit. (The Japan Iron andSteel Federation consists of 48 member firms, so one can on-ly imagine the technological and financial resources thatwere drawn upon to create this spectacular pavilion and its
exhibits.) The huge Exhibition Hall, which contains the 180°
rotating Stereo-Vision theater, is suspended from parallelwire cables. The theater is one of the largest in the world,even though it only seats 380. A two-minute laser show
spread over the entire audience area effectively prepares you
for the first shot of the 70mm 3-D film, a cosmic space, on
the big 65% ' x 29% ' screen. This exciting environment isreinforced with 124 stereo speakers. Yamaha designed thesound system specifically for the
The 14-minute film, "Eternal Iron and Man", describes a
steel ball moving towards the blue Earth, with the starstudded sky as a background. The ball represents the "irona symbol of iron, which ~ a ~ e ~ ~ o s c o appears
p~ca~~yoverall, it is an extremeto Connectspace, nature andly effective theme subject for such a large screen 3-D
presentation.
The over and under 70mm 3-D system used wasdeveloped by Stereovision (TM)of the U.S. utilizing a compact Den-ei and Stereovision Super 70, 10-perforation
camera. The system is similar in concept to that which isJapanese steel industry
challenge to the NBA? A
stereo pair from the singlestrip 70mm 3 - 0 film "Eternal
Iron and Man".

used in the usual 35mm theatrical presentations. The Steel
Pavilion film is most impressive. The one-camera shooting
technique demonstrates its compact size and the flexibilityof the system in many scenes. Special effects, long, longshots, computer graphics and images with objects of various
sizes often create headaches for the over and under format.
The Steel Pavilion film manages to effectively show what
is possible in spite of these restrictions.

Ice crystalsfill thespectator's field of views in the first 3 - 0 O M NIMAXfilm, "WeAre Born of Stars"shown in anaglyphicprojection on the huge hemispherical screen at the Fujitsu Pavilion.

Two visual treats from Sumitomo
A floating cube outside the Sumitomo Pavilion's 3-D Fantasium symbolizes the concept of the 70mm 3-D film chosen
as the main exhibit inside. (The Sumitomo Group, ahousehold name in Japan, consists of 55 member companies
including breweries, banks, petroleum developers, construction, pharmaceutical, mining and forestry companies.)
The cubic frame isn't really floating. A mirrored wall helps
create the illusion of the entire frame jutting out from thebuilding's facade. Because of its location on the Expo site,
the cube is an eye-catcher, especiallywhen viewed with thedramatic night-time lighting of the pavilion.
Sumitomo has another visual treat awaiting visitors intheir main auditorium. The 17-minute film, "Earth SongErika's Dream", incorporates 3-D Stereo-Space (TM)techniques developed in the U.S. by United Artists. It has
all the eye-pleasing features one expects to see in a dualprojection system - amazing clarity and brightness from one
end of the 59 x 27% foot screen to the other. This film, alongwith Sudbury's Science North presentation, may set the industry standard which future dual-shooting/projection
70mm 3-D films will be compared to. Both are proof that
effective 3-D films can be made without having objects
thrust at your face every few minutes regardless of the story
line.
The Sumitomo film is beautifully and tastefully
photographed. It describes the relationship between man
and nature as experienced by a young girl and her dog ona fantasy balloon trip through nature's kingdom. Onlocation drama is effectively combined with colorful computer graphics to tell the story. Big thrills have their placein some films, but it's a pleasure to see directors andphotographers using stereo to complement the story rather
than as an annoying gimmick.
Surround-sound enthusiasts will be delighted with themulti-channel stereo effects. The music score, which
enhances the film's 3-D format, was composed by Ryuichi
Sakamoto, a world-famous Japanese composer.

Ultra-large screen anaglyph 3-D
The last place you'd expect to see anaglyph 3-D is at an1985 exposition. Yet, here it is at the Fujitsu Pavilion, andit's one of Expo '85's most popular attractions. (Fujitsu isJapan's number one computer manufacturer and a world

leader in communications technology.) Crowds run to thepavilion when the fair's gates open. Line-ups are anywherefrom 2 to 5 hours to see "We are Born of Stars", a 10-minutescientific fantasy in the Cosmos Dome theater. (Other acclaimed exhibits here include the world's largest humanoid
robot, a must-see for all visitors.)
Canada can take a bow here as credit for the super-large
projection belongs to that country's IMAX System Corporation. This is the thrill-a-minute 3-D experience many
people seem to enjoy. The audience, which is stepped-backat 23O beneath the screen, is literally surrounded with images. Viewers in the center face images of hurtling atoms
from all sides. Meteorites flying towards you disappear to
one side or behind.
There is a logical reason for the use of the anaglyph 3-D
system. With a polarized projection system, the angle of thefilter, with respect to the usual screen image, must always
be as close to zero as possible to produce a 3-D image. ThisThe standard 35mm overhnderformat (as used in most recent
3 - 0 theatrical releases) was
e m p l o y e d in the Hitachi
Pavilion's computer graphics
space voyage film.

method cannot work for the Ornnimax hemispherical screenin the Cosmos Dome. The 65% foot screen is angled 29O tothe seating, and the film must be projected across a range of180' horizontally and 125O vertically. In other words, thevariety of viewing angles is too varied for polarizers towork. Using anaglyph red/blue filter glasses, the audiencecan see the 3-D image regardless of the angle of view.
The use of computer graphics came about out of necessity. To fill the huge spherical screen, a film would have had
to be shot using ultra-wide fisheye lens cameras. In actual
fact, they're too large to be placed close together to simulate
the parallax of the human eye. Even if smaller fisheye lenscameras were developed, each would be reflected in theother's image!
- This can also be the case with dual-camera
rig systems using standard wide-angle lenses. Computer
graphics overcame not only this problem but the headacheof producing images with a large depth of field.
The distortion factor on the huge screen was the next consideration. To overcome this, the images put on film weredistorted with a special computer program so that when
they were projected there would be no distortion. It's anenormous number-crunching task. (An ice crystal sequence
simulation, for example, required 70 hours of computing
time for the high-speed serial processing.) The highresolution graphics were generated according to data processed by one of the world's largest and fastest supercomputers, the Fujitsu FACOM M-380 mainframe (large scale)computer.
From the audience's point of view, the results are surprisingly effective. It's a thrilling 3-D presentation. Don't expect perfection though. There is an overall hint of a pinktinge (common to any anaglyph presentation) and the film
is not as bright or as sharp as we had hoped for. Still, evenwith these slight flaws, "We are Born of Stars" confirms theeffectiveness a very large 3-D image can have on an
audience.

The unique 70mm Omnimax film (15 perforations perframe, the largest size film format currently in use) isenhanced with 13 sound channels and 18 speakers for a
maximum surround-sound effect.

3-D color computer graphics
The unique circular-shaped rotating theater in the Hitachi
Pavilion lets you enjoy shows on three different stages
without leaving your seat. (A fourth stage is the entrance
and exit compartment.) Enjoy is not quite the accurate term
to describe the quaint, old-fashioned animation of the second theater. The third theater makes the wait worth while.
It's here that you see a 35mm over and under 3-D film
simulating a trip into outer space in what is being billed as
the world's first 3-D color computer graphics film. It's probably one of the best 35mm 3-D film presentations you'relikely to see anywhere. Three screens are used. The 3-D image is projected on the center screen while two non 3-D images are projected on two side screens to "flesh out" the35mm 3-D presentation.
Once again, stereo sound, accurately described as "seatshaking", completes the illusion of a voyage through space.
Haruji Yoshinaga of Den-ei Inc. produced the film. John
Whitney Jr., a world leader in the field of computer
graphics, created the film along with creative supervisor
Murray Lerner, one of today's foremost authorities on 3-D
images. Lerner directed the 3-D short "Sea Dreams" and thetwin 70mm 3-D film at Epcot, "Magic Journeys". (His 2-D
documentary "From Mao to Mozart: Isaac Stern in China"
won a 1981 Academy Award.) Digital Productions of Los
Angeles deserves much credit for the real-looking computer
graphics. Twenty minutes of the film 'The Last Starfighter"used only their computer generated special effects rather
than the usual model work.

ONE-AT-A-TIME 3-D TV
At the Matsushita Pavilion, 12-inch 3-D color TV is on-over the audience. .

ly one of many exhibits. And it's probably the smallest andperhaps least important exhibit (dare we say it) when compared to the large scale events happening around it. Threescreen liauid crvstal imanes,
high-definition
video and.
portrait-drawing robots all have their place of importancehere.
Be prepared for a line-up of people waiting to see the 3-D
TV curiosity. Only one person can view it properly at atime. The images often tend to be murky, but listen, a breakthrough is a breakthrough. Brian feels that although thissystem is an astonishing achievement its application will be
specialized.
How does it work7 Matsushita's press report says it best.
Five video cameras are fixed so that each is directed to an
object making certain angles with each other. Video recording is made by operating these five cameras synchronously. The five video images, once recorded, are reproduced bysynchronizing the signals through a synchronous operation
control unit. The images are then projected by a color video
projection unit which uses 5 ultra-small, high brightness andhigh-resolution projection tubes and a specially developed
screen involving a fresnel lens behind a two-sided lenticularlens screen.
Matsushita forsees the system being feasible in a variety
of applications including education, medical and entertainment purposes. The company expects the new system to bea prototype from which more real and life-like 3-D effects
can be attained through future advancement of technology
and computer graphics technology. We wish them luck.

