Stereo Underwood & Underwood 1900: Iberian Chapel Auferstehungstor IN Moscow

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Stereo Underwood & Underwood 1900: Iberian Chapel Auferstehungstor IN Moscow The description of this item has been automatically translated. If you have any questions, please feel free to contact us.

You bid an interesting stereo photo from 1900.

Silver galentine print mounted on hard cardboard.

Motive: The Iberian Chapel containing a miraculous icon, Resurrection Gate of the Kitai Gorod, Moscow, Russia // The Iberian Chapel in whose possession is a miraculous holy image, Resurrection Gate of the Kitai Gorod, Moscow, Russia.

Copyright 1900by Underwood & Underwood.

Publisher: JF Jarvis, Washington DC

Cardboard format: 17.7x8.8cm.

Condition: Cardboard strongly bent, somewhat stained, otherwise good. Please also note the pictures!

At the same time I offer more stereo photos!

About the chapel, the editors and the stereoscopy (source: wikipedia):

The Resurrection Gate (Russian Воскресенские ворота / Woskresenskije vorota) is a centrally located Moscow city gate. It got its name from an icon depicting the resurrection of Christ. The original from 1680 was removed in 1931, and a structural reconstruction was erected between 1995 and 1996.

The Resurrection Gate, one of the traditional landmarks of downtown Moscow, was demolished in 1931 because it was the passage f for larger military vehicles to Red Square. This was particularly important in view of the annual military parades held on the anniversary of the October Revolution. In the course of the tendencies to regain traditional heritage destroyed by Stalinism, a largely faithful copy of the gate was built in 1995-1996. A brass star embedded in the ground in front of the gate marks the "kilometer zero" of the Russian distance tables related to Moscow.

Resurrection Gate (Russian: Воскресенские ворота Voskresenskie vorota, also called Иверские ворота Iverskie vorota, or Iberian Gate) is the only existing gate of the Kitai-gorod in Moscow. It connects the north-western end of Red Square with Manege Square and gives its name to nearby Voskresenskaya Square (Resurrection Square). The gate adjoins the ornate building of the Moscow City Hall to the east and the State Historical Museum to the west. Just in front of the chapel is a bronze plaque marking kilometer zero of the Russian highway system.

Resurrection Gate : The first stone gate leading to Red Square was erected in 1535, when the Kitai-gorod wall was being reconstructed in brick. When the structure was rebuilt in 1680, the double passage was surmounted with two-storey chambers crowned by two octagonal hipped roofs similar to the Kremlin towers. An Icon of the Resurrection was placed on the gate facing towards Red Square, from which the gate derives its name.

Until 1731, the chambers above the gate were shared by the neighboring Mint and the Central Drug Store. After Mikhail Lomonosov founded the Moscow University in the latter structure, the university press moved into the gate chambers. Nikolay Novikov, who ran the press in the late 18th century, turned the second storey into his headquarters.

Iveron Chapel : Since 1669, the wooden chapel in front of the gate (facing away from Red Square) has housed a replica of the miracle-working icon of Panaghia Portaitissa ("keeper of the gate"), the prototype of which is preserved in the Georgian Iveron monastery on Mount Athos. Hence, the name Iversky (that is, "Iberian") that stuck both to the chapel and the gate. In 1781, the Nikolo-Perervinsky Monastery constructed a new brick chapel on the spot. The star-splattered cupola of the structure was topped with a statue of an angel bearing a cross.

According to a popular custom, everyone heading for Red Square or the Kremlin visited the chapel to pay homage at the shrine, before entering through the gate. Beggars and outlaws would pray there next to the highest royalty and even the Tsar himself. It was there that the rebel Emelyan Pugachev asked the Russian people for forgiveness a few hours before his execution. The ever-overcrowded chapel, with candles burning day and night, figures in works by Leo Tolstoy,[1] Ivan Bunin, Marina Tsvetayeva, and HG Wells,[2] to name only a few.

