I utilize stereoscopic photography as a medium to address aesthetic issues raised by the biology of vision and the problem of portraying space. Concepts of vision and perspective have been central to my work with stereoscopic photography, but I am equally motivated by a personal history with stereo images and my interest in their contemporary use.

Stereoscopic photography, as old as photography itself, has played various roles in society. From 1860 to 1920 stereo views were essentially the home entertainment of the times.

More recently the View-Master, intended as a substitute to postcards, instead become the popular children’s toy. For many of us, this was our first art collection, and the stereoscopic images were an effective medium for creating the illusion of “being there”.

In the early 1950’s, the availability of commercial “stereo” cameras made it possible to create amateur stereo images. Coupled with the introduction of ultra-vivid Kodacrome film, resulting images portray an intense perception of the time. It was my father’s stereo photographs of our family that formed my interest in stereoscopic images and their ability to convey spatial relationships and intensified perceptions of time, place and feelings.

Images of binocular space, and the super realism of stereoscopy are key elements in my photography. Stereoscopic perception, likes color perception, can be controlled artistically, and as such is an important medium in this context. The images are selected to address the issue of space in a contemporary context, and viewed through a viewer, which intensifies the experience through personal participation.

peter bahouth bio

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