Besides 3-D
Tsukuba '85 is a wonderland of scientific marvels in action. For obvious reasons we've concentrated on the 3-D
presentations. 28 Japanese corporations, 47 foreign coun-

-5

L..

In a cabinet that assures proper viewing angle and distance, 3 - 0
TVwithoutglasses is displayed b y Matsushita (known in North
America as Panasonic).

tries and 37 international organizations are represented.
Some of the gigantic innovations presented seem to havebeen designed with one eye focused on the Guiness Book ofWorld Records. Sony, for example, has the world's largest
television screen (about the size of the screen at a drive-in
theater). The list of "the biggest", "the largest" and "the first"
goes on and on. Robots pop up everywhere. Holography
becomes just another exhibition tool. There are lots ofhands-on displays and the pavilions' architecture is nearly
always as interesting as the presentations inside. Cones,
spheres and pyramids galore dot the 250 acre site. The
Japanese Government Theme and History Pavilions mustn't
be missed. They look like a zillion (probably cost that,
too-yen, of course) and feature exceptional state-of-theart exhibitions and displays.

More World's Fairs are coming!
A reminder to World's Fair watchers. The next one is in
Vancouver, Canada, next year (two major 3-D presentations that we know of are already in production). There's
another in Brisbane, Australia, in 1988, and then there's thebiggie in Chicago in 1992 which will be the first Class A
World's Fair since Osaka in 1970 and Montreal in 1967.
Start making plans-and saving! Who knows what will behappening in the world of 3-D a few years down the road7
Acknowledgements and credits
Everybody at Tsukuba was eager to please not only
visitors to the fair but the less fortunate who couldn't attend
and wanted information about specific exhibits. Their
courtesy and eagerness to contribute to this article is appreciated. We would like to thank the following:
Yoshio Kimura, Acting General Manager for Foreign Affairs at the Steel Pavilion; T. Sugiura of Den-ei Inc.; T. Ishizski, Assistant Manager and Yosihiro Ito, Deputy General
Manager of the Sumitomo Pavilion; the Fujitsu Pavilion
staff, especially Mr. Ikegaki; Akira Ishii at the Matsushita
Pavilion; Kouichi Enomoto, Manager, Public Affairs at the
Hitachi Pavilion; Haruji Yoshinaga, producer of the Hitachi
3-D film; and the staff of the Canada Pavilion for the use of
their "office" and translation facilities.
The size of novelty shop sunglasses, these "please return"g1asses
make the audience as interesting as theslides at the Electric Power
Pavilion's small 3 - 0 show.

(SEE BOXED NOTE ON PAGE 33)

COMPUTING REAL
by Nick Brienza
With the introduction of the public domain ATARI software [I]to produce CAD-type 3-D graphics, owners of
ATARI computers have a powerful new graphics tool attheir disposal. It is now possible to create and edit ATARI
3-D graphic images at a fraction of the cost of other systems.
You can manipulate these images: they can be edited,"zoomed (reduced or enlarged), and rotated about the x,y, and z axes. But the real bonus is that you can see them intrue stereoscopic 3-D perspective.
The 3-D program as originally presented (ANALOG #16)
provided for a 2.25" x 3.75" simulated 3-D graphic image
plotted on an ATARI 1020 Plotter/Printer. In this original
program, after you draw one image, you are prompted toenter new coordinates and zoom ratio to draw a second image; the user inputs all requested information-in a form
identical to the first image, with the exception of one (orpossibly two) entries. This will create the "true" 3-D image
pair required for stereoscopic viewing. The size of each image and the distance between successive images, as plottedwith this "original"program, turn out to be very close to thestandard stereo viewing format for prints. These images
may be "free-viewed as described periodically in STEREOWORLD.
Or, there are available several stereo viewing aids for
those of you recovering from "free-viewing calisthenics" (aswell as anyone who wants an alternate way to view stereo
images).
For relatively "small" images-such as those generated on
the Atari plotter with the original program-one can use a

Fig. 1. "FuturisticSpace Shuttle" done with ATARl plotter
and original programshown actual size. @ 1985
Nick Brienza

Holmes stereo viewer that can be purchased from sourcesthat advertise in STEREO WORLDsuch as RedWing View
Co., T.M. Visual Industries, Mr. Poster, Mast-Keystone
and Reel 3-D Enterprises.
A relatively inexpensive, compact and ideally suited
viewer for the 2% "wide images of the original ATARI program is the "Stereopticon 707" made by Taylor-Merchant.
In a subsequent issue of ANALOG (#22, p. 84) a
modification to the original program was presented that
produces larger plotted images (6.25" x 3.75"). These images
are too large to view with the standard viewers just described, and most individuals capable of free-viewing thesmaller images will find free-viewing the larger images a real
challenge.
But, once again, there are other tools you can use. You
can construct your own viewer using front-surface mirrors,
as described in CREATIVE COMPUTING (Jan. '83, page168)or, as I prefer, you can purchase an excellent adjustableviewer for this purpose from NU 3-D W Co. Since the mirrors in this viewer are adjustable it has the special advantagethat images of any size and distance apart may be stereoptically viewed, including large-screen projections andphotographic prints.

BASICSTo get a correct stereo plotter image pair you must first
generate one image and then generate the second image as
though the viewer had moved a "small" distance in the direction the second image would be as it comes off the plotter.
This direction relationship is important because a reversal

Enter coordinates looked at X,Y,Z:of the first and second images would cause
O,O,O
pseudoscopy:reverse stereoscopy where things in theEnter zoom factor:
1
background would appear in the foreground and vice versa.
(Figure2)
Since plotter images generated by the original program
The images produced by this method are too large foralways have the Y-axis horizontal to the plotter paper as itleaves the plotter all rotation between successive images
freeviewing or standard stereoscopes or full reproduction
hereshould be about the Y-axis. For successive images, specify
ANALOG #19 (June '84, p. 95) introduced an enhancenew increments of X and/or Z.
ment to the basic Program providing the user with the OPA specific example of generating a stereo pair would betion to "rotate" around the object/image. This works out
to use the data entry for the "futuristic space shuttleu into
ideally with the larger stereo images because of the correct
program and then answer the computerthe original
image
rotation involving the X,Y and Z coordinates vs. theprompts for the first image with the following:
direction which the images come off the plotter. (NOTE: If
DMA off?
YES
you use this rotation-enhanced version of the program to
Output to plotter?
YES
generate
the smaller plotter images, you must cut between(Your response depends
File or keyboard input?
thestereoimage pair and then place them side-by-side foron whether you have already saved theviewing, being absolutely certain that you align themdata to a data file)horizontally and vertically.)Enter observer location X,Y,Z or E
When you run the program with this enhancement you
for edit:
0,-45,7Enter coordinates looked at X,Y,Z:o,o,owill be prompted with:"Do you want to do an X-Y loop?"Enter zoom factor:
1
If you answer "YES", you will be prompted to enter the
When the drawing is complete, press START,SELECT,
degrees of total rotation and the number of degree inOPTION or the joystick#l trigger to start the second imagecrements. A good trial value with which to answer both
plot sequence. This time the responses are:questions is in the range of 2 to 4 degrees. Too large a valueEnter observer location X,Y,Z or E for edit:
generates images with too great a disparity to view; too
0, -45,5
small a value reduces the 3-D effect.
Enter coordinates looked at X,Y,Z:
This method eliminates the need to re-enter X,Y,Z coorO,O,O
dinatesand the zoom factor for successive 3-D image pairs.
Enter zoom factor:
1
Of special interest to note is that, in all of the examples(Figure 1)
give", the 3-D image can be made to appear behind, in front
must notNote that the Zoom Factor andof, or emerging through the "stereo windowu-this is detervary between the first and second images.
mined by your response to the prompt: "Enter Coordinates
A modification to the original program appeared in
at X ~ Y ~ Z " ANALOG #22 (p.84), and it generates larger images. These
The portions
the image which are bey0nd theseimages are rotated 90 degrees to those of the original prospecified
coordinates
gram; therefore, instead of the ~~remaining~~~di fall behind~~the "window",~~the image~
pointswhich
precedethespecifiedcoordinatesarein front
constant, the ~~must ~
now not~ vary~between
d
i
~
~
~
~
~
of the 'kindow", and the image points which are at the same
successive images. ~~~~~i~~now takes place about the Zdistance as the specified coordinates lie in the "window"
would be:axis. A sample computer entry for theplane.
Enter observer location X, Y, Z or E for edit:
Give it a try; let your imagination come to life in 3-D!
-1,-45,6
REFERENCES
Enter coordinates looked at X,Y,Z:
ANALOG Computing (newsstand computer magazine),o,o,o
565 Main St ., Cherry Valley, MA 01611; Red Wing View
Enter zoom factor:
1Co., 1234 Phelps, Red Wing, MN 55066; T.M. Visual InFor the second image enter:
dustries Inc., 212 W. 35 St., N.Y., N.Y. 10001; Mr. Poster,Enter observer location X,Y,Z or E for edit:Box 1883, So. Hackensack, N.J. 07606; Mast-Keystone,
1,-45,6(-1, -+J, l )(continued on page 39)(*, * v)( 1)(1,-+5d)(#,9@)<1)

