IJSIM : International Journal on Stereo & Immersive Media, Vol. 2, Nº. 2 (2018)
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Item The 'Animated Polystereoscope' of Francisco Dalmau. Introducing Stereo Photography in Barcelona Through Optical Shows (1853-1863)(Edições Universitárias Lusófonas, 2018) Cuenca, Celia; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThis paper is intended to give an example of the impact of optical shows in relation to the dissemination of stereoscopy in Spain. Concretely, I will be focusing on a stereoscopic show run by the optician Francisco Dalmau, established in La Rambla in Barcelona, which remained open from 1853 to 1863. Evidence seems to point to the fact that it was the first time that stereo photography was presented as part of an optical show in the city. By analyzing this case, I will attempt to illustrate the visual novelty, the level of acceptance and then great popularity of the stereoscope compared to other entertainment in this period. Finally, I will present new data concerning a stereo photography studio that Dalmau opened in 1854.Item Placing Jules Itier’s Body of Work in Perspective(Edições Universitárias Lusófonas, 2018) Massot, Gilles; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe photographic work done by Jules Itier around the China Sea in 1844-45 while travelling with the Lagrené Mission was thought to be, up until recently, some of the earliest photographs of several Asian countries. A new round of research has established that they are indeed the earliest extant photographs of Asia, while proposing new readings of a few outstanding daguerreotypes such as the DaNang fort and the 360º panorama of Canton made-up of 14 plates. This paper looks at the longer term and theoretical implications of what we can now call a ground-breaking body of work.Item The Expansive and Proximate Scales of Immersive Media(Edições Universitárias Lusófonas, 2018) Jones, Nick; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe term immersive is often used in relation to contemporary visual media, but the exact parameters of immersion can be ambiguous. In this article, I will explore what immersion means in terms of technological envelopment and, in particular, how this envelopment operates at a range of distances between observer and media surface. As I argue, immersive media can operate in two ways. The first is expansive, with immersion occurring through the creation of an extensive surrounding space into which the user is placed. The second is proximate, with intense closeness allowing for smaller media objects and apparatuses to overtake the visual field. An investigation into these seemingly alternate scales reveals their connections and overlap, and demonstrates the surprising importance of the proximate in immersive visual media.Item 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 InformaçãoThroughout 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.Item Miklós Barabás. Innovation on the Periphery of Europe(Edições Universitárias Lusófonas, 2018) Szegedy-Maszák, Zsuzsanna; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoPainter Miklós Barabás (1810–1898) is generally regarded as a highly prolific portraitist whose role in the cultural history of nineteenth-century Hungary is irrefutable, but whose art reflects a somewhat academic and outdated approach. However, as an artist who took a strong and continuous interest in perspective, optics, and photography, he was something of a pioneer in emerging ideas and approaches to the roles of art in an arguably somewhat peripheral part of Europe. Parallel to his substantial output of official depictions of people of influence, Barabás showed an intense curiosity in photography and alternative theories of perspective throughout his long career. In this article, I touch on a few examples of his interest in the question of perspective, which was relatively innovative for the time.Item 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 InformaçãoThe 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.