View-Master Personal Stereo Camera

Last updated
View-Master Personal Stereo Camera
Vmcamfr.jpg
A View-Master Personal Stereo Camera
Overview
Maker Sawyer's, Inc.
TypeStereo
Lens
Lens Fixed lens
F-numbers 3.5, 4, 4.5, 5.6, 6.3, 8, 11, and 16
Sensor/medium
Sensor typeFilm
Sensor size 35mm
Focusing
FocusFixed
Flash
Flash Nonstandard
Shutter
Shutter speeds 10–100 and Bulb (continuously adjustable)

The View-Master Personal Stereo Camera was a 35mm film camera designed to take 3D stereo photos for viewing in a View-Master. First released in 1952, the camera took 69 pairs of photos on a 36-exposure roll 35mm film, taking one set while the film was unwound from the canister, and another set while it was rewound. Although focus was fixed, the camera supported both variable aperture settings and shutter speeds.

Contents

Description

The View-Master Personal stereo camera was introduced by Sawyer's, Inc. in 1952 [1] and was part of a complete system designed to allow amateurs to produce their own personal View-Master reels.

Features

Vmcambka.jpg
Selector on "A"
Vmcambkb.jpg
Selector on "B"
Two views of the film chamber with the selector in different positions

The View-Master Personal stereo camera uses 35mm film to produce 69 stereo pairs from a 36-exposure roll of film. [2] This is accomplished by a "lens shift" mechanism which starts out in the "A" position to expose the bottom half of the film while the film is wound out of the canister and then in the "B" position the top half of the film is exposed while it is wound back into the canister. [2]

The A/B selector, aside from shifting the images up and down also adjusts the film winding mechanism so that when the selector is on "A" the knob turns counter clockwise and the film counter counts down, and when it is on "B" the knob turns clockwise and the counter counts up. [3]

The View-Master Personal advances by 8 sprockets with each picture and, as with Realist format cameras, there are two unrelated images between the right and left images of a pair, but there are also two smaller blank spaces. About half of the blank space is punched out with each film chip so that it can be handled by the blank area, to avoid scratching the image area.

The View-Master Personal is fixed focus with variable aperture and shutter speed.

The aperture selector is continuously adjustable and has marks for 3.5, 4, 4.5, 5.6, 6.3, 8, 11, and 16. The aperture selector has a hyperfocal table that shows the "range of sharpness from X to infinity for the aperture setting, about 7 feet for F/4, about 6 feet for F/5.6, a little closer than 5 feet for f/8 and a little closer than 4 feet for f/11. [4]

The Shutter speed is continuously adjustable and has labeled marks at 10, 15, 25, 50, and 100 with several unlabeled marks between these numbers. It also has a Bulb (B) setting. [4]

There is an exposure indicator which can be adjusted for different film speeds (ASA 5–100). This dial rotates as shutter speed and aperture are adjusted to indicate proper exposure in conditions of bright sun, hazy sun, cloudy bright, and cloudy dull for dark, average and light subjects. [4]

The view finder is the direct view type with a bubble level visible in the frame, to ensure proper alignment.

The flash synchronization is through a nonstandard connector.

Accessories and support

Since standard slide film was used in the camera, users needed only to submit the film to any processor and request that it be returned uncut. Once the film was processed, there were several options for mounting the images in reels.

Sawyer's, Inc. offered a mounting service through mail order and similar services were offered by local dealers. [5] Users could also mount their own images.

Cutter and mounts

Personal reel mounts were available with special pockets to insert the film chips. The pockets had marks on them corresponding to the notches on the right and left images. [6] Because of the tight tolerances required by these slip in pockets and the way the images are arranged, it would be nearly impossible to properly cut the film with scissors or with conventional film cutters.

The View-Master Personal film cutter cut the chips to a tolerance of .001 inch, well within the requirements of the mounts. [7]

Image strip from the View-Master Personal stereo camera. Note that, as with most film stereo cameras, the right and left images are reversed. The right image has square notch on the right side and the left image has a kind of rounded, somewhat irregular notch on the left side. These notches are used to identify film chips when they are inserted into the pockets of the personal reel mounts. Vmcamstrip.jpg
Image strip from the View-Master Personal stereo camera. Note that, as with most film stereo cameras, the right and left images are reversed. The right image has square notch on the right side and the left image has a kind of rounded, somewhat irregular notch on the left side. These notches are used to identify film chips when they are inserted into the pockets of the personal reel mounts.

Close up attachments

24 and 36 inch close up attachments with prismatic lenses adjusted both the focus and the stereo base for close up photography of small objects.

