714:“There will be other exhibitions dealing with stereoscopy and virtual reality, given the importance of the subject, but it is difficult to imagine anything similarly definitive and of comparable diversity and magnitude. If the exhibition 'Paris en 3D' was essentially about perception, art, and technology, rather than about documenting the history of a city, nevertheless its concentration on Paris provided a unique and rational focus. The catalogue serves as a permanent surrogate and constitutes a landmark study in this specialized area of the history of photography, with profound implications for future discourse about photographic vision.” David Haberstich (2001) in Book Reviews, History of Photography, 25:4, 392-396, DOI: 10.1080/03087298.2001.10443243
208:’, in her paper “Photographies d’amitié. De l’usage collectif du photomaton,” (‘Photographs of friendships: the collective use of the photo booth’). For the same purpose, she tracks the mid-century development of colour printing technologies for magazine photographs as a response to audiences’ and advertisers’ desire, and the adaptation of photographers, amateur and professional, to its availability and special demands.
153:’. The book and exhibition were of ‘landmark’ historical value, in the opinion of another reviewer, with many of its pictures showing antique equipment and portraits of pioneers of stereoscopy and integrated biographical information and excerpts of treatises of prominent persons in stereoscopy. In the opinion of David Haberstich, the exhibition was ‘definitive’ in dealing with perception, art, and technology.
197:, and social history in which she has since pursued investigations alongside stereoscopy. Timby's other projects at the Musée Nicéphore Niépce included designing and implementing new permanent exhibition spaces structured around a rotating series of mini-exhibits, thus continuing her informed engagement with a broad audience.
224:
During this period she published a chapter 'Le cinéma dans une seule photo' : le portrait animé des années 1910’, a contribution to a collection of essays on the crossover between cinema and the still image, also reproduced as ‘Cinema in a Single Photo: The
Animated Screen Portrait of the 1910s’
704:
Britt
Salvesen, Curator and Department Head of the Wallis Annenberg Photography Department, Prints and Drawings Department, at the Los Angeles County Museum of Art, ‘A Deep Look at Lenticulars’, in the National Stereoscopic Association (U.S.) journal Stereo world. Columbus, Ohio. March/April 2016.
136:
photography department and Musée
Carnavalet specialising in the history of Paris. In 1996 she began co-curating a 3D exhibition at the Carnavalet museum, and the resultant display opened in Paris in October 2000 and closed January 2001. The exhibition and catalogue in English and in French ( “Paris
169:
was a major consideration, a thread that developed during her PhD on lenticular photography, begun after "Paris in 3D" closed and she had left
Carnavalet. Her first published work on colour was the 2005 article "Colour Photography and Stereoscopy: Parallel Histories," from which she developed the
156:
In 2001, with a training and research grant from the
Ministry of Culture and Communication (photographic patrimony) for access to patents, and by the Carnavalet museum as part of her work on the exhibition "Paris in 3D: de stereoscopy to virtual reality, 1850-2000 ", Timby published a 23-page
124:
for a month in the early 1990s as an undergraduate in the US. His study of original photographs and primary source materials to uncover overlooked aspects of the history of photography chimed with her background in anthropology and as an historian. Palmquist took her to an antique shop in
149:, of Parisian life from the early nineteenth century to the present. Timby contributed text that one reviewer called an ‘historical roadmap of the techniques leading to the development of 3D photography from stereocards, anaglyphs, and holograms to 3D computer imagery and
86:
Timby's Master's thesis was "La photographie et l'ethnologie de la France. Modes d'emploi et apports de l'image" (‘Photography and the ethnology of France. Uses and contributions of the image’) dealing with the usefulness of photography to museums of French
43:, history and photography. Her early experience of the medium was through her maternal grandmother, who had a darkroom and was active in her local photo club and showed her how to print in the darkroom. Her first camera was a high school graduation gift.
419:
Paris in 3D, from
Stereoscopy to Virtual Reality, 1850–2000. French edition: Paris en 3D, de la stéréoscopie à la réalité virtuelle, 1850–2000 (London/Paris: Booth-Clibborn/Paris-Musées, 2000). Co-editor with Françoise Reynaud and Catherine
192:
There, her work included curating "Sous un beau ciel bleu: un siècle de couleurs et de photographie" (June 17–October 1, 2006), augmenting the second strand of her research interests, colour photography, into the technological,
240:
Response to the book was positive and recognised the value of Timby's contribution to the literature on lenticular imagery which in comparison to the history and analysis of other 3D technologies had received little attention.
