You are bidding on two Stereo photos around 1860.

Albumen print mounted on hard cardboard.

Motive: "Gare de Strasbourg" in Paris (current name: Gare de l'Est)

Row: 1 x "Paris Istantané", 1 x without information.

Cardboard format 17.5 x 8.5 cm or 17x8.7cm.

Condition:Cardboard slightly bent and stained, corners bumped. Please also note the pictures!

At the same time I offer other stereo photos!

About the train station and stereoscopy (source: wikipedia):

The Paris-Est train station, also known as Gare de l'Est (German Ostbahnhof), is one of the six large terminal train stations in Paris. He is in the 10th. Arrondissement, not far from the Gare du Nord (German Nordbahnhof). With 34 million passengers per year (93,000 per day), it is the fifth busiest train station in Paris.

History: The Gare de l'Est was built in 1849 by the Compagnie du chemin de fer de Paris à Strasbourg under the name Embarcardère de Strasbourg (a term borrowed from the naval industry by the young railway, which actually means embarkation, boat landing stage, i.e. departure point to Strasbourg) opened. After the first of a series of expansions made necessary by the opening of a new line to Mulhouse in Upper Alsace by the operating company renamed Compagnie de l'Est (EST), it received its current name in 1854.

At 4. In October 1883, the Gare de l'Est was the scene of the departure of the first Orient Express bound for Constantinople.

In 1885 and 1900 the Gare de l'Est underwent significant renovation work. In 1900, the station had 16 platform tracks. Outside the platforms there were two arrival, departure and traffic tracks. The reception building was divided into a wing for incoming traffic and one for outgoing traffic. Baggage handling was located in an eastern annex.

During the First World War, many soldiers had to report to the Gare de l'Est to begin their journey to the front. The monumental painting Le Départ des poilus, août 1914 (German) created by the American painter Albert Herter in 1926 has been a reminder of this. The departure of the front-line soldiers, August 1914; French poilus was the nickname for French front-line soldiers in the First World War) in the departure hall and since 1929 the name of the nearby Avenue de Verdun and the name of the Gare de l'Est - Verdun metro station.

The sharp increase in suburban traffic after the First World War led to another renovation of the station in 1930. As a result of settlement activities in the Parisian banlieue, the EST had to add additional suburban trains. Between 5 p.m. and 8 p.m., the station recorded 25 train journeys every hour, and the number of passengers in suburban traffic during this time was already 24,000 people. Long-distance traffic also recorded strong growth, rising from twelve million travelers in 1910 to around 26 million travelers in 1926. The number of trains almost doubled from 295 to 472 between 1903 and 1927. The EST headquarters therefore decided to comprehensively expand the railway facilities. The number of platform tracks should be increased from 16 to 31, while at the same time extending the existing platforms from 275 meters to 300 meters in length. By installing three additional tracks, three trains should be able to arrive and depart from each of three additional traffic tracks. The baggage handling area was to be enlarged and a new facade around 200 meters long had to be built. Last but not least, the transfer situation to the metro station of the same name should also be improved. The new track plan provided for tracks 1-10 for departing long-distance trains, tracks 11-23 for arriving and departing suburban trains and tracks 24-31 for arriving long-distance trains.

In advance of the work, the local freight station had to be shut down and rebuilt outside the city limits. The company also had to buy several properties for the relocation of Rue de Faubourg-Saint-Martin and build two residential buildings for the residents who were moving. In order to gain additional space for the platforms, the new reception building was built on several floors and there were no side extensions. The building is divided into three parts with two reception halls and the associated facilities such as ticket offices for long-distance and local transport. Both halls are connected to each other via a central corridor, which is adjoined by a spacious luggage hall in the central building. To the north of the halls was the approximately 25 meter wide cross platform, which, like the outgoing central platforms, is at street level. In addition to the main entrance on Rue de Strasbourg, two side entrances were created on Rue d'Alsace and Rue de Faubourg Saint-Martin. Between the cross platform and the baggage hall, two staircases led to the distribution floor of the metro station and another main hall. A passenger tunnel connected the hall with the southern side of the street of Rue de Strasbourg and a traffic island in between. The second basement floor was prepared for luggage traffic. All platforms could be reached from the baggage hall via a longitudinal and a transverse corridor. Two passenger elevators and three stairs connected the cross platform with the baggage claim area. The upper floors were used for service rooms. By creating the baggage tunnels, there was no need for separate baggage platforms between the tracks. The renovation project was completed in 1931 and the costs amounted to around 300 million francs.