Stereomatic 500 projector

Stereo image
Left frame 
ViewMaster-projector.jpg
Right frame 
ViewMaster-projector.jpg
Parallel view ( Stereogram guide parallel.png )
ViewMaster-projector.jpg
Cross-eye view ( Stereogram guide cross-eyed.png )
ViewMaster-projector.jpg
ViewMaster-projector.jpg
Viewmaster Stereo projector

Personal reels could be viewed with the wide range of viewers designed for commercial reels but for group presentations Sawyer's offered the View-Master Stereomatic 500 projector. The Stereomatic 500 was much like other 50's stereo projectors except that it had a carriage and lens system designed for View-Master reels. It was used with polarized glasses and a silver screen for stereoscopic projection of reels.[ citation needed ]

Of course, the Stereomatic 500 could be used to project commercial reels as well, a fact not lost on avid collectors of such reels.

Other

Sawyer's also offered a leather case, the bottom of which could be left on except when loading and unloading film. Other accessories included custom filters and a flash attachment. [7]

History

The introduction of a camera that allowed amateurs to produce their own View-Master reels generated a lot of excitement among fans of the commercial reels, which at the time were dominated by scenic subjects. Though the camera was a bit pricey compared to most consumer level cameras of the time, the cost of film and processing was relatively inexpensive leading to the phrase, used on promotional reels, "Take pictures like this for less cost than snapshots." [8]

However, the View-Master personal system could not compete with the image quality and broad support of the already well established Realist format and so it became a niche market within a niche market.

In 1955, Sawyer's ended production. [9]

View-Master Stereo Color aka View-Master Mark II

In 1962, Sawyer's Europe attempted to revive the idea of amateur View-Master photography with the View-Master Stereo Color aka View-Master Mark II. This camera had fixed focus and was designed to produce images for View-Master reels, but that is where the similarity ends.

Both the design and operation of the camera were simplified and it was also made more compact and versatile. Instead of the straight two pass image format of the View-Master Personal, the Mark II features a diagonal film path which exposes the film in one pass and yields 75 pairs on a 36-exposure roll instead of 69. [10]

The different image arrangement made it incompatible with the View-Master Personal cutter, so a new cutter designed for the Mark II was produced. [11]

Like the View-Master Personal, it lacked a hot shoe but did feature a cold shoe, as well as both "X" and "M" contacts, so it should work with most modern electronic flash units with the proper cord.

Instead of separate shutter speed and aperture settings, the Mark II features a single dial that sets exposure values: [12]

Exposure Value89101112131415
f Stop2.82.82.845.68111622
Shutter Speed1/301/451/601/601/601/601/601/601/60
Sharp focus from

_ feet to infinity

77785432

Like the View-Master Personal, the Mark II features an exposure table adjustable for different film speeds.

Film advance is through a trigger shaped "rapid wind" button that advances the film when it is pushed down.

After market

View-Master Personal and Mark II cameras are still actively traded through market places such as eBay and occasionally show up in estate sales. Most such cameras have been through several owners though barely used pristine examples do show up now and then.

Because of the ease of use of the VM cameras, many of the original owners were not technically inclined and had their pictures mounted professionally rather than doing it themselves. As a result, the number of VM cameras sold greatly exceeded the number of cutters sold. Though the Camera originally sold for $149 and the cutter for $19.50 [13] (equivalent to $1,186 and $155 in 2008 dollars) [14] the cutters typically sell today on eBay for at least $200 whereas the cameras often sell for $75, or even less.

This shortage of cutters is exacerbated by the fact that the Mark II cutter and the View-Master personal cutter are not interchangeable. Anyone who is looking for a camera and cutter for actual use would be advised to find a cutter first then buy the camera that matches it.

VM personal reel mounts are another story. In 1953, a six pack of blank reel mounts sold for $1 [13] In the early 1990s, the price had risen to $4.50 per six pack, which is a little less than the $5.25 that the 1953 price would be in 1992 dollars. [14]

Though the Cameras weren't made anymore, the various companies that owned the VM line over the years continued to manufacture and sell the blank reel mounts until the machine broke and Fischer Price decided not to fix it. This led to a comedian delivering a tirade demanding that they fix the machine. [15]

Once the supply of new mounts evaporated, the cost of the remaining NOS mounts and mounts purchased by users but never used skyrocketed. Single blank reels were often sold for $4 and sometimes as high as $8.

There have, over the years, been companies that offered to mount VM images on reels for those not wanting to do their own mounting, mostly through mail order. For those interested in making their own reels but don't want to bother mounting them themselves this could be worth looking into.

