Right now, the leadership of the Brooklyn Stereoscopic Community consists of three of the founding family members; Ilicia had to leave us due to time commitments elsewhere. We have also added two new members to the leadership team. There is no hierarchy among the leadership; our opinions and votes all have equal weight. We aim to provide fair, unbiased, and respectful leadership for the community while also realizing that we wouldn’t have a purpose without you. Come meet the team!
Ian built his first flamethrower at age 10, and it’s very possible that’s all you need to know about him, but since our charter mandates four-plus sentences per person, you’ll have to listen to him babble on about himself in the third person for a little longer.
Ian has been “into” stereography for the last 30 of his 39 years; for the last ten he has been a serious collector. Two years ago, Ian put his love of sharing knowledge into action when he launched his blog, Brooklyn Stereography.
When his closest friend and collecting partner Doug Jordan passed away in January 2020, he accepted stewardship of the Boyd/Jordan/Ference Collection. He hopes be able to add to and grow the collection, including a permanent endowment for the online entity, before his own demise. Most of his 3D efforts are put into maintaining and building this collection, and into researching Great War stereography in general.
Secondary areas of specialization within historic stereography include Raumbild-verlag Otto Schönstein (a Third Reich 3D propaganda arm effectively controlled by Hitler’s best friend Heinrich Hoffmann) and VistaScreen (a strange British outfit whose sole photographer, Stanley Long, shot over 4,000 mostly-mediocre stereoviews for the company between 1957-1961), among others.
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Stacey Doyle Ference
Stacey Doyle Ference is an archivist at the New York Public Library with a specialization in audio and moving image collections.
A newcomer to the field of stereography, she is mainly drawn to the historical subjects and has a particular interest in mid-century topics, classical erotica, and anything kitsch.
Stacey enjoys finding contextual information to give a greater appreciation of the image.
As an archivist, she is drawn to order, filing, and all that comes with the building and maintenance of collections.
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Let’s get acquainted before I start talking about stereoscopy. My name is Pascal, born in 1986. I live in Mainz, Germany, a city near Frankfurt. I work as a teacher for maths and music and as a media education consultant for the educational authority. You can also listen to my choral compositions in concerts or buy them as sheet music.
I started my stereoscopic journey in late 2016 soon after I spotted a small handheld cardboard viewer of the French brand Brugière from around 1940 with a bunch of films on a local antiques market. To be honest, I did not pay much attention on this item because that time I was after anything concerning early photography but the Brugière viewer was just too expensive, the views were pale and foggy and the design was not catchy after all.
Not much later I had discovered that there was a broad field that was called stereoscopy. My first collector’s item was a French Taxiphote that looked like it just fell out of a Tim Burton movie. Meanwhile my collection expanded into dozens of wooden viewers, both handheld and tabletop, sometimes including their storage furniture, cameras and developing tools as well as historic documents like catalogues and thousands of stereo views. I also started restoring viewers that are in a bad condition including complete disassembling, cleaning, replacing, repairing, adjusting and so on. Bringing back the original beauty to a viewer or camera that was long forgotten in an attic or basement is a really joyful experience.
I soon came to the point where I had to set borders to my collecting activities. So at the moment I am limited to glass slides, their specific viewers and the time before 1945. So my collection remains one-sided despite its diversity but I rather see it as a kind of focus.
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André Ruiter (Putten, 1972) is a Dutch photographer who specializes in conceptual black & white photography. His photo projects are based on historic themes.
While working on a project about the World War I battlefield of Verdun in France, he discovered French glass stereoviews. This resulted in a great interest in stereo photography and he’s now a passionate collector of stereoscopy antiques from 1850 to 1930.
On his website he shares his black & white photography and blogs about stereoscopy history and his collection.
André lives in Putten, a town surrounded by the woodlands of the nature reserve The Veluwe.
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Keita’s career has always been in technology and corporate design (currently she works as a senior user experience researcher in the heart of Silicon Valley in sunny California), so she tries to balance all that techie-ness by immersing herself in nature, dancing, music, and cloudspotting when she can.
Keita’s love of stereoscopy, which is focused on the viewing devices, started when she stumbled across a Tru-Vue viewer in an antique shop 3 years ago and she’s since amassed a large collection of stereoscopes from all over the world, mostly from the mid-century time period (1935-1965).
With her focus on stereoscopes, she’s particularly fond of branded viewers used for advertising, folding viewers, cardboard viewers, and viewers that use 35mm stereo filmstrips (Tru-Vue, De Vry, Novelview, Filmoscope, etc.)
Keita posts items from her collection to her website (VintageViewers.com) and her Instagram (@3dcollector).