Systéme de Projection Anaglyphique

The first truly bright, controllable light source was limelight, a term still in use today long after it's original namesake became obsolete. Although invented before limelight, carbon arc lighting required a steady, reliable source of electricity. Once this requirement was in place arc-lamps became the norm in theatre and film studio lighting systems. This projection lamp presented here is a home version of a carbon-arc lamp. At least I think it was meant for home use. By modern standards, this thing is unsafe at any speed. More details to come once I get the device properly photographed.

Gaumont Anaglyph Projector attachment

Strictly speaking, this is not a dedicated projector, but rather a conversion kit which transformed a Gaumont Stereodrome cabinet stereo viewer into an anaglyph stereo projector. A special set of projection lenses replaced the normal viewing lenses, and an electric light unit was inserted into the back of the viewer. The pair of 55 watt bulbs could only have produced a rather dim image on screen. Because the red/blue filter is a drop in on the front of the projection unit, it would be possible to today to substitute polarizing filters - if one were crazy enough to actually try using the system. The shiny round thing on top is a giant rheostat, and the gauge is a volt meter with a red mark at 100 volts.

Richard Projecteur Stereoscopique

"Le Moulinex," so nicknamed for its resemblance to an old French made hair dryer, was never sold in significant numbers. It was a very expensive piece, and other equally capable projectors could be had for a lot less money. The projector was sold with carriers for multiple formats, including the then current Verascope F40's 7 perf European format, and 45 x 107. An interesting feature of the Richard are the two black forward pointing knobs next to the lenses. These are used like gear levers to adjust for convergence and elevation. Each shaft is anchored behind its lens. A ball socket in the lens mount surrounding the lever causes the lens to slide around as the lever is manipulated. It would be fun to try it out, but the power cords are a little frayed and it needs 220 volts. No doubt it it would have the ubiquitous 1950s era fan noise from hell.

Sample Verascope f40 slides mounted in glass.

Realist 81/82

I am not generally in the habit of naming inanimate objects, but within seconds of firing up the Realist it became known as Darth Vader. It both looks and sounds like the movie villain. A classic example of engineers run amok, everything about this machine is complex and goofy. To change images, a handle at the back is pulled down. This is then translated into into rotational motion in the two position slide holder located in the center of the machine. If you don't pull the handle with the right amount of force, it will be necessary to manually click the carriage into its final position. Slides are fed one at a time and the operator must continually maneuver around the machine to deal with focus, tilt, convergence and slide changing controls. Not surprisingly, Realist projectors are rare today, but may be considered highly desirable collectibles. "Luke, I am your father..."

TDC 716 Stereo Vivid Deluxe

Stepping in where David White feared to tread, the Three Dimension Corporation produced a far more practical projection system. The 116 model used 500 watt bulbs, and the 716 used 750 watt bulbs. With polarization, light output is subdued, so the higher wattage bulbs are a welcome feature. The Selectron unit mounted on the projector used 30 image trays and allowed the operator to simply slide views in and out of the projector, then click a rack and pinion wheel to advance the tray. Though more ergonomic for the projectionist, at 1500 watts it was still a sweaty job for the projectionist, who worked in close proximity to what amounted to an effective space heater. Like the Realist, the fan is rather loud.

Belplascus V

Produced to compliment the Belplasca stereo camera, the Belplascus is a simple projector of limited features. It was, however, designed to project the wider 7 perf European format slides produced by the Belplasca camera. As its wired for 220v I have never bothered to try it out. Like all stereo projectors, I'm sure it takes some tinkering to get images properly aligned on screen.

Diatom 100

Produced by Hermann Schneider & Co of Hamburg, the Diatom was a small and simple projector. Polarizing filters are mounted outside the body of the unit, in front of the lenses. You now know as much about it as I do.

RBT 101

The same folks who build modern stereo cameras also build a modern stereo projector. Incorporating features such as zoom lenses and remote control operation, the 101 eases stereo projection to the extent possible. The Germans must equate mass with quality. For reasons I cannot possibly explain, it weighs a ton. There is a story the unit was originally a Kodak design project. It seems reasonable in as much as engineering a complicated device of this ilk would be a major challenge for a company as small as RBT.