Stereoscopy of the 19th–20th Centuries.
The exhibition “Why Do We Have Two Eyes?” presents both professional and amateur stereophotography from 1870 to 1930. The exhibition’s display includes original prints as well as enlarged copies, many of which can also be viewed through a stereoscope.
The ROSPHOTO project addresses three key aspects of stereophotography: physiological properties of vision, mass culture of the 19th century, and amateur photography.
The title repeats the slogan from a 1920 stereophotography poster: “Why Do We Have Two Eyes?” In this sense, a conversation about stereo images is at once a conversation about the anatomy of vision. By questioning how it works, we are, in fact, questioning the very nature of how we see.
The illusion of volume evoked by stereophotographs is closely tied to the sense of presence in another space: the viewer suddenly finds himself in a distant country or at a dinner table in a stranger’s living room. This effect of “transferring” was especially striking to contemporaries of the first stereo images at the turn of the 20th century. Long before the invention of cinema, when only a few could afford long-distance travel, stereophotography served as a vital source of impressions and knowledge about the world, enjoying immense popularity.
Public interest determined the commercial success of the following technology: mass-produced stereophotographs rapidly spread everywhere, becoming the “television of the 19th century” and a phenomenon of popular culture. Simultaneously, their mass circulation shaped both the subjects and the visual canon. Thus, stereophotography gave preference to compelling images or series addressing a relevant topic. Among the photograph’s thematic collections, one can find cityscapes, staged genre scenes, erotic photographs, and, for instance, sketches of the Russo-Japanese War.
The new technology posed novel artistic challenges for photographers: how could the rules of composition be applied to an image that exists in three-dimensional space? Often, a photograph that appears featureless on paper comes to life when viewed through a stereoscope. While, conversely, an interesting composition may gain nothing from the added depth.
On the other hand, there was amateur stereophotography. Because stereo cameras were often less expensive and easier to operate than professional equipment, they became widely popular for amateur use.
Among the genres of amateur stereophotography, one can find family portraits, group photographs, and sketches of everyday life. These images are largely indistinguishable from other amateur photography of the period, as the photographer’s attention is primarily focused on documenting family members for posterity rather than developing a new visual language or engaging in creative experimentation. Nevertheless, there are many examples of amateur stereophotography that possess undeniable artistic value; moreover, unlike mass-produced images, they often exist as unique, one-of-a-kind prints.
Since its invention, stereophotography has experienced periods of both decline and resurgence in popularity. It foreshadowed the emergence of three-dimensional graphics in cinema and found applications in science and medicine.
Today, it can be confidently stated that this represents a fascinating period in the history of photography, one that significantly influenced the development of its visual language.
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