Spanish Stereoscopic Commercial Photography in the 20th Century: "El Turismo Práctico" and "Rellev (original) (raw)
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International Journal on Stereo & Immersive Media, 2019
This 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.
Carlos Relvas’s Stereoscopic Photography: The Digital Reunion of Negatives and Prints
History of Photography
European stereoscopic photography owes a significant part of its cultural specificity to amateur photographers who resorted to the wet collodion process to document nature with reduced exposure times and to perfect their photographic art with crisper and more detailed images. The Portuguese Carlos Relvas (1838–94) was one of these renowned collodion practitioners. Until recently, most of his stereoscopic collections remained undigitised and unstudied, and the contribution of stereoscopy to the launch of his international career was little known. The building of an online catalogue raisonné dedicated to Relvas’s stereoscopic photography has been an opportunity to undertake a combined study of his stereoscopic negatives and prints, making it possible to retrieve new information about the extent, importance and evolution of his stereoscopic work. While designed to make these collections digitally available, the catalogue offers a new perspective on the specific value of stereoscopic negatives and cross-referenced ‘image families’ for a new understanding of photographic practice. By re-examining the opportunities offered by digital collections, this article sheds light on their potential to remodel the memory and historic value of a nineteenth-century photographer and, in particular, to properly showcase stereoscopic photography.
2020
The beginning the photographic activity of Carlos Relvas (1838-1894) is closely connected to stereoscopic photography. This fact has not always been quite clear since Carlos Relvas’s stereoviews have remained one of the least known sides of his photographic work. The dispersion of his stereo cards among several public and private collections, as well as the long period of inaccessibility to his archive of negatives, hindered the perception of the meaningful work that Carlos Relvas carried out in the production of stereoscopic views of Portugal. One of the main challenges of the 21st-century studies of photography lies in the opportunity to publish online images from early photography collections. Digital media can enhance these collections and expand their reading. Among the main beneficiaries will be photographic negatives, which will gain new heuristic importance in this new environment of mediations. That was our intuition by developing a digital catalogue for the collections of ...
Flores, Victor (ed.) - "A Terceira Imagem: A Fotografia Estereoscópica em Portugal / The Third Image: Stereo Photography in Portugal" [Short preview version], 2016
Na visão vemos duas vezes um mesmo objecto e as duas imagens fundem-se no cérebro em uma terceira puramente sensorial.» With vision, we see twice the same object and the two images merge in the brain to form a purely sensorial third image. Photographico, n.º 26, Julho, 1908 À memória de Berta Costa Campos, amiga mestre da luz 7 a terceira imagem | the third image Este livro resulta do trabalho de uma larga comunidade de pessoas e instituições que têm em comum uma forte paixão pela imagem. Na verdade, é no seu trabalho que assenta a vida e a sobrevivência das imagens que agora publicamos, assim como qualquer possibilidade de uma sua arqueologia. A visibilidade e por vezes mesmo a magia das imagens assenta na discrição das suas funções: restauro e conservação, catalogação e inventário, curadoria e acesso ao público, análise e reflexão crítica, são algumas das principais áreas de trabalho com as quais a investigação deste livro se cruzou, dando-nos a possibilidade de conhecer pessoas extraordinárias e empenhadas que emprestaram o seu entusiasmo, confiança e profissionalismo a este projecto.
British stereo photographers in Spain: Frank M. Good.
International of Film Journal and Media Arts, 2016
Unlike French stereo photographers, who flooded the market with Spanish views, the most important British publishers and photographers rarely made Spanish views. Quite possibly this was precisely because of the rapid market penetration of the French, such as Gaudin, Ferrier and others, and in spite of the leading British photographic houses, such as Frith or George W. Wil-son, also wanting to include Spanish views in their catalogues. The photographer Frank Good would be the only British photographic editor to make a collection of some importance of Spanish stereoscopic views during the first decades of the history of photography, visiting and photographing the cities of San Sebastian, Zaragoza, Barcelona, Tarragona, valencia, Seville and Cordoba. about one hundred views, of which more than half are of Cordoba and Seville, do not include, strangely , cities such as Madrid, Toledo and Granada.
Lisbon and its region: stereoscopic photography, ca. 1853-1890
"International Journal on Stereo & Immersive Media", vol. 1, n. 2, pp. 4-31, 2017
This paper concerns the use of stereoscopic photography in Lisbon and its region, especially in Sintra, from the 1850s to the end of the 1880s. We will synthetically address the documents and images generated by professional and amateur photographers, their context and their themes.
(Ed. Victor Flores) Lisboa, Documenta, 2016
Livro final do projeto de pesquisa sobre fotografia esteresocópica em Portugal. Contribuo com dois artigos neste livro: "Hamilton e Zeca: um par estereoscópico de Alberto Marçal Brandão", sobre a presença de observadores nas imagens deste fotografo e numa já longa cultura visual; e "As faces da Imagem" sobre uma fotografia estereoscópica de Aurélio da Paz dos Reis. Final Book of the research project Stereo Visual Culture. The Visual Culture of Stereoscopic Photography in Portugal. In this book I publish two articles, one on the stereosgraphic work of Alberto Marla Brandão, and the presence of the observer in the images, tracing this visual tradition; the other, about a specific stereo photography of the Portuguese pioneer of cinema and great stereo photographer, Aurélio Paz dos Reis.
The Third Image. Stereo Photography in Portugal , 2019, 2019
Nowadays, nineteenth century stereoscopic photography can surprise 3D cinema spectators, touchscreen users and virtual reality players. It can surprise them by demonstrating that current visual experiences with three-dimensionality and with virtual touch were being prepared since the early days of photography. On the other hand, stereo photography was able to document reality (short exposures and rich details) in such a way that allowed a more spontaneous and current coverage of reality, thus anticipating several photojournalism and cinema experiences. Portugal has a wide and rich legacy of stereoscopic photography, a practice that remained popular until the first decades of the twentieth century, with some of its practitioners receiving prizes in international competitions and being featured at Universal Exhibitions. To revisit stereoscopy can be a journey to the magic world of immersive images and the multiple sensorial experiences with which modern times have tested them. This book invites us to that revisitation, revealing the cultural imaginary, the speeches, and the commercial practices which ensured stereo photography a solid and unique place in the Portuguese visual culture.
Sophia, 2016
Partindo de uma fotografia (Prémio World Press Photo 2007) captada no verão de 2006 pelo fotojornalista Spencer Platt (1970-) numa Beirute em ruínas, após os bombardeamentos israelitas, o texto procura, a partir do(s) conceito(s) de representação visual, debater a desintegração das fronteiras entre o visível e o invisível nas imagens fotográficas e demonstrar como é sobre esta desintegração que o observador opera a construção do visual. Neste processo ele constrói-se a si próprio como algo mais do que um sujeito visual: um sujeito vidente capaz de experiências perceptivas visionárias. Organizada em três partes: presença / aparição, visão / vidência e imagem / reflexo, o artigo recua à desconhecida obra fotográfica estereoscópica do naturalista português Francisco Afonso Chaves (1857-1926) e, em particular, às suas experiências de fusão de diferentes imagens, com o intuito de compreender como estas constituem um dos casos pioneiros em Portugal de alargamento do visual por via da fotografia.