Destruction and rebuilding

In 1931, the Resurrection Gate and the chapel were demolished in order to make room for heavy military vehicles driving through Red Square during military parades. Both structures were completely rebuilt in 1994-1995, and a new icon of the Iveron Theotokos was painted on Mount Athos to replace the original.

Воскресе́нские воро́та (И́верские ворота, недолго — Львиные, Курятные) — двойные проездные ворота Китайгородской стены, расположенные в одноимённом проезде между зданием Городской думы и Государственным историческим музеем (ГИМ). Впервые были построены в 1538 году по проекту архитектора Petroka Malogo. В 1931-м снесены, восстановлены в 1995 году под руководством Олега Игоревича Журина .

Istorya

Дорога к Московскому Кремлю у Иверских ворот. Акварель начала XIX века

Император николай II (впереди на белом коне) со со свитой проход fte

Воскресенские ворота незадолго до сноса, 1920-е годы

Воскресенские ворота после разрушения Иверской часовни, 1929 год

Строительство : Воскресенские ворота изначально носили название « Неглинные ». Они были установлены в 1535—1538 годах на берегу реки Неглинной, заключённой в трубу с 1819-го. Руководил постройкой архитектор Петрок Малый. Как и вся Китайгородская крепость, ворота были предназначены для обороны в условиях огневого боя. Первоначально они представляли собой две невысокие арки без украшений, обведённые сверху широкими полузамиб. Через них въезжали в город на главную московскую улицу — Тверскую. На ночь ворота запирали, а утром открывали для прохода к торговым рядам. В 1556 году король Англии Филипп подарил Ивану Грозному двух львов, клетку с которыми поставили для всеобщего обозрения возле ворот, после чего их какое-то время называли Львиными. Также ворота именовали Курятными из-за расположения на курье — местности у русла реки[2][3].

От ворот через неглинннnesю перошен снала деревянный, а с 1603 года каменный воский мост длиной 10.5 5.5. В 1612-м через ворота прошли, направляясь в Кремль, ополченцы во главе с Кузьмой Мининым и Дмитрием сож[а4].

В 1632—1635 годах над воротами были устроены светлицы, соединённые переходом с кремлёвским дворцом. Галерея использовалась царями для наблюдения за въездом иностранных послов. Чех Бернгард Таннер, побывавший в Москве вместе с польским посольством в 1678-м, рассказывал, что процессии приказали остановиться перед въездом, чтобы Фёдор Алексеевич мог получше их рассмотреть[5][6]. В 1648 году у ворот царь Алексей Михайлович встретил прибывшую с Афона Иверскую икону Божией Матери. В 1669-м на месте встречи для неё построили деревянную часовню, после чего ворота стали называть Иверскими[4].

Modernization : Ворота перестроили в 1680 году при Фёдоре Алексеевиче. Их отреставрировали, расширили светлицы и надстроили двумя шатровыми башнями, увенчанными двуглавыми орлами. В нижней части были сохранены крепостные машикули, а верхнюю украсили наличниками, балюстрадами, пинаклями, врезиконы].[ Над воротами поместили в киотах иконы святого Феодора Стратилата and великомученика Георгия, московских свяратителей селтителей. На башне установили изображение Воскресения Христова, и указали называть ворота Воскресенскими[7][3]. При перестройке в стене была сделана печура для часовни, которую приписали к Николо-Перервинскому монастырю[3][8].

В конце XVII века Китайгородская стена была частично разобрана, а на её месте вплотную к аркам пристроили админдистративные з[2андистративные][2анистративные ].

Possibly. Так, в 1721 году через Воскресенские ворота состоялся въезд в честь подписания Ништадтского мирного договора. Он сопровождался звоном колоколов, громом пушек и музыкой. Царя встречали представители духовенства, сенаторы и генералитетет[3].

