Ian Ference's 3D blog on all things stereographic, from classic scopes & stereoviews to historical context & modern analysis
In this year's Remembrance post, we remember the past by looking to the future - specifically, of the Jordan/Ference Collection, the world's largest publicly available archive of Great War stereography. See over 40 new images, and consider what they meant to the men who served.
A preview of 10 highlights from the Honorat Collection, consisting of nearly 200 examples of amateur French stereography of the Great War.
This year's Remembrance Day post focuses on the work of Cl. Gueidan, a stereographer who sold some of his non-stereo work to the Section photographique de l'armée. He had incredible access to High Command, but also focused on Marsouins (colonial marines), hospitals, and ruins, creating some incredible works in the process.
Long-time readers of Brooklyn Stereography should be unsurprised that I love amateur glass stereoviews. In this article, I use a set of seven received earlier this week to highlight exactly why.
On the 101st anniversary of the Armistice, we take a look at 101 unique stereoscopic 3D photos - taken by amateurs, and not sold commercially.
Doctor A. O. Fasser took this 3D photo of two men fixing up a tire on a Nieuport 10, most likely in the spring of 1916. Here we take a look at the sesquiplane, before taking a look at the importance of negatives - both in general, and relative to the Fasser Collection.
The Germans were late to bring tanks to the Great War; while the Allies built over 5,000, the Germans built a mere 20. This essay examines the history of those 20 A7V-class tanks, and takes a closer, stereoscopic look at two of them.
One of the parcels which arrived on "Christmas in July" two days ago contained a wooden box - with about 500 amateur glass stereoviews contained within. Today, we take a look at two boxes at random, in an attempt to determine what this acquisition consists of, who might have taken it, and whether it is, indeed, a cohesive collection, as opposed to a random pile of amateur glass.
"La Délivrance", the statue that was at the center of the Nantes Memorial to the War Dead, was also at the center of a lot of controversy. Placed in July of 1927, it was torn down by far-right wing vandals - not to be restored for 91 years, on the Armistice Centenary.
While touring the ruins after the Great War was rather unexceptional, this well-shot amateur set is rather bizarre in that a lone woman is pictured in most of the shots, always with a stolid expression on her face and in a very proper stance. Add in a complete lack of other people, she comes off as rather ghoulish, like a spectre haunting the rubble.