The Gare de l'Est (pronounced [ɡaʁe de lˈest], Station of the East), officially Paris-Est, is one of the six large SNCF termini in Paris. It is in the 10th arrondissement, not far from the Gare du Nord, facing the Boulevard de Strasbourg, part of the north-south axis of Paris created by Baron Haussmann. It is one of the largest and the oldest railway stations in Paris, the western terminus of the Paris–Strasbourg railway and the Paris–Mulhouse railway.

History

View of the entrance foyer: The Gare de l'Est was opened in 1849 by the Compagnie du Chemin de Fer de Paris à Strasbourg (the Paris-Strasbourg Railway Company) under the name "Strasbourg platform." This platform corresponds today with the hall for main-line trains, and was designed by the architect François Duquesnay. It was renamed the "Gare de l'Est" in 1854, after the expansion of service to Mulhouse.

Renovations to the station followed in 1885 and 1900. In 1931 it was doubled in size, with the new part of the station built symmetrically with the old part. This transformation changed the surrounding neighborhood significantly.

At the top of the west façade of the Gare de l'Est is a statue by the sculptor Philippe Joseph Henri Lemaire, representing the city of Strasbourg, while the east end of the station is crowned by a statue personifying Verdun, by Varenne. These two cities are important destinations serviced by Gare de l'Est.

On October 4, 1883, the Gare de l'Est saw the first departure of the Orient Express for Istanbul.

The Gare de l'Est is the terminus of a strategic railway network extending towards the eastern part of France, and it saw large mobilizations of French troops, most notably in 1914, at the beginning of World War I. In the main-line train hall, a monumental painting by Albert Herter, Le Départ des poilus, août 1914 dating from 1926, illustrates the departure of these soldiers for the Western front.

SNCF started LGV Est Européenne services from the Gare de l'Est on 10 June 2007, with TGV and ICE services to north-eastern France, Luxembourg, southern Germany and Switzerland. Trains are initially planned to run at 320 km/h (198 mph), with the potential to run at 350 km/h (217 mph), cutting travel times by up to 2 hours.

Stereoscopy (Greek στερεός stereos 'space/rspatial, fixed'[1] and σκοπέω skopeo 'to look at'[2]) is the reproduction of images with an rspatial impression of depth that does not physically exist. In colloquial terms, stereoscopy is incorrectly referred to as “3D”, although it only involves two-dimensional images (2D) that convey a spatial impression (“spatial image”). Normal two-dimensional images without the impression of depth are called monoscopic (Greek: μονος, monos “one” → simple).

The principle is always based on the fact that humans, like all primates and most predators, use their two eyes to view their surroundings from two perspectives at the same time. This allows your brain to efficiently assign a distance and an r to Allen objects under considerationGain a spatial image of your surroundings (“spatial vision”) without having to keep your head moving. Stereoscopy therefore only involves bringing different two-dimensional images into the left and right eyes from two slightly different viewing angles.

There are various procedures for this.

All other properties of a two-dimensional image, such as perspective distortion depending on an unnatural lens focal length, color and, in particular, the viewer's limiting positioning, are retained. It is precisely the last two properties of this spatial imaging process that make it significantly different from holography, which deals with the attempt to record and reproduce objects completely, i.e. three-dimensionally (in 3D).

Basics: When viewing close objects, binocular vision provides an essential means of correctly estimating distances. With the right eye we see a close object projected onto a different part of the back of the eye than with the left, and this difference becomes more significant the closer the object comes. If we direct both eyes at one point, the two eye axes form an angle that increases the closer the object is. Close objects are seen a little more from one side with the right eye and a little more from the other side with the left eye. These two images, which cannot be brought exactly into line because of the transversely disparate shift, but nevertheless lie within the so-called Panum area, are combined to form an overall spatial impression (spatial image), which is essentially made up of two pieces of information: the different viewing angle Both eyes produce two different images and the lens curvature of the eye adapts to the distance of the object seen to produce a sharp image on the retina. The size of the viewing angle and the extent of accommodation provide a measure of the distance of the objects. The spatial resolution is therefore particularly high in the gripping area. In addition, occlusion and blurring effects as well as perspective convey the spatial impression both binocularly and monocularly.