1

1

Fig. 2. Plotter drawing fromthe m o d i f i e d p r o g r a m ,shown a little less than 1 / 2
size. O 1985 Nick Brienza

OLIVER WENDELL HOLMES STEREOSCOPIC RESEARCH LIBRARY, EASTERN COLLEGE, ST. DAVIDS, PA 19087

BOOK REVIEW
Most Librarians recognize that many valuable resource
volumes remain untouched in most Libraries. People do notknow how to find the information they want or would enjoy. Not everything is cataloged for easy retrieval. If only
we had the time to browse we would be amazed at how
much we could learn from the experts.
Since very few people have the opportunity to visit the
Oliver Wendell Holmes Stereoscopic Research Library, it
may be of interest to our NSA members to know of someof the books we possess. Here's one:
Aerial Photographs in Forestry by Stephen H . Spurr,
Assistant Professor of Forestry, Harvard University,
The Ronald Press, New York, 1948, 340 pp.
Though the author was primarily concerned in 1948withthe use of aerial photographs in forest mapping, inventory
and other phases of forest management, several chaptersdeal specifically with stereophotography. Chapter 10,"Stereoscopy," provides one of the most thorough introductions to stereo that I have ever read. There is an excellent
description contrasting monocular and binocular vision
with suggestions for the reader to experiment.
Recognizing the limitations of the prism stereoscope normally used in parlor viewing, such as with a Holmes
Stereoscope, the author illustrates the usage of the mirror
reflecting stereoscope equipped with magnifying binoculars.
However, he finds the lens stereoscope more suitable for the
study of ~orests.He provides a very iechnical description ofphotogrammetry, the science of obtaining reliablemeasurements by means of photographs. Collectors ofstereo images may have little interest in the techniques ofaerial photo-interpretation, but the broad application ofstereophotography must impress us all.
Tkie book refers to several types of stereoviewers such as
The Multiscope, The Stereotopograph, The K.E.K. Plotter,
The Mahan Plotter, The Wernstedt Plotter and the Ryker
PL-3 Stereoscopic Plotter.
Then there are the Fairchild stereocomparagraph, theStereo-scanner bv C. T. Brown,. .Tr.,. and the Abrams Contour Finder. hy
similar devices would be welcome gifts for
the Oliver Wendell Holmes Stereoscopic Research Library.

BUILD YOUR OWN LIBRARY
As a new feature of this Library Report for the next few
issues, I would like to list specific books that should be a partof a personal (home) library on stereophotography andstereoscopy. To begin, I will mention books that are in theHolmes Library. Hopefully, some of our members will send
lists of the five most significant books in their own
collections.

1. Darrah, William Culp, Stereoviews, A History of
Stereographs in America and their Collection, Times
and News Publishing Co., Gettysburg, PA., 1964.
2. Moss, George H. Jr., Double Exposure. Early
stereographic views of Historic Monmouth County,
New Jersey and their relationship to Pioneer
Photography. The Ploughshare Press, Sea Bright, NJ
1971.
3. Palmquist, Peter E. Lawrence andHouseworth/Thomas Houseworth and Company. A
unique view of the West 1860-1886. National
Stereoscopic Association, 1980.
4. Darrah, William C. The World of Stereographs, Gettysburg, PA 1977.
5. Brewster, Sir David. The Stereoscope, Its History,
Theory and Construction, Morgan & Morgan, Inc.
Hastings on Hudson, NY, 1971. Facsimile of 1856
classic.

Donations Received
Wish You Were Here The English at Play.
Photographs by Patrick Ward, Commentary by James
Cameron. Westerham Press, Westerham, Kent.
Donated by Freeman Hepburn.
The Day Before Yesterday A photographic album of
daily life in Victorian and Edwardian Britain. (Over
300 nostalgic and rare photographs by Francis Frithand others. Charles Scribner's Sons, New York, 1978.
Donated by Freeman Hepburn.

Bibliography Available
A typed list of all books in the Library is now available
upon request. Please send $1 for postage and handling.
7

MAX vs. MAX
IMAX and OMNIMAX films use the samelarge-format frame size and are produced by thesame Canadian company, but that's where thesimilarity ends. The IMAX system projects images on a flat (slightly curved) rectangular
screen, while the OMNIMAX system uses adome, planetarium-style screen like the one in
the Fujitsu Pavilion.
Unlike OMNIMAX, 3-D photography andpolarized projection ARE possible with the
IMAX system-and a 3-D IMAX film is in production for Expo '86 in Vancouver B.C. (Moredetails in a future issue of STEREO WORLD).

Video Monitor

by David Starkman
Current information on stereo TODAY: new equipment,
developments, magazine and newspaper articles, or 3-D
events. This column depends on readers for information.
(We don't know everything.) Send information or questions
to David Starkman, PO Box 35, Duarte, CA 91010.

A NEW

POLARIZED
3-D TV UNIT
Tektronix Inc. of Beaverton, Oregon has demonstrated
a new 3-D TV system that combines the newest liquid
crystal shuttering technology with standard polarized viewing methods. The result is a stereoscopic color video image
that can be seen with regular polarized glasses.
The heart of the system is the liquid crystal "picell" shutter with its improved light transmitting abilities over the"PLZT" ceramic electro-optical shutters used in some cur-'rent 3-D TV systems. (These are built into goggles worn by
the viewer, which are electronically connected to the synchronizing device controlling the left/right image selection
on the screen.) To avoid the need to wear plugged-in goggles, it was realized some years ago that it would be best toalternate angles of polarization at the screen along with thealternating images. This would allow the use of simple
polarizing glasses, and the concept was tried using PLZT
ceramics as the optical switching device in what is known
as a "passive" viewing system.
Tektronix' new liquid crystal shutter has the lighttransmitting ability to make this kind of passive system
practical. As with other systems, the two images are
displayed sequentially on alternate scan fields. A linear
polarizer is placed directly in front of the screen. The "picell" liquid crystal shutter operates in front of the polarizer,
synchronized with the alternating images on the screen
through a display controller. When a voltage is applied to

Stereoscopic video image as
seen through the Tektronix"polarization encoder" liquid
crystal shutter. Photographed directly from the screen
through polarizing glasses
with a stereo camera. Computergraphics by the Department of Computer Science,
University of North Carolina.

the cell, light passing through it is polarized in one
direction-when the voltage is removed, light is polarized
in the other direction. The result is an image that can beviewed exactly like a projected polarized slide or film.
Press ~ a c k e tannouncinas
the-new Tektronix svstem are
careful to point out the many advantages of passive polarized viewing over the "active" shuttering goggles requiredfor other systems. The goggles require an "umbilical cord"connecting them to the display &it; fluorescent lights willappear to flicker through them; any other video screens in
the room not synchronized to the goggles will flicker badly; only as many people can view the screen at once as there
are goggles available and finally, the goggles are susceptible to accidental damage.
A demonstration of the system arranged for STEREOWORLD revealed just how bright and sharp a stereoscopic
video display can be. Attached to the front of a regular Sonycolor monitor, the liquid crystal shutter seemed to make thesurface of the screen vanish the instant polarized glasses
were put on. Images fused easily, with objects appearing
both behind and in front of the window-sometimes witha depth requiring a wide range of point separation in both
directions.
It was hard to detect any ghosting in the sequentiallypolarized images, but there was an obvious flicker to the
fused picture. The standard recorder and monitor being
used to exhibit the system had the usual 60 per second "fieldrate" which allows a visible flicker when divided in half (30fields per second for each eye) by the controller and liquid
crystal shutter. (Human vision needs a video field rate of atleast 50 per second to avoid flicker.)
The Stereographics Corporation of San Rafael, CA uses
a patented technology to double the field rate of their special
monitors, resulting in flicker-free 3-D viewing through their
shuttering goggles. According to a Tektronix engineer, their.,Space Shuttle flies out of acomputer and into the room
via the proprietary "pi-cell"light polarization switch.
Graphics by Department ofComputer Science, Universit y of North Carolina.