Ворота пострадали от Троицкого пожара в 1737 году, после чего были восстановлены под руководством архитектора Ивана Мина[9чурина Минача]. В 1742-м по случаю коронации императрицы Елизаветы Петровны их украсили 32 знамёнами, 40 коврами, 500 плошками с горящими фитилями и 38 картинами Ивана Васильева[10]. В 1746 году была перестроена часовня[3]. В 1753-м вышел указ Сената украсить башни декором, сходным с убранством Триумфальных воротах 1740-х годов. Архитектор Дмитрий Ухтомский предлагал перестроить Воскресенские ворота с 85-метровой аркой and 28 статузровой плапли. Вместо этого их украсили лепниной, приставными колоннами, вазами и скульптурными бюстами[1].

В первой половине XVIII века в светлицах находилась пробирная лаборатория Монетного двора. В 1775 году помещение заняла университетская типография, арендованная в 1779-м журналистом Николаем Новиковым[6].

В честь празднования мира с Османской империей и заключения Кучук-Кайнарджийского соглашения в 1775 году ворота украсили символическими картинами, среди которых были изображения Сатурна с песочными часами и косой, Меркурия, Минервы и других[10][3]. А in 1782 the year Иверскую часовню перестроили в камне по проекту Матвея Казакова. В 1801-м её украсили медными вызолоченными пилястрами и гирляндами, на крыше установили ангела с крестом[6].

В XIX веке в помещениях Воскресенских ворот хранился архив Губернского правления. В нале XX столетия николай II подписал укал передаче строения ведение гим, но из-West [6].

Dismantling

В 1917 году Iверская часовня и ворота в Воскресенском проезде использовались как оборонительный рубелиж от боливны Через год был издан декрет Совета народных комиссаров « О снятии памятников, воздвигнутых в честь царей и их слуг, и выработке проектов памятникоction », подписанный Владимиром Лениным, Иосифом Сталиным и Анатолием Луначарским. Следуя указу, 1 мая того же года Воскресенскую площадь переименовали в Площадь революции. В начале 1920-х годов ворота отреставрировали and передали in ведение ГИМ[6][11].

В ночь с 28 юю юля 1929 года снесли иасовню в с с btor Иверскую икону перенесли в храм Воскресения Христова в Сокольниках. Через два года по приказу Иосифа Сталина демонтировали и Воскресенские ворота, так как они мешали проведению демонстраций в дни революционных праздников. На протесты ахитекторов и деятелей культуры лазарь карнович, первы@ секретарь моского городстета и комистета и комистетм кнн кнн комиoom ком suit,

« А моя ESTетика требует, чтобы колонны демонстрантов шести районов Москвы одновременно вливались на Красную площадь[1]. »

Памятник снесли без архитектурного надзора, специалистам удалось сделать только « слепой » обмер раскрытия and фотофиксации. В 1936 году проезд через территорию разрушенных ворот переименовали в Исторический[6][13][12].

Восстановление

В июле 1988 года « Мосинжстрой » i « Мосводоканалстрой » подземные коммуникации and дорожное покрытие in Историческом проезде. Восстановительные работы были связаны с приближавшейся 71-й годовщиной Октябрьской революции. После того как рабочие сняли поверхностный слой, сотрудники Московской археологической экспедиции Института археологии АН ССС, проводившие исследования на территории Монетного двора, остановили ремонтные работы, наткнувшись на кладку фундамента Воскресенских ворот. Остатки строения представляли собой три заложенных в одну линию с Китайгородской стеной продолговатых пилона с четвертями и проездами между ними, облицованные в цокольной части белокаменными блоками. Archaeologists and Volunteers should know about the XIII weeks, the ceramics, the decorations, the material materials of the XIV—XVII weeks. For the reconstruction of the records, the fund is assigned, not the specific lists.[14][14].

В 1993 year the production was completed in the production of Воскресенские Ворота. Правительство Москвы в 1994-м решило восстановить исторический облик этой территории. For this institute « Спецпроектреставрация » where the architect wanted the project to be done. Воскресенские words were reconstructed in the video, camouflage one of the originals in the XVII week, in the Ivorian town of XVII. Через год состоялось торжественное открытие Воскресенских ворот и освящение часовни Патриархом Всея Руси Алекси 1]. Д неё был сделан новыhus об иверской иконы, скопированны@ иеромонахом монтова монастыря иописц с с с с с с с ° с с bt с bt с с с с btннннhood. Ворота передали в ведомство ГИМ .

