Yes! I can see the very corners of your mouth beginning to curl with the mild amusement of faint recollection -- oh, that’s actually bemused bewilderment? Interestingly, you can actually view the images in 3D without a viewer – if you focus on one point of the image – or ideally through the image – and stare very hard, perhaps crossing your eyes, you’ll find that the 3D miraculously appears. As with Magic Eye images, you’ll need to stare at it for a long time and it won’t work for everyone. Try it on the pictures here, but be warned: it might give you a bit of a headache if you stare for too long. NOT in Wiki, you’ll be pleased to hear, but by someone who clearly has researched the subject himself in great detail !) Brunelleschi is usually credited with the first clear insight into perspective, and certainly Raphael and Leonardo were completely familiar with the concept. But, even with all these insights, perspective drawings or paintings are still flat representations of in-depth scenes … they’re just better than non-perspective ones (though even then, there are plenty of painters who achieved realism of a different kind by deliberately ignoring perspective, Picasso among them). It’s interesting that photographs include all the lighting and perspective without us even trying. But they’re still flat !

Paula Richardson Fleming is a photographic historian with a special interest in stereo photography. She is the retired Photo Archivist of the Smithsonian Institution National Anthropological Archives, and a Fellow and former member of the Board of Directors of the National Stereoscopic Association. Her credits include publications on 19th-century photography, as well as the curation of many photographic exhibits. Her association with Brian and Denis came naturally from their mutual appreciation of Diableries.This reboot of the original and first-ever Diableries AR App showcases wonderful spooky features PLUS new fun and scary scenes with clearer and higher quality visuals operated by the new Apple ARKit, giving users more enhanced quality and realistic interactive enjoyment.

Similarly, Carbon and Hesslinger surmise that the two perspectives used in the Louvre and Prado “Mona Lisas” could amount to one 3D image. Place the visual information together, and you have a stereoscopic masterpiece. They’ve used a red–cyan anaglyph to combine the two portraits — namely, the area depicting La Giaconda’s hands — and the result is like gazing upon Leonardo’s mysterious woman without 3D glasses. Essentially, there’s depth. But it’s impossible to know whether Carbon and Hesslinger’s observations are coincidental, or if Leonardo intentionally created the first stereoscopic art. In addition to the beautiful images of the complete set of over 70 stereo cards which can be seen in 3D using the viewer provided, Brian and his fellow authors and researchers Denis Pellerin and Paula Fleming provide an explanatory text for every card to unravel its meaning – the satirical nature of the cards is hidden to modern eyes. This book is the result of the passionate work of three authors who have made it possible, for the first time in the 21st century, to publish in one book all of the known Diableries made in the second half of the 19th century. Later this week, May and co-authors Denis Pellerin and Paula Fleming are releasing a book about a fascinating and unusual series of stereo photographs, which were something of a phenomenon in 19th century France, and bear the wonderful name ‘Diableries’.Those of us over a certain age (fear not - your secret is safe with me!) will almost certainly remember the View Master: This week sees the release of a book co-authored by Brian May (yes, that one) about an unusual series of stereo photographs featuring hell, skeletons and demons all aglow. With special visual and audio effects, the Diableries AR App’s characters react to and interact with the user’s play, with the entire experience seamlessly recorded in-app, for immediate uploading and sharing to all social channels. The guitarist says the imagery reflects the mood of France between 1860 and 1890, when the Diableries were created — the country was besot with oppression and heavily influenced by church teachings of the afterlife. I was again fascinated. That fascination never left me,” he says. “I was really passionate about this. I was always looking for this stuff. It was a mission.”