new polarized liquid crystal shutter will work equally wellwith such improved monitors, and Tektronix' own research
is currently aimed at perfecting a high field rate, high image
quality monitor for stereoscopic applications.
Unlike the Stereographics Corp., Tektronix isn't planning a complete system of stereo camera, adjustable mountbars and accessories. The new liquid crystal shutter
technology is aimed at industrial and institutional users ofsophisticated computer graphic imaging systems, many ofwhom would be expected to adapt the shutter to their own
needs and hardware. The orientation toward computer
graphics was made clear by the fact that the Tektronix
demonstration tape consisted of 100% computer-generated
stereo-pairs-no camera images at all.
Even if its initial use is limited to highly specialized applications seen by relatively few people, the Tektronix shuttering/polarizing system is an important achievement that
could become the standard method of 3-D TV display-andthe basis on which future refinements are made. If highresolution cable or satellite TV systems ever appear, the liquid crystal shutter could be considered as a possible feature
to include in the next generation of receivers.
The Tektronix shutter could easily be adapted to current
TV uroiection
svstems and could also be altered to function,
as a circular polarizer compatible with the new Polaroid I1
viewing glasses, as used at the 1984 NSA Convention.
-J.D.

.

NEW BOOK ABOUT 3-D CAMERAS"Stereokameras von 1940bis 1984" (Stereo Cameras from1940 to 1984) is a new book published in Germany (and inGerman) bv Dr. Werner Weiser.
Even k you don't speak German, this is a fabulous bookfor stereo camera fans and collectors, as it beautifully
documents 42 stereo cameras of this period. Every otherpage contains 3 large photos of one stereo camera showing
front, top and open rear views. The facing page gives a complete list of technical specifications. Even in German thespecifications are mostly pretty obvious, as numbers suchas "24 x 23mm" are international.
The majority of the cameras are the standard Stereo
Realist format, but some of the more obscure ones such as
the Contura, Simda, Robin Hood, and Stereo Rocca areshown. The printing is well done, on heavy paper.
You can order your copy direct from: Dr. Werner Wieser,
Siegelberg57,5600 Wuppertal23, West Germany. Price, in-cluding shipping, is US$12.00.
P.S. There were a few truly obscure stereo cameras that
Dr. Weiser admits he could not find for inclusion. These
were the Japanese "Leader" and "Windsor", the French"Summum Stereochrome", the American "Winpro Stereo",
the German "Rhein" and "Inventa", and the Russian"Astra". If any "Stereo World" reader can supply suitable
photos of these I'm sure that Dr. Lorenz would very muchappreciate it.

TEN USES FOR A NIMSLO
Me1 Gerson of Brooklyn, New York has compiled a listof ten uses he's thought of for a Nimslo camera, usingtransparency as well as negative film. Got some others to
add? Send'm in!
1. 3-D prints-no viewer type (normal Nimslo prints)
2. Standard 3-D (viewer type) when mounted (2frames) in stereo frames (tape over the center 2
lenses, when shooting)
3. Standard 3-D prints (stereoscope style) when lens 1& 4 negs. are printed & mounted side by side
4. 4 dupe half-frame slides at a time for novelty uses,
key chains, etc., especially for family groups
5. 4 dupe color prints at a time-when sent for halfframe processing
6. Test special effects-put diff filter or gel over eachlens (can leave one plain to get a standard print orslide)
7. After getting 3-D processing-negs can also be used
for standard enlargements or slide dupes
8. Use 1pair-each in a 1/2-frame mount for 3-D projection with 2 slide projectors & filters
9. You can get 2 ranges of close-ups (using supplementary lenses) by using frame combinations of 2 & 4
and2 & 3
10. By using Polaroid's instant 35mm slide films,
Polapan (ASA 125), and high contrast Polagraph(ASA 400) you can get instant black and white 3-D
shots for special effects(Watch in a future issue of STEREO WORLD for a Nimslo
application that VERY few people (including M r . Gerson)
have imagined!)Remember the "Hanging of Mills" from page 28 in the
JAN/FEB '85 issue? According to Rusty Norton the scene
was in Vermont. A related and more dramatic view was
published in Points of View:The Stereograph in AmericaA Cultural History, edited by Edward Earle. Rusty also hasa slightly different view but from the same angle as the one
we published.
From that same issue we had a view of the County Courthouse in Freeport, Illinois, by Jacob Whitter. Ward Ryanfurnished the information that Whitter was not only locatedin Freeport, but also spent some time in Colorado withshops in Denver and Georgetown, both by himself and in
partnership with William McKirahan during the 1870's andearly 1880's. His western views had titles like "Bear Skin
Rug", "Beaver Brook", and "Ute Indian & Squaw".

"Entrance to the Cave" from the top of page 29 in the
MAR/APR issue this year was identified as Central Park in
Manhattan by Larry Gottheim and Jim Quinlan. It was amanmade cave photographed by many. This view was
taken by George Stacy, probably in the late 1850fs,as partof a 60-view series published around 1860 as "Stacy's Central Park, with strip labels on the reverse. He later published several editions that generally did not give his name, but
all have the unique format in which the sides go straight up
until they are capped by the domed top, instead of graduallycurving into the arch. The unknown view was reissued
around 1864-66 and retitled "Central Park, The Ramble,
No. 522:'.

Keystone seems to have been rather careless about labelling some of their views. Francis Rizzari and David Olsen
informed us that the mining camp of "Nevada" shown at the
top of page 28 in the MAR/APR '85 issue is actually Black
Hawk, Colorado, located about a mile from the famous
Central City. Black Hawk was incorporated in 1864, andnamed after the Black Hawk Quartz Mill Co. of Rock
Island, 111. The white t s t o r y building with three windows
across each floor is the schoolhouse that was completed in
1869. The white steeple visible above the school's roof is the
Presbyterian church that was completed in 1863. The
famous mining entrepreneur H.A.W. Tabor once owned(continued on page 47)

by Peter E. Palmquist
Glenn Gardner Willumson, Alfred A . Hart: Photographerof the Transcontinental Railroad, unpublished MA Thesis
in Art History, University of California, Davis, 1984.
When you think of Western railroads you cannot avoid
remembering the Central Pacific, and the illustrious
photographer who captured its early growth so eloquently. Through his work on the C. P. R. R., Alfred A. Hart
(1816-1908), has become one of Western stereophotography's most respected imagemakers.
Although we know Hart's photographs very well, his life
has been maddeningly obscure. What did he look like?
What were his origins? How did he come to photography?
When did he begin and end his C. P. R. R. work? What happened to him in later life? Various writers, for instance, havespoken sadly of his untimely death in 1869. This death dateprovided a plausable excuse for the fact that his negatives
passed into the hands of C. E. Watkins who published themfor many years.
Glenn Willumson has tackled these questions with vigor.
His answers are oftimes, as surprising as they are illuminating. Hart died in 1908, not 1869. Hart had a realchildhood (son of a silversmith in Nonuich, Connecticut),
and a bonafide trade as a portrait and panorama painter.
Can you imagine our A. A. Hart painting a panorama called
New Testament and Scenes from the Holy Land? Hart did
this in 1852.
His first photographic contact occurred during a partnership with daguerreotypist named H. H. Bartlett in Hartford,
Connecticut. This association began about 1857 and lasted

Alfred A. Hart, Glprlt~W ~ / / I I ~ IC IO SI I C
C C>~ ~ ~O ~I I
"Snow Shoes"No. 494 b y Alfred A . Hart for the Central PacificRailroad, The ornate logo on the back reads "Scenes in the Sierra
Nevada Mountains for the stereoscope and album. Alfred A .
Hart, Artist, Sacramento. Stanford University collection.
"

until about 1860. Next, a move to Cleveland, Ohio, where
he had an art store.
By January 1866 (and probably earlier) he was already involved with the C. P. R. R. in California. Willumson traced the development of photography for the firm through thebusiness records of the railroad. Here he found information
showing that the company purchased negatives directlyfrom Hart, for example. He was involved with the C .P. R.
R. until 1869.
Hart was also a publisher. In 1869 he published The
Traveler's Map of the Central Pacific Railroad of California and its connections from the Pacific Ocean to the Great
Salt Lake.. . (see my article on the subject in Stereo World,
January/February 1980), and in 1870 a guide book called A
Traveler's O w n Book.
Willumson's study reveals many significdnt insights inHart's role as a documentary photographer; "He was agifted artist using the medium of photography." Not surprisingly, he found that Hart had created a much larger bodyof work than had been previously credited to him, and that
his work was published by Lawrence & Houseworth as wellas Watkins. He also did views in Yosemite and San
Francisco.
Included in Willumson's thesis is a chronology of Hart's
life, a checklist of his paintings and photographs and a useful
bibliography. The work is nearly 180 pages in length and is
nicely illustrated. He also has several portraits of Hart, oneof which is reproduced here.
While Willumson's study is not the final word on A. A.
Hart, he has taken a giant step towards bringing Hart into
focus as an important Western photographer. This new
research is an essential reference for anyone concerned withthe greater aspects of Western railroad photography, andlife in the nineteenth century arts.
Willumson is now a graduate student working towards
a Ph.D. in photographic history at the University of California at Santa Barbara. His Hart thesis is available through interlibrary loan from the University of California, Davis, CA
library. A copy is also located at the Sacramento Railroad
Museum. For additional details contact: Glenn Willumson,
769-B Cypress Walk, Goleta, CA 93117.