There may be other possible uses for VM cameras. It is possible, for example, to scan the images from a film strip taken with the VM camera using a film scanner but this is a rather involved process and the quality of the resulting images is likely to be a disappointment.

Related Research Articles

<span class="mw-page-title-main">Camera</span> Optical device for recording images

A camera is an optical instrument used to capture and store images and videos, either digitally via an electronic image sensor, or chemically via a light-sensitive material such as photographic film. As a pivotal technology in the fields of photography and videography, cameras have played a significant role in the progression of visual arts, media, entertainment, surveillance, and scientific research. The invention of the camera dates back to the 19th century and has since evolved with advancements in technology, leading to a vast array of types and models in the 21st century.

<span class="mw-page-title-main">View camera</span> Large-format camera

A view camera is a large-format camera in which the lens forms an inverted image on a ground-glass screen directly at the film plane. The image is viewed and then the glass screen is replaced with the film, and thus the film is exposed to exactly the same image as was seen on the screen.

<span class="mw-page-title-main">Shutter speed</span> Length of time when the film or digital sensor inside a camera is exposed to light

In photography, shutter speed or exposure time is the length of time that the film or digital sensor inside the camera is exposed to light when taking a photograph. The amount of light that reaches the film or image sensor is proportional to the exposure time. 1500 of a second will let half as much light in as 1250.

<span class="mw-page-title-main">Exposure (photography)</span> Amount of light captured by a camera

In photography, exposure is the amount of light per unit area reaching a frame of photographic film or the surface of an electronic image sensor. It is determined by shutter speed, lens F-number, and scene luminance. Exposure is measured in units of lux-seconds, and can be computed from exposure value (EV) and scene luminance in a specified region.

<span class="mw-page-title-main">Canon EOS 20D</span> DSLR camera

The Canon EOS 20D is an 8.2-megapixel semi-professional digital single-lens reflex camera, initially announced on 19 August 2004 at a recommended retail price of US$1,499. It is the successor of the EOS 10D, and was succeeded by the EOS 30D in August 2006. It accepts EF and EF-S lenses and uses an APS-C sized image sensor.

The science of photography is the use of chemistry and physics in all aspects of photography. This applies to the camera, its lenses, physical operation of the camera, electronic camera internals, and the process of developing film in order to take and develop pictures properly.

<span class="mw-page-title-main">Guide number</span>

When setting photoflash exposures, the guide number (GN) of photoflash devices is a measure photographers can use to calculate either the required f‑stop for any given flash-to-subject distance, or the required distance for any given f‑stop. To solve for either of these two variables, one merely divides a device's guide number by the other.

<span class="mw-page-title-main">Canon T90</span>

The Canon T90, introduced in 1986, was the top of the line in Canon's T series of 35 mm Single-lens reflex (SLR) cameras. It is the last professional-level manual-focus camera from Canon, and the last professional camera to use the Canon FD lens mount. Although it was overtaken by the autofocus revolution and Canon's new, incompatible EOS after only a year in production, the T90 pioneered many concepts seen in high-end Canon cameras up to the present day, particularly the user interface, industrial design, and the high level of automation.

<span class="mw-page-title-main">Canon T80</span>

The Canon T80 is Canon's first autofocus 35mm single-lens reflex camera. It was introduced in April 1985 and discontinued in June 1986 and is part of the T series of FD mount cameras. It is not compatible with Canon's later EOS system and its autofocus EF-mount lenses. Three special lenses, designated AC, were produced specifically for the camera. Other FD-mount lenses can also be used, but without autofocus capabilities.

<span class="mw-page-title-main">Canon T70</span>

The Canon T70 was a 35mm FD-mount single-lens reflex camera introduced in April 1984 as the second in Canon's T series. The T70 started with the concepts explored in 1983's T50, took them further, and applied them to a more sophisticated camera. While the Program AE-only T50 was intended as a beginner's camera, the T70 gave the photographer a lot more control over the camera's operation while keeping the T-series philosophy of simplicity in control and operation intact.

<span class="mw-page-title-main">Canon New F-1</span> FD-mount 35mm single-lens reflex camera

The Canon New F-1 replaced the F-1n as Canon's top-of-the-line 35mm single-lens reflex camera in September 1981. Like the earlier models, the New F-1 takes FD-mount lenses. Although no date has ever been confirmed, it is thought that the last New F-1 was made in 1992. It was officially discontinued in 1994, and factory support ended in 2004.

