Item description for OLD STEREOSCOPE COSMO VIEW JIU JITSU ATHLETE JAPAN NIPPON KARATE REAL PHOTO 1890

T. Enami (1859-1929) was the trade name of Meiji period photographer Enami Nobukuni (?? ???). The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.

Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-d?ri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozabur?. He and Enami would work together on at least three related projects over the years.

Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted. His images in all formats eventually appeared in books and periodicals having press-runs in the millions. The Japanese stereoview lines of at least three major American publishers were made up entirely of T. Enami images.

Enami survived the 1923 Great Kant? earthquake, and rebuilt his studio which had been destroyed by the quake and subsequent fire. After his death at age 70 in 1929, his first son Tamotsu took over the studio until it was once again demolished in 1945 by the Allied bombing of Yokohama during World War II.

Due to Tamotsu sharing the letter T with his father, photo-historians later confused attribution of the father's photographs with those produced by his son. Terry Bennett, in his book Photography in Japan 1853-1912 offered interesting commentary concerning the "father or son" attribution problem. The Enami family in Yokohama later resolved the mystery: Tamotsu was not a photographer, and T. Enami never stood for Tamotsu Enami. Rather, the son maintained the studio, and continued the production and sale of his father's old photographs. Fortunately, due to sharing the same first-name initial with his father, he didn't have to change the letterheads or labels of the company ephemera. These revelations, and other biographical data appeared in an essay and stereoview index entry written by Okinawa-based photo researcher Rob Oechsle, and published in Bennett's follow-up volume, Old Japanese Photographs - Collectors' Data Guide.

Philbert Ono of PhotoGuide Japan has also speculated on the possibility that T. Enami intentionally named his son with a leading T in the hope that he would someday take over the studio.

Perhaps the greatest posthumous honor conferred on Enami was the selection of one of his images to be the sole inset-photograph appearing on first-edition cover of the monumental Odyssey, The Art of Photography at National Geographic. Early in their history, Enami had been a contributing photographer to their yellow-bordered magazine.

A stereoscope is a device for viewing a stereoscopic pair of separate images, depicting left-eye and right-eye views of the same scene, as a single three-dimensional image.

A typical stereoscope provides each eye with a lens that makes the image seen through it appear larger and more distant and usually also shifts its apparent horizontal position, so that for a person with normal binocular depth perception the edges of the two images seemingly fuse into one "stereo window". In current practice, the images are prepared so that the scene appears to be beyond this virtual window, through which objects are sometimes allowed to protrude, but this was not always the custom. A divider or other view-limiting feature is usually provided to prevent each eye from being distracted by also seeing the image intended for the other eye.

Most people can, with practice and some effort, view stereoscopic image pairs in 3D without the aid of a stereoscope, but the physiological depth cues resulting from the unnatural combination of eye convergence and focus required will be unlike those experienced when actually viewing the scene in reality, making an accurate simulation of the natural viewing experience impossible and tending to cause eye strain and fatigue.

Although more recent devices such as realist-format 3D slide viewers and the View-Master are also stereoscopes, the word is now most commonly associated with viewers designed for the standard-format stereo cards that enjoyed several waves of popularity from the 1850s to the 1930s as a home entertainment medium.

Devices such as polarized, anaglyph and shutter glasses which are used to view two actually superimposed or intermingled images, rather than two physically separate images, are not categorized as stereoscopes.

History
Wheatstone stereoscope
The earliest type of stereoscope was invented by Sir Charles Wheatstone in 1838. It used a pair of mirrors at 45 degree angles to the user's eyes, each reflecting a picture located off to the side. It demonstrated the importance of binocular depth perception by showing that when two pictures simulating left-eye and right-eye views of the same object are presented so that each eye sees only the image designed for it, but apparently in the same location, the brain will fuse the two and accept them as a view of one solid three-dimensional object. Wheatstone's stereoscope was introduced in the year before the first practical photographic process became available, so drawings were used. This type of stereoscope has the advantage that the two pictures can be very large if desired.

Brewster stereoscope
Contrary to a common assertion, David Brewster did not invent the stereoscope, as he himself was often at pains to make clear. A rival of Wheatstone, Brewster credited the invention of the device to a Mr. Elliot, a "Teacher of Mathematics" from Edinburgh, who, according to Brewster, conceived of the idea as early as 1823 and, in 1839, constructed "a simple stereoscope without lenses or mirrors", consisting of a wooden box 18 inches long, 7 inches wide and 4 inches high, which was used to view drawn landscape transparencies, since photography had yet to be invented. Brewster's personal contribution was the suggestion to use lenses for uniting the dissimilar pictures in 1849; and accordingly the lenticular stereoscope (lens based) may fairly be said to be his invention. This allowed a reduction in size, creating hand-held devices, which became known as Brewster Stereoscopes, much admired by Queen Victoria when they were demonstrated at the Great Exhibition of 1851.

Holmes stereoscope
A Holmes stereoscope, the most popular form of 19th century stereoscope
In 1861 Oliver Wendell Holmes created and deliberately did not patent a handheld, streamlined, much more economical viewer than had been available before. The stereoscope, which dates from the 1850s, consisted of two prismatic lenses and a wooden stand to hold the stereo card. This type of stereoscope remained in production for a century and there are still companies making them in limited production currently. It is primarily American, although it is often named "Mexican stereoscope."

Modern use
In the mid-20th century the View-Master stereoscope (patented 1939), with its rotating cardboard disks containing image pairs, was popular first for 'virtual tourism' and then as a toy. In 2010, Hasbro started producing a stereoscope designed to hold an iPhone or iPod Touch, called the My3D. Apps on the mobile phone substitute for stereo cards. The underlying technology is otherwise unchanged from earlier stereoscopes.

Several fine arts photographers and graphic artists have and continue to produce original artwork to be viewed using stereoscopes.