he David White Stereo Realist was produced from 1947-1971 and used 35mm slide film.  The Realist could take 28 stereo pairs from a 36 Exp Roll, using a 5 Perfs wide (22mm x 24mm) format. This clever format still remains the international standard for stereo film cameras to ths day!  The camera was practical, rugged, and well designed. ven into the 1980s one could still send an exposed roll of slide film to KODAK and have it developed and mounted in 3D cardboard stereo slides.  Those days are no more.

Inside Lens Cap

HYPERFOCAL TABLE
DIAPHRAGM SETTING	SET DISTANCE DIAL   ON	CAMERA IS IN  FOCUS FROM   TO
ƒ 2.8	44'	22' – INF
3.5	34'	17' – INF
4	30'	15' – INF
5.6	22'	11' – INF
8	15'	7½' – INF
11	11'	5½' – INF
16	8'	4'  – INF
22	5½'	2¾' – INF

his Twin 35mm Single Lens Reflex rig was great for taking 3D landscapes and produced beautiful full-size 35mm slides.  The only draw backs were synchronizing the shutters and being watchful of the '3D Window' — since the interlens distance was twice a person's normal interpupillary distance (IPD).  This resulted in slightly HyperStereo views. his three lens camera from ImageTech became available in 1996 and was created for taking Lenticular Prints. It had three 27mm lenses with a fixed aperature of ƒ/9.5 and a shutter speed of 1/100 sec. There were several cameras like it at that time. In fact the Nimslo actually had four lenses. They were all designed to use 35mm print film and took "half-frame" exposures (18mm x 24mm). A 36 exposure roll of film could yield 24 Lenticular Prints. Lenticular Print processing became erratic & expensive, and the cameras fell out of favor, but they are still available.