<span class="mw-page-title-main">Nikkormat</span> Camera brand

Nikkormat was a brand of cameras produced by the Japanese optics company Nippon Kogaku K. K., as a consumer version of the professional Nikon brand. Nikkormat cameras, produced from 1965 until 1978, were simpler and more affordable than Nikon-branded cameras, but accepted the same lenses as the Nikon F series cameras.

<span class="mw-page-title-main">Canon EOS 30D</span> DSLR camera

The Canon EOS 30D is an 8.2-megapixel semi-professional digital single-lens reflex camera, initially announced on February 21, 2006. It is the successor of the Canon EOS 20D, and is succeeded by the EOS 40D. It can accept EF and EF-S lenses, and like its predecessor, it uses an APS-C sized image sensor, so it does not require the larger imaging circle necessary for 35 mm film and 'full-frame' digital cameras.

<span class="mw-page-title-main">Stereo Realist</span> Binocular vision camera (1947–1971)

The Stereo Realist is a stereo camera that was manufactured by the David White Company from 1947 to 1971. It was the most popular 35 mm stereo camera ever manufactured and started the era of popular stereo photography of the mid 20th century.

<span class="mw-page-title-main">Live preview</span>

Live preview is a feature that allows a digital camera's display screen to be used as a viewfinder. This provides a means of previewing framing and other exposure before taking the photograph. In most such cameras, the preview is generated by means of continuously and directly projecting the image formed by the lens onto the main image sensor. This in turn feeds the electronic screen with the live preview image. The electronic screen can be either a liquid crystal display (LCD) or an electronic viewfinder (EVF).

<span class="mw-page-title-main">Nimslo</span> Stereo camera

The Nimslo is a stereo camera with a brightfield viewfinder that produces 3D pictures that can be viewed without glasses. This is done using lenticular printing. It uses common 35 mm film in 135 film format cartridges. It was produced in the 1980s by Nimstec of Atlanta, and manufactured by Timex in Dundee, Scotland.

<span class="mw-page-title-main">Pentax ME F</span>

The Pentax ME F was an amateur level, interchangeable lens, 35 mm film, single-lens reflex (SLR) camera. It was manufactured by Asahi Optical Co., Ltd. of Japan from November 1981 to 1984. The ME F was a heavily modified version of the Pentax ME-Super, and a member of the Pentax M-series family of SLRs. It was the first mass-produced SLR camera to come with an autofocus system.

<span class="mw-page-title-main">Konica Hexar</span> 1990s 35 mm autofocus camera

The Konica Hexar is a 35 mm fixed-lens, fixed focal length autofocus camera which was produced through the 1990s. It was introduced to the market in 1993. While styled like a rangefinder camera, and intended for a similar style of photography, in specification it is more like a larger "point and shoot" camera.

<span class="mw-page-title-main">Kodak Stereo Camera</span> 35mm film stereo camera produced 1954-59

The Kodak Stereo Camera was a 35mm film stereo camera produced between 1954 and 1959. Similar to the Stereo Realist, the camera employed two lenses to take twin shots of scenes, which could then be viewed in dedicated image viewers. The lenses supported adjustable apertures and variable shutter speeds. The camera had a reputation for being easy to use, and sold approximately 100,000 units during the time it was produced.

<span class="mw-page-title-main">Fuji GX680</span>

The Fuji GX680 is a series of single lens reflex system cameras for medium format film produced by Fujifilm with interchangeable camera lenses and interchangeable film holders for the unusual film format 6×8 cm on 120 and 220 roll film. The distinguishing feature of the Fuji GX680 is the articulating front standard, which runs on a rail connecting lens and camera body by a bellows; the interchangeable lens is permanently mounted to a lens board.

References

  1. Camera list at Stereoscopy.com
  2. 1 2 View-Master Three Dimension Photography (camera instruction manual) page 19
  3. View-Master Three Dimension Photography (camera instruction manual) pages 12–13
  4. 1 2 3 View-Master Three Dimension Photography (camera instruction manual) pages 16–17
  5. View-Master Three Dimension Photography (camera instruction manual) page 14
  6. 1 2 View-Master Three Dimension Photography (camera instruction manual) page 15
  7. 1 2 View-Master Three Dimension Photography (camera instruction manual) page 31
  8. Amazing 3D by Hal Morgan and Dan Symmes page 43
  9. Amazing 3D by Hal Morgan and Dan Symmes page 49
  10. View-Master Stereo Color user's manual pages 5–6
  11. View-Master Stereo Color user's manual page 17
  12. View-Master Stereo Color user's manual page 28
  13. 1 2 Stereomart catalog
  14. 1 2 Inflation calculator Archived 2007-08-08 at the Wayback Machine
  15. The View-Master Resource