910:
Laureline Meizel. ”Images à la sauvette” et papiers gras ou pourquoi et comment se salir les doigts. Méditations sur le photobook, d’après l’exposition de la fondation Henri
Cartier-Bresson (11 janv. – 23 avr. 2017). Article.
216:
In a move to alma mater École des Hautes Etudes en
Sciences Sociales in 2009, and until 2012, Timby co-coordinated investigation in "La Création Photographique", a research program in the history of photography funded by the
137:
en 3D: de la stéréoscopie à la réalité virtuelle, 1850-2000”) in hardbound editions, appealed to a diverse audience who, using the different stereo viewers enclosed in the book, could enjoy hundreds of images, stereo pairs,
30:
and works as a curator for a private collection specialising in international nineteenth-century photography. From her research and teaching, Timby writes on the cultural history of photography as a technology.
157:
academic paper on research into commercial, advertising, entertainment, and even medical and religious, applications of the lenticular image invention in France, and its technical development.
113:
There she prepared exhibitions including "Paris in 3D: from
Stereoscopy to Virtual Reality, 1850-2000”, an exercise in configuring rigorous academic archival research for general consumption.
486:"Color Rush // Color: American Photography Transformed // Twentieth-Century Color Photographs: Identification and Care," Review of three recent books on the history of color photography,
95:
and publications in studying French culture or as object of study in its own right. This research shifted her interest from traditional anthropology toward history, taking her into the
181:
Also in 2005, before the completion in 2006 of her PhD at the Paris École des Hautes Etudes en
Sciences Sociales (EHESS), Timby was appointed Director of Collections at the Musée
200:
Timby elaborates a cultural history of photography by examining human engagement with, and transformation of, its particular techniques and technologies, as she does with the
189:, France which houses the archive of devices and objects once belonging to the inventor of photography as well as nearly three million images from all photographic processes.
380:“Faire ‘plus beau que nature’ : la construction culturelle des illusions stéréoscopiques en photographie,” in Miguel Almiron, Esther Jacopin and Giusy Pisano, eds.,
102:
Timby's research subsequent to her master's degree and her interest in photographic technologies and their social utility and impact stem also from her work as a
854:
54:, where as an Anthropology undergraduate she undertook a minor subject studio arts, studying photography and making photographs in the vintage processes of
864:
Britt Salvesen, ‘A Deep Look at Lenticulars’ in the National Stereoscopic Association (U.S.) journal Stereo world. Columbus, Ohio. March/April 2016. 18-19
67:
359:
838:
Guido, L., & Lugon, O. (2012). Between still and moving images: Photography and cinema in the 20th century. London: John Libbey Publishing.
170:
idea that colour, like 3D, was a constructed illusion; an ambition in common to the two technologies was the reproduction of an aspect of
423:“The Inventors of 3D Photography in France. Patents 1852–1922.” In F. Reynaud, C. Tambrun et K. Timby (eds.), Paris in 3D (2000), 158–64.
723:
Kim Timby, ‘Images en relief et images changeantes. La photographie à réseau ligné’, Études photographiques, no. 9, May 2001, p. 124-147
249:
Alongside the research affiliation with the EHESS where she was also in charge of a postgraduate seminar, Timby was a professor at the
500:"Technologies of Photography: review of Sean F. Johnston, Holographic Visions, and Pamela Roberts, A Century of Colour Photography,"
732:
Kim Timby. ‘Colour Photography and Stereoscopy: Parallel Histories’, History of Photography, vol. 29, n" 2. Summer 2005, p. 183-196.
1009:
994:
829:
Guido, L., & Lugon, O. (2010). Fixe-animé: Croisements de la photographie et du cinéma au XXe siécle. Paris: L'Age d'Homme.
681:
632:
608:
335:
279:
1039:
999:
695:
Rulien, Diane E. "Paris in 3D: From the Stereoscope to Virtual Reality 1850-2000." PSA Journal, vol. 67, no. 3, 2001, p. 8.
373:“Photography, Cinema, and Perceptual Realism in the Nineteenth Century,” in Simone Natale and Nicoletta Leonardi, eds.,
110:, the museum of the history of Paris, a city so closely associated with the progress of photography from its invention.
1004:
1019:
302:
1034:
1024:
887:
218:
805:
405:“Cinema in a Single Photo: the Animated Screen Portrait of the 1910s,” in Olivier Lugon and Laurent Guido, eds.,
324:
Bibliothèque Nationale de France, Aubenas, Sylvie, Conesa, Héloïse, Triebel, Flora, Versavel, Dominique (2020).
