P3D Re: PSSP talk: Barriers to Entry

[Larry Berlin <lberlin@xxxxxxxxx>]

>Date: Sun, 14 Mar 1999 
>From: boris@xxxxxxxxxxxx (Boris Starosta)
>
>>>>>>>>....................
>R-mount:
>....................... 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

****  You don't like the pocket folding viewer from RBT? I consider it to be
*decent quality and inexpensive.*

I recently got a scanner and was exultant that I could scan my growing
collection of stereo prints. Then reality hit... it takes a lot of time to
scan and edit images... A *couple dozen* packages of previously taken images
came out of the drawer easily enough, but a week or so later, only a small
handfull of images have been processed! I think anyone would be challenged
by needing two dozen rolls of images handled or mounted or anything, even
organizing them for the *next day...*



>
>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

*****  I have to agree with this sentiment. It's good to remember that the
rules describe a certain narrow set of circumstances, not every
circumstance. It would do beginners good to learn more about the
circumstances and how to adapt them anywhere than to merely imitate the
rules without understanding their purpose. Once the underlying purpose is
understood, creativity can be unleashed.


>
>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.

*****  By adding the circumstance of going digital with your photography,
you can start to include intentional toe-in because you can correct for
keystone distortion in the computer.


>
>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.  

*****  No matter what you shoot with, or whether you make images in the
computer, when it comes time to share them with others, you encounter the
*R-mount hassle.*

>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.

*****  Toe in is related to focus in a round about way... Consider the terms
depth of field, or depth of focus... Toe in is sort of a depth of
convergence phenomenon. It works in moderation for the subject of interest,
but it restricts viable image content to that which is near the same depth
as your main subject. Distant backgrounds can become completely
non-viewable, especially for close ups.

A different technique is necessary... isolation of your subject from more
distant objects. Then composite the results with backgrounds that are not
shot with toe-in (or toe in appropriate to the backgrounds alone.)


>
>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!
>......


*****  Well, it's a good start Boris. Perhaps the long term solution is more
use of digitized images? I know of no other method that can operate on
stereo images with greater flexibility and overcome most of the problems you
describe. It opens a greater freedom in camera choice and use as well as
increases the ability to share the results.

>From the viewpoint of beginners, they need a broader understanding of the
foundational factors and how they relate to each other and interact towards
creating a coherent stereo viewing experience. Only by combining cameras and
computers can you leap frog past the *traditional* hurdles that sometimes
operate as barriers. Computers can turn the barriers into stepping stones
(with smiles on them!).

Larry Berlin

Email: lberlin@xxxxxxxxx
http://www.sonic.net/~lberlin/
http://3dzine.simplenet.com/


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