The locomotive Gov. Stanford, photographed by Hart and~ublishedby Whitney G. Paradise, New York. Stanford Univer-sity collection.

ATARI 3-D (continued from page 32)
2212 E. 12 St., Davenport, IA 52803; Reel 3-D Enterprises,
P.O. Box 35, Duarte, CA 91010; CREATIVE COMPUTING (newsstand computer magazine), Vol. 9, No.
1-Jan. '83 (p. 168); NU 3-D W Co., 71 East 28 St., Eugene,
OR 97405.

NOTE:
At the time of this writing it is my understanding that
ANALOG magazine will publish a much faster (machine
language) version of the CAD-type program used as the example for this article. This updated version should be
published in the July or August issue.
ANTIC magazine (another ATARI resource publication)
has just published an elaborate 3-D image generation
article-ANTIC, June 1985, pages 38-41 and 54-58.
Although I've used an ATARI system for my example,
users of other computers should find the information
valuable when generating 3-D views from other programs
such as those appearing in magazines and on discs and tapes
over the past few years. They exist for IBM, APPLE andTRS to name a few. Users of the TRS Color Computer, forexample, were treated to an excellent treatise on this subject
in the Jan. '83 issue of CREATIVE COMPUTING (pages
162-188) by John D. Fowler, Jr.
A bonus here is that the images are generated in full color side-by-side on the screen; however, the only way to"capture" the image pair is by photographing the screen
display since no plotter or printer dump routine is given. In
general, if you want a "hard copy" of your stereo images
you will have to send them to your plotter or printer. If you
don't have either of these or if your software doesn't support
them, you will have to photograph the consecutive images
off your TV/monitor. (Be sure not to move the camera orchange any settings between image pairs.)
O 1985 Nick Brienza

NEW STEREO EQUIPMENT
by Dieter Lorenz, F.R.G.

In recent years in Germany, Austria and Switzerland anumber of new stereo products were put on the market, including new viewers and other interesting 3-D items. Mostof them did not come from large companies, but from small
producers not known in the U. S.

A major publication in the over/under stereo format,"Faszinierende Natur dreidimensional" was the ambitious introductory effort by K M Q of Germany to make this techniquethe "method of choice" for more such high quality stereoillustrated productions.

A page from the KMQ book done asa side-by-side pair fails to show theimpressive color or the largesize ofthe images. Several astounding insect close-ups are included, as wellas the dual-prism plastic viewer (theuse of which requires some effort inpositioning both book and viewer).

A Brother of the NESH Viewer
The NESH viewer for over/under viewing (StereoVertrieb nesh, Gerhard Neubauer, Suedstrasse 16, D-4400
Munster, FRG) well known to Stereo World readers (Stereo
World, Mav/Tune 1984, v . 15)was invented a second timeby the KMQ triumvirat of Christoph Koschnitzke, Reiner
Mehnert, and Dr. Peter Quick (KMQ Stereographie GbR,
Burgermeister-Weidemeier-Strasse 25, D-6906 Leimen/
Heidelberg, FRG) who did not know about NESH before.
The only differences between NESH and KMQ are that for
the latter the right single frame has to be the upper one andthat the non-stereoscopic images above and below the real
stereo image become invisible by frosting parts of theprisms. This frosting, however, may lead to a vignetting effect especially for people wearing eye glasses.
The three gentlemen are a very active team. They are theauthors of a 100 page book with over/under stereo color
views of animals, plants and minerals seen through thestereo microscope (Christoph Koschnitzke, Reiner Mehnert,
Peter Quick: Faszinierende Natur dreidimensional; DRWVerlag Stuttgart 1983; ISBM 3-87181-240-4) and of a 1984
3-D calendar "Mit anderen Augen" (With Other Eyes) with
twelve 56 X 85 cm 3-D over/under tables containing twelve
different animal eyes.

A Monocle for 3-D
The Swiss F. Forster (Apparatebau F. Forster,Randenstrasse 220, CH-8200 Schaffhausen, Switzerland)
constructed and produces a stereo viewing aid useful for side
by side as well as for over/under stereo frames: the Stereo
Monocle. Its principle is simple. It is like a cut mirror
stereoscope. One eye is looking directly to one single frame,stencil for the two frames are 63mm apart. That way, a shiftof the stencil isn't necessary for drawing the elements of thepairs. If the stencil is turned face down for drawing the second frame, a pair is produced for mirror viewing.
The third VCH stereo product came out near the end oflast year and is the most interesting: a mirror stereoscope
designed by F. Vogtle and W. Schuss. It has two frontsurface mirrors for each eye and no other optics. Primarily, it is designed for pairs about 5 inches apart. However,since the mirrors are adjustable, 3-D images of nearly any
size and distance can be viewed. The trapezoidal distortions
arising from these adjustments remain in acceptable limits.
An interesting fact is the price of $21.95 in the U.S. which
is about half of similar products available in the U.S.

BONUM MOUNTS FORPRECISE STEREOBonum, an Austrian manufacturer, (Bonum Werk,
A-4020 Linz.. Wezscheider Strasse 19, Austria) developed
some years ago a 2 " X 2 " plastic slide mount with ledges andteeth that engaged the sprocket holes of the film. Since theseledges can be shifted, the mounts are useful for 2 " X 2"
stereo pairs in which the film must be adjusted for a correctstereo window.
Now Bonum produces these mounts not only with thestandard 23 X 35mm window but also with a reduced oneof 23 X 33mm and a special version with 23 X 28mm for theEuropean stereo format of 24 X 30mm. Another special version is planned for the 23 X 23mm format. In addition, thetoothed ledges are interchangeable with two special ones forvertical corrections of .2 and .4mm up or down.

-

The elegant, expensive Stereofix-Macromax-Setfrom E M 0 Op-

tik in Wetzlar for 2x2" stereo slide pairs.

the other through the Stereo Monocle with its two adjustable mirrors. The different length of the two beams is not
so big that the eyes could not compensate. Depending on the
direction the monocle is turned, either side by side or
over/under stereo views may be viewed. The size anddistance of the images is considered by adjusting the angle
between the two mirrors with a screw.

The Rolls Royce of Stereo Viewers
Wetzlar has a good sound to photographers because thehome of the Leica. This seems to be a good omen also forstereoscopy. Since 1982 in Wetzlar a very comfortablestereo viewer named "Stereofix-Macromax-Set" has been
made not by Leitz, but by E M 0 Optik (EM0 Optik, P.O.
Box 1469. D-6330 Wetzlar. FRG: U.S. re~resentative:Foto: Fifth Ave., New ~ b r k ,10010).The conCare, ~ t d 170
cept is from a well known Leica photographer, the late Theo
Kisselbach. This stereoscope contains two four-lens fivefold magnifiers of highest quality on an adapter plate forstereo slides in two 2" by 2" frames. Not only the eye
distance is adjustable, but also vertical parallaxes can becompensated and one frame can be turned relative to theother one! However, quality has its price. The set sells inGermany for 670.-Deutschmarks. (about $230.00!)

N.Y.

MORE FROM ROLLEI
Besides the new stereo projector for 2" X 2" slides(STEREO WORLD May/June '85, page 31) Rollei now also
sells combinations of two 35mm Rolleiflex 3003 or two SL
2000 F models on a stereo bar/handle.

THE OUTLOOKAll in ail, one can say that there is some action in thestereo scene in central Europe. However, except for Rollei,
none of the "big names" are involved-only relatively
unknown ones. We'll have to see if this leads to a wave
which sweeps up the big producers too. The author fears
that the market is not big enough for this to happen.

The Stereo Line of VCH
VCH Publishers, Inc. the former Verlag Chemie is a big
German publishing company internationally engaged inchemistry and many other disciplines of science (VCH
Verlagsgesellschaft mbH, P.O. Box 1260, D-6940
Weinheim, FRG; in the U. S. VCH Publishers, Inc. 303
N. W. 12th Ave., Deerfield Beach, FL 33441).
Chemistry and mineralogy present many situations inwhich stereo images are helpful. Their first stereo productwas about two years ago-a lens stereoscope adjustable forinterocular distance designed by F. Vogtle. The next wasmore interesting: a stencil for drawing stereo patterns anddiagrams designed by F. Vogtle and W. Bunzel. It can be used with a conventional drawing pen. The cut-outs in the

The adjustable mirror stereoscope from VCH Publishers, Inc.

