The prismatic viewer works pretty much like a classic "Stereoscope" - although you probably noticed it’s much smaller.  

All 3-D viewing methods with the exception of holography involve some basic way of separating two images, so each eye is exposed only to information from its corresponding image - "left" or "right".  Some use polarized filters (the best way to see projected images - slides, film, etc.)  Some use color filters, normally red and blue, which of course alter the color.  Some are based on tiny prismatic strips embedded on a plastic print - like the fuzzy photos you get from disposable 3-D cameras.  Othe methods rely on masking - replacing the glasses with the need to hold a fixed position.  For computer and video displays, the most promising (and most involved) 3-D method uses goggles with built-in LCD shutters synchronized with a high-speed monitor.  

Our viewer is different, because it's a practical solution.  You have absolute freedom in displaying your 3-D images anywhere, even in a family photo album.  Prescription glasses are no problem.  The viewer can be kept attached on the side of your monitor, or carried in your pocket.  You don’t need any particular hardware or software - any computer bought in the last 3-4 years, with the drawing program normally included in its operating system, will get you started.  Actually, if you see this on the Internet, you most likely have all the "system requirements".  

A few extra things are nice to have, but not essential.  A scanner, preferably "flat bed".  A FAX machine with a "straight paper path" (the kind that doesn’t curl the paper inside, in case you want to send photos).  Above all - a bit of basic knowledge on computers, photography, and graphics software.  Some artistic talent helps too.  
 

BASIC 3-D PRINCIPLES 

HOW TO CREATE STEREOSCOPIC 3-D IMAGES 

(Note: The kind of "3-D" that we are referring to is Stereoscopic 3-D.  This is NOT similar to the term "3-D" adopted by the computer industry!  In "computerese" language, the term 3-D refers to the ability of a computer to render the three dimensions of natural objects and to simulate different angles of view - on a FLAT picture!  Ironically, software created for "3-D Graphics" can easily be used to create very effective stereoscopic images.)  

You probably know how to use a camera, and/or a drawing program…  A scanner or a publishing software can be helpful, but not essential.  To create 3-D images, you only need to understand the basics and to experiment a bit.  

Now that you figured out your viewer, scroll to the message below until it's in the middle of the screen, and look at it.  You'll see a slight, "floating" 3-D effect.  The two images are almost identical, only the letters on the left are  ITALIC.  Very simple.  

1.)  You need two slightly different angles of view, simulating the positioning of two eyes.  

2.)  The more difference you have between the left and right pictures, the more significant is the 3-D effect.  Up to a point, however.  If the discrepancies are too big, the brain refuses to "fuse" the two images, so they will split.  
 
 
3-D PHOTOGRAPHY - THE CASUAL WAY 

To learn the basics, use any regular film camera.  (Digital cameras are OK too, you just need to know how to display pictures side-by-side on your computer.  If you don’t know how, just use a film camera for fun - and later refer to your drawing or publishing software manual).  

1.)  Choose a subject that’s a few feet away.  Center the subject in your viewfinder, then take the first picture.  (Be sure to hold the camera level).   Note: If the subject is a person, tell him/her to stay still for a few seconds.  To create 3-D with a single camera, nothing should move in the picture while you switch the camera from one eye to the other.  So choose a still background too.  

2.)  Quickly move your camera to the other eye, center the subject, take another picture.  
Note: Do not tilt the camera.  Place the subject at the same height in the viewfinder.  

That’s it - have the film processed like any normal film.  For display or scanning, refer to "Handling 3-D Pictures" in the previous pages.  

TROUBLESHOOTING THE ONE-CAMERA TECHNIQUE: 

You probably won’t be happy with all the pictures on your first roll of 3-D shots.  Simplicity is the greatest advantage of using a single camera moved from one eye to the other, or balancing from a leg to the other (also called "the rock and roll" technique.)  For example, when you travel you can take pictures both 3-D and "flat" with the same camera.  

