IJSIM : International Journal on Stereo & Immersive Media, Vol. 2, Nº. 2 (2018)

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http://hdl.handle.net/10437/10867

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    The Photographic Cabinet of Mariano Júdez y Ortiz (1856-1874) and The Versatility of the Stereoscopic Camera
    (Edições Universitárias Lusófonas, 2018) Hernández Latas, José Antonio; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The cabinet of Mariano Júdez y Ortiz (1856-1874) in Saragossa was one of the most important photographic studios in Spain of the time. His production was not limited, as in most contemporary cabinets, to exploiting the profitable fashion of the portrait in the «carte de visite» format. He also ventured in with his heavy photographic equipment and his portable laboratory out of the comfort and security of his cabinet to photograph an urban series of views of Saragossa city (ca. 1860) and the natural landscape (waterfalls and gardens) of the disentailed Monasterio de Piedra (1866-1871), also in the same province. The analysis of the works made from his stereoscopic camera will serve to disprove an affirmation that has already been converted into being common place among historians of photography about the presence in most of the first cabinets of multi-objective cameras (4, 6, 8 lenses etc.) as those used by Disdéri for the realization of a series of portraits in CDV format. As the works of Júdez demonstrate, one of the great virtues of the stereoscopic camera was its versatility. Through its use, it was possible not only to create stereoscopic views, but it was also used to make two consecutive portrait shots in CDV format on the same plate. 
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    Spanish Stereoscopic Commercial Photography in the 20th Century: 'El Turismo Práctico' and 'Rellev'
    (Edições Universitárias Lusófonas, 2018) Fernández Rivero, Juan Antonio; García Ballesteros, Maria Teresa; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Throughout the twentieth century, the two major projects carried out in Spain to commercialize ste- reoscopic photography were those of the Barcelona publishing house Alberto Martín and the photo- grapher José Codina Torrás, both projects with an obvious tourist orientation. During the decade of 1910, the publishing house Alberto Martín launches a collection of stereosco- pic views of Spanish cities and monuments entitled "El Turismo Práctico”. The views were presented in standard size card mounts, grouped by cities, usually presented in envelopes with fifteen prints. On the other hand, José Codina Torrás starts to make stereoscopic series in 1929 on the occasion of the international fairs of Seville and Barcelona. He uses the Verascope format (45x110 mm): positive glass plates marketed in cardboard boxes and grouped by themes. Later he published his collection of Spanish views in card mounts (6x13 mm). Along with these, and under the brand “Rellev”, he launches between 1930 and 1936 a range of side products, including various types of stereoscopes and projectors.