T H E STEREOSCOPIC SOCIETY
AMERICAN BRANCHTHE SOCIETY
PHOTOGRAPHING in 3-D
Thanks to David Burder I received a copy of'Photographing in 3-D' which is published by the
Stereoscopic Society in the United Kingdom. It is a thirtytwo page booklet written by him and Pat Whitehouse. It
covers the most basic things one should know in order totake and view 3-D pictures. It is very well done and is illustrated with 30 stereo pairs in full color on art paper.
American sales are being handled by Reel 3-D Enterprises,
P. 0. Box 35, Duarte, CA 91010.

Connections and Reflection
During the past year or two, members of both print andtransparency circuits have been treated to a series of viewsby Dr. Brandt Rowles of the stately Grand Hotel at
Mackinac Island, Michigan. It is one of his favorite places
and he has more than shown us why it appeals to him in afine series of stereographs. This is the first treatment instereo I have seen of this charming piece of America since
Viewmaster's reel #248 which, I believe, was taken for
Sawyers by Howard Taylor several decades ago.
Interest in the Grand Hotel was heightened when it wasfeatured in the motion picture "Somewhere In Time". Thisfilm has been seen widely on TV during the past several
years and after its initial theater run early in this decade. It
is a haunting story of love spanning time and bears seeing
over and over again in the manner of old time classics suchas "Casablanca", "Lost Angel", or "The Wizard of Oz".
Perhaps this shows that there are still people around who
know how to make movies in addition to the demolition

derby rejects who seem to get unlimited financing for theirtrash. One wonders how a 3-D movie would emerge if given
the same care that Producer Stephen Deutsch and Director
Jeannot Szwarc tendered to this story. Maybe we would
finally have a good one. Pooh! on Academy Awards.
"Somewhere In Time" is among the few real gems turned out
in the past decade. The Grand Hotel was one of its stars
along with Christopher Reeve and Jane Seymour. Yet thestory, like the hotel itself, was woven together from threads
spun long ago. All this helped draw Brandt Rowles and his
Realist to Mackinac Island. It is hard to separate the film
from the views as the association was fixed so firmly in themovie.
The story is about a young, successful playwright,
Richard Collier (played by Christopher Reeve) who falls inlove with the portrait of a once famous actress, Elise
McKenna, displayed in the hall of memories at the Grand
Hotel. Driven by forces beyond him, his obsession deepens
until he manages to will himself back to the time when Elise
McKenna (played by Jane Seymour) appeared professionally at the hotel theater. His presence there in the end answers
the enigmas of her celebrated career and also seals his doom.
An aura of mystery and romance sweeps us into accepting
the supernatural premise while avoiding dealing with theparadoxes and contradictions inherent in all time travel
stories. One can even accept the promise of hope beyond
death for the star-crossed lovers in the ending.. .surprisingly
taken, as I recall, from a 1932 tragedy called "Smilin'
Through in which Leslie Howard and Norma Shearer were
faced with a similar case of unfulfilled but undying love. The

The Dining Room of theGrand Hotel, Mackinac
Island, h/Il. Brandt
Rowles stereograph.

mood of the picture lingers long after the credits havewound their way off the screen ...long enough even for a
Stereoscopic Society member to take his Realist to
Mackinac Island.

The Real Elise McKenna
What many may be unaware of is that the character ofElise McKenna is drawn almost in total from the real-lifestage actress, Maude Adams, who, for a while, stood alone
in public regard at the top of her profession. Well over three
decades after her retirement the New York Times still felt her
obituary belonged on page one. Still, the real Maude Adams
remained a mystery as her private life apart from the theater
seemed nonexistent. In fact her lifestyle moved her entirely apart from the behavior (often misbehavior) of her colleagues. She was aloof with a spiritual quality that set her
above other actresses and it is interesting that this wasrespected and not resented by her audiences.
Maude Adams as Lady Babbie in 1. M . Barrie's "The Little
Minister". Her first starring role.

Born into a theatrical family, Maude Adams didn't getheavily involved on the stage until she was fifteen. Later she
had the good fortune to spend five years with Jack Drew,a near legendary performer and member of the celebrated
theatrical family (represented today by child movie star,
Drew Barrymore.. .a niece several generations removed).
Maude also acquired as manager a stem taskmaster, Charles
Frohman. He was her guide and mentor from the start of her
climb to the top and remained so until he went down withthe torpedoed ocean liner Lusitania in 1915. Theirphilosophy was their life and their profession and it is probably safe to say no trace of it remains. Maude believed,"...not only in 'clean' plays but in the artist's obligation tolive so as not to be in conflict with any pure character he had
to project across the footlights. And, if a play and the acting call out unhealthy emotions and lead us to believe they
are normal, the theater serves no good purpose." It is difficult to imagine anyone outside of a monastery who could
or would live up to that today. But Maude found amanager, or he found her, and they found a playwright,
T.M. Barrie, and tonether thev rose to the top while living
within their constraints.
Still, there was that time when Maude suffered abreakdown. She had played Juliet and for once was badly
mauled in print by Shakespearian traditionalists who wereappalled by her interpretation. Others said, "Nonsense! For
the first time Juliet was seen as a real, live girl." I have noidea if reading abuse contributed to it but Maude Adams
sought 'haven and restoration' with the nuns at a conventat Tours, France, for a time. (Those who saw the movie will
have another explanation to choose from). When she did
return, her star was to shine brighter than ever. Perhaps it
is no accident that her greatest success, the part most
associated with her, was "Peter Pan", the definitive interpretation of the boy who wouldn't grow up. The veteranperformer and manager, Nat Goodwin, in his memoirs saidof her, "Little woman, I fear you are unconsciously missing
the greatest thing in life.. .romance."
What made Maude Adams tick? We will never know.
One time in later years she had a hole dug into which she put
all her papers, writings, correspondence (many letters fromthe most famous people of her day), etc., and she burnt it
all up. Her biographer was left with a dry recitation of(continued on page 48)-

43

THE ANATOMY OF A
Have you ever wondered how the giant 19th century
stereo-p;blishers were able to prodice "millions" df
stereographs? Innovation, including automation andassemblyline techniques were the biggest boons to mass
view production. One of these innovative procedures involved the use of negative "sandwiches" which greatly
speeded up the printing process.
Recently, I obtained an original example of this technique. It came in the form of a glass stereograph negative once
published by William M. Chase of Baltimore, Maryland.
Although- my- sample is a view of San Francisco, c.1875-80,
it is from the samelarge group of stereo negatives described in an article by Ross J. Kelbaugh, "William M. Chase,"
STEREO WORLD, 10 (2), May/June 1983, pp. 13-17.
Naturally, I was fascinated by the opportunity of examining this artifact on a first-hand basis. First, the original
negative was trimmed to a size about 4 by 8 inches. Next it
was cut into left and right halves and reassembled with thesupport of a sheet of cover glass. This method not only
made the printing negative easier to handle, but it also made"rightreading" prints which required a minimum of trimming before affixing to the view mount.

A. Original negative. Most negatives from this period wereon 5 X 8 inch glass.

B. The original negative was trimmed to 4 X 8 inches, then,cut apart and repositioned for best stereo effect. Usually
the two negative halves are exchanged left and right(finishers often cut the prints and mounted them on opposing sides of the mount), but, in this case, we have a copy
negative-this negative was made especially from prints
already correctly positioned-and it was not neccessary to
exchange the left negative with its right side. Also withcopy negatives the printer could make any number of working negatives. This would not only protect his original investment (in case an important negative was broken), butwould also help him produce an increased volume of prints.

by Peter E. Palmquist

C. Cover glass. Also 4 by 8 inches, this glass provides the
support for the sandwich. The original negative(s) are
fastened to this glass by the use of cloth tape along thelength of the package. The emulsion side of the original
negative is away from the cover glass.

D. The original ne ative sandwich as seen by transmitted'i,light. Note that in t is example the cover glass is a little bit
longer than the negatives (see secondary outline at eachend).

