Changes

The portraits from the Champs-Élysées studio were quickly recognized as masterpieces of autostereoscopic photography. They were captured with a camera called the O.P. 3000, which moves in an arc in front of the subject<ref>{{Ouvrage|langue=fr|auteur1=Françoise Reynaud, Catherine Tambrun et Kim Timby (éds.)|titre=Paris en 3D, de la stéréoscopie à la réalité virtuelle, 1850-2000|lieu=Paris|éditeur=Paris-Musées/Booth-Clibborn|année=2000|isbn=}}</ref>. La Relièphographie's reputation allows it to sell its equipment to photographers around the world. Thus, in the early 1950s in the United States, Paul Hesse and Harvey Prever create lenticular photographs to promote 3D films<ref>{{Ouvrage|langue=en|auteur1=Kim Timby|titre=3D and Animated Lenticular Photography|sous-titre=Between Utopia and Entertainment|lieu=Berlin|éditeur=[[Walter de Gruyter|De Gruyter]]|année=2015|pages totales=306|passage=117-121|isbn=978-3-11-041306-9}}</ref>.

The portraits from the Champs-Élysées studio were quickly recognized as masterpieces of autostereoscopic photography. They were captured with a camera called the O.P. 3000, which moves in an arc in front of the subject<ref>{{Ouvrage|langue=fr|auteur1=Françoise Reynaud, Catherine Tambrun et Kim Timby (éds.)|titre=Paris en 3D, de la stéréoscopie à la réalité virtuelle, 1850-2000|lieu=Paris|éditeur=Paris-Musées/Booth-Clibborn|année=2000|isbn=}}</ref>. La Relièphographie's reputation allows it to sell its equipment to photographers around the world. Thus, in the early 1950s in the United States, Paul Hesse and Harvey Prever create lenticular photographs to promote 3D films<ref>{{Ouvrage|langue=en|auteur1=Kim Timby|titre=3D and Animated Lenticular Photography|sous-titre=Between Utopia and Entertainment|lieu=Berlin|éditeur=[[Walter de Gruyter|De Gruyter]]|année=2015|pages totales=306|passage=117-121|isbn=978-3-11-041306-9}}</ref>.

After the closure of La Relièphographie's studio in the early 1950s, Maurice Bonnet focuses on developing scientific applications of his processes. As early as 1939, the [[ministère des Armées]] and the [[Centre national de la recherche scientifique|CNRS]] had shown interest in the potential military applications of this process, particularly in the fields of aerial photography and [[cryptography]]. In 1961, Bonnet joined the CNRS and established the Waffle Film Laboratory, which was attached in 1966 to the Service of Inventions and Applied Research<ref>His career file at the CNRS is kept at the [[Archives nationales (France)#Le site de Fontainebleau|National Archives]] in Fontainebleau under reference 20070296/59.</ref>, and later to ANVAR. In France, the companies Publirama (1955-1961), Relieforama (1967-1972), and Formes et Espace (1970–around 1977) exploit his processes. His photographs are showcased at the [[Exposition universelle de 1967]] in [[Montreal]] and the [[Exposition universelle de 1970]] in [[Osaka]].

After the closure of La Relièphographie's studio in the early 1950s, Maurice Bonnet focused on developing scientific applications of his processes. As early as 1939, the [[ministère des Armées]] and the [[Centre national de la recherche scientifique|CNRS]] had shown interest in the potential military applications of this process, particularly in the fields of aerial photography and [[cryptography]]. In 1961, Bonnet joined the CNRS and established the Waffle Film Laboratory, which was attached in 1966 to the Service of Inventions and Applied Research<ref>His career file at the CNRS is kept at the [[Archives nationales (France)#Le site de Fontainebleau|National Archives]] in Fontainebleau under reference 20070296/59.</ref>, and later to ANVAR. In France, the companies Publirama (1955-1961), Relieforama (1967-1972), and Formes et Espace (1970–around 1977) exploit his processes. His photographs are showcased at the [[Exposition universelle de 1967]] in [[Montreal]] and the [[Exposition universelle de 1970]] in [[Osaka]].

Au cours de sa carrière, il dépose plus de 400 [[brevet]]s.

Au cours de sa carrière, il dépose plus de 400 [[brevet]]s.