Abstract
The invention in the nineteenth century of stereoscopic photography and of indirect colour photography are re-examined so as to underline elemental theoretical similarities between the two processes. Both are illusions, reconstructing either the impression of depth or of natural colour via the deconstruction of human perception into multiple images. Because of their similar foundations, the separate pursuits of colour and three-dimensional representation come to influence each other, in the first half of the twentieth century, as new devices are developed to facilitate their practice. Comparison of the two types of photography on a technical level is relevant to analysis of the meaning of the photographic image in all its forms and, in particular, to scrutiny ofits ‘realism’.
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