Tommy Thomas was an unorthodox free spirit to the very end. He died on Sept. 21, 1994 at the age of 71, and was buried in a shirt covered in jellybeans, wearing bright red socks. He was never a "suit-and-tie" kind of person - not in life, not in photography, and not even in death. Tommy never settled for living with other peoples rules.
In the 1950s he experimented with 3-D photography - and he really EXPERIMENTED! While 3-D camera experts stated to always keep the camera level, he suggested "deliberately tilting your stereo camera when taking a picture" to utilize the diagonal compositions & drama that tilting it would create. He suggested shooting pointing up or looking down to create more interesting angles of perspective. Tommy's attitude was "If you and your friends consider the stereos that you now take as being the greatest, then - they are!"
Tommy Self Portrait
Tommy Thomas in his office double exposure self portrait
Rope Trick by Tommy Thomas
Portrait Of the Photographer by Tommy Thomas
Stereo Painting by Tommy Thomas
Snoka with magic 1953 calendar by Tommy Thomas
Miniature Model (Snoka Thordarson) by Tommy Thomas
Portrait of a Salad by Tommy Thomas
S.S. Nordquist by Tommy Thomas
The Primary Colors by Tommy Thomas
Peek-a-Boo Girl by Tommy Thomas
The Blonde from Outer Space by Tommy Thomas
Girl in the Ice Block by Tommy Thomas
Jayne Mansfield at Romanoff's by Tommy Thomas
The Little Poker Player by Tommy Thomas
His specialty, and that which we all knew and loved him for, was trick
3-D photography. Tommy would spend hours and hours, sometimes days, creatively and ingeniously planning a single shot. Sometimes many exposures were involved, sometimes special effects, sometimes specially built ingenious props were utilized to make the shot work. He was frequently successful, and he was always uniquely creative. "The Bodiless Cowboy" was his most famous image, appearing in "The Stereo Realist Manual" book by Morgan & Lester published in 1954. The chapter he wrote in this book describes many of his techniques - giving diagrams, charts and examples to easily help the reader start making their own "Stereolusions" (the title of that chapter, and a word he coined himself).
Tommy's own trick images were so unusual that he offered them for sale in the 1950's under the name "Stereolusions". Nowadays these are highly collectible and for good reason. These were duplicates of his slides of "The Bodiless Cowboy", "Peek-a-Boo"', "The Monster", "Portrait of the Photographer", "The Great Profile", "Double Exposure", "The Blonde from Outer Space", "The Primary Colors", "The Little Poker Player", "Shattered", "Bikini Babe", "The Girl in the Ice Block", "Portrait of a Salad", "Alan Young as Twins", "The World's Fastest Lenses", and more. Each one was a gem of a slide.
For example, he once wrote me a description of what went in to creating "The Blonde From Outer Space": He said, "My own personal favoritest of all! I built a wooden device that would set atop a very sturdy tripod, that would allow me to rotate my Realist upon its own center (the viewfinder). Then I spent weeks roaming around L.A. after dark, photographing neon signs. I actually took hundreds and hundreds of color stereos, exploring all the various possibilities. Then, rather excited about it all, I talked Snoka and her brother into going to Las Vegas with me, to help me take this one photo. We had to wait until four in the morning for the traffic to subside enough so I could set up in the middle of the street with all my clumsy apparatus. Snoka and her brother helped me set up, then guarded my back and held back the traffic for me. It was a full one minute exposure: for 58 seconds I didn't touch the camera, just let the neon lights burn in (small aperture) and during the last two seconds I rotated the camera upon its own axis. This, as I knew, left me with a black sky (completely unexposed) "circle" in the center. Several weeks later, hiring a model (I was going all out) and having an "outer space " outfit made up, I took the second photo against a huge velvet background . . . upon the still-undeveloped film, of course. Being much younger then, after all this work, if it hadn't turned out just as I had planned, I most likely would have killed myself."