SESSIONS ON THE HISTORY OF STEREOSCOPIC PHOTOGRAPHY
Session 1 7:30-9:20 AM PDT
Global Warming — The Historic Photographic Evidence
Dr. Peter Blair
Mr. Alan Alpenfelt
Dr. Peter Blair is a scientist, author, 3D enthusiast and mountain lover. He has been skiing in the Chamonix valley for over 40 years and has witnessed the dramatic impact of global warming at first hand. He has published 2 books on stereoscopy, "Chamonix Mont Blanc in 3D" and "Scotland in 3D." Alan Alpenfelt is a Swiss artist who used William England's 1863 stereoscopic views of Switzerland as inspiration to revisit the same sites in 2019 and create a multimedia virtual reality installation "Binaural Views of Switzerland."
The Latimer Clark Process or System
Mr. Denis Pellerin
London Stereoscopic Co.
On 5 May 1853 civil engineer Joshua Latimer Clark presented to the Photographic Society of Britain a way of taking, with a single camera, the two halves of a stereo image on the same plate so that they would not need transposing. His system was quickly adopted by such great names of stereo photography as Philip Henry Delamotte, T. R. Williams, William Lake Price, Victor Prout, Lady Clementina Hawarden, etc. This short presentation aims at presenting the Latimer Clark system and how it was used, even for daguerreotypes, well into the 1860s.
Unboxing Colonialism: Donnevert's 'German South West Africa'
Prof. Neal Sobania
Pacific Lutheran University
Neal Sobania is Professor Emeritus of History. During his university career he lived, worked, taught, lectured, and conducted research in and about Africa. Among his current research and writing projects is demonstrating the use of stereo views as historical documents, and how the representations of Africa and depictions of Africans in stereoscopic slides and early advertising cards are relevant to understanding the place of Africa in popular culture today.
Voices from Keystone: Tracing Keystone View Company's Corporate Soul
Dr. Leigh Gleason
UCR ARTS, University of California, Riverside
Leigh Gleason is the Director of Collections at UCR ARTS, which includes the California Museum of Photography, Culver Center of the Arts, and the Sweeney Art Gallery. She oversees all of UCR ARTS's permanent collections, including the Keystone-Mast Collection, the largest stereoscopic archive in the world. Gleason holds a PhD in visual history from De Montfort University in Leicester, England. Her PhD thesis, "Canvassed and Delivered: Direct Selling at the Keystone View Company, 1898-1910," examined Keystone View Company's salesmanship methods as a means to understand the workings of Keystone and the photographs that it produced.
From Stereoscope to Oculus: A Child's First Virtual Reality Tour of the World
Dr. Judith Babbitts
University of Massachusetts-Boston
In 1987, Dr. Babbitts completed a PhD dissertation at Yale University titled, To See is To Know: Stereographs Educate Americans about East Asia. In her words, "members of the NSA, including and especially, William Darrah, were the only researchers I knew who were writing about the history of stereographs [in 1987]. I have recently retired after many years as a teacher and college administrator and have returned to rethinking that old dissertation — and to marveling at how many serious historians are interested in the topic. My focus now is on stereographs as an international enterprise that packaged and sold, not only images and beliefs, but a way of understanding reality that equated the virtual with the real."
Break 9:20-9:35 AM PDT
Session 2 9:35-11:30 AM PDT
The First World War in Three Dimensions
Dr. Steve Mills and Professor Paul T. Nicholson
Cardiff University, School of History, Archaeology and Religion
This paper comes from our interest in both stereo-photography and the way in which 3D images can be used by the archaeologist and historian in reconstructing landscapes and events. We have been hosting a project 'Views of an Antique Land' at Cardiff University which has looked at mainly amateur photographs (though not in stereo) of the First World War in Egypt and Palestine where we have a particular interest.
Keystone's Mystical Sphere: Covert Explorations of Spectacular Stereoscopic Effects
Dr. Rod Bantjes
St. Francis Xavier University
Rod Bantjes is a Professor of Sociology at St. Francis Xavier University, Nova Scotia. He is currently working at the intersection of sociology, philosophy and media-art history, pursuing themes of spatiality and governance, and technologically-mediated perception, representation and knowledge-construction.
Transcending Perspective: The Visual Phenomenology of Stephen Shore's 1974 Stereographs New York, New York
Ms. Rachel Treide
University of South Florida
Rachel Treide holds a BFA in Art History from the Savannah College of Art and Design, and is beginning her MFA at the University of South Florida in Tampa this fall. She became interested in stereography in 2017 after experiencing a body of 1974 stereographs by Stephen Shore entitled New York, New York at Shore’s 2017–2018 retrospective at the Museum of Modern Art. Fascinated by the vivid three-dimensional images, Treide made it the topic of her undergraduate thesis and stereography established itself at the core of her own artistic practice.
Stereo Photography and Film as Conceptual Art
Dr. Rebecca Hackemann
Kansas State University
Dr Rebecca Hackemann grew up in England and Germany. She is a multidisciplinary artist, photographer, scholar and public artist. She divides her time between London and Kansas City and was a long term New York resident. She is Associate Professor of Photography at Kansas State University, which offers a funded MFA program. Her forthcoming book on artists using 3-D is published by intellect books London.
Temporal Dimensions in Tamás Waliczky's Imaginary Cameras
Ms. Zsuzsanna Szegedy-Maszák
Budapest History Museum – Budapest Gallery
Ms. Zsuzsanna Szegedy-Maszák is the head of the Budapest History Museum – Budapest Gallery. She wrote her dissertation on the photographic oeuvre of the 19th-century Hungarian painter-photographer Miklós Barabás. In 2019, she served as the curator of the Hungarian Pavilion at the 58th Venice Biennale.