On the other hand, the one-camera method is also prone to a few common mistakes.  You can correct them only by paying attention:  

1.)  Moving elements in the picture.  This method can only be used for unmoving objects and people who stand still while you switch the camera position.  Otherwise, if someone is walking in the background, for example, the position of that person will change a lot while you move the camera.  This creates unacceptable disparities, ruining the 3-D effect.  

2.)  Vertical misalignment.  In one picture you pointed the camera up, in the other - down.  Be careful next time.  Small mistakes can be corrected.  With a computer program, you can crop the pictures to match their height and size.   On paper, you can mask the pictures for the same purpose.  

3.)  Horizontal misalignment.  Be sure you have the subject dead in the middle of your viewfinder.  Contact Dr. Kevorkian for details on how to do that.  Seriously, the two camera angles should be either slightly "toed-in" - and a centering on a subject a few feet away is almost fool-proof - or at least parallel to each other.  If your camera has a crosshair in the viewfinder, use it!  The idea is to avoid too large differences between the two images.  Again, small mistakes can be corrected slight resizing + cropping, or masking.  Whatever you do, don’t "toe out" the two angles of view!  

4.)  Proper focal length and exposure.  If you use a cheap automatic camera, just try to shoot in bright sunlight as much as possible and don’t bother with the rest of this paragraph.  If you are a photo artist, read on.  In normal "flat" photography, I love to use telephoto lenses with a wide-open iris, to better control the subject.  In 3-D photography, however, the eyes must have a freedom to choose and select different picture elements.  They need to make up their own mind (your mind, actually) as to what they look at, what’s closer, what’s further, and so on.  The point is: in a good 3-D photo, all the elements must be as sharp as possible.  This calls for wide-angle lenses (or at least normal lenses) and a narrow iris normally set between "8" to "22" range.  

The simple suggestions above, if applied, will improve your single-camera technique very dramatically, cutting the number of rejects by at least half.  Also, small alignment mistakes can be corrected by cropping or masking.  (Regarding the "rejects" - you can still use them as "flat" prints, so they’re not completely lost).  
  
3-D PHOTOGRAPHY - THE MOST PRACTICAL WAY 

The most practical solution is to buy second-hand a "Nimslo(tm)" camera, manufactured in the 80s - EXCELLENT for any Internet application.  We don't know a steady source, just go to e-Bay or Alta Vista and search for the keywords "Stereoscopic" and/or "Nimslo".  On e-Bay they sell anywhere between $50-$150, and at least one such camera is listed at any given moment.  Another camera that's roughly similar, but even cheaper, is called "Nishika(tm)".  

While nobody would give the Nimslo a professional equipment award, this point-and-shoot camera WORKS!  It's extremely practical for almost any kind of Internet application.  It creates relatively sharp prints on average speed film - better than most digital cameras.   Since each picture uses only  half of the screen, you'll exceed your monitor resolution anyway.   Nimslo's photo cell displays a green dot in the viewfinder when you have the right exposure - red if you don't have enough light.  Simple.  The dot also appears on the film, marking the right side frame - so the scanning becomes even easier.  

The Nimslo camera creates four frames (intended for a "lenticular" print) on the film space of two regular 35mm frames.  You get 18 exposures on a 36-picture film.  That's OK, because the "tall" aspect ratio makes the pictures more suitable for computer display, especially in a browser window.  Moreover - the four frames give you three interaxial distance combinations, which is great for close-ups.  (If you shoot small objects you'll need to find and attach close-up lenses, since the camera's focusing range starts around 4-5 feet).  

The best way to print your images is to go to a small photo lab where the operator doesn't frown about making the prints manually.  It's better to print 4"x6" images on 5"x7" paper, so the pictures don't get cropped.  The red dot from the film should also appear on the fourth (right side) image.  Once you have the prints, simply scan the leftmost and rightmost images (if you use separate image files, be sure to include "L" and "R" at the end of each file name).  For closer subjects you can also pair a side frame with one of the center frames - just use the viewer to see which combination looks best.     

