After more than two decades of working in film as a director and director of photography, I became fascinated with stereoscopic photography in 2009. I started focusing on this new format, intrigued by the fact that time-honored design principles needed to be redefined when adding the next big step to photography: the third dimension.
I started to wonder if and how stereo imaging could become an autonomous art form of contemporary photography. What would be the impact on style, composition and graphic appearance of an image that aims to be equally aesthetic in 2D and 3D? And most important, is it possible to distance oneself from the simple gimmick that often lies in stereoscopic images by creating a completely new aesthetic experience or even an additional truth?
The more effort and work I put into stereo photography, the more I fell in love with what I was doing. I finally faced the fact, that stereo photography was the only thing I was doing.