Image Galleries Books

If you like Mark Klett, then you will like Skeet McAuley. Mark Klett's photography has focused on the deserts of the American Southwest, using techniques such as wry humor and also 1-second exposures to accent the difference between stable and moving objects. In the book being reviewed, Mr.McAuley depicts a Navajo window washer, perched on a stone wall washing windows of the visitor centr at Monument Valley. The camera, situated inside the center, views three majestic buttes, one in each of three windows, a similarly aligned window washer, a sponge pressed against the first window, and the shadow of the sponge residing on the interior ceiling. The window washer wears glasses, is neatly dressed, and has a spiffy "Indian" belt. Perhaps he is the manager of the visitor center, or perhaps he is also the webmaster of the local community. There is no attempt in this, or other photographs, to portray the Navajos as victims of their technological shortcomings, and of the Europeans' overrunning of their land. The three buttes, featured in this picture, are amongst the greatest of our cherished emblems of the American land, along with, e.g., Yosemite Valley, the Grand Canyon, Mt.Rushmore, and Niagara Falls. The vertical motifs of the three buttes, window struts, upright figure of the window washer, and (don't neglect this), the yellow arrow pointing downwards to a dinosaur track, are excellent, and contrast beautifully with the angles of the walls of the visitor center. Another excellent picture features a cattle trap, that array of metal grooves embedded in the road, so familiar to those who drive the backroads of any agricultural community. To the side of the metal cattle trap is a triangular fence post, where the triangular motif of the fence post is mirrored in distant teepees, situated out in the remote desert. Something makes this an even more interesting photo. A sign near the teepees reads, "Going out of business." This is funny. How could there be a business of any kind in this remote wasteland? And so, how could there be any "going out of business" in the remote wasteland!?! Another memorable photograph depicts an ancient Spanish church ruin (ancient by North American standards, anyway), while in the foreground is a modern lawn sprinkler, dispersing an array of dainty spurts of water over the meager, green lawn. This is an amusing contrast, an amusing situation, easily recognizable as "photo-ready" by any amateur with a passing interest in photography. Another subtle picture, also melding ancient motifs with a contemporary addition, is Skeet McAuley's picture of an eroded mesa, taking the form of a repeated array of pointy outcroppings. This pattern, this design, is mirrored by a line of tractor treads, embedded in some foreground soil. Again, most people would not care about this type of photograph, but many amateur (or professional) photographers would stop to take the picture.

The images are amazing, whether you see them in their original setting, on BibliOdyssey, or in this great book.

Several years ago the New York Public Library started the NYPL Digital Gallery which "provides access to over 600,000 images digitized from primary sources and printed rarities in the collections of The New York Public Library, including illuminated manuscripts, historical maps, vintage posters, rare prints and photographs, illustrated books, printed ephemera, and more." I've explored those images, and many more collections of images from other libraries, with great pleasure.

I've also enjoyed websites of those who download images that strike their fancy and post them on their websites. Some of my favorites include "Luminous Lint" (photography), "strange maps" (maps), "Futility Closet" (Miscellany), and " BibliOdyssey ".

PK, the webmaster writes: "You can expect everything from astronomy to zoology and from Art Nouveau to the Renaissance...I like to think that the trajectory of the book aims somewhere roughly between our internet users' penchant for a concentrated package of beguiling ephemera and as an introductory overview of the cultural wealth accessible from web archives for Luddites."

Fair enough. And fair enough that it's odd to think of images being converted from paper to electronics and then back again to paper. The printing and paper are high quality, and the reproductions seem true to the online images. Their larger size in the book makes them even more impressive.

One point is clear, though, PK has generally chosen images with a dark quality -- the falling man in the three piece suit on the cover speaks for the collection. I might have chosen an entirely different set from the stacks. Nonetheless, this book is a suggestive and informing journey through the treasures contained in the world's great libraries.

