Evening star., 1951-06-10
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All care should be exercised te
insure that the exposure is a.
nearly perfect as possible for over.
exposed and underexposed shotl
are also unrealistic in stereo pho
Biography. The same care should
be applied to processing the films
and making and processing the
prints.
Whether or not you will need
be concerned with fine grain
processing depends largely upon
whether the stereo prints are to
be contacts or enlargements. Or
Idinarily contact prints from any
film large enough for satisfactory
stereo work can receive regular
processing treatment. If you in
tend to make enlarged stereo
pairs from small negatives 1t is
highly advisable to develop the
films in a fine grain developing
solution.
Stere0 Print Enlargements.
There are several reasons that
make enlarging a desirable prac-
tice when making stereo prints.
In the first place you have a
chance to correct for errors of
composition. Should you discover,
after you have developed your
negatives, that one section of the
scene Is better than the whole you
can enlarge from the negative
until you have the best picture on
your printing paper. This is al
most impossible to do with contact
printing About the only way you
can select portion of a contact
print is to trim or crop away the
undesirable parts and this pro-
ceedure will, in most cases, leave
you with a pair of prints that are
too small to be used.
When you make enlargements
from your stereo negatives YOU
also have a last opportunity to
correct any slight exposure mis-
takes. Highlights can be burned
in as can be light areas of the
print. And shadow areas that
are too deep to be satisfactory
can be held back in the printing.
If you try this be sure to use a
timer so that any lodging on one
OF the prints will be exactly dupli-
Gated on the other.
For best results make your
prints on glossy paper and ferro-
type them. Ferrotyped glossy
prints will give you the clarity
and sharp detail so necessary to
stereo photography. Matt or
semimatt papers are rough tex
tured by comparison and are less
suitable for much the same rea-
sons that apply to grainy prints.
Scenes Are Reversed.
It should be kept in mind that
the two lens camera reverses the
two views of the scene. To cor
rect for this be sure to tranSpose
the two prints that are made from
the negative. Do not separate
the negatives because they are so
nearly identical that you will have
a hard time of it trying to figure
them out once they are cut apart.
And, when making contact prints.
you get identical exposures when
making the prints from the Joined
films.
Since the prints have to be
separated for transposing you can
avoid mixups by marking lightly
in pencil on their backs which
should be to the right and which
to the left when mounted. It is
suggested that you use either dry
mounting tissue or rubber cement
to mount the prints. When
trimming the prints take the
greatest Of pains to insure that
they are identical when you are
finished.
TranSparencies both in black
and white and color are well suited
to stereo photography. The mono
chrome transparencies are simply
black and white positive prints
made on film or glass and can be
viewed by transmitted light just
as are those made on color film.
These must also be cut apart,
transposed, and mounted for
viewing.
Transparent stereo pictures
viewed by transmitted light are
far superior to stereo prints be-
cause paper will never reproduce
the full range of tones and high
lights and shadows that will be
visible to the eye by means of
the transmitted light. Color