P3D Anaglyph History

[Ray Zone <r3dzone@xxxxxxxxxxxxx>]

On June 21 Peter Homer wrote:

>While on the subject of early stereo D'Almeida had
>projected ananglyph stereo before Ducos Du Huron in about the 1830's and
>Rollman was even earlier but I think that may have just been drawings. Du
>Hurons inovation was to use two complimentary colours sanwich the pairs
>together and use a single lantern. D'Almeida used primary colours and two
>lanterns.       P.J.Homer

Ray Zone responds:

Dear Peter--  Could you please provide the source of  your information
regarding D'Almeida? In the book "Amazing 3-D"  by Dan Symmes & Hal Morgan
(Little, Brown & Co, Boston & Toronto: 1982) the authors state that
D'Almeida projected 3-D pictures using "complementary colored images and
filters" in 1858.

In 1862, in a letter to the Academy of Medicine and Sciences, Du Hauron
first proposed his discovery of subtractive filtration. This from page 6 of
"A Half Century of Color" by Louis Walton Sipley (MacMillan Company, New
York: 1951).   Symmes & Morgan state that it wasn't until 1891 in France
and 1895 in America that Du Hauron obtained patents for printed anaglyphs
which he claimed were superior to projected anaglyphs in that they used
"neither darkness, screen, nor magic lantern."

I would also be very interested to locate any publications documenting
Rollman's work with the anaglyph.

Tony Alderson wrote:

>>In 1983, I bought two French magazines with colour anaglyph images on
>>their front covers and inside: Photo and Paris Match (which Ray mentions
>>on his site). The Photo magazine has photos by Pierre Malifaud, Francis
>>Giacobetti, Andre Berg and Emmanuel Malifaud. The latter claims to have
>>invented the colour anaglyph process.

Ray Zone responds:

The earliest "polychromatic anaglyph" or colour anaglyph that I have been
able to locate is from the October 29, 1955 issue of London "Picture Post"
magazine.  These were created by Leslie P. Dudley, author of "Stereoptics,
An Introduction" (MacDonald & Co., London: 1951) and the images essentially
discarded the black or "K" from CMYK and assigned Magenta/Yellow to one eye
and Cyan to the other.

Tony Alderson also wrote:

> the client,
>in my experience, is more concerned with how the color looks with the
>glasses off, rather than how the 3-D looks with the glasses on.   (Please
>don't give me a lot of grief about this. It ain't my druthers. But those of
>you who think about making money with stereoscopy might consider that the
>cash-paying customer has a different agenda than yours.)

Ray Zone responds:

Subscribers to p-3d may not realize it but Tony Alderson has almost twenty
years professional experience with stereography.  He is the first person
(to my knowledge) to transfer polychromatic anaglyphs to fabric for "color
3-D" T-shirts as well as the first to create a multicolor line anaglyph for
printing on the backcover of a 3-D comic titled Battle for a Three
Dimensional World which I wrote in 1982.

Other professional stereographic achievements of Tony's include:  Special
effects for Metalstorm 3-D, a feature length stereoscopic film of 1983 and
3-D conversions for the widescreen lenticular "Star Wars" trading cards
issued by Topps in 1997.  In addition Tony wrote and drew the first
"freevision" 3-D comic (3-D Jonestown) in 1984 and has assisted my own 3-D
comic publication efforts by converting many B&W "flat" art pages to 3-D.

When Boris Starosta, no mean stereographer himself, remarks upon the
difficulties of practicing 3-D professionally, he addresses issues that
Tony Alderson has been facing for many years.


* * * * * * * *
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