For Kung Fu Panda 2, dreamworksanimation really bumped things up both technologically and creatively. The switch to stereoscopic 3D and the use of more advanced computing technology allowed the filmmakers to fulfill their creative ambitions with the film. Here are its data totals!
Jim Naughten is an artist who understands the transformative effects that photography can have on a subject. In each of his previous projects he has been concerned with reanimating history. His latest images of Victorian and Edwardian zoo- logical specimens continue this overarching visual enquiry but incorporate in addition a fascinating venture into three- dimensional imaging. They are captivating enough even when seen in two dimensions. But once you plunge into the marvel of their stereoscopic depth you are transfixed. Through the act of viewing, an intangible transformation takes place. While the photographs exist in physical form on paper, they also live as an experience, a beautiful illusion held in the mind.
Martin Barnes Senior Curator of Photographs Victoria and Albert Museum, London
“Black Chronicles II is part of a wider ongoing project called The Missing Chapter,” says Mussai, “which uses the history of photography to illuminate the missing chapters in British history and culture, especially black history and culture. There is a widespread misconception that black experience in Britain begins with the arrival of the Empire Windrush and the first Jamaican immigrants in 1948, but, as this exhibition shows, there is an incredible archive of images of black people in Britain that goes right back to the invention of photography in the 1830s.”
Sara Forbes Bonetta. Brighton, 1862. Photograph: Courtesy of Paul Frecker collection/The Library of Nineteenth-Century Photography
Unidentified sitter, c. 1881. Missionary Leaves Association. Courtesy Paul Frecker collection / The Library of Nineteenth Century Photography
Unidentified sitters, c. 1870s. Courtesy Paul Frecker Collection
called stereoscopics) is a
technique for creating or enhancing the illusion of depth in an image by means
of stereopsis for binocular vision. Most stereoscopic methods present two
offset images separately to the left and right eye of the viewer (as in this
case). Printed on a card backing, the stereo view card is placed in a viewer
and these two-dimensional images are then combined in the brain to give the
perception of 3D depth. Highly popular in the latter half of the nineteenth
century, they largely fell out of use by the first quarter of the twentieth
century. The two cards reproduced here are part of a set of 23 stereo view
cards discovered last week in the Photographic Archive. All depict views of
Downside Abbey and they are interesting as they not only represent a now
obsolete technology, but they show Downside when the abbey church lacked its
nave and the tower had not yet received its final storey.