William wrote:
> the total separation available with the macro gear is enough
> to get you well into the 'hyperstereo' realm.
Thanks, William, for mentioning the compromises of twin-rig stereo. For
my eyes, a 65mm lens separation gives the best effect. Even at 70mm, my
Kodak Stereo gets a bit "hyper". . . a sense of 3-D at longer distances,
where you would'nt normally get much of one with the naked eye(s). This
has also been called the "target range" look: figures at a distance seem
like pop-up targets at a shooting range! If this reminds you of your
old View-Masters, it's because they used hyperstereo setups for a little
extra "wow".
Also, with twin-rig using OM-1's, you'll subject yourself to the
vagaries of mechanical shutters. A factory technician might be happy
with a shutter that's within 300f spec. (and so might you), but with
slide film in stereo, any such variance will show clearly. The shutters
on my Kodak run slow, but at least they match exactly via a mechanical
linkage. You can pick one up--with excellent lenses, BTW--for about
$100, and it's user-serviceable to boot. If you want almost-full-frame
stereo, get a euro-format stereo camera, like the FED.
Morgan Sparks
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