После восстановления проезд Воскресенских ворот снова стал пешеходным. По эричине тялая военная техника время параicedbly въемать на красную п д стоhood г^ и и^

Underwood & Underwood was an American company that manufactured and distributed stereoscopic and other photographic images. In the course of the late 19th At the beginning of the twentieth century, Underwood & Underwood advanced to become one of the first global news photo agencies with offices in London, New York and Toronto.

History: The company was founded in 1881 in Ottawa, Kansas by brothers Elmer Underwood (1859 in Fulton County, Illinois - 1947 in Saint Petersburg, Florida) and Bert Elias Underwood (1862 in Oxford, Illinois - 1943 in Tucson, Arizona).[1] In 1887 the flourishing company moved to New York.

Around 1890, Bert Underwood began taking photographs himself and expanded the company's Spektrum to include photo documentation. From 1897 Underwood & Underwood employed a staff of freelance and salaried photographers, and in the same year the company took over the stock of the stereoscopic manufacturers Charles Bierstadt, JF Jarvis and Littleton View Company. The war photographers from Underwood & Underwood meanwhile documented almost all major conflicts of the time: the Turkish-Greek War of 1897 (photographed by Bert Underwood on the Greek front), the Spanish-American War of 1898, the Boer War of 1899-1902 and the Russo-Japanese War of 1904-1905.

At the turn of the century in 1900, the company was producing around 25,000 stereo photo cards a day and, with a total of 10 million cards and 30,000 viewers a year, was considered the world's largest supplier at the time. The photo cards were offered in boxes sorted by subject, which mostly contained illustrative material for school purposes, religious subjects and travel photographs of popular tourist destinations. Appropriate titles were, for example, Palestine Through the Stereoscope or Traveling in the Holy Land Through the Stereoscope. In the USA, stereoscopy became almost a mass movement.[3]

Stereoscopies for educational purposes: The series of images were often arranged as continuous narratives intended to educate the viewer, especially children, in a powerful way about the causes and effects of "sinful behavior" such as alcoholism, sexual temptation, adultery or theft. This happened through sometimes surprisingly drastic representations, such as gloomy scenarios with drunken children living in shabby apartments. Albert E. Osborne, President of Underwood & Underwood, wrote in a handbook published by the company that "the stereoscope introduces the viewer to a wide variety of environments and the vile conditions that plague modern society." In addition to the educational aspect, Osborne also dealt with the feelings that images can evoke in the viewer and tried to depict this using diagrams.[4]

Photographic reporting and war photography: From 1910, Underwood & Underwood increasingly focused on current photographic reporting, while the production of stereoscopic images was reduced at the beginning of the First World War.[5] Elmer Underwood now headed the London office. Increasingly acting as a news photo agency, the Underwoods supplied the most important American and European newspapers and magazines with press photos. A well-known, widely reprinted picture by the agency shows the arrest of women's rights activist Emmeline Pankhurst on April 22. May 1914 in front of Buckingham Palace in London. In 1915 Underwood & Underwood published the first "European War Boxset" with stereo photographs of wartime events. With the end of the war, however, the European market proved unprofitable and the demand for stereo photographs declined. In the USA, the preference for three-dimensional images lasted a little longer, after all, postcards finally supplanted stereoscopy.[6] In the 1920s, Underwood & Underwood sold most of their stereoscopic rights (estimated at one million images) to the Keystone View Company of Meadville, Pennsylvania, making them market leaders. In the 1930s, Keystone marketed stereoscopy as a therapy to correct eye deformities and founded a "Stereophthalmic Department" specifically for this purpose.[7]

