AMATEUR PHOTOGRAPHY. 
assigned them, and both did what they 
considered right and fair to all concerned. 
Many readers will be disappointed at 
not finding their names in the list, and 
others at not finding theirs as far up as 
they had expected; but all such should re- 
member the peculiar conditions that enter 
into a contest of this kind. No man or 
woman can possibly appreciate the difh- 
culty under which the judges labor, without 
being themselves placed in such a position. 
I trust that all who were successful in 
this competition may be even more so in 
the next, and that those who did not win 
prizes this time may get good ones the next 
time. 
Only 40 prizes were offered in this com- 
petition, and, of course, only this number 
were awarded by the judges. I have, 
however, decided to send RECREATION one 
year to each of the persons named on the 
list and numbered 41 to 54 inclusive. 

PSEUDO STEREOSCOPIC PICTURES. 
BARON PAUL TCHERKASSOV. 
Anyone who has looked at a photograph 
through a magnifying lens must have no- 
hs 
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ticed how much more lifelike it tooks ; how 
all the objects stand out in strong relief ; 
how much more natural the perspective ap- 
pears. It must be obvious that if one pic- 
ture, seen through one magnifying lens, 
gains so much, a binocular contemplation 
of 2 identical pictures through 2 lenses is 
bound to produce a still more striking effect. 
This is shown to the utmost perfection at- 
tainable with pictures in monochrome, in 
stereoscopic pictures, taken with a properly 
constructed stereoscopic camera. It seems 
strange, therefore, that, as nearly as I can 
judge by my personal experience, hardly 
20 per cent of amateur photographers do 
167 
stereoscopic work. I have taken it up re- 
cently and during this brief time it has af- 
forded me much more enjoyment than I 
formerly got out of photographic work with 
a half plate stand camera and a quarter 
plate hand camera, with which I have 
taken many pictures in the last 12 years. 
One day in 1go1, while going through some 
old prints, the idea came to me that it might 
be possible to get a stereoscopic effect with 
some of them. After a few trials, I learned 
how to dispose the 2 separate prints, and 
‘what sizes to give them, as well as a few 
minor points the knowledge of which facil- 
itates the work. The results having proved 
satisfactory, a brief outline of my methods 
may interest other photographers. 
Two conditions must be fulfilled in or- 
der to attain good results: The focal dis- 
tance of the lens should be between 4 and 
5 inches; and prominent objects in close 
proximity to the camera should be avoided. 
This may require some explanation. In 
genuine stereoscopic work, it is o.1 the ut- 
most advantage to get some prominent ob- 
jects in as close proximity to the lens as 
the latter’s construction permits, for such 
objects, appearing on the 2 separate prints 
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in different positions relative to objects sit- 
uated farther from the lens, are of great 
value in bringing out the stereoscopic ef- 
fect; but, in pseudo stereoscopic work, 
where they necessarily stand in the same 
relation to other objects, in both prints, 
they are not of such value in enhancing 
the effect of the stereoscopic iamge, while 
they reveal to the careful observer the 
imitation. 
It is strange how differently people re- 
gard the same picture when they think it 
is genuinely stereoscopic and after they 
learn that it is what they call faked. I 
- once showed my collection to some friends. 