With stereo photos, the eyes are only presented with information from different viewing angles. Since the eye habitually tries to adjust the lens power to the supposed distance, a sharp image on the retina only occurs after a certain delay (in the millisecond range). The contradiction between the supposed distance of the object seen and the actual curvature of the lens also causes some people to feel dizzy or physically unwell after prolonged exposure (mismatch between vergence and lens curvature).

The result of an unreal-looking image is achieved when the stereo photo is presented sharply in Allen planes in order to achieve the impression of space in its entire depth. In nature, however, only a certain area can be seen clearly (depth of field of the eye). In order not to overwhelm the visual sense, the manageable area can be deliberately limited when taking the picture (see below: Lüscher angle).

With a stereo camera that has two lenses at eye distance, also known as a natural base, the two required partial images are recorded simultaneously (synchronously). Each individual image is referred to as a stereoscopic partial image, and the pair of images is referred to as a stereoscopic image. However, if the desired subject is a stationary subject (still life, landscape), the required partial images can also be recorded one after the other (metachronously) with a simple camera.

Enlarging or reducing the base when taking the picture increases or decreases the spatial impression when viewed. But even when recording with a natural basis, individual different limits of the maximum tolerated deviation have to be taken into account. It is Lüscher's credit for pointing this out.

History: Already in the 4th century In the 19th century BC, the Greek mathematician Euclid dealt with stereometry in volumes 11-13 of his mathematics textbooks. But he didn't know that two eyes are necessary for physiological spatial vision.

In 1838, Sir Charles Wheatstone (1802–1875) published his first research results on spatial vision. He calculated and drew pairs of stereo images and constructed an apparatus for viewing them, in which the viewer's gaze was redirected to the partial images using mirrors. He called this device a stereoscope. Wheatstone achieved the unification of the two partial images through his mirror stereoscope consisting of two mirrors inclined at right angles to each other, the planes of which are vertical. The observer looked with his left eye into the left mirror and with his right eye into the right mirror. Attached to the side of the mirrors were two sliding boards that bore the reverse perspective drawings of an object. The mirrors now reflected the rays emanating from corresponding points in the two drawings in such a way that they appeared to come from a single point behind the mirrors. Each eye saw the image that corresponded to it, and the observer received the spatial impression.

After Louis Daguerre publicly announced the process for producing photographic images on silver layers at the Academy of Sciences in Paris in 1839, it made sense to use it to produce stereoscopic double images, which until then had only been available in drawn form.

In 1849, Sir David Brewster (1781–1868), Scottish physicist and private scholar, introduced the first two-lens camera, with which moving snapshots could be captured stereoscopically for the first time. Until then, the stereo partial images had to be exposed one after the other and the camera had to be moved at eye distance between the two shots, which could lead to different image contents with moving subjects that did not provide a spatial impression.

In the same year, Brewster simplified the stereoscope by replacing the mirrors with lens-like ground prisms. For these instruments, a converging lens of approximately 180 mm focal length was cut into two semicircular pieces, and the two halves, with their circular edges facing each other, were mounted in a frame. A sheet containing the two drawings (or photographic images) was inserted facing behind the lenses.

The lens effect made it possible to view the images without the eyes having to adjust to the short image distance (accommodation). The prism effect made it possible to use a greater lateral offset than the natural eye relief (about 65 mm) between the two images, allowing the images to be wider. This in turn made it possible to cover a wider viewing angle and print or draw the images at higher resolution.

Stereoscopes of this type with series of paper images were popular in the 19th century. Commonly used for centuries. In most cases, however, two small lenses whose axes roughly coincided with the eye axes (i.e. without prism wedge effect) and pairs of 6 x 6 cm images adapted to the distance between the eyes were used.