Aerial Photography: In 1924 and 1925, the picture agency provided the first controlled aerial photographs of the fledgling cities of Miami and Miami Beach. The approximately 400 photographs document the first construction boom in the emerging metropolises before the devastating hurricane of 1926 (Great Miami Hurricane).[8]

Resolution: In 1924, illustrator and photographer Lejaren (John) Hiller (1880–1969) became vice president of Underwood & Underwood. In 1925 the Underwood brothers went out of business. By the late 1920s, Underwood & Underwood was still one of the largest commercial photo service companies in the United States, but interest in stereoscopy waned with the onset of the Great Depression. From 1931 the company, now under the management of the sons C. Thomas Underwood and E. Roy Underwood, was divided into four separate companies. In 1940 the company was dissolved.[9]

whereabouts

Overall, Underwood & Underwood released approximately 30,000 to 40,000 titles of stereoscopic series. The Underwood & Underwood photo archives were purchased by the Bettmann Archives (now Corbis) in 1972. There are also holdings in the collections of the Library of Congress in Washington, DC and Trent University in Peterborough (Ontario), Canada.

Underwood & Underwood was an early producer and distributor of stereoscopic and other photographic images, and later was a pioneer in the field of news bureau photography.

History: The company was founded in 1881 in Ottawa, Kansas, by two brothers, Elmer Underwood (born Fulton County, Illinois 1859 - died St. Petersburg, Florida 1947) and Bert Elias Underwood (born in Oxford, Illinois 1862 - died Tucson, Arizona 1943).[1] They moved to Baltimore and then to New York City in 1891.

At one time, Underwood & Underwood was the largest publisher of stereo views in the world, producing 10 million views a year. The Underwood brothers developed a selling system of thorough canvassing using college students. They distributed stereographs for Charles Bierstadt, JF Jarvis and the Littleton View Company. By 1887, they outgrew their original office in Ottawa and moved to New York City. Offices were also opened in Canada and Europe. In 1891, Bert learned how to operate a camera and thus the firm of Underwood & Underwood Publishing entered a new merchandising sphere. By 1897, the company had a number of full-time staff and freelance photographers. In the same year, the Underwoods purchased the businesses of Jarvis; Beer City; and, William H. Rau. Underwood & Underwood was publishing 25,000 stereographs a day by 1901.[2] The firm still canvassed and sold its own stereographs. Around 1900, Underwood & Underwood introduced boxed sets, with specific themes, such as education and religion, and travel sets depicting popular tourist areas of the world.

By 1910, Underwood & Underwood had entered the field of news photography. Due to this expansion, stereograph production was reduced until the early years of World War I. Altogether Underwood & Underwood produced between 30,000 and 40,000 stereographic titles. In 1920 stereograph production was discontinued and Underwood & Underwood sold its stereographic stock and rights to the Keystone View Company. The Keystone republished images included a V prefix for Underwood source. An example would indicate K24056 as Keystone numbered and the same images V24056 as Underwood and Keystone dual copyrighted.

In 1924-25, Underwood & Underwood took the first vertically controlled aerial photographs of the new cities of Miami and Miami Beach.[4] Approximately 400 images were taken showing the final phase of the first building boom, which collapsed shortly after when the Great Hurricane of 1926 destroyed both locations. The quality of the images was superb for the day and rivals modern aerials in detail due to the low altitude of the aircraft taking them. Little else is known about this aspect of the company's work.

The company ceased business in the 1940s.

Stereo views were meant to be viewed using a stereoscope, of which there were many types. However, advances in 3D technology have allowed old stereo views to be reproduced on digital media or the print page to be viewed using paper glasses. Anaglyph 3D is the name given to the stereoscopic 3D effect achieved by means of encoding each eye's image using filters of different (usually chromatically opposite) colors, typically red and cyan. Anaglyph 3D images contain two differently filtered colored images, one for each eye. When viewed through the "color-coded" "anaglyph glasses", each of the two images reaches the eye it's intended for, revealing an integrated stereoscopic image. The visual cortex of the brain fuses this into perception of a three-dimensional scene or composition.[5]

Stereoscopy (Greek στερεός stereos 'space/r spatial, solid'[1] and σκοπέω skopeo 'to look at'[2]) is the rendering of images with an r spatial impression of depth that is not physically present. Colloquially, stereoscopy is incorrectly referred to as "3D", although it is only about two-dimensional images (2D) that give a spatial impression ("spatial image"). Normal two-dimensional images without depth impression are called monoscopic (Greek: μονος, monos "one" → simple).

