New York, 1974 by Stephen Shore

Stephen Shore's interest in stereoscopic photography is indicative of his ongoing experimentation with photography to see the world with a heightened awareness. Much like his use of color and his focus on commonplace subjects, Shore's utilization of 3D photography continues his desire to solve the problem of how densely structured he could make a picture.

I was interested in seeking out situations in which the camera was doing something different from how our eyes see things: reflections, windows, a shadow on a chain-link fence, a rug that seems to float off the ground — each scenario created this amazing sense of space.     - Stephen Shore

 In 1974, Shore purchased a Stereo Realist - a camera that created stereographic color transparencies - resulting in images that could be viewed in 3D. Similar to 19th century experimentation in stereo cards and the recently popularized View-Master toys, these images offer a simulacrum of three-dimensional space via the two-dimensional image.

In the winter of 1975, Shore exhibited about 15 of these pictures at Light Gallery in New York City using a loaned Stereo Realist camera store display viewer. While the resulting images were mesmerizing, the method of viewing them proved complicated. This set of images has only been seen publicly once before without the use of a View-Master, at Shore’s 2017–18 MoMA survey.

Now, almost 50 years later, The Lapis Press developed a digital technology that uses layers to accentuate spatial depth within the image. When coupled with a lenticular lens, the print produces a three-dimensional composition. This new lenticular edition aims to show the images the way they were meant to be seen, without the use of a stereoscope.