From now on, crowds of photographers also took stereoscopic photos on their excursions around the world. Historical stereo recordings of excavations and landscapes, mounted on a round disc, are still shown in various rooms in the British Museum in London. This type of viewing is a forerunner of the popular View Master devices from the 1950s.

In 1851, the French optician Jules Duboscq demonstrated his apparatus to the public at the World Exhibition in London. They were stereoscopes designed by Brewster, with which he showed stereo daguerreotypes. The response from the audience was overwhelming, and Queen Victoria was also enthusiastic about this presentation. This meant that the triumph of stereo images could no longer be stopped.

The stereoscope was most widely used in the design developed by Oliver Wendell Holmes in 1861, a stereoscope with focus adjustment that became a de facto standard.

Around 1880, August Fuhrmann developed a large circular stereo viewer, the so-called Imperial Panorama. Around 1900 this became a popular mass medium in Central Europe.

In 1938, Wilhelm Gruber invented the View-Master, a stereo viewer with interchangeable screens.

Stereo photography experienced a boom around 1900 and in the 1950s. Home stereoscopes became popular. Publishers offered stereoscopic cards from all over the world. However, due to the greater technical complexity, stereo photography never became established in the long term. Today, thanks to the introduction of the digital camera, it is experiencing a slight renaissance[3] because expensive photographic paper is no longer needed and experiments are less expensive.

From 1910 onwards, stereo photography was increasingly replaced by the new medium of film.

During the First World War, reconnaissance aircraft from all warring parties took countless photos. In 1916 they were already operating at altitudes of over 4,000 m due to the increasingly strong anti-aircraft defenses. Using high-resolution cameras and later also series images, they provided important insights deep into the enemy's hinterland. Entire sections of the front were systematically photographed; Staff picture departments with laboratory, repair and archive facilities were created at the army high command. The special series cameras with large focal lengths developed by the companies Zeiss, Görz, Ernemann and Messter were installed vertically in the German machines. Stereoscopic recording techniques were used to create spatially dimensioned images, which survey technicians and cartographers converted into detailed front maps for the staffs.

The stéréoscopie (du grec stéréo-: solid, -scope: vision) is the ensemble of techniques mises en œuvre for reproduire une perception du relief à partir deux images planes.

The designation récente "film en 3D" is employed in English and in accordance with the correct terminology: film stéréoscopique or film en stéréoscopie.

The stéréoscopie is just before the photography (the stéréoscope by Charles Wheatstone is also published after the works of Louis Daguerre and William Henry Fox Talbot), both traces plus ancient images in interrogations and experimental pictural images. Ainsi, the collection Jean-Baptiste Wicar du Palais des beaux-arts de Lille conserves deux designs distinctive les visions d'un même subject pour chaque œil, exécutés by Jacopo Chimenti, peintre de l'école Florentine (1554 - 1640). A couple of designs in stereo from the 13th century are also retrofitted in a library in Oxford (Gérard Fieffé, Bulletin du Stéréo-Club Français, no 673, October 1963).

Elle se base sur le fait que la perception humane du relief is formed in the cerveau lorsqu'il reconstitue a single image à partir de la perception des deux images planes et differentes provenant de chaque œil.

Il existe, pour réaliser ces images, also bien que pour les observers, a grande variété de moyens, à la description desquels plusieurs centaines de livres ont été consacrés.

Stereoscopic (also called stereoscopics, or stereo imaging) is a technique for creating or enhancing the illusion of depth in an image by means of stereopsis for binocular vision[2]. The word stereoscopic derives from Greek, Modern στερεός (stereos), meaning 'firm, solid', and σκοπέω (scopeō), meaning 'to look, to see'.[3][4] Any stereoscopic image is called a stereogram. Originally, stereogram referred to a pair of stereo images which could be viewed using a stereoscope.

Most stereoscopic methods present two offset images separately to the left and right eyes of the viewer. These two-dimensional images are then combined in the brain to give the perception of 3D depth. This technique is distinguished from 3D displays that display an image in three full dimensions, allowing the observer to increase information about the 3-dimensional objects being displayed by head and eye movements.