Scholars are increasingly investigating photography’s broad cultural role, expanding our understanding of the diversity of photographic practices. Kim Timby contributes to this new history of photography by examining the multifaceted story of images that animate with a flick of the wrist or appear vividly three-dimensional without the use of special devices—both made possible by the lenticular process. Using French case studies, this volume broadly weaves 3D and animated lenticular imagery into scientific and popular culture, from early cinema and color reproduction to the birth of modern advertising and the market for studio portraits, postcards, and religious imagery. The motivations behind the invention and reinvention of this pervasive form of imagery, from the turn of the twentieth century through the end of the pre-digital era, shed new light on our relationship to photographic realism and on the forceful interplay in photography between technological innovation and the desire to be entertained. 3D and Animated Lenticular Photography: Between Utopia and Entertainment is a profusely illustrated and engaging interdisciplinary study of a wide-ranging body of images that have fascinated viewers for generations.

In this volume, leading scholars of photography and media examine photography’s vital role in the evolution of media and communication in the nineteenth century. In the first half of the nineteenth century, the introduction of telegraphy, the development of a cheaper and more reliable postal service, the rise of the mass-circulation press, and the emergence of the railway dramatically changed the way people communicated and experienced time and space. Concurrently, photography developed as a medium that changed how images were produced and circulated. Yet, for the most part, photography of the era is studied outside the field of media history. The contributors to this volume challenge those established disciplinary boundaries as they programmatically explore the intersections of photography and “new media” during a period of fast-paced change. Their essays look at the emergence and early history of photography in the context of broader changes in the history of communications; the role of the nascent photographic press in photography’s infancy; and the development of photographic techniques as part of a broader media culture that included the mass-consumed novel, sound recording, and cinema. Featuring essays by noteworthy historians in photography and media history, this discipline-shifting examination of the communication revolution of the nineteenth century is an essential addition to the field of media studies. In addition to the editors, contributors to this volume are Geoffrey Batchen, Geoffrey Belknap, Lynn Berger, Jan von Brevern, Anthony Enns, André Gaudreault, Lisa Gitelman, David Henkin, Erkki Huhtamo, Philippe Marion, Peppino Ortoleva, Steffen Siegel, Richard Taws, and Kim Timby.

This is a journal. Guest edited by Paul Wells.

Peter Greenaway Architecture and Allegory Bridget Elliott and Anthony Purdy A painter by training, Peter Greenaway is undoubtedly one of the most interesting and controversial of contemporary British film-makers. He is also a much sought-after curator of exhibitions and installations internationally. Greenaway's fascination for architecture is well known and this monograph emphasises his use of architecture as a structuring device as well as a metaphor and vehicle for the exploration of artistic practice in general. Looking at all his best known movies - The Draughtsman's Contract, A Zed and Two Noughts, The Belly of an Architect, Drowning by Numbers, The Cook, the Thief, His Wife and Her Lover, Prospero's Books, The Baby of MAcon and The Pillow Book - the study discusses both curatorial work and films in relation to current debates in architecture, art history and cultural theory. Lavishly illustrated with his own art work and numerous stunning film stills, this is a highly visual as well as critical examination of the many issues surrounding Greenaway's idiosyncratic work. Art & Design Monographs are a series of publications concentrating on artists and designers of lasting interest and importance. Fully illustrated in colour, the Monographs contain expertly written commentaries on the careers and works of the individuals represented, providing a richly visual and comprehensive critical study. Other Art & Design Monographs include: Christopher Dresser Allen Jones Arthur Boyd at Bundanon Alessi: The Design Factory Brian Clarke: Architectural Artist Arakawa and Madeline Gins Cecil Beaton: Stage and Film Designs Marina Abramovic: Cleaning the House Archibald Knox David Mach David Nash: Forms into Time Nancy Wolf: Hidden Cities, Hidden Longings

The color art and illustrations in this book are accompanied by tips about how these creations were made with Painter 6. The CD-ROM is loaded with many custom tools, stock photos, and video clips, demo versions of MetaCreations and Adobe programs, and more. Expanded chapters focus on Web graphics and printmaking.

A New York Times bestseller, Safari is a magical journey for the whole family. Readers, as if on African safari, encounter eight wild animals that come alive using never-before-seen Photicular technology. Each full-color image is like a 3-D movie on the page, delivering a rich, fluid, immersive visual experience. The result is breathtaking. The cheetah bounds. The gazelle leaps. The African elephant snaps its ears. The gorilla munches the leaves off a branch. It’s mesmerizing, as visually immediate as a National Geographic or Animal Planet special. Accompanying the images is Safari, the guide: It begins with an evocative journal of a safari along the Mara River in Kenya and interweaves the history of safaris. Then for each animal there is a lively, informative essay and an at-a-glance list of important facts. It’s the romance of being on safari—and the thrill of seeing the animals in motion— in a book unlike any other.