Robert C. Ross 2008

this book is fun...could use a little more description of each link or site to make it more useful

I've been a faithful fan of PK's intriguing website BibliOdyssey for a number of years so I was delighted to learn a selection of his wonderful treasures would be published in book form. The book now has a special place in my art library - that is, when I can keep it on the shelf. I've lent it to friends and family a half dozen times and being reluctant to pull it away from someone who is enjoying it, I've replaced my original copy a few times now.

BibliOdyssey carries on in the fine tradition of a "cabinet of curiosities" or a "Kunstkammer" - a wondrous collection of arts and curiosities. It includes images of obscure drawings, diagrams, prints, maps, broadsides, and illustrations carefully culled from dusty corners of the world's libraries, museums, and archives. Turning each page is like pulling open a new cabinet drawer, each filled with a display to entice curiosity, amusement, wonder, or awe.

The collection gives us a glimpse of the science, medicine, learning, and industry of yesterday, as well as window into the imagination, amusements and pop-culture of the past - from the sublime and the fantastic to the quirky and ribald. There are anthropomorphic vegetables, maps, and serpents; bestiaries of fantastic or fearful creatures; ingenious medical and scientific devices; amusing cartoons and caricatures; and much, much more. Each entry is accompanied by PK's thoughtful and well-written explanatory text, which feeds you just enough but leaves you wanting more. And for those who want more, each entry offers a website to the source to whet your need for further explorations.

The book is also a sensory delight - it's a finely crafted book that feels good in the hand. The matte cover is de-embossed with sample imagery; the pages within are of quality paper and the coloration of the ancient texts handled artfully. Kudos to author and publisher alike for a job well done - and to the original artists, philosophers, inventors, and dreamers as well, who would no doubt be delighted to know that their work lives on. I hope there will be a follow-on collection at some later date!

I bought this book sight unseen, after becoming hooked on the Bibliodessey site. I was very disappointed in the rather dull, uninteresting pieces that were chosen. Very few were of the 'wow' nature that the site often displays. A few were interesting, and I am always interested in illustrative art from any age, so I'm glad to have seen the ones chosen. But I'm very sorry I spent my money, and plan to just stick with daily perusing the site instead.

This book is such a beautiful visual journey. I received it for Christmas and have not had enough time to sit down and read it cover to cover yet. Though the time I have spent perusing the book is all the encouragement I need to make the time. PK's commentary is both informative and accessible throughout. The author's love and passion for this work shines through, and makes it a captivating book.

I gave it as a gift to a friend of mine who loves nature photography. He loved it.

This is a wonderful book filled with breathtaking photographs taken by the late and well-respected Ansel Adams. Each of the photographs contained is a unique masterpiece with a life of its own. Looking at these splendid photographs, one feels drawn right in to the specific location and year. Some of my favorites include, "The Golden Gate Before the Bridge" (1932), "Barn, Cape Cod, Massachusetts" (ca. 1937), "Clearing Storm, Sonoma County Hills, California" (1951) and "Canyon de Chelly National Monument, Arizona" (1942). This book will definitely hold your attention and keep you captivated if not mesmerized. With so many minute and beautiful details in these photographs, it's easy to see why Ansel Adams was one of the most respected and popular photographers of our time. He didn't just take a picture; he ceased moments in time and captured the beauty of the subjects being photographed. This is an excellent book that will make a fine addition to any library. This book would make a great gift for photographers and art connoisseurs alike!

Ansel Adams: Classic Images

This book provides high quality representations of Ansel Adams' photography in examples of 75 of his best images. The text, written by James Alinder along with a preface by John Szarkowski, portrays the story of Adams' life and his philosophy regarding art and existence. The text starts the reader off at his birth and takes you through Adams' childhood and the decisions he makes as he searches for an outlet for his creativity and a strong career path. Having also been a professional pianist, Adams' later discovers his passion for photography and nature, and spends the rest of his life a successful artist and activist.
This book takes you through major events in his life and references prints in the book to give visual examples of his ever-evolving photographic style. I would definitely recommend this book, if not as a successful biography, but as a stage for some beautiful, high quality reproductions of Adams' work.

