1340
to combine the stereoscope with the zoetrope to create
‘moving photographic fi gures.’ Claudet created an in-
strument where a slide was adapted to the eye piece of
the stereoscope. This moved backwards and forwards
opening and closing each eye piece. One view shows a
man with a cigarette in his hand and the other with the
cigarette in his mouth. Moving the slide backwards and
forwards across the eye piece, gives the impression that
the sitter, A.Claudet, is smoking. Claudet explained this
as ‘an uninterrupted perception of an object in motion.’
This experiment was based on the understanding of how
the eye works. Arthur Gill described this as the fi rst
photographic device specifi cally giving an illusion of
movement. Arthur Gill ‘Antoine Claudet Photographer,’
Modern Camera Magazine, Nov. 1961 462. Said:
together with Dubosq his is the honour of having laid
an important foundation stone on the edifi ce of motion
pictures.
Claudet knew that the retina retained some of the
previous image after viewing. The eyes were able to
supply the in between images by the persistence of
vision. Claudet elaborated on this idea, showing an ar-
rangement of a series of pictures on blades on a rotating
band. This gave an illusion of movement when looked at
through the stereoscope. He applied this idea to Plateau’s
Phenakistoscope in 1865, but failed to achieve a smooth
illusion of moving image.
In America daguerreotype photography and stereo
daguerreotypes experienced a long duration of success.
By the 1850s a town called Dagurreville had appeared in
America around a factory which produced three million
daguerreotype plates a year. In fact, there were more
studios in New York than in the whole of Europe this
was due to the more relaxed licensing laws. ‘Southworth
and Hawes were a successful American studios who pro-
duced many stereo daguerreotypes. In an article by the
Philadelphian daguerreotypist Marcus A.Root, August
1855 for the Photographic and Fine Art Journal, ‘A trip
to Boston—Boston Artists,’ he wrote that:
Mr Southworth explained the wonders of the stereoscope
very clearly, and he takes his pictures of this class without
distortion or exaggeration. I think his principle correct,
for his specimens were stereoscopically beautiful, and
exempt form the many faults witnessed in those of oth-
ers...They have also invented and patented a beautiful in-
strument, by which 24 or 48, or even more (stereoscopic)
pictures-taken either upon plate, or paper, or glass,- are
exhibited stereoscopically; and so perfect is the illusion,
as to impress the beholder with the belief, that the picture
is nature itself!
Many stereos were sold in sets, and most were of
buildings and scenery. The size varies but the most com-
mon viewers were 7 × 3.5 inches (18 cm x 9 cm), the
images were both about 3inches square (7.6cm square).
Stereoscopy became the fi rst in a line of photographic
crazes. Within the fi rst three months after Albert and
Victoria had taken a shine to the new phenomena, a
quarter of a million stereo viewers were bought in Lon-
don and Paris. The stereoscope experienced its peak of
popularity in the 1850s and 1860s. It was estimated that
by the mid-1850s over a million homes had one. By 1860
almost every Victorian family of the middle classes had a
stereoscope and a collection of photographs to go with it.
Many beautiful stereo daguerreotypes were produced in
the 1850s but the metal plate was fragile and heavy and
not suited to the medium. The plates were expensive to
make and the refl ections on the surface often interfered
with the three-dimensional effect. Once the collodian
photographic process was established sterescopic pho-
tography received a boost in popularity. Paper prints
could be mass produced and were much cheaper than
their daguerreotype predecessors.
The most common process for making stereos was
the stereocards with the Albumen process. The number
of stereo daguerreotypes produced was relatively rare.
In 1854 George Swann Nottage set up the London
Stereoscopic Company, manufacturing sterescopes and
binocular pictures and was one of the largest manufac-
turers in England. He had 10.000 stereocards on offer
in 1854. By 1858 he had increased this to a stock of
100,000 stereos of places of interest in both England
and abroad. Within two years they had already sold half
a million instruments. His ambition was for there to be
no home in England without a stereoscope. With his
fortune George Nottage became the mayor of London.
Magazines were started up which had stereo images
and clubs were formed where people got together and
showed swapped and collected stereos. The stereoscope
was to Victorians what the television is to us today. Ste-
reo cards were the cheapest type sold at half a crown for
three. By the late 1850s there was a trend for dioramas
where thin paper could transmit light. Even mundane
objects fascinated people by the the apparent reality
viewed through the lens. Stereos could be sold of all
sorts of subjects, ghost pictures freaks and risque nudes.
Paris was one of the biggest exporter of stereos in this
genre. Most were taken by photographer who kept their
identity anonymous. Due to the strict moral climate in
England and America at this time such photographs
were considered pornography and were not thought of
as acceptable as nude painting.
Soon a variety of viewers became available. The
cabinet viewer could store up to 50 positives. Eventually
one of the widest used stereoscopes was that invented
by American writer Oliver Wendell Holmes designed
in 1860. It was cheap to produce and easy to use. The
structure which was like a mask, was held in front of
the eyes by a handle below, like a lorgnette. There was
a piece going across on a runner to support the cards.
STEREOSCOPY
