Yesterday I posted a stereoscopic picture of the floating shadow created by Instrument six (which can by definition only be seen to hover stereoscopically). The view is of quite a subtle lift from the surface and the registration lines on the folding picture plane behind help you sense the parallax. Due the subtle lift some people have difficulty in seeing the float, so here is a stereoscopic view of the shadow registered on the screen (in its normal position before Instrument Six lifts it into the space between the shadow caster and the screen). Also a picture of Instrument Six for anyone who is new to this blog.
After viewing this image in stereo, it might be worth returning to the previous post to see the difference.
Some more stereo views of the interior of the Nautilus in Paris. The difference between seeing the two dimensional image and the stereoscopic three dimensions is pronounced (view in the normal way – or check back a couple of posts for the most recent suggestion of how to view stereo pairs). I have been in a few submarines and am intrigued by the nature of space made almost entirely by programme – the equipment that lines the habitable volume. I took these a few years ago and it was when I sent another pair from this series in an E-mail discussion with Perry Kulper that I discovered the possibility of how to float shadows in space (posted in the earliest post on Instrument Six).
A few more views of Instrument Six, which is capable of floating a shadow in mid air. I would like to get back to this at some stage to tickle out its potential a little further.
I had an e-mail the other day from Tom Rivard, one of the organisers of the excellent Urban Islands Workshops that I participated in a couple of years ago, telling me about the most recent edition. They are held on Cockatoo Island in Sydney Harbour, a stunning location, that used to house a shipyard and other institutions. Now the island is a recreational destination and provides camping facilities, shown here. So as not to wear out the grass they rotate the tents and so establish a biophotographic plate where the variation in photosynthetic exposure imprints ever decaying impressions of different shades of green.