By Thomas Asch
Introduction
When Rebecca recently asked me in Bordeaux if I could write something about the creation of my Clone Stereos in the “Stereoscopy Blog”, I was excited about the challenge. As we sat down I began to tell her the story of my five twin brothers…
Since my descriptions were anything but credible, I confessed that the story about the brothers was made up and began to tell her the truth about the difficult work with my clones. This did not go unnoticed for long, and some clones appeared ghostly in our surroundings.This amused Rebecca very much, but I knew immediately that this could not end well….
And indeed, as they explained loudly and gesticulating wildly the technical details of the photos and especially about their important contributions to the Clone Stereos, an understandable annoyance spread through Rebecca….
In the end, we agreed that I would summarise the essentials in this blog.
My topics are:
- First, I will explain the different requirements and steps for creating a clone image in a natural environment.
- Then I will show an example with embedding the clones on an artificial stage.
- Finally, a shenanigan series of photos will show that working with moody clones is not always easy.
1: Step by step guide to bringing a 3-D clone image to a natural environment
The Story
Personally, the most important thing is that a clone picture tells a certain story. For this article I wanted to create a new clone picture with Rebecca in the centre. The theme was quickly found: “some overzealous clones annoy Rebecca”. In the editing of this article, I ultimately split the story into three illustrative images and used them as an introduction.
In general it applies that the story can be very simple: for example, during a visit to the Kunsthaus Zurich I had the spontaneous idea for a clone picture in which “everyone is more interested in my phone than the paintings on the wall”.
The stage
Of course, the story needs a stage. In the Kunsthaus example, the environment inspired the theme, but sometimes it’s the other way around and I need a setting for the story I have already thought of (as in the photos with Rebecca).
I have the following requirements for a usable location:
- You need enough space to be able to place the camera and have all the “participants” appear without them getting too close to the camera (stereo window) or getting in the way of each other. Additionally, the whole scenery should take place in a roughly cube-shaped format (if you use the format of the classic stereo card).
- A stable support for the camera. Ideally a tripod, but for ad hoc locations it is usually an existing object, such as a chair or a wall.
- No uninvolved person in the area of the camera or stage during the shoot.
- Enough light, but avoid harsh side light, otherwise it complicates the shadows during the assembly of the final image.
Taking the Photos
The following things are required or considered when taking the pictures:
- A wireless remote shutter release for the camera that can be operated (as unobtrusively as possible) by the respective main subject. An alternative can be a helper who triggers the camera. Personally, I prefer to do this alone, as it allows me to work much more spontaneously, since I have the story in my head and know best when the right moment for taking the picture is.
- For me, test shots before the actual shoot ensure that no heads or feet are cut off, that the settings for exposure, etc. are correct, and that the cameras work properly.
- For each position a clone takes, you have to consider which space the previous clone has already occupied and where another clone is planned in order to avoid overlapping bodies in the final image. However, spatial overlaps can also occur deliberately, for example when I have one and the same person acting in different postures at the same time (see “The Busy Collector” or “Activism” in the Clone documentary). This creates the illusion of capturing the protagonist in motion.
The busy collector
- If possible, ensure there are no light changes during the shoot, to have consistent shadows on all participants (but keep in mind that the clones also have shadows and cast them on other objects as well).
- Keep a consistent backdrop throughout the shoot. Changes can lead to significant extra work in post-processing.
- Shoot variations on each clone! Small discrepancies in individual shots will only be seen when processing to stereo and then in most cases it is no longer possible to repeat the shot.
- Before moving the camera after the shoot, think about the story again and check whether you have photographed all the actors in their roles.
Post-processing:
- Select the base image that will provide the background for the finished image. Usually the photo with the clone in the rearmost position is suitable. A picture of the empty scene is also ideal.
- Cut out the individual participants in the unedited original photos from the left and right partial picture. Make sure that the shadows of the clones are also taken into account.
- Build up the half-images as a photo from several layers (I work with Luminar NEO). By fading in and out layers you can now find the ideal composition of the final photo. Finally, save the composed half-images as a JPEG.
- With StereoPhoto Maker, the two half-images are merged into stereos and brought into the desired format.
- If necessary, the final design is a stereo card with frame and lettering.
2: Clone story as a tabletop production
As an alternative to the realistic stage, an artificial world can be created. The example here is a story that takes place on a Monopoly game board.
The following point out the major steps in the production of one scene of the whole story:
- The stage scene as table top production with an old British Monopoly cardboard:
- Photos of the two acting characters of the scene:
- The final result, in which the two clones are mounted into the original game tokens of the board game:
3: The challenge of working with my Clones
And finally, here’s the report on the shoot on the theme of “Stereoscopic Enthusiasm” with my clones (a “documentary” that is not to be taken entirely seriously):
Afterthoughts, or what I care about
Not everything always has to be perfect!
Personally, I don’t like spending hours on cosmetic details of post-processing at all. The creative process for me means the great joy of the creation itself and the hope that the result will bring a smile to the viewer’s face.
Anyone who looks for technical imperfections in my Clone Stereos will certainly find them….
But I am especially happy for those who enjoy the idea of clone pictures and are inspired to try it themselves.
Acknowledgement
Finally, a big thank you to Rebecca for taking part in the Clone Photos and of course for offering me this stage for such a multiple self-expression!
The End
By Thomas Asch
Thomas published a book about his stereoscopic clone photography in 2020: https://www.blurb.co.uk/b/10468563-fun-with-my-clones-in-3d-stereoscopic-pictures-by with two other titles also available: https://www.blurb.com/user/aschth
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