412:“Le cinéma dans une seule photo: le portrait animé des années 1910,” in Olivier Lugon and Laurent Guido, eds.,
648:
442:“Spectaculaire, réfléchie : la photographie en couleurs au prisme de la presse française, 1945–1960,”
387:“Look at those Lollipops! Integrating Color into News Pictures,” in Vanessa Schwartz and Jason Hill, eds.,
229:, in novelty portraits and advertising, satisfied an expectation of progress toward ever more perceptual
382:
Stéréoscopie et Illusion. Archéologie et pratiques contemporaines: photographie, cinéma, arts numériques
1029:
1014:
873:
Olivier Cahen review of “3D and Animated Lenticular Photography: Between Utopia and Entertainment”. In
132:
Timby was able to find temporary work that engaged her interest in photography and anthropology at the
927:
327:
Noir & blanc une esthétique de la photographie: collection de la Bibliothèque Nationale de France
585:
438:
293:
Timby, Kim (2021). "Origine des Plaques de Projection Photographiques". In Guerin, Patrice (ed.).
253:
from January 2010 to the end of 2012, and is currently, since 2005, professor responsible for the
51:
295:
Projections lumineuses Molteni : Radiguet & Massiot successeurs. 2, Vues et conférences
989:
96:
23:
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394:“Photographies d’amitié. De l’usage collectif du photomaton,” coauthored with Nora Mathys, in
133:
572:
182:
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565:"La photographie et l'ethnologie de la France : modes d'emploi et apports de l'image"
8:
142:
63:
47:
186:
849:
353:
126:
121:
447:
254:
233:
in photographic technologies, and this was expanded in the second chapter of her book
27:
960:
783:
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677:
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604:
493:"Kevin Moore, Starburst: Color Photography in America 1970-1980" (Hatje Cantz, 2010)
341:
331:
308:
298:
275:
166:
107:
375:
Photography and Other Media in the Nineteenth Century: Towards an Integrated History
755:
507:"On the Materiality of Images: review of Elizabeth Edwards and Janice Hart, eds.",
150:
546:
529:
230:
175:
92:
345:
312:
978:
964:
769:
672:
Reynaud, Francoise; Tambrun, Catherine; Timby, Kim; Musıe Carnavalet (2000),
407:
Between Still and Moving Images: Photography and Cinema in the 20th Century
325:
205:
59:
40:
465:“Images en relief et images changeantes. La photographie à réseau ligné,”
451:“Glass Transparencies: Marketing Photography’s Luminosity and Precision,”
384:(Villeneuve-d’Ascq: Presses universitaires du Septentrion, 2018), 141–155.
99:, where her anthropology guides her consideration of its cultural impact.
598:
201:
138:
129:(California) where he lived, and there she bought her first stereo view.
117:
88:
953:"Images en relief et images changeantes. La photographie à réseau ligné"
272:
3D and Animated Lenticular Photography: Between Utopia and Entertainment
235:
3D and Animated Lenticular Photography: Between Utopia and Entertainment
194:
171:
146:
39:
Timby's research draws on her learning, and combines her interests, in
760:
743:
414:
Fixe/Animé. Croisements de la photographie et du cinéma au XXe siècle
226:
225:
in an English edition. Her text first raises the way that lenticular
55:
649:"Hannavy, J. (2013). Encyclopedia of nineteenth-century photography"
564:
66:
in 1992 before completing an M.A. in that discipline in 1996 at the
915:
912:
674:
Paris in 3D : from stereoscope to virtual reality, 1850-2000
103:
16:
American-French photography historian and cultural anthropologist
323:
744:"Discours sur la culture et " Ferronneries " sous un ciel bleu"
389:
Getting the Picture. The History and Visual Culture of the News
320:
Face à la couleur : une histoire en creux du noir et blanc
160:
71:
377:(University Park: Penn State University Press, 2018), 176–190.
455:, no. 25, Photography in the Marketplace (Spring 2016), 7–24.
91:
and how photography was employed by anthropologists in their
75:
804:
Sociales, Ecole des Hautes Etudes en Sciences (2012-05-21).
784:"Photographies d'amitié. De l'usage collectif du photomaton"
297:(in French). Écully: Club Niépce lumière. pp. 172–187.
458:“Colour Photography and Stereoscopy: Parallel Histories,”
257:'s intensive 3-year History of Photography survey course.
625:
The Routledge companion to photography and visual culture
601:
Getting the picture : the visual culture of the news
106:. From 1996 to 2001 she was employed in that role at the
409:(New Barnet, UK: John Libbey Publishing, 2012), 97–111.
