I.R. Synched Digital Stereo Camera (cross view) (click for parallel view)

Here is one of only two photos taken of the three Olympus stereo cameras I made. This photo was taken just before two of them found homes around the world. I have decided to keep the third camera (the middle one). This is the left image of a stereo pair taken cha cha style. The moving flash makes the pair a bit hard to view, so here is the 2D version.

These cameras are hard to beat. They are sturdy, yet small and lightweight, and are stunningly attractive. They gather attention wherever you take them. They are also very functional and ergonomically great. A joy to use.

As I develop new cameras, I am trying to apply all of the lessons I have learned building these cameras, and to improve on them wherever I can.

All stereo pairs on this page are set up as cross view and they are all at a much lower resolution than they were shot in, in order to allow for  internet viewing. All stereo pairs were taken with this camera's almost identical sister.

here



Below is a full resolution detail of  the above pair, so you can see the quality of the original image.

present

Sync.

Sychronization is through the Infrared remote control mounted on the grip. One press of the remote triggers both cameras. There is however a 3 second delay before the shutters trip (this is presumably so you can hide the remote in your pocket before photographing yourself). The time delay actually helps a bit, since you have a moment to finalize your composition and when the shutters fire, there is no camera shake. In testing,  I have discovered that the synchronization varys each time you turn the cameras on. This is also true with many wire linked cameras, including with the LANC Shepherd. The difference with this camera is that you won’t know how good the sync is until you take a photo. The sync also depends on the cameras being identically set up (same program setting, zoom, everything), having similarly charged batteries, and only briefly pressing the remote button. When the cameras are out of sync, you must switch the cameras off and start them up again, as close together as possible. Unfortunately this is not usually good enough for action photography, but I have had considerable success taking photos of an active child and pairs with moving flags. I don't think there is an issue with the remote trigger (i.e. the time to focus and the count down are as perfect between the cameras as you can get). The issue is with the startup sync. A circuit,  (designed by Rob Crocket , available on the internet at http://www.ledametrix.com/syncshep/index.html)  plugged into the AV out port  of both cameras, can be constructed so that you can check the sync and restart the cameras if necessary. This circuit seems straight forward to make, and can be plugged into the cameras without modification.


Below is a snap shot taken by my 14 year old son, at our chance meeting with – major Canadian stereo photography figure – Simon Bell, on Route 66 in Arizona. I'm the cowboy. (Notice the flapping flag in the background).



For quick and dirty snapshots, you can remove the grip and viewer, and press the shutters at the same time. The position of the shutters is very convenient for this and it looks and feels natural (you are pressing the left shutter with your left thumb).  since using this camera's prototype on vacation, I found that I was using the IR remote sync throughout  as well as using the stereo viewfinder .  This camera is a joy to use, in spite of it's limitations.

Sharp Bright Colour

The image below has had no digital enhancement. (unlike the hyper Garnd Canyon shot below, where it was nessessary to coax a little contrast out of a cloudy day)

Flash

Due to imperfect sycronization you can’t use the built in flashes on this camera. This is true with most wired cameras as well. However, through experimentation, I have found a way to take manual flash photos in dark conditions. With both cameras set to underexpose by two stops, you push the remote. When the shutters open, you immediately touch off the flash. Even moving subjects will work. You will need to use a flash with the test button on the back of the foot. Because of this capability, I have machined a flash shoe mount on the top of the camera grip.  It takes my Vivitar and my Metz and should fit most flashes.

View in 3D

After building the prototype I noticed that the viewing screens on the cameras were on the same level. This is not the case with most cameras. I immediately saw the potential to view these images in stereo. As far as I know, this is the first digital stereo camera ever made with the capability to preview and review your subject in stereo, in the camera. The attachment which is removable, can be awkward to carry but it is also quite addictive to use. Once you have taken a few shots with this attachment, you will wonder how you ever took stereo photos without it. I have just returned from a short vacation and used this camera's prototype the whole time. I found that  I prefered to use the stereo viewfinder, and only removed it once (and quickly regreted it). The rest of the trip I carried the camera, with the viewer, in spite of the awkwardness. It was just too much fun! Using the viewer and the remote trigger was so good at preventing camera shake and allowing perfect  composition, that I figure I will always use it from now on. With a shoulder strap attached, you can easily carry the camera with or without the viewer.

