Ian Ference's 3D blog on all things stereographic, from classic scopes & stereoviews to historical context & modern analysis
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.
In the first full-on guest post on Brooklyn Stereography, I allowed my beautiful wife Stacey to write about some beautiful nudes by a nameless photographer.
An awful mood turned pleasant due to some of my VistaScreen 3D collection - most notably Eastbourne Model Village from the late 1950s.
Everybody knows that the plague is coming, everybody knows that it's coming fast... OK, that's just me ripping off Leonard Cohen during the CV-19 outbreak. But here, enjoy me taking the piss out of this homophobic holiday camp while you're holed up at home!
After enough requests for more pretty ladies on Brooklyn Stereography, I must assent - so here are some mediocre cheesecake stereoviews from Stanley Long. I present VistaScreen Series 40 "Glamour Models No. 2 - A bevy of British Beauties", an obvious series of outtakes from the first Glamour Models series.
Exactly one year ago today I made my first post on Brooklyn Stereography. Today, I'm going to repay the kindness you've all shown with images of: A bomb blast, a wounded man, a plane crash, a ripped-up corpse, a hastily constructed cemetery, and some very weary Hairies. Happy anniversary from Brooklyn Stereography!
Questions are a burden to others; answers a prison for oneself. So we're all going to wind up as prisoners in Portmeirion, the North Wales village designed by a mad visionary and used for the exteriors of "The Village" in ITV's 1967 sci-fi allegory "The Prisoner". Shown in VistaScreen 3D and in annotated screengrabs from the series,
On this week's Sunday Travels, we're in for a pleasant surprise - Keystone View Company not only created a number of pretty great stereoviews, but they treated their subjects with respect. A stark contrast to Australia and most of The Netherlands, we'll look at the likely explanation for the nice stereography and barely-racist text.
We've looked at some great VistaScreen, some interesting VistaScreen, and some just plain silly VistaScreen on this blog. But here, we're going to look at the absolute dregs of VistaScreen - which also happens to be one of the most popular sets the company produced during its mid-period in the late 1950s.
Douglas Adams hated Heathrow Airport. My wife likes it. Somewhere in between these points of view, there was the 1950s "London Airport", as captured here by VistaScreen. In this essay, we'll explore the nature of documentary stereography that was probably boring when shot but has become more interesting with the passage of time.