62:. From there she graduated with a Bachelor of Arts in
599:
Hill, Jason; Schwartz, Vanessa R; ebrary, Inc (2015),
74:, and from 2002 to 2006 undertook her PhD at the same
928:"Journal PhotoResearcher PhotoResearcher No. 25|2016"
435:
International Journal on Stereo & Immersive Media
211:
888:"Paris College of Art Undergraduate Catalog 12-13"
433:“The Invention of the Myth of Total Photography,”
547:"Connecticut College Magazine, Winter 2000, p.72"
479:"L’histoire de la photographie prend des couleurs
416:(Lausanne: Éditions L’Âge d’Homme, 2010), 117–31.
976:
366:“The Colors of Black-and-White Photography,” in
530:"Connecticut College Magazine, July 1993, p.58"
400:Derrière le rideau. L’esthétique du photomaton
22:(born 1970 in California, United States) is a
165:When researching 3D imaging Timby found that
358:: CS1 maint: multiple names: authors list (
161:Investigation into 3D and colour photography
120:when working with the photography historian
68:École des Hautes Études en Sciences Sociales
759:
627:. Routledge, Taylor & Francis Group.
622:
875:Lettre mensuelle du Stéréo-Club Français
803:
741:
370:(forthcoming, Berlin: De Gruyter, 2019).
402:(Arles: Photosynthèses, 2012), 273–281.
977:
950:
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462:vol. 29, no. 2 (Summer 2005): 183–96.
292:
116:Timby had first become interested in
806:"La création photographique | EHESS"
286:
481:," Perspective. La revue de l'INHA,
391:(London: Bloomsbury, 2015), 236–43.
13:
46:Timby was educated at the private
26:based in Paris who teaches at the
14:
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219:Agence Nationale de la Recherche
212:Researching animated photography
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623:Neumüller, Moritz, ed. (2018).
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1010:American women anthropologists
748:Documentation et Bibliothèques
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689:
665:
641:
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592:
556:
539:
522:
437:, vol. 2, no. 1, January 2019.
1:
995:American women art historians
515:
34:
7:
1040:21st-century American women
1000:French women art historians
676:, Booth Clibborn Editions,
563:Timby, Kim (January 1996).
469:, no. 9 (May 2001): 124–47.
427:
244:
10:
1056:
959:(in French) (9): 124–143.
274:(Berlin: De Gruyter, 2015
1005:Historians of photography
951:Timby, Kim (2001-05-01).
917:. <halshs-01618430>
877:Octobre 2015, n°984. p.19
847:reviewed by Jan Baetens,
368:The Colors of Photography
81:
1020:Stereoscopic photography
398:and Sam Stourdze, eds.,
265:
1035:American women curators
1025:American art historians
742:Marchand, Paul (2005).
603:, Bloomsbury Academic,
460:History of Photography,
957:Études photographiques
580:Cite journal requires
509:History of Photography
502:History of Photography
495:History of Photography
488:History of Photography
467:Études photographiques
97:history of photography
237:, published in 2015.
178:and reconstruction.”
24:photography historian
490:39:1 (February 2015)
251:Paris College of Art
204:, precursor to the ‘
446:, no. 1, June 2017.
64:Social Anthropology
48:Connecticut College
1030:American curators
1015:Social historians
761:10.7202/1029439ar
683:978-1-86154-162-8
653:www.google.com.au
634:978-1-138-60439-1
610:978-1-4725-6664-5
337:978-2-7118-7522-1
287:Chapters in books
280:978-3-11-041306-9
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118:stereography
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60:gum printing
45:
41:anthropology
38:
19:
18:
985:1970 births
812:(in French)
202:photo-booth
145:images and
89:ethnography
979:Categories
937:2019-07-21
897:2019-07-21
816:2019-07-21
754:(4): 271.
658:2019-07-21
516:References
511:30:3, 2006
504:33:4, 2009
497:35:2, 2011
346:1226329965
313:1315539890
231:naturalism
143:lenticular
93:field work
52:New London
965:1270-9050
770:0315-2340
354:cite book
227:animation
195:aesthetic
147:holograms
139:anaglyphs
56:cyanotype
35:Education
20:Kim Timby
850:Leonardo
789:July 21,
483:Apr 2009
428:Articles
420:Tambrun.
245:Teaching
444:Focales
104:curator
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167:colour
127:Arcata
82:Career
72:France
911:2017,
892:Issuu
810:fr_FR
705:18-19
550:(PDF)
533:(PDF)
322:, in
266:Books
76:Paris
961:ISSN
791:2019
766:ISSN
678:ISBN
629:ISBN
605:ISBN
586:help
360:link
342:OCLC
332:ISBN
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