E. and F. This is the emulsion side of the sandwich; also
viewed by transmitted light. Note that the subject matteris reversed. The schematic shows two important facets: 1)
the use of paper masks to block light during printing. Thesemasks are glued directly on the emulsion side of thenegative to enable the sky to print without tone; 2) Alabeling strip. The emulsion area, directly under this strip, hasbeen scraped away so that the label will print without interference. The cloth tape is shown by the hatched area ofthe diagram.
(continued on inside back cover)FOR SALE- ---WAR BOOK: 8 X 11 hardpaper board
covered with red linen inscribed "DerKampf Im Westen". Text in German withcolor action photos. Slots cut inside covers
hold 100 stereographs 2 318 X 5 118" by Hoffman. Views are translated, and metal
glasses are included. Book and views are ingood condition. Photos if interested.
Freeman Hepburn, 557 Pleasant St. #203,
Malden, MA. 02148.
Original stereo drawings that View-Master
International (Europe) used for its reels.
Price $225.00. For information write to:Harry zur Kleinsmiede, Sassenbergen 67,
9531 GW Borger, Holland.
CLAUDET STEREO DAGUERREOTYPES,New Hampshire, Lincoln Funeral, balloon
tissue, Powell Survey, other western, andmore. Call orwrite, Mark Koenigsberg, 700
Boulevard East #7D, Weehawken, N.Y.
07087, (201) 863-0868.
KERNOW dre an cales-gwel (Cornwall
Through the Stereoscope), 718 perforation
stereos, wild beauty, West Cornwall. Ten
originals (not copies) in case with quality
viewer. $55 post $4. Robinson Video, Cobbernoon, Germoe, Penzance, TR20 9RQ,
UK.
STEREOSCOPES, mint originals, 1901
Underwood & U. $53.00 postpaid. Also 37
glass slides, Norway, 3 114" square, c.
1880-90, $49.00 lot. Marvin S. Balick, 5900
Kennett Pike, Wilmington, DE. 19807, (302)655-3055.
ANTIQUE PHOTOGRAPHY Mail Auction.
Hundreds of photos. Hard images, CDVs,
Cabinets, Stereo views, misc. photos. Large
variety-lots of quality unique images.
$1.00 for illustrated catalog, should be out
this summer. Don Ulrich, 1625 South 23, Lincoln, NE. 68502.
ANSEL ADAMS POSTERS, $20. eachpostage paid. Moonrise, Clearing winterstorm, Winter Sunrise, Monolith, Mt.
Williamson, Oak Tree, Aspens. Limited
Supply. FIFO, call or write Leonard Ances,
24 East Ferry Lane, Westport, CT. 06880,(203) 227-8218.
1985 VIEW-MASTER LIST (Sawyers)-3 reelpackets, single reels, viewers, etc. Send
large SASE. Warren R. Leese, 42H Franklin
Greens So., Somerset, N.J. 08873 (201)249-2896.
-

REALIST 3.5 with case. All in good working
condition. Flash contact filed down forregular flash units. $135. delivered. Ken Farson, 3915 San Fernando Road, Glendale,
CA. 91204. (213) 245-9424, (818) 246-2012.

SELL YOUR GOOD STEREOS at auctions,
held freauentlv. Pavment shortlvaftersale.
tin
Low cor;lmission. i ~ i r s steredauction
the U.S.). Earl Moore, 152 Walnut St., Wooddale, IL. 60191.
50 CARD SET, Trip Through Sears, Roebuckwith box, $40. Keystone 100card WWI set,
missing #5,18,24, card #79 poor cond. $75.
O'Donnell, 199 Weld St., Roslindale, MA.
02131.

WANTED
VIEW-MASTER (Stock & Personal) reels
wanted. wolfgang Traxel, suedsing 27,
D-6747 Annweiler. Fed. R e ~ u b l i cof
Germany.
VIEW-MASTER REELS- Buy & Sell. Send
for list of items for sale. sill Wolf, 1428
Brook Ave., Allentown, PA. 18103 or call(215) 797-3760.
JACKIE COOGAN STEREO VIEWS,
preferably 1920-1940 or "Addams Family
TV show. Any photos, ads, or products. I am
preparing a book on his life and career.
Originals not necessary. Anthony Coogan,
12185 Laurel Terrace Drive, Studio City, CA.
91604.

Cabinets, early town viewbooks, small town
~ h o t~o o scards.
t
Don Ulrich. 1625South23.
i i n c o ~ nNE.
, 68502.
1894CALlFORNIA Mid-winter Fair stereos&other items. Also early California, Hawaii,
Alaska, Nevada & Colorado stereos,mounted photos, and old post cards. Ken
Prag, Box 531SW, Burlingame, CA. 94011.
(415) 566-6400.
COLLECT, TRADE, BUY & SELL: 19th Century images (Cased, stereo, CDV, Cabinet &large paper). Bill Lee, 5730 S 1300E, Salt
Lake City, UT. 84121. Specialties: Western,
Locomotives, photographers, Indians, Mining, J. Carbutt, Expeditions, Ships, Utah &Occupational.
TOP PRICES PAID for Colorado negatives& positives of town views, occupational,
locomotives, Indians and other western.
Also want stereo views, cabinets and CDVs.
Large photographs desired as well. David S.
Digerness, 4953 Perry St., Denver, CO.
80212.
AUSTRALIAN VIEWS in stereo, CDV, also
Australian dags wanted to buy or exchange
for U.S. cards. Warren Smythe, 258
Cumberland Rd., Auburn NSW, 2144
Australia.

SHAKER people stereo views, cabinet
cards, real photo post cards. Send Xerox &price to: Richard Brooker, 450 East 84 St. 1F,
New York, N.Y. 10028.

AUGUSTA, GA. stereo views and CDVs.
Also other Georgia stereo views. J.A.
Palmer, Aiken, S.C., Tucker & Perkins,
Perkins & Pelot. Joe Lee, 306 Shadowmoor
Dr., Decatur, GA. 30030.

KALEIDOSCOPES WANTED. Collector
seeking h i g h quality 19th century
kaleidosco~esmade of woodlbrasslleather
by makers such as Brewster, Bush, Jewelland others. Also unusual types andkaleidoscope mechanical slides. Martin
Roenigk, 26 Barton Hill, East Hampton, CT.
06424, (203) 267-8682.

ANDREW JOSEPH RUSSELLviews and information about his life and as a stereo
photographer, by his great-great granddaughter. Kilner, Bird Bottom Fari, R.F.D.
#1, Salisbury, CT. 06068.

DAGUERREOTYPESTEREOS, U.S. Capitol
under construction, Lincoln, Albee's Pittsburgh railroad war, photographers at work,
early Langenheim, also unusual
daguerreotypes-scenes,
occupational,
collections. Mark Koenigsberg, 700
Boulevard East #7D, Weehawken, N.J.
07087, (201) 863-0868.
MUYERIDGE VIEWS. Top prices paid. Also
Michigan and mining-the 3 M's. Manyviews available for trade. Leonard Walle,
49525 W. Seven Mile, Northville, MI. 48167.
(313)348-9145.
ILLINOIS AND MISSOURI stereo views.
Please describe and price or send on approval. Can use any Illinois town views except Chicago. Especially want views of
Quincy, Illinois. Philip Germann, Box 195,
Quincy, lL. 62306.
NEBRASKA, Kansas and other midwest
states. Early stereo views, scenic CDVs and

CENTRAL PARK (NYC): All photographic
images (stereo views, etc.) up to 1930.
Herbert Mitchell, Avery Library, Columbia
University, New York, N.Y. 10027, lateevenings: (212) 864-8163.
BIOGRAPHICALINFORMATIONon French
stereo equipment manufacturer Jules
Richard. Particularly information on
photographic studies by him. Also interested in purchasing 45 X 107 or 6 X 13
stereo nudes on glass. Bill Wegner, 4373s.
Wayside, Saginaw, MI. 48603.
HAVE COLORADO, CALIFORNIA gold mining, western ships, railroads, Indians,
photographica and other goodies to tradefor Catskill Mountains views I need. Also
want Saratoga Race Course views. Gosse,
Box 5351, Albany, N.Y. 12205.
WACKESHA, WISCONSIN- Stereo views,
photographs, post cards, advertising, etc.
Wanted from Wackesha, WI. Will pay
postage. Mitt. &Marilyn Hagerstrand, 1140
Aldoro Dr., Wackesha, WI. 53186 or phone(414) 542-7049.

TUSCUMBIA, ALABAMA. Views of town orsurrounding plantation homes. Views or information on existance of views of plantation called Belle Mont or Belmont near
Tuscumbia.Anthony Winston,344 Jackson
Avenue, Morgantown, WV. 26505.

ROLLERCOASTERS: I'm new to NSA.
Member of American Coaster Enthusiast
would like to introduce old stereo views to
ACE Magazine. What's available?
Photocopy to: Bob Martin C93801, P.O. Box
4000, Vacaville, CA. 95696.