Hyper Stereo

Being able to view your shots before you take them gives you a huge advantage. For example you can create perfect hyper-stereo views with this camera, without a tripod, long bar, or guessing at alignment. I discovered that if you take the right hand image and then review the shot in the right hand camera , you can then take a step or two to the left and align your left hand image to the existing right hand image. You can see the hyper effect in the camera and adjust it to your taste, before you even take the left image. This lets you experiment with the stereo base, from subtle to extreme, without wasting valuable film or memory space. You know how the pair will look right away.  The shot below at the Hoover dam was worthless as a 2D subject, the massive steel monstrosity in the forground blocked the view of the dam. As a stereo shot, the construction becomes a dynamic accent to the dam. This hyper had about a 4 foot base, but I can't be sure since I just eyeballed it in the camera. This shot would have taken 10 or 15 minutes if I had to set up a tripod and hyper bar. Cha cha would have been quick, but the alignment  would have been dodgy. Selecting the stereo base would have involved depressing calculations or a "Hail Mary" guess. I knew this picture was a winner before I snapped the second frame, and it only took 30 seconds, including the power up.



The slight reflection on the pair below is from the window I was shooting through while testing the hyper stereo capabilities of this camera for the first time. Although the snowy branch on the right is a bit too close for a hyper shot, I am leaving this pair here to show you how easy this was to make. I got the idea of how to use the stereo viewfinder for hyper stereo, gave it a try, and had this much success on my first attempt .



The pair below was taken from the south rim of the Grand Canyon, just before the New Year (2007/2008). The stereo base is about 500 feet. I would have had one with the sun shining (the next day) but  in the time it took to travel that distance, the shadows changed too much to be effective.  This image required a fair bit of enhancment in Photoshop to help bring out the detail. I thank William Salkin of Stereo New England for improving on my attempts.

Hypo-Stereo

Typically the domain of ultra dedicated stereo photographers with expensive specialized equipment, this camera makes easy work of hypo-stereo. The Olympus 410 has an excellent macro setting. With this feature activated on both cameras, you take the first image. Then, just as with the hyper-stereo above, you can set the second image up by aligning it with the first image. The amount of hypo is adjustable on the fly.



Both of these hypo stereo pairs were taken hand held.

Stereo Video

This camera has the capability do make stereo video as well. You need to edit the video in Final Cut so that you can rotate the left hand video 180 degrees and mate it with the right had image. I made a video this way and it works. The quality of the video is not great but you can have some fun though.

A note for Digital camera engineers (preferably at Canon or Sony)

After reviewing a large number of computer and print stereo pairs through a variety of viewers and technologies, I am convinced that nothing can compete with a traditional stereo slide on Kodachrome, viewed through a high quality hand viewer. The only digital technology that I think will ever come close to this experience will be a camera with built in viewer, similar to a refined version of this camera.

The dream digital stereo camera would be a totally integrated compact camera, with a pair of High Definition review screens and an integrated removable viewer with focus and interoccular adjustments. You would save your pairs on memory cards and view them in the camera, just as you would use a slide viewer. This would keep the cost down and make a perfect system with a wide appeal for ordinary consumers, and could completely replace your 2D camera with all the same features plus stereo.

Bonus (fasteners from space)

The Imax "In Cabin Camera" (camera #2, rebuilt for use on the Space Shuttle) was my responsibility when I worked for Imax. We did not reuse fasteners when servicing the camera, (to avoid stripped hex sockets). I saved many of the discarded screws, some of which are used in this camera. Some of the hardware on this camera has flown in space!

Image to the right - A much younger me, with the MKII camera underwater housing (no pictures were allowed of the in cabin space camera).

Contact me at: newportts@bellnet.ca