No photographer is more synonymous with U.S. national parks than John Muir, and the world has marveled at his look at the precious national wonders of America for more than 125 years. Lesser known are 19th century photographers who crossed the country snapping stereographic–three-dimensional–images of these magical places. 3D Disneyland author David A. Bossert has amassed a collection of vintage stereoscope images spanning several U.S. National Parks, and as with his previous book (reviewed here), he’s converted, cleaned-up, and enlarged those stereoscope cards into 3D anaglyph format. Now they can be viewed by a new generation via those 1950s movie theater-style 3D red/cyan blue glasses in the former Disney Imagineer’s latest book, 3D National Parks, available for pre-order now here at The Old Mill Press.
Teddy Roosevelt in 3D? You are going to love the result. You can almost smell the sulfur burbling from the mudpots or hear the deafening sound of the waterfalls at Yellowstone, as these images of the past snap to life before your eyes.
If you love history and the idea of time travel, scientists and writers have provided mankind with several options to bridge the two. Maybe you don’t think of it as time travel, but written history for millennia has allowed humans to see the past through the eyes of our ancestors. Since the 1840s, early photography has allowed us to literally see the past. Early cinema came in the subsequent decades, and both photography and cinema made it possible for we future beings to see the past in color. With Victorian ingenuity, we could see the past in three dimensions. Almost from the inception of photography, stereoscopic viewers brought three dimensions to audiences by 1840, thanks to Charles Wheatstone. Cinema followed, thanks to a stereoscope release of George Méliès’ 1902 movie A Trip to the Moon. By the 1950s anyone could preserve life in the moment for future generations via stereo cameras, and every kid marveled at easy to view View-Master reels documenting life across time and space, even via 3D images taken from the actual Apollo missions to the Moon. We’ve come a long way from old fashioned stereoscope viewers, but the same awe can be found in the new book 3D Disneyland: Like You’ve Never Seen It Before (available now here at Amazon), a decades past look inside a beloved theme park, including its Tomorrowland and its mid-century modern art movement-inspired world.
Get ready for your next immersion into adventure and fun, and it’s in 3D. I love classic storytelling methods that surprise the reader, from the Victorian to modern technology, whether it’s stereoscopic images, View-Master reels, lenticular images, pop-up books, or state-of-the-art digital animation. One of my very first books as a young boy was Robert Louis Stevenson’s A Child’s Garden of Verses, with 3D diorama artwork and a lenticular cover. I’ve reviewed several 3D movies here at borg, too, from The Creature from the Black Lagoon to Jaws 3D, and Predator and Rogue One. French artist Matthias Picard’s roving young adventurer Jim Curious returns after his debut in 2014’s Jim Curious–A Voyage to the Heart of the Sea in his next book, Jim Curious and the Jungle Journey. It’s a complete 3D adventure using anaglyph 3D, that classic blue-red 3D style and includes two pairs of 3D glasses–just like the kind from 3D movies in the 1920s to the 1980s. The eye-popping images will take your breath away.
Each member of Queen was on another career path when they formed their band at the beginning of the 1970s: Freddie Mercury had been in art school, guitar player Roger Deakins studied electrical engineering, drummer Roger Taylor was in dental school, and guitarist Brian May studied astrophysics. Years later May would go on to earn his doctorate in the field, and the rock star comes full circle this week blending a childhood hobby with his band and his passion for space science with the release of two new books: Mission Moon 3-D: A New Perspective on the Space Race and Queen in 3-D: Second Edition. Many fans of Queen may not be aware that May had a unique passion for taking three-dimensional photographs. He took 3-D photos as a young boy and transitioned to a 3-D camera as they became popular in the 1950s, and when Queen started to tour he continued. The result is 300 previously unpublished 3-D photographs, capturing the history of Queen from the early 1970s to present day. May has updated the book with more 3-D images, including images he took on the set of the new biopic Bohemian Rhapsody, and the premiere release of this updated edition is timed with the release of the film this week in the UK and next week in the U.S.
The first history of any rock group created in 3-D and written by a band member, Queen in 3-D was a labor of love for May. The photographs include shots taken on stage, behind the scenes, on the road, and during leisure time. May shares recollections of his bandmates for the first time. The book is particularly unique in its coverage of Freddie Mercury, who was normally shy and private, but comfortable and even playful when May brought out his camera. The book is the result of a project he worked on during nights while touring with the band, and continuing on with a company he founded, The London Stereoscopic Company Ltd (check it out at www.londonstereo.com), which sells books, viewers, and more, sharing a passion for 3-D imagery across every subject.
Dr. May put his astrophysics knowledge and interest in the space race to good use as we approach next summer’s 50th anniversary of the first moon landing, releasing this week his next 3-D book project, Mission Moon 3-D: A New Perspective on the Space Race. Written by May and David J. Eicher (editor of Astronomy Magazine), the authors narrate the story of Apollo and space travel leading to Apollo 11’s lunar landing in July 1969. The Apollo astronauts were trained to take 3-D images, but primarily Dr. May researched NASA archives to sort thousands of images to present the same image in stereoscope form which, when viewed with his patented Lite Owl viewer (a viewer accompanies each book), provide full, detailed 3-D images. The same science behind the human eye and camera fundamentals applied to the 19th century with the popularity of the stereoscope camera and viewer as with May’s use of 3-D images included in his books.
One hundred and thirteen years ago this month, film audiences saw a bright future for the very first time.
The science fiction film was the French classic Le Voyage dans la lune, or A Trip the the Moon, created by science fiction special effects and animation pioneer George Méliès, who modern film audiences may know as one of the heroes of Martin Scorcese’s Academy Award-nominated film Hugo. The famous scene in A Trip to the Moon where the rocketship blasts into the Man in the Moon’s eye is a classic bit of film nostalgia, the full 14-minute film based on two classic works: Jules Verne’s From the Earth to the Moon, and H.G. Wells’s The First Men in the Moon. You can’t have a better science fiction pedigree than A Trip to the Moon. But the first science fiction film available in color?
The Victorian era meets the future in this scene from the 1902 color film A Trip to the Moon
Film enthusiasts for literally a century were aware that A Trip to the Moon was originally released in theaters not in the typical black and white that monopolized film into the 1960s, but in color. But how could that be? The story was a secret treasure of sorts, that stayed hidden until 1993, when a film collector revealed the sole remaining color copy of the 1902 film in Barcelona. The 13,375 frames of decomposed material was practically worthless until film preservationist Serge Bromberg found a way to catch the photographed images when the material was deposited with a special chemical vapor. Every day for two years his staff worked through each frame, and in 2010 digital technology had come so far as to allow the preservationists to re-build the film at Technicolor’s laboratories in Los Angeles, using a $500,000 grant from French film foundations. The result was revealed to audiences at the Cannes Film Festival three years ago.
Film pioneer Georges Méliès mixed stunning color animation and special effects in this view of the future of travel in A Trip to the Moon
But before the film was revealed, a matter of sound arose. The original film was created before the concept of the talkie, or even the playing of music to accompany the film. No score had ever been created for A Trip to the Moon. The same foundations that had financed the restoration selected the French band Air to compose a 16-minute soundtrack for the film. Because the homegrown film was considered by the French to be so revered as a national treasure, musicians Nicolas Godin and Jean-Benoit Dunckel were themselves elevated to celebrity status. After completion of the soundtrack, Air began composing a full musical score expanding on the themes they created for the film. Their sound is both futuristic and modern, and has been compared to their influences: Pink Floyd, spaghetti Western composer Ennio Morricone, and the bands Vangelis and Tangerine Dream.
