Jan Gert Wolkers
THE RISING TIDE was my first time lapse show. I sat relaxed in the sun for 4 hours while the camera set shot many pictures. Due to the rising water I had to move a few times and unfortunately fog from the sea ended this project. At home I worked on all the images in software. First in special software for 3D corrections and then in Lightroom for image enhancement. When this was done I turned all images into a movie at 24 frames per second. Four hours of shooting for a 2 minute movie.
TOURIST PROCESSOR was made in Venice from my hotel window. Again thousands of images turned into a 2 minute movie. In time lapse you see things happening which you usually do not notice. It works also very nice on clouds. For time lapse I put everything on manual in the cameras. This saves energy which makes it possible to shoot up to 10 times more pictures from a battery. It also prevents flickering of light. When suddenly the sun comes out from behind the clouds the automatic system in the camera will react to this resulting in a very disturbing movie. Manual settings prevent this. I use Panasonic cameras because they have an electronic shutter. Using a camera with a mechanical shutter will destroy your camera fast. They last for 50.000 shots in cheaper cameras. Taking thousands of pictures for a few projects will destroy your camera soon.
SAGRADA FAMILIA was made with a single Sony RX100 pocket camera using the “cha-cha” technique. This means that you point your camera at a subject, take a shot, move a little left or right and take the second shot. Of course your subject should not be moving. I also used an internal HDR mode in this camera which works very nicely for subjects with a lot of contrast (dark/light). DOM VAN KEULEN and “1453” were made the same way.
For PAINTING ICELAND and REPAINTING ICELAND I used two Sony RX100 cameras. Unfortunately they could not be electronically connected. And thus I had to put them on a tripod and trey to press both shutters and synchronous as possible with both hands. I used several creative modes of the cameras to make pictures for this show.
WET&WILD IN ICELAND was shot with two electronically connected Sony HD video cameras. Due to the extreme winds in Iceland I could not use a tripod all the time. Using a tripod for shooting video is always better because it gives a much more stable image.
AN ANTARCTIC ODYSSEY was shot on my first trip to Antarctica (2007), GOING SOUTH on the second trip (2010). On both trips we also visited the Falkland Islands and the most beautiful place on earth, South-Georgia. On both trips I used different equipment. The developments in digital photography were going fast around that time. Unfortunately I learned a hard lesson during the second trip. Never use a tripod on a ship. The vibrations of the ship engines ruined a lot of my video material!
Nearly every year I make a new TOODEETOOTREEDEE show which has the goal to show people how much more interesting a stereoscopic image is by transitioning from 2D to 3D. For these shows I use left-left (2D) and left-right (3D) images which flow slowly into the other. To keep the effect the same I only use left-left (2D) images and not right-right (also 2D). Mixing this might make a show disturbing to some of the people in the audience.
PS: My website WORLD-OF-3D is listed in some of the shows. However the website was terminated last May. I hope to start something else on Facebook.
When I was young the fascinating Viewmaster reels with stereoscopic images of TV shows and places from all around the world gave me lots of fun. I started active stereo photography (3D) at the age of 19 using the Pentax ME to which you could attach a Pentax beam splitter. In 1986 and 1990 I had two stereo camera’s constructed out of Pentax ME and P30 cameras which were my prime means of 3D photography in the nineties. At the beginning of this century in line with the digital revolution I had some digital stereo cameras made for me. All these cameras have given me loads of joy. I took them with me to many places, even to Antarctica! In recent years I have become fascinated by the effect time lapse can create and especially when it is done in 3D.
I have been president of the Dutch stereo club for nearly 12 years and editor of the club magazine for nearly 8 years. I also have been the (vice) president of the International Stereoscopic Union (ISU). This is a club of more than 1000 amateurs and professionals around the world interested in 3D.