EventsSept. 8South Bend, Indiana Photographica Swap Meet. Century
Center, South Bend, IN. Contact Heirloom Images, Box
6486, South Bend, IN 46660. Call Roger Smith,219-259-2968.
Sept. 14-15
Seventh Detroit Area Photorama USA. Dearborn Civic
Center, Dearborn, MI. Write Sam Vinegar, 20219 Mack
Ave., Grosse Pointe Woods, MI 48236. Call 313-884-2242.
Sept. 15
Wethersfield-Rocky Hill CT 3rd Annual Photo Trade
Show. Steak Club, Ramada Inn at Exit 24 (1-91) South ofHartford, CT. Contact Rotary, Box 116, Wethersfield, CT
06109. Call Neal Cox, 203-563-4143.
Sept. 15
Reading, PA Camera Show and Sale. Holiday Inn, North
Reading. (Rte. 222 and N. 5th) Write Photographic
Associates, Box 964, Carlisle, PA 17013. Call Bob Pare,717-258-5261.
Sept. 28-29
Ohio Camera Swap Meet, 68 Shadybrook Armory, Cincinnati, OH. Write Bill Bond, 8910 Cherry, Blue Ash, OH
45242. Call 513-891-5266.
Sept. 28-29
Photographic Collectors of Houston Camera Show. New
Holiday Inn near Greenway Plaza, 2712 SW Freeway at Kirby. Write Leonard Hart, The Heights Gallery, 1613 Oxford
St., Houston, TX 77008. Call 713-868-9606.
Sept. 29
The Fall ASCC Camera Show, Machinists Hall, 2600 W.
Victory Blvd., Burbank, CA. Write Gene Lester, 4918
Alcove Ave., North Hollywood, CA 91607. Call
818-769-6160.
Oct. 5-6
2nd Cleveland Photorama USA, Cleveland Center, 3100
Chester Ave., Cleveland, OH. Write Sam Vinegar, 20219
Mack Ave., Grosse Pointe Woods, MI 48236. Call
313-884-2242.

Oct. 9-14
5th INTERNATIONAL STEREOSCOPIC UNION Congress, held for the first time in the U.S. in Washington, D.C.
(At the Westpark Hotel, Arlington, VA.) 3-D programs, ex-hibits and photographers from around the world. FOR
DETAILS SEE PAGE 27 OF THE MAR. /APR. '85 STEREOWORLD. Or, write to Melvin M. Lawson, 1400 S. Joyce(A513)Arlington, VA 22202-or Paul Wing, 50 Floret Circle, Hingham, MA 02043. Call 617-749-1996.

Oct. 11-13
PHOTOHISTORY VI, a photo-historical symposium at
George Eastman House, Rochester, NY. (SEE ARTICLE IN
THIS ISSUE).
Oct. 19-20
The Boston Show. The 24th show, sponsored by the
Photographic Historical Society of New England. Armenian
Culture Center, 47 Nichols Ave., Watertown, MA. WriteDavid Berenson, 32 Colwell Ave., Brighton, MA 02135.
Call 617-254-1565.
Oct. 27
Barone Camera Swap Meet, Holiday Inn, Crystal City, Arlington, VA. Write Camera Swap meet, c / o Barone & Co.,Box 18043, Oxon Hill, MD 20745. Call 703-768-2231.

THE UNKNOWNS (continued from page 37)
the Black Hawk Hotel. The town had floods and other problems but still exists on Colorado state highway 119.
Our unknowns this issue include Gary Ewer's view of a
substantial stone house and residents which may possibly
be from Middleburgh, N.Y. around 1879 because it camewith a similar card that was so labelled.
Gary also sent the American Views card of a building thatsays "Armor 1882" on the front. It must have been of someinterest to be worth issuing as a pirated card.
Vem Conover furnished the view of a drug store with fire
& life insurance agency upstairs. It may be from New YorkState. The interesting dome next door might help locate thesite.
The downtown view on a gold card also belongs to Vernand also might be from New York. The signs that are
readable are all general in nature except for "A.J. Simpson's
CA ..."
We'd like to thank Ed Poe for his invitation to come oversome evening and view his collection of unknowns. Ed, wehadn't previously heard of a photographer named Amontillado, but we'd like to see his work. Just one question,
though.. .why do you keep the views in your cellar?
Send views or information to Neal Bullington, 137 Carman St., Patchogue, NY, 11772.

IPHOTOGRAPHICA I&.

.

ARTICLES WANTEDON CONTEMPORARY
STEREO TECHNIQUESBUY, SELL.TRADE~III\&!lfi-,

Stereoviews
Photo Postcards

FOR PUBLICATION IN STEREO WORLDJOHN DENNIS
5610 S.E. 71ST
PORTLAND, OR 97206

19th & 20th Century--+ PHOTOGRAPHSBALICK

5900 Kennett Pike
Cenneville. DE 19807(302)655-3055

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1FROM the SOCIETY NOTEBOOK

H;~~idcraftedwood &A. I
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MASTER F. VISA
Accepted.
N.Y.S. res~dsnts
add raler tax.

g"brass rep11c.1 o f original. anvented 1 8 5 9 b y

Oliver W e n d e l l Holmes, Turn o f the century
design on v r l v e t trimmed hrass hood. Includes
I i i s t o r i c a l hooklet & l.KI<I.:set 3-11 stereographic views. ONLY $49.95. Pedestal
hase, $12.95 (add $3.00 shpg. b; hdlg.).
Addl. View Sets Avail. including Vic-

1&.'

t o r i a n Risque. Old West, San 1,rancisco
E a r t h q u a k e and many more.

To order call toll free (800) 223-6694(continued from page 43)

playbills and engagement dates and nothing of the person
behind the public image. "Is that all there is?" as singer Peggy
Lee used to wail. Well, it does add to the mystique of thisremarkable woman.
Maude didn't carry on with her stage career long afterCharles Frohman died in 1915. A serious illness in 1918saw
her retreat to a nunnery in Aurora, N.Y. After that she only acted on rare occasions. She became fascinated with theimpact of electric lights on the theater and spent years
researching stage lighting, a subject in which she became anexpert. She was even aided by Charles Steinmetz, the wizardof General Electric. A five year stint as head of the drama
department at Stephens College followed and her last ten
years were spent at her estate in the Catskills. She remainedin reasonable health and alertness until her heart stopped
one day in 1953 at the age of 80.
In the movie "Somewhere In Time" beautiful Jane
Seymour plays Elise McKenna and does it well. There aremany differences between Maude Adams and Jane
Seymour, or between Maude and Elise for that matter.
Maude was the only complete celibate. Jane has beautiful
children and is a film star, not a stage actress primarily. But
in a way they all become one, thanks to Jane and writer
Richard Matheson.
I've never found a stereo view of Maude Adams. She
came along much too late for the Gurney treatment but suchviews may exist and if so I would love to see them. One
thing leads to another. Brandt Rowles's views of the Grand
Hotel remind me of "Somewhere In Time" and that leads to
Maude Adams. ..all part of the same thought. That is thefascination in going through a Stereoscopic Society folio.
Pictures never stand alone. They always have connotations
and associations and that is part of the enjoyment. One
never knows what emotions the next folio envelope may
evoke or what memories.

] TM. VISUAL INDUSTRlES INC. 21 2 W.35th s~..N.Y..N.Y.~ 04.

PRECISION GLASS OPTICS
FOLDING STEREO VIEWER

Glass or cardboard mounted Folds flat, w e ~ g h s
only 1 oz Prepa~dmlnlmum order $10 00 Add $1 00 fors h ~ p p ~ nandg handl~ng

NEW! 3D PROJECTION
POLARIZED FILTERS
For 35mm 3D s l ~ d eproject~onDes~gnedfor use w ~ t ha palr of 35mm s l ~ d eprojectors Only $42.50 per pair.
Also available - 50 x 50 flat s~lverscreens for stereo project~on
Portable, complete w ~ t hown s e l f - s t o r ~ n gt r ~ p o dstand$127.00 each-and 3D Polarized Glasses for project~onvlewlng Durable plastlc frames - Only $1.10 per pair.
FREE CATALOG AVAILABLE
TO ORDER CALL TOLL FREE 800-223-6694
MAJOR CREDIT CARDS ACCEPTED. MINIMUM ORDER $20.00
TAYLOR MERCHANT CORP.
212 West 35th Street New York, NY 10001

Society Membership
The Stereoscopic Society is made up of contemporary
stereo photographers at all levels of experience. Current
viewmakers, either transparency or print format, who may
wish information on joining the Society should contact theCorresponding Secretary, Jack E. Cavender, 1677 Dorsey
Avenue, Suite C, East Point, GA 30344.

A NEGATIVE SANDWICH (continued from page a

G. This is a full-scale print made by contact printing the
sandwich. Notice the labeling which is typical of prints
made from copy negatives. Also observe the grey sky areas
which exist outside of the masked region.

H. A final print affixed to a typical W. M. Chase mount.
Note that the finisher needed to handle only one piece ofprinting paper instead of the two halves commonly foundwhen printing from an uncut negative.

THE camera behind the stereo photographyboom of the 1950's. The original workingprototype model of the Stereo Realist camera wasrecently donated to the California Museum o f
Photography b y inventor Seton Rochwite,
seen here in a view from the article in this issue
b y David Starkman.