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The Kodak Zi8 Pocket Video Camera is the latest generation of the esteemed line of handheld video camcorders. Protect your valuable Kodak Zi8 with a scratch resistant neoprene case. The dual pocket features allows you to put your Kodak Zi8 in the main compartment and your accessories in the front smaller compartment. The camcorder still sports the trendy pop out USB arm to stick into a computer…
The Kodak Zi8 Pocket Video Camera is the latest generation of the esteemed line of handheld video camcorders. The camcorder still sports the trendy pop out USB arm to stick into a computer USB port. However, if you’re afraid the arm isn’t sturdy or afraid of your expensive Kodak Zi8 dangling from the side of your computer, then the USB extension cable is the perfect fit for you. You can easily pla…
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Seton Rochwite was a camera hobbyist who began designing and building his own stereo cameras in 1929. In 1938, he began work on one that would be suitable for commercial manufacture; he built the first prototype in 1940. He brought it to the David White Company of Milwaukee who, interested in the design, hired him in 1943. The company began advertising the “Stereo Realist” in photography magazines in 1945, although it would not end up being produced until late 1947.
The David White Company had great success marketing the Stereo Realist system to the public. In addition to the stereo cameras there were special viewers, projectors, film cutters, slide mounting aids, cases, and other accessories available. They also offered a stereo slide mounting service. Several camera models were offered over the years, some with premium lenses and features. The basic camera architecture was shared among all the variants.
The Stereo Realist system proved so popular that several companies, such as Revere, Bell and Howell, Three Dimension Company (TDC) and Kodak came out with their own cameras using the same format. Some of the competitors offerings had features that the Realist lacked and/or were easier to use, and most were less expensive but none were as popular. The Kodak stereo camera in particular, which was both less expensive and easier to use, might have outsold the Realist, had it been released prior to the end of 1954.
By the mid-1950s the public’s fascination with stereo imaging faded, and by 1960 the Stereo Realist was the only stereo camera of the 50s era that was still manufactured. Realist production limped on at much reduced numbers throughout the 1960s and finally ceased in 1971.The David White Company, which in the 50s changed its name to “Realist inc.”, changed it back in 1990.
Design and engineering
Realist red button viewer, often considered the finest
The Realist uses standard 135 film. The unusual proportions of the slides (the image was 5 sprockets wide) became the standard for 3-D slides, and is known as “5P” or “Realist Format”. It marked a significant milestone in stereoscopy. The arrangement of images on the film (1L-blank-2L-1R-3L-2R-4L…) seemed arbitrary but allowed for a simple film advance mechanism with little film wastage. A special accessory was available that used the otherwise blank frame near the start of the roll to identify the roll, though the procedure for using it was rather elaborate.
Image strip from a Realist 45 camera. Note the notch above image “5″, which is the left eye image of a pair with image 7 being the right eye image of the same pair.
Because of the reversal that takes place due to the optics of the camera, the right eye image is on the left and the left eye image is on the right. Note that in the Realist 45 the film cartridge loads on the right side of the camera, causing the images to be upside down relative to the numbers. The standard Realist and Kodak stereo camera have the cartridge on the left side, so the images have the same orientation as the numbers.
The routine for taking a photograph with a Stereo Realist is elaborate, compared to a modern camera. One must lift the lens cover, focus, cock the shutter, and manually set the aperture and shutter speed. The wind release button must be depressed briefly while beginning to wind the film to the next frame. The film winding is then completed so that the camera is ready to shoot another pair of images.
Later-model cameras featured a double exposure button which could be pulled out to make a double exposure but could otherwise be left alone as well as a depth of field scale on the focusing knob. Many also had red marks on f6.3, 1/50 and on 20 feet. This was called the “The Three R’s in Outdoor Stereo Photography” and is based on the then standard ASA 10 color slide film. Earlier cameras lacked these features but they could be added.
Accessories and mounting services
Back (label) side of a Permamount
Front (viewing) side of Realist permamount.
Realist aluminum mask and box
Because the Realist effectively created a new format of slide, its users needed a new line of accessories and services. The David White company obliged by producing a whole system which included everything needed to take, mount, view, and store stereo slides.
Among the mounting accessories were a complete mounting kit which included sorting tray, film cutter, and tweezers, three different types of aluminum masks, cardboard folders, a mounting jig, and mounting glass. Mounting glass could be secured with mounting tape or with plastic permamounts.
Permamounts were considered premium mounts with a label on one side and a neat viewing window on the other. They were considered suitable for projection because the rigid plastic construction was stiff enough for automatic magazines but no plastic covered the image area so there was no interference with polarization. The operator of the projector did need to be careful not to leave the same slide in the projector for too long though, because the heat would eventually start to warp the mount.