The principle is always based on the fact that humans, like all primates and most predators, use their two eyes to view their surroundings from two perspectives at the same time. This allows your brain to efficiently assign a distance to Allen objects viewed and an r gain a spatial image of their surroundings (“spatial vision”) without having to keep their head in motion. Stereoscopy is therefore only concerned with bringing different two-dimensional images from two slightly different viewing angles into the left and right eye.

There are different ways to do this.

All other properties of a two-dimensional image, such as perspective distortion depending on an unnatural lens focal length, the color and, in particular, the restrictive location of the viewer, are retained. It is precisely the last two properties of this three-dimensional image process that cause the significant difference to holography, which deals with the attempt to record and reproduce objects completely, i.e. three-dimensionally (in 3D).

Basics: When looking at close objects, binocular vision provides an essential means of correctly estimating distances. With the right eye we see a nearby object projected onto a different part of the fundus than with the left, and this difference becomes more significant the closer the object gets. If we direct both eyes to one point, the two axes of the eyes form an angle that becomes larger the closer the object is. Close objects are seen slightly more from one side with the right eye and slightly more from the other side with the left eye. These two images, which cannot be exactly superimposed because of the laterally disparate shift, but nevertheless lie within the so-called Panum area, are combined to form an overall spatial impression (spatial image), which is therefore essentially composed of two pieces of information: The different perspective Both eyes produce two different images and the lens curvature of the eye adjusts with the distance of the viewed object to create a sharp image on the retina. The size of the viewing angle and the degree of accommodation give a measure of the distance to the objects. The spatial resolution is therefore particularly high in the gripping area. In addition, covering and blurring effects as well as perspective convey the spatial impression both binocularly and monocularly.

With the stereo photo, the eyes are only offered the information formed from the different viewing angles. Since the eye habitually tries to adapt the lens refractive power to the supposed distance, a sharp image on the retina only comes about with a certain delay (in the millisecond range). The discrepancy between the perceived distance of the viewed object and the actual lens curvature also causes some people to experience dizziness or physical discomfort after prolonged exposure (mismatch between vergence and lens curvature).

The result of an unreal image comes about when the stereo photo is sharp in Allen levels in order to achieve the spatial impression in the entire depth. In nature, however, only a certain area can be seen sharply (depth of field of the eye). In order not to overtax the sense of sight, the visible area can be deliberately limited when taking the picture (see below: Lüscher angle).

The two required partial images are recorded simultaneously (synchronously) with a stereo camera that has two lenses at eye-to-eye distance, also referred to as the natural basis. Each individual image is referred to as a stereoscopic partial image, and the pair of images is referred to as a stereoscopic image. However, if the desired subject to be recorded is a still subject (still life, landscape), the required partial images can also be recorded one after the other (metachronously) with a simple camera.

Enlarging or reducing the base when taking the picture increases or decreases the spatial impression when viewed. But even when recording with a natural basis, you have to take into account individually different limits of the maximum tolerable deviation (deviation). It is Lüscher's credit for having pointed this out.

History: Already in the 4th In the 19th century BC, the Greek mathematician Euclid dealt with stereometry in volumes 11-13 of his textbooks on mathematics. However, he did not know that two eyes are necessary for a physiological spatial visual impression.

