P3D PSSP talk: Barriers to Entry

[boris@xxxxxxxxxxxx (Boris Starosta)]

>From: fj834@xxxxxxxxxxxxxxxxxxxxx (Dr. George A. Themelis)
>Subject: P3D Re: RBT barriers to entry
...
>Anyway, enough about me... Lets talk about you now :-)  When do you
>plan to expain these "barriers to entry" ideas of yours?  You don't
>want only a small group of stereo enthusiasts (Potomac) to hear about
>it, do you?  I look forward to a little gentle debate on this... :-)

Hmmm.  George.  Let's see if I remember the title of the PSSP talk
correctly.  I had only just "made it up."  I guess it's high time for me to
start thinking about what I am actually going to say, since the talk is
only six days away!  I just KNOW that you will be able to help me
prepare...


>>>>>>>
"Barriers to Entry: Outdated Stereoscopic Formats and Their Impact on
the Growth of Stereo as a Modern Popular Medium."

Mr. Starosta will discuss his observations and philosophy regarding the
three greatest barriers to three dimensional creativity in contemporary
stereo photography.  The R-mount slide format, the 1/30 rule, and the
prohibition on toe-in when using twin rigs.
                                <<<<<<<<<<

Now I notice an interesting thing about that new subject line you started.
It seems to include the letters R, B, & T as a "barrier to entry."  I'll
have to consider a discussion of the RBT cameras as a fourth barrier ;-)
They might qualify for the honor, simply because of their high cost.

Notice that the title first says "Barriers" impact the "modern popular"
realm.  This refers to the effects of the barriers upon the rank novices -
those who may be only considering an entry into stereo photography.  The
subtitle additionally claims an impact on "three dimensional creativity."
This will involve arguing effects upon not just novices, but also
experienced stereo photographers, and by extension, the whole stereo
photographic community.

Although the title insinuates that "outdated formats" alone are a barrier
to entry into the joys of stereo photography, what I am really talking
about is a nefarious complex of factors, which in the aggregate impedes a
simple, easy, and convenient approach to the medium (i.e. my approach).
This complex of factors includes but is not limited to the R-mount, the
1/30 rule, and the prohibition on toe-in.

The first result of the complex is fewer people getting into the art.  A
secondary result is to constrain creative opportunity among those that do
practice stereo photography.

I will outline my ideas.

R-mount:
Known most commonly as the Realist-format mount, or the Rochwite mount.
This is the mount that puts both left and right filmchips in one carrier.
The barrier here is that very few labs actually perform the service of
mounting film in this manner.  So the typical stereo novice, if unaware of
alternatives, must contemplate manually mounting all his slides, or sending
the film to a remote (and possibly expensive) lab for R-mounting.  For the
majority of snap shooters who seek convenience, the R-mount represents a
barrier.  For a professional, who might come home with a couple dozen rolls
of film, to be edited the same night, this represents a barrier.
  Additional problems with R-mount:
   1. not easily scanned
   2. not easily duplicated
   3. decent quality, inexpensive stereo viewer is unavailable

1/30 rule:
The rule is not so much a barrier to entry as a barrier to creativity and
effective stereo photography.  Simplistic adherence to the rule discourages
people from shooting close-ups with fixed stereobase cameras, such as the
Realist.  It also encourages twin rig or slide bar users from selecting
inadequate stereobases for the subjects at hand.  The result in both cases
is often relatively flat and three dimensionally uninteresting
stereography.
  I will acknowledge the roots / justifications for the rule
    1. control of OFD particularly for slides to be projected

Toe-in Prohibition:
This rule is to prevent keystone distortion in stereo pairs.  Of course, I
think it prevents a whole lot more than that: namely lots of interesting
close-up stereo photography.  Again, I consider this more a barrier against
stereo photographic creativity than a barrier against entry - although that
is also possible.

How are these three factors related?  How do they form a "nefarious
complex?"  Well, if I select to avoid the R-mount hassle, I am faced with
shooting either twin rig or RBT.  Very likely I will choose a twin rig
shooting full frame 35mm.  Then, unless I toe-in, I am again faced with the
prospect of having to remount all my slides to make them viewable (and to
add insult to injury, I lose some substantial percentage of the frame).
Furthermore, if I adhere to the toe-in prohibition, I cannot shoot
close-ups with my twin rig.  In order to get the stereobase down to normal,
these can really only be done in vertical format, where toe-in is
practically required.

Taken together, these factors may well keep someone from entering into the
art: they make it appear impossible to conveniently shoot close-up
portraits, for example.  Ultimately, the effects of these factors are
visible on a grand scale - in an ossified stereo photographic community
badly in need of new artistic talent, in the ongoing irrelevance of three
dimensional photography in a high tech world otherwise ready to embrace new
visual media.

I know it's a stretch, but you gotta start somewhere!

Boris

Boris Starosta            boris@xxxxxxxxxxxx
                          http://www.starosta.com
usa 804 979 3930          http://www.starosta.com/3dshowcase



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