If you prefer more sophisticated equipment, the next level up is a vintage 35mm camera such as the Realist or the 3-D Kodak - but not the Viewmaster(tm) because its frames are too tiny.  Although most vintage 3-D cameras were made over 30 years ago, they are great for Internet publishing.  Of course, you need to know how to set the exposure manually - or how to use a light meter.  As with any old equipment, it's a good idea to ask the dealer about return policy and about a suitable service supplier.  

The topmost level of 3-D photography is using two cameras, as described further below.  However, that option is only for professional use - not just because it costs more, but it also entails a lot of setting up.  Since computer and video resolutions are still far behind film resolution, you shouldn't worry too much about using the latest Nikon lenses.  In most cases, a simple 3-D camera will work just fine.  

HANDLING 3-D PICTURES 

The whole idea behind 3-D viewing is to have each image seen ONLY by its corresponding eye (right image for right eye, and left for left).  The human brain, through a process not yet fully understood, translates the small differences between the two angles of view in terms of depth.  No need to go into this further.  There are many ways to display 3-D, we just chose this method because it’s a realistic compromise.  

It important to pay attention to two things when you display the side-by-side pictures.  1.) The two images should be aligned horizontally (at the same height, and not tilted).  2.) The left picture should be on the left, the right one - on the right.  How can  you tell them apart?  

Simple: look at them through the viewer (see steps described above).  If the background objects have an unnatural tendency to appear "in front", you should reverse the position of the two pictures.  

To avoid confusion, it is better to always handle 3-D pairs together. Pairs of photos should be permanently taped side-by-side on a piece of paper (black photo album pages work best).  

By keeping the pairs together like this, you won’t have to figure out every time which picture is on the left and which one goes on the right.  This also helps if you plan to scan the pictures: side-by-side, on a flatbed scanner, the pair will be handled as a single image.  Of course, a single image file is much simpler to handle.  And on the Internet a single file image will look the same regardless of system or monitor size - whereas two image files meant to appear side-by-side may be displayed above each other on certain systems.  

If you frame the pictures for permanent display, don’t  cover them with glass.  Light sources in the room may cast different reflections on the glass in front of each picture, diminishing the 3-D effect.  
 
 
3-D DRAWINGS 

How do you simulate slightly different angles of view in a drawing, to create a 3-D effect?  

The simplest method. 

"Doodle" a simple image with several separate elements in it.  Display it on the left side of your screen.  Then select all objects, copy them, and paste them on the right side of the screen.  Then select each object on the right side and move it slightly.  The rule is simple.  Objects moved further from the center will show up  in the foreground.  Objects left alone will be perceived as middle range.  Objects moved closer to the center will appear as far away, in the background.  Please note that "moving slightly" means just that: slightly!  On a small regular computer screen, we are talking about horizontal disparities of no more than ¼".   Also, all objects must be moved only horizontally (use a ruler to make sure that all the heights match - or if your drawing program has a movable "toolbox", move it around and use its edge as a reference).  The more disparity there is between left and right, the more pronounced the 3-D effect - up to a point.  If the objects are moved too much, or misaligned vertically, the two images will simply not "fuse".  

You can use a similar method without a computer - just on paper.  Make a copy of the original "doodles".  Cut out a few elements that you want moved, and place them at slightly different horizontal positions.  (Be sure to have a piece of paper of similar color under the page with cutout pieces).  When you’re happy with the result, figure a way to keep your masterpiece together.  

Complex drawings. 

In nature, you don’t see geometrical objects separated from each other (unless you look at the sky, of course).  If you draw buildings in a city, you deal with perspective lines, objects covering each other, and so on.  Unless you are an accomplished artist, it’s almost impossible to generate 3-D pairs of images so slightly different, while keeping the disparities proportional to the distance.  The same rules described above apply.  A more common-sense approach is to trace your drawings using a real 3-D photo pair as reference.  

