News Stories

Navajo war chief photo a rare find (Stereo exposure)

An archivist for the Palace of the Governors photo archives was going through a collection of old photographs in the museum last summer when he recognized a face.

“I said, ‘My God, that looks like Manuelito,’ ” said Daniel Kosharek. “I thought, ‘Well, that’s weird. I’ve never seen this before.’ ” Kosharek checked the files and, sure enough, the image was not there.

Only a handful of photographs exist of Manuelito, one of the main Navajo war chiefs during the Long Walk period.

Born in southeastern Utah in 1818, Manuelito resisted the 1864 relocation of the Diné people from the Four Corners area to Bosque Redondo, near Fort Sumner, and signed the 1868 treaty ending the internment. He died in 1893.

Kosharek said he immediately recognized Manuelito from his distinctive face and unusual height. He had never seen this particular image, so he spent two weeks checking the Library of Congress, the National Archives, The Getty, the Denver Public Library, the Arizona Historical Society and other archives, but he found that “nobody had this image,” he said.

The approximately 3 1/2- by 4-inch albumen proof print was one of many stereo exposures — used for stereoscopic viewers, popular in the 19th century — of Native Americans, probably taken in the 1870s by one of Santa Fe’s earliest photographers, Henry T. Hiester.

Maryanne Redding, curator of photography art at the New Mexico History Museum, has written an article about the photograph for the winter edition of El Palacio, a magazine of the Museum of New Mexico. She said Hiester worked in Illinois and Pennsylvania before coming to Santa Fe in the early 1870s. He ran a photographic studio on the Plaza until at least 1877 and then moved to Arizona.

The Museum of New Mexico obtained Hiester’s photographs in the 1960s with a donation known as the Hiester/Melander Brothers Collection. Although the image Kosharek first saw had nothing written on it, the envelope that held the actual glass-plate negative was inscribed, possibly in Hiester’s handwriting, to say, “Manuelito and Cayetanito.”

The undated photograph shows Manuelito, wearing a headband, a heishi necklace and knee-high moccasins, sitting in front of an adobe building. Cayetanito is standing next to him with a long blanket draped over his shoulders.

Little is known about Cayetanito — possibly a diminutive of Kayenta, the Navajo name for northeastern Arizona. But Redding said the given name was used by two Navajo chiefs who signed a treaty with the government in the 1860s — one of them using the last name Tabaco Grande and the other San Lucero.

Both stereo images will appear in the edition of El Palacio that goes on sale Dec. 1. Also appearing are Redding’s story and a piece by historian Charles Bennett on Manuelito’s role in Navajo life, including his surrender to the Bosque Redondo camp, his escape and his meetings with Presidents Ulysses S. Grant and Rutherford B. Hayes.

Redding said the History Museum recently began the first major inventory of its entire photographic collection, which will likely uncover other previously unknown images.

Kosharek said he often finds rare photographs in the collections, but “nothing on the magnitude of something like Manuelito.”

by Tom Sharpe | The New Mexican

source: http://www.santafenewmexican.com/Local%20News/palace-of-the-governors-War-chief-photo-a-rare-find

posted on http://stereoscopynews.com/hotnews/3d-photography/pictures-samples/1061-rare-piece-of-history-discovered-in-an-old-stereogram.html

NVIDIA 3D Vision: ready for prime time? (pros and cons)

The face of PC gaming is changing, and it’s taking on a whole new dimension. While frame rates and image quality continue to improve year-on-year, what’s arguably the biggest graphical innovation in recent months is the realisation of 3D gaming.

Spearheaded by NVIDIA’s 3D Vision technology I believe that the PC’s use of stereoscopic three-dimensional visuals has improved to the point at which it can no longer be branded as merely a flash-in-the-pan gimmick.

I’ve had issues with the technology in the past, but 3D Vision’s shortcomings have, for the most part, rested with the accompanying multimedia content. Games quite simply haven’t provided the desired 3D wow factor, and titles that gave it a shot were often impaired through poor three-dimensional effects, on-screen artifacts and little visible addition of depth. But if you thought 3D Vision’s days were numbered (we’ll admit it, the thought had crossed my mind), you might just been wrong.

In the days leading up to the launch of NVIDIA’s crown jewel – the GeForce GTX 580 graphics card – I was able to revisit 3D Vision and put some of the latest titles to the test. My conclusion? 3D Vision might now be ready to finally deliver some of the wow factor it once sorely missed.

Read the full article with here: http://www.hexus.net/content/item.php?item=27578

(conclusion section)

Cutting a long story short(er)

3D content still has a long way to go, and I’m genuinely divided on its suitability in all areas of life; I still enjoy it far more at the cinema than I do in the living room.

The PC is somewhere in between, and though the computer’s 3D experience has historically disappointed, it’s now starting to prove its worth. Through the release of better 3D-capable games, my 3D Vision lenses are no longer sat around collecting dust, and my £35 PS3 copy of Black Ops is about to be traded in.

NVIDIA’s 3D Vision, then, is a work in progress. It can look absolutely fantastic at times, given the correct interaction of software and hardware, but NVIDIA needs to continue working hard with developers to ensure that upcoming triple-A games have integrated support for 3D from the get-go. The company also needs to continue pushing non-gaming 3D – pictures, films, etc. – as a worthwhile reason for investment, and I reckon that increased content in 2011 will provide the necessary stimulus on this front. Thinking about it for a moment, I’d give 3D Vision a ‘B-‘ rating at the end of 2010.

Looking forward to 2011, in order to really succeed, NVIDIA has to take a lead role in lowering the financial barriers to 3D entry – cheaper active-shutter glasses and, perhaps, NVIDIA-led rebates on 3D screens, together with sub-£1,000 3D Vision totin’ laptops. Ultimately,  I believe that the nascent ecosystem will only flourish once it is widely available in the mainstream market, be it for the PC or laptop. Right now, it remains too expensive for Joe Average.

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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