Viewing accessories included several types of viewers, the Realist stereo projector, and polarized glasses.
There were also various types of slide storage cases available, some of which could also accommodate the viewer as well.
Most of these accessories were also made by other companies, some of which were more versatile than the Realist offerings. The Stereo projectors made by TDC (Three Dimension Company), for example, were far more popular than the Realist stereo projector. Some users preferred cardboard slip in mounts made by 3rd parties because of their ease of use even though they were generally considered to be of lower quality and were not suitable for projection. The Brumberger binder frames and mounting glass were very peopular among users of Stereo projectors.
All of these can be found on eBay in used or occasionally NOS condition and some of them (or their modern equivalents) are still manufactured.
The Realist stereo mounting service used several different types of mounts during its run. The earliest mounts used a type of aluminized cardboard mask inside a cardboard foldover. This tended to warp with exposure to humidity thus changing the alignment of the film chips. In older slide collections, the film chips may have slipped to the point that the slide is unviewable without readjustment and one film chip may have even fallen out!
Later slides from this service were usually in “precision mounts” which contained an aluminum mask inside the same style of cardboard foldover. The precision mounts may or may not have the words “precision mount” printed on the outside.
Kodak also had a stereo slide mounting service. Whereas the mounts used in the Realist service appear to have been designed for hand mounting, the Kodak mounts look like they were made exclusively for high volume machine mounting. The Kodak mounts are all cardboard and have the appearance of being a single piece of cardboard. Purists didn’t recommend them for projection because the stereo window wasn’t very precise and the mount wasn’t stiff enough for the automatic feeding mechanism of some deluxe stereo projectors.
Other models
Realist 2.8
This model featured 4 element f 2.8 lenses rather than the 3 element f3.5 lenses used by the standard Realist. Most users under normal use will not notice the difference, though the 3.5 lenses have slightly better contrast. The 3.5 lenses all show vignetting at smaller apertures whereas the 2.8 lenses don’t. The 2.8 lenses also work better with supplementary lenses.
In more recent times, the 2.8 Realists have been favored for 7P widening, because their lenses adequately cover the wider frame whereas the 3.5 lenses cannot.
Realist Custom
The Realist custom features higher quality f 2.8 “rare earth” lenses. It also has a higher quality finish, a larger rewind knob and a few other refinements.
Realist 45
Realist 45 with back removed, showing film chamber.
Realist 45 camera
Realist 45 from the top, note top mounted focus control.
Realist 45 from the bottom
The Realist 45 is a rebranded version of the German made Iloca Stereo Rapid sans rangefinder. It was marketed by Realist incorporated in the U.S., apparently as an economical, easy to use camera to compete with the Kodak Stereo Camera.
Though the design is clearly different, the Realist 45 has several features in common with the Kodak Stereo camera. It features an automatically cocked shutter. There is built in double exposure prevention with manual override.. There is also a film type indicator on top.
The Realist 45 also differs from the Kodak stereo camera in several ways, the Realist 45 film transport features a swing out lever that allows rapid winding, a handy feature for those wishing to take a lot of shots quickly. Unlike the Kodak, the Realist 45 has a top mounted focusing knob that moves the film plane in a fashion similar to the standard Realist. There is a depth of field scale built into the knob which goes up to f16. The top mounted exposure counter counts up rather than down like the Kodak counter.
Aperture settings are on a ring mounted on the left lens, apertures go from f3.5 to f16 with all whole f stops marked. The shutter speed is is set by a ring mounted on the right lens and includes b, 1/25, 1/50, 1/100 and 1/200.
The bottom of the camera contains the rewind knob release lever, the rewind release button and the rewind knob which is also used to open the back. Printing on the bottom includes loading instructions, daylight exposure table, flash exposure table, (both based on ASA 10 film) and suggestions for common focus settings.
The realist 45 also features the then standard, old style hot shoe (referred to as an accessory clip). This was more versatile at the time it was released because it allowed it to use most contemporary flash accessories, and in recent years it has made it much easier to find an adapter for modern electronic flash units than it was for the Kodak.
Unlike the Standard Realist, the Realist 45 is not constantly available on eBay, but does come up on a fairly regular basis and usually sells for $100-$200 in good clean condition.
Macro Realist (model 1060)
The Macro Realist aka model 1060 had the same body as the regular Stereo Realist but was a completely different camera. The macro Realist was designed to stereograph subjects that are 4 to 5 inches away. It was invented by Clarence G. Henning.