Using So-Called "3-D" Software: a Very Simple Method 

If you currently use a "3-D" drawing / animation software, or even one of those cheap programs for home furnishing or garden design that claim "3-D" capability, you can probably create very impressive stereo pictures.   By "3-D" they really mean reproducing different perspectives as FLAT pictures, emulating different points of view.  If your program allows you to choose two points of view that are very slightly different, you can create two pictures that, displayed side by side, will give you true 3-D!   Actually take several extra angles and print the pictures - to see which pair gives you the best 3-D effect.  Just be careful to keep the pictures aligned horizontally (same height).  Also, when you display the pictures, if you get a "pseudo-depth" effect (with far-away objects wanting to "come towards you"), this only means that you placed the right-side picture on the left.  Simply switch the two pictures.  

Always remember that the differences between the two images should be very small - so vary the angle of view just a little bit.  Some cheap software may not allow moving the "camera" in very tiny increments - so you may have to choose an angle of view further away from the rendered objects, to keep the disparities small.  Software that only allows changing your horizontal point of view in big chunks, without permitting different viewing distances, may be unusable for this purpose.  

Artificial 3-D effects. 

Finally, you can use software made to alter pictures.  The "Goo" program, for example (available at most computer stores), can stretch or modify parts of  a regular picture.  While the program is mostly intended for comic effects (such as stretching someone’s nose and so on), you can use its features to create very slight disparities that are almost unnoticeable when viewed as "flat" images, with the naked eye.  Look through the viewer - to see all kinds of things coming at ya.  

If you use a computer, regardless of which drawing method you chose, save your experiments often.  This way you can easily go back to a previous stage, if you need to make a correction.  When you are happy with your result, save it - and delete the "experimental" images to free your disk space.  
 

HOW TO FAX 3-D PICTURES 
  
Really, the most practical way to send your pictures electronically is to use a scanner and to learn how to attach images to an e-mail message.  High quality artwork should be simply sent by snail-mail.  The FAX can handle 3-D like any other image - so if it's good enough for what you need, use it.  
   
Line art drawings should pose no problem.   Just copy the stereo pair on a regular piece of paper, and it’s ready to FAX.  
   
Photos - for all FAX machines.   The best way is to have your pictures copied side-by-side on a piece of regular paper.  Some images may need to be "screened" or converted to a dot pattern - like newspaper pictures.  This can be done either through your scanner and computer, or at a print shop.  Make a test copy of the picture to see how it will look at the other end, then FAX it.  
   
Newer FAX machines with "Photo Resolution" and straight paper path have better quality - and they "screen" the pictures for you.  The best solution is to make two large photo prints and to send them as separate pages.  Mark the images with tiny "L" and "R", or tell the person at the other end that you'll send the left picture first, etc.  Of course this works better if the recipient has a viewer too.  
  
FOR INTERNET PUBLISHING AND PAPER PRINTOUTS. 

You can use any scanner, any digital camera, any video input device.  It is better if you have the two photos scanned together side-by-side, so you will not have to re-process them.  Also, this way your software will handle the pair as a single picture - much simpler.  

Only if you use digital cameras to shoot the original pictures, you should do all the work in the computer.  Otherwise, re-scanning a printout would degrade the quality.  This requires more computer knowledge (refer to your drawing and/or publishing software manuals; we do not provide computer lessons by phone).  Even when you do everything in the computer, try to combine each pair of images into a single image file, using "Copy" & "Paste" in your favorite drawing program.  Your Internet publishing will be much simpler this way.  

Paper printouts are very simple.  Just use any publishing program to position the picture frames side-by-side. Some of the most common word-processing programs, like "Microsoft Word", can also handle picture frames. Refer to your software manual.  (We strongly recommend "Microsoft Publisher", because it’s so user-friendly.  You can drag the vertical and horizontal rulers with the mouse, to fine-tune the alignment of the pictures.  You can also "crop" the images in order to match the height of the subject and the field of view).  