In 1838 Sir Charles Wheatstone (1802-1875) published his first research on spatial vision. He calculated and drew pairs of stereo images and constructed an apparatus for viewing them in which the viewer's gaze was redirected to the partial images by mirrors. He called this apparatus a stereoscope. Wheatstone achieved the union of the two partial images with his mirror stereoscope consisting of two mirrors inclined at right angles to each other, the planes of which are vertical. The observer looked in the left mirror with his left eye and in the right mirror with his right eye. Attached to the side of the mirrors were two slidable boards that carried the inverted perspective drawings of an object. The rays emanating from corresponding points in the two drawings were now reflected by the mirrors in such a way that they appeared to come from a single point situated behind the mirrors. So each eye saw the image that belonged to it, and the observer received the spatial impression.

After Louis Daguerre publicly announced the process for producing photographic images on silver layers in the Academy of Sciences in Paris in 1839, it made sense to use it to produce stereoscopic double recordings, which until then had only existed in drawn form.

In 1849, Sir David Brewster (1781–1868), Scottish physicist and private scholar, introduced the first two-lens camera, which was the first to record moving snapshots stereoscopically. Until then, the stereo partial images had to be exposed one after the other and the camera had to be moved between the two exposures at eye distance, which could lead to different image content with moving motifs that did not allow for a three-dimensional impression.

In the same year, Brewster simplified the stereoscope by replacing the mirrors with prisms ground like a lens. For these instruments, a converging lens of about 180 mm focal length was cut into two semi-circular pieces and the two halves mounted in a frame with their circular edges facing each other. A sheet containing the two drawings (or photographic images) was inserted behind the lenses in the viewing direction.

The lens effect made it possible to view the images without the eyes having to adjust to the short image distance (accommodation). Prism action made it possible to use a greater lateral offset than natural eye relief (about 65mm) between the two images, allowing the images to be wider. This in turn made it possible to cover a larger field of view, and to print or draw the images with higher resolution.

Stereoscopes of this type with series of paper images were known in the 19th century. century in general use. In most cases, however, two small lenses were used, the axes of which roughly coincided with the axes of the eyes (i.e. without prism wedge effect) and pairs of 6 x 6 cm small images adapted to the distance between the eyes were used.

Crowds of photographers began taking stereoscopic photos on their excursions around the world. In the British Museum in London, historical stereo recordings of excavations and landscapes are still shown in various rooms, mounted on a round disc. This type of viewing is a forerunner of the popular View Master devices from the 1950s.

In 1851, the French optician Jules Duboscq presented his apparatus to the public at the World Exhibition in London. They were stereoscopes based on Brewster's designs, with which he showed stereo daguerreotypes. The response from the audience was overwhelming, and Queen Victoria was also enthusiastic about this presentation. The triumph of stereo images could no longer be stopped.

The type of stereoscope most widely used was that developed by Oliver Wendell Holmes in 1861, a focusing stereoscope that became a de facto standard.

Around 1880, August Fuhrmann developed a large rotary stereo viewer, the so-called Kaiser Panorama. Around 1900 this became a popular mass medium in Central Europe.

Wilhelm Gruber invented the View-Master in 1938, a stereo viewer with interchangeable screens.

Stereo photography experienced a boom around 1900 and in the 1950s. Home stereoscopes became popular. Publishers offered stereoscope cards from all over the world. Due to the greater technical complexity, however, stereo photography has never been established in the long term. Today, thanks to the introduction of the digital camera, it is experiencing a slight renaissance[3] because expensive photo paper is no longer needed and experiments are less expensive.

From 1910 onwards, stereo photography was increasingly replaced by the new medium of film.

During World War I, reconnaissance planes from all warring parties took countless photos. In 1916 they were already operating at altitudes of over 4,000 m because of the ever-increasing anti-aircraft defenses. With high-resolution cameras and later also serial images, they provided important insights deep into the enemy's rear. Entire sections of the front were systematically photographed; Staff image departments with laboratory, repair and archive facilities were set up at the army high commands. The special series cameras with a large focal length developed by the companies Zeiss, Görz, Ernemann and Messter were installed vertically in the German machines. Stereoscopic recording techniques were used to create spatially dimensioned images that surveyors and cartographers converted into detailed front maps for the staffs.