Unlike the regular Realist, it had fixed focus and fixed aperture. Technical requirements of macro work related to the interocular distance of 15mm dictated that the subject be a certain distance from the camera so a pair of “arms” located in front of the lens showed where the subject needed to be. The camera was held by a hand grip with a built in shutter button and lighting was through and electronic flash unit sold with the camera. The one missing feature that would have made it a truly convenient point and shoot was a motorized film advance, a rare feature indeed for cameras of that era!
There was a single shutter for both lenses, thus insuring perfect synchronization, an important consideration when stereographing live insects! Shutter speeds available ranged from “B” and “T” all the way up to 1/125 though the shutter speed made little difference when using the electronic flash.
Realist inc. also came out with an accessory lens kit, model 1525, that allowed getting further from the subject (-3) or much closer (+3, +6 and +10). The interocular remained at 15mm, of course, so the magnification given by the +10 lens resulted in excessive parallax, and many people found the pictures produced by it difficult to view.
The Macro Realist was manufactured for about 1 year, ending production in 1972. Existing stock sold slowly, however, and it was still available from Realist Inc. until 1976. It is estimated that only about 350 units were made. Unlike the more conventional Realist models, the Macro Realist rarely appears on eBay, and when it does the asking price is in the $6000 range.
Post 1971
Standard mount used by Kodak through 1957. Note older color scheme. There was no embossed processing date.
Standard mount used by Kodak after 1958, note the modern color scheme. Processing date was embossed on the other side.
Date embossed on later Kodak stereo mount.
3rd party cardboard slip in mount, nonadjustable window.
The end of Realist production didn’t spell the end of their use, or market support. Indeed, many avid Realist users were not even born when Realist ceased production in 1971.
In the book Amazing 3D it is suggested that Kodak abandoned its mounting service in 1955 and then resumed it after the demise of the Realist. It should be noted, however, that in many stereo slide collections there are Kodak mounted slides with hand written dates from 1956 to 1957 as well as Kodak mounts with embossed dates from 1958 to 1971 (and later, of course!). This suggests that it was actually the Realist slide mounting service that ended in 1955, as no Realist mounted slides after that date seem to exist.
Kodak maintained its stereo slide mounting service into the 1990s. There are still some companies which can process and mount stereo slides, mostly through mail order.
After the David White company got out of the stereo photography business, a company called Sigma continued to make Realist-style aluminum masks sans Realist branding until the supply of semirigid aluminum dried up. These were sold by companies such as Reel 3D Enterprises well into the 1980s. Other slide mounting options are still available.
The Stereo Realist was designed to use slide film and although it is possible to use print film in it, it has never been easy to find labs that could properly print 5P format prints. This dependence on slide film has become an issue.
Slide film remained popular for general nonstereo uses through the 1980s. The increasing popularity of camcorders which led to the demise of the home movie industry also cut into the popularity of slides. The introduction of the photo CD, often bundled with a set of prints, and later the photo DVD eroded the popularity of slide film further. The advent of software that allows the production of DVD picture albums viewable on TVs took a toll as well. The decreasing popularity of slide film led to a lot of it expiring before it sold and so many retailers curtailed the variety of slide film that they sold. This lack of variety led many users to buy their film from specialty shops or mail order.
Still, as late as 2005 at least one type of slide film was available at most places that sold print film. By the end of 2006 the picture had changed and slide film was very difficult to find except at camera shops and through mail order. In 2009 Kodak ceased production of Kodachrome which had once been by far the most popular slide film and is the film most vintage stereo slides were taken on. It was getting nearly impossible to find a lab, even a mail order lab, that would process it anyway.
Ektachrome and other slide films are still available from Kodak and a few other companies, but their popularity continues to decline. The difficulty of obtaining and processing slide film has led to a decline in the popularity of Realist format cameras but they aren’t dead yet. Realist cameras are still constantly for sale on eBay and still get bids; of course, it is difficult to say how many of these are from mere collectors, rather than potential users.
Though there are many options available for digital capture, storage, and display of stereoscopic images, digital imaging hasn’t had as big an impact on stereo photography as it has had on other aspects of photography. The digital equivalent of the Stereo Realist has yet to appear on the market, though several products that might fit the bill are expected to hit the market in the US and some are already available in Asia.
The “Stereo Realist” trademark expired and in 2001 was registered by John J. Zelenka.
Published works with the Stereo Realist
Leo Villa, mechanic for Sir Malcom and Donald Campbell’s record-breaking Bluebirds, was given a Stereo Realist by Campbell in 1955. Many of his photographs with it have recently been published in book form as polychromatic anaglyphs (i.e., single composite photographs viewed through colored viewing glasses).
Harold Lloyd took thousands of Stereo slides with his Realist and wrote the introduction to the Stereo Realist Manual published by Morgan and Lester.He also took several of the stereo pictures used in that book. Many of his pictures of Hollywood celebrities were published in the book 3D Hollywood and in Hollywood Nudes in 3-D! .