  
3-D STILL PHOTOGRAPHY: THE MOST SOPHISTICATED LEVEL 
USING "TWIN" CAMERAS NEXT TO EACH OTHER. 

In this section we will briefly suggest several tips & techniques for very serious 3-D buffs.  

Choosing the "Interaxial" 
(or the distance between the two camera lenses): 

If you have two identical cameras on a horizontal bar, you can place them further away from each other when shooting far-away subjects.  This way, a distant subject will still have enough disparity to show depth.   One extreme case is photographing a far-away city from the top of a mountain - with cameras set on two tripods several yards/meters apart.  The 3-D effect is great, although this method also creates a "miniature effect" (like looking at a model of the city).  You can buy a support bar and a twin release cable from Reel 3-D.  With large reflex cameras side-by-side, you will not be able to look through both viewfinders at the same time (too far apart) - so use viewfinder markings for reference.   

Notes for the Technically Oriented: You can also make an U-shaped support that places two SLR cameras vertically, with the viewfinders close to each other.  This way you can look through both viewfinders at the same time, and converge the cameras for optimum 3-D effect.  (For this you need camera bodies that have the viewfinders straight above the lenses).  The best focal lengths are normal to slightly wide angle, with the iris set, if possible, for maximum depth of field.  Zoom lenses must be set at similar focal lengths - so it's better to use regular lenses.  If you use digital cameras, try to "freeview" both LCD screens at the same time, in 3-D.   The vertical (tall) format works best for Internet photos, since the two side-by-side pictures will match your browser's window much more closely.  When scanning the two pictures, try to put them both in a single file - so they will not be re-positioned automatically by different browsers.

The main trap to watch for when setting two cameras far from each other is having very different foregrounds.  Make sure that you don’t have a bush or other close object showing up in only one picture.  A bit of foreground difference is OK and even welcome; too much difference will "split" your picture.  

The Convergence 
(Or the "Toe-In" angle between the two lenses): 

The second feature of using twin cameras is the control over toe-in angle.  You can slightly converge your cameras to enhance the 3-D effect.  Normally the cameras are set to converge on the main subject - but not necessarily.  As a rule of thumb - the distance at which the two cameras converge becomes the "screen surface".  Whatever is closer tends to "pop up" at you, and whatever is further appears "behind the window".  You probably have seen 3-D films at major theme parks - this is how the "coming at you" effects in those films are made.  Camera convergence offers some rather interesting effects.  

However, using camera convergence carelessly is dangerous because the great temptation of "off-the-screen" effects leads to overdoing it.  There are two traps to watch for.  When you converge the cameras too close, you are likely to get very different backgrounds.  Obvious, huh?  So be careful.  The other pitfall is trying to exaggerate the 3-D effect, converging the cameras too far.  In this case, the object in the foreground will split (instead of "coming at you").  The art of 3-D consists of balancing of the image disparities to create maximum 3-D effect, but without overdoing it.  

FINAL TIPS 

1.)  If you shoot an important image, but are not sure how to set your "interaxial" and your "convergence", simply shoot a "Master Picture" followed by several horizontal angles.  Then, you can select the pair that works best with your "Master".  

2.)  If you use convergence to create "off the screen" effects, be aware that the shape of the object "coming at you" can influence the split-off limit.  For example, a ball (a sphere) is more forgiving than a stick (a pointy object) - so it will create a better effect.  Also, avoid very dark or very bright colors on objects supposed to "float" in front of the screen.  Experiment!  

3.)  As you become acquainted with 3-D, be aware that you’ll be able to "fuse" 3-D images much easier than other people.  In other words - your ability to see mistakes will be diminished.  If you work on an important 3-D project, be sure to show it to other people who don’t know too much about it (especially if you use many "off-screen" effects).  

Good luck in your 3-D adventures. 

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