La stéréoscopie (du grec stéréo- : solide, -scope : vision) est l'ensemble des techniques mises en œuvre pour reproduire une perception du relief à partir de deux images planes.

The designation récente "film en 3D" est employed par anglicisme et par méconnaissance de la terminologie correcte: film stereoscopic or film en stereoscopic.

La stéréoscopie est née juste avant la photographie (le stéréoscope de Charles Wheatstone a été publié quelques mois avant les travaux de Louis Daguerre et de William Henry Fox Talbot), bien que des traces plus anciennes dans des interrogations et expérimentations picturales soient trouvées. Ainsi, la collection Jean-Baptiste Wicar du Palais des beaux-arts de Lille conserve deux designs distinctive les visions d'un même sujet pour chaque œil, executed by Jacopo Chimenti, painting of l'école florentine (1554 - 1640). A pair of designs in stereo du XIIIe siècle a même été retrouvé dans une bibliothèque à Oxford (Gérard Fieffé, Bulletin du Stéréo-Club Français, no 673, October 1963).

Elle se base sur le fait que la perception humaine du relief se forme dans le cerveau lorsqu'il reconstitue a seule image à partir de la perception des deux images planes et different provenant de chaque œil.

Il existe, pour réaliser ces images, also bien que pour les observers, une grande variété de moyens, à la description desquels plusieurs centaines de livres ont été consacrés.

Stereoscopy (also called stereoscopics, or stereo imaging) is a technique for creating or enhancing the illusion of depth in an image by means of stereopsis for binocular vision[2]. The word stereoscopy derives from Greek, Modern στερεός (stereos), meaning 'firm, solid', and σκοπέω (skope ō), meaning 'to look, to see'.[3][4] Any stereoscopic image is called a stereogram. Originally, stereogram referred to a pair of stereo images which could be viewed using a stereoscope.

Most stereoscopic methods present two offset images separately to the left and right eye of the viewer. These two-dimensional images are then combined in the brain to give the perception of 3D depth. This technique is distinguished from 3D displays that display an image in three full dimensions, allowing the observer to increase information about the 3-dimensional objects being displayed by head and eye movements.

Photographic reporting and war photography: From 1910, Underwood & Underwood increasingly focused on current photographic reporting, while the production of stereoscopic images was reduced at the beginning of the First World War.[5] Elmer Underwood now headed the London office. Increasingly acting as a news photo agency, the Underwoods supplied the most important American and European newspapers and magazines with press photos. A well-known, widely reprinted picture by the agency shows the arrest of women's rights activist Emmeline Pankhurst on April 22. May 1914 in front of Buckingham Palace in London. In 1915 Underwood & Underwood published the first "European War Boxset" with stereo photographs of wartime events. With the end of the war, however, the European market proved unprofitable Photographic reporting and war photography: From 1910, Underwood & Underwood increasingly focused on current photographic reporting, while the production of stereoscopic images was reduced at the beginning of the First World War.[5] Elmer Underwood now headed the London office. Increasingly acting as a news photo agency, the Underwoods supplied the most important American and European newspapers and magazines with press photos. A well-known, widely reprinted picture by the agency shows the arrest of women's rights activist Emmeline Pankhurst on April 22. May 1914 in front of Buckingham Palace in London. In 1915 Underwood & Underwood published the first "European War Boxset" with stereo photographs of wartime events. With the end of the war, however, the European market proved unprofitable
Land Russland
Anzahltyp Einzelwerk
Jahr 1900
Zeitraum 1900-1949
Thema Architektur
Fotograf Underwood & Underwood
Produktart Foto
  • Condition: Used
  • Country: Russia
  • Number Type: Individual Work
  • Year of Production: 1900
  • Period: 1900-1949
  • Theme: Architecture
  • Photographer: Underwood & Underwood
  • Type: Photo
  • Brand: Unbranded

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