External links
Dr T’s Stereo Realist Page
www.orphancameras.com site of stereo cameras
StereoRealist.com: The Stereo Realist Site
References
Morgan, Hal; Symmes, Dan (1982). Amazing 3-D. Boston; New York: Little, Brown and Company. ISBN 0-316-58283-2. OCLC 8851379.
Morgan, Willard D.; Lester, Henry M. (October 1954). Stereo Realist Manual. and 14 contributors. New York: Morgan & Lester. OCLC 789470.
“KODACHROME Discontinuation Notice”. Rochester, New York: Eastman Kodak Company. http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=15359&pq-locale=en_US. Retrieved 11 October 2009.
Zelenka, John J. (28 September 2008). “Rochwite”. Stereo Realist. http://zeltd.net/StereoRealist/Seton Rothwite.htm. Retrieved 11 October 2009.
de Lara, David; Desmond, Kevin; Villa, Leo (2007). Leo Villa’s 3D Album of the Bluebirds. London: Transport Bookman Publications. ISBN 085184071X. OCLC 444343787.
Simmons, Gordon (March/April 1996). “Clarence G. Henning: The Man Behind the Macro”. Stereo World 23 (1): 3743.
Willke, Mark A.; Zakowski, Ron (March/April 1996). “A Close Look into the Realist Macro Stereo System”. Stereo World 23 (1): 1435.
^ 3D Hollywood by Suzanne Lloyd Hayes with photographs by Harold Lloyd 1992 ISBN 0-671-76948-0
^ Hollywood Nudes in 3-D! by Harold Lloyd (Photographer), Suzanne Lloyd (Editor), Robert Wagner (Foreword by), Charles R. Johnson Black Dog & Leventhal Publishers, Inc. 2006 ISBN: 1579126790
Categories: 3D imaging | Stereo cameras
Rountable Discussion About the Kodak PLAYSPORT Video Camera Bundle
The Kodak PlaySport HD Waterproof Pocket Cam Pocket Video Camera is the latest generation of the esteemed line of handheld video camcorders. Protect your valuable Kodak PlaySport HD Waterproof Pocket Cam with a scratch resistant neoprene case. The dual pocket features allows you to put your Kodak PlaySport HD Waterproof Pocket Cam in the main compartment and your accessories in the front smaller…
The waterproof Kodak PlaySport video camera is the latest generation of the esteemed line of handheld video camcorders. The PlaySport HD pocket camera can be sync’d or charged via the USB cable, car charger, and wall charger….
The Kodak Zi8 Pocket Video Camera is the latest generation of the esteemed line of handheld video camcorders. Protect your valuable Kodak Zi8 with a scratch resistant neoprene case. The dual pocket features allows you to put your Kodak Zi8 in the main compartment and your accessories in the front smaller compartment. The camcorder still sports the trendy pop out USB arm to stick into a computer…
The Kodak Z915 Digital Camera Bundle has everything you need from a included camera case for protection to to you always being prepared with rechargeable batteries. The Kodak Z915 Digital Camera brings high-definition pictures right into the palm of your hands. Protect your camera with the included Kodak carrying case. Featuring a sleek and sophisticated black exterior, the Kodak Z915 is ideal for…
Take photos and movies anywhere, then view them on your Kidizoom Camera or on your TV or PC. The bonus travel bag is perfect for storing the camera and included accessories. The 2.0 GB SD card will store more than 10,000 images or 5 hours of video….
A Kodak camera can be a great investment for all professional and unprofessional photography enthusiasts. You can enjoy the finesse offered by a great many technical specifications and high-end picture quality with a Kodak camera. Of late the company has launched a high-performance video camera coming in the form of Kodak Playsport.
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The LCD glare shield of Kodak Playsport gives users the facility of sun glare protection. For outdoor photography, this feature is an added advantage as it helps users to see everything clearly. And the best part of this glare shield is that it does not have any effect on the video footage. Therefore, vibrant and clear videos can be captured all the time.
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Mini Neoprene Zip Case for your Kodak EasyShare Camera. Material protects against scratches and surface damage. Case Is Water Resistant and Durable. CAse Internal Dimension: 4 1/4 x 2 3/8 “…
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Mini Neoprene Zip Case for your Kodak EasyShare Camera. Material protects against scratches and surface damage. Case Is Water Resistant and Durable. CAse Internal Dimension: 4 1/4 x 2 3/8 “…
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This USB cable connects your digital camera to the USB port on your PC or MACINTOSH computer, enabling you to transfer pictures or other data between the computer and the attached device….
