John Wattie transforms landscapes into miniature worlds.
One of the 2 extremes in 3D imagery is called Hyperstereo (the other is Hypostereo). Hyperstereo has the unique result of making the image look like a miniature model.
The idea behind Hyperstereo is to increase the distance between the 2 images to be greater than the distance between typical human eyes. Depending on the scene to be captured, this could be a few feet or more between the 2 cameras. The result is the viewer sees the world like King Kong would with everything appearing small. The larger the space being photographed, the more space you need between the lenses to capture depth.
When a human looks at a far distance there is limited difference between what our 2 eyes see. So the depth we perceive is less about the actual visual inputs and more about visual clues and what our brains predict should be the depth. Hyperstereo grabs more information from the distance and gives our brains more input to sense the depth.
John has strong technical knowledge about the science of vision and has taken some very impressive Hyperstereos.
Enjoy a trip into a miniature world below courtesy of John.
About John Wattie:
John is a semi-retired radiologist who has been fascinated by stereoscopic images for 63 years, ever since his father showed him 3D survey photographs from New Zealand Aerial Mapping. Later at University, he was given an SLR camera and he first took stereoscopic image pairs of a flower garden, pretending the camera was flying. The slides were viewed through a stereoscope he patched together from two slide viewers.
In 1990, he was asked to make “chocolate-box images” for large calendars produced by Schering. The calendars proved sufficiently popular that one a year was made for 13 years. His web site featured a few of the calendar and cave photographs at small size, but later on stereoscopic images became the main feature.
Digital photography came next and Nikon 4500 followed by Canon DSLR were used to make macro stereoscopic photographs of toadstools. By now, virtually all of his images were stereoscopic.
His latest craze is a return to high definition macro photography, but this time in stereo, using an Olympus E410 camera, his old Nikon 55mm macro lens on extension tubes, focus stacking and slave flashes.