This collection can be seen at the Center for Creative Photography in Tucson, Arizona, through July 7, 2002. This book is the catalogue of the exibition! If you like the book you should see the originals! They will blow you away.

Ansel Adams was very concerned that his work always be reproduced in a high quality way. I fear that he gave too much attention to fidelity of reproduction, and not enough to size of image in the reproduction. This otherwise valuable book is seriously marred by the designer having chosen page and print sizes much too small for Adams' work. I suggest you avoid this book.

I would like to compliment James Alinder on an outstanding biographical essay concerning Adams' life and photographic techniques. This essay will add useful knowledge to anyone who wants to better understand Adams' work and life, and their effects on us all. I would also like to compliment the selection of the images. These are clearly among Adams' best work.

Adams' technique used the very stark light of dawn and dusk to create vivid detail that echoed across the image from figure to figure. The result was to help the eye capture the connectedness of nature, the oneness of creation. So when the details become too small, it is like rubbing out whole chapters in a book. I was very disappointed in the publishing decision for this book's page size. In fact, only one of my favorite images still held most of its power for me in these large postcard sizes, Moon with Half Dome, Yosemite, 1960.

Without Mr. Alinder's essay, I would have graded this book as a two star effort.

Some of the lesser works which have less fine detail still show well. Here were my favorites of this small-sized collection:

Self-Portrait, Monument Valley, Utah, 1958

Monlith, The Face of Half Dome, Yosemite, 1927

Winnowing Grain, Taos Pueblo, New Mexico, 1928

Rock and Grass, Moraine Lake, Sequoia National Park, 1982

Georgia O'Keefe and Orville Cox, Canyon de Chelly National Monument, 1937

Mormon Temple, Manti, Utah, 1948

Moonrise, Hernandez, New Mexico 1941

White House Ruin, Canyon de Chelly National Monument, 1942

Monument Valley, 1958

Cypress and Fog, Pebble Beach, California, 1967

Sand Dunes, Oceano, California, 1950

If you are like me and love Ansel Adams' work, I suggest you look into Ansel Adams, The American Wilderness, which does feature large enough reproductions.

Sometimes we learn more from mistakes than from successes. Where are your efforts being undertaken on too small a scale to be fully effective? What can you do to change that?

Enjoy the beauty of nature in its full scale brilliance (outdoors and in larger-sized photographic books)!

Most major styles are presented in this wonderfully printed book. The articles are informatory and scholarly. This fine collection of calligraphy is intoxicatingly beautiful.

At 1st of May,2003, in Osaka municipal Museum, Japan, I appreciated the travelling exhibition including this John B. Elliott Collection.
This traced copy scroll of a two-line fragment of a letter by Wang Hsi-chih(ACE303-361) is fine. Atouched Dong Quichang(1555-1636) colophones and large character maximes calligraphy are impressive. Sung dynasty Emperor Hui-Tsong(r. 1101-1125) court mounting and seals seem genuine. The Wang calligraphy itself has enough quality among many his old replicas. The ink colour feels rather later period than 8th century.
Another impressive work is Zhu Yunming(ACE1460-1526)'s small square script
album.
However, this is a private and personal collection catalogue. Reading this, one imagines and looks for passed Mr. Elliott's personality and taste.
It is too heavy burden for this collection to act as a textbook of great chinese calligraphy history.
Indeed there is few museum whose collection is completely genuine, I recommend chinese-calligraphy lovers in USA to appreciate, study and learn masterpieces in National Palace Museum, Taipei, First.
Japanese collections also have masterpieces.

What fascinates me so much about this book, what keeps drawing me to it, is this: the calligraphers of ancient China wrote as they painted, and painted as they wrote. In other words, each character is an "embodied image" which expresses the moods and passions of its creator.

When we Westerners read, we read for content, for meaning only. We do not read and at the same time notice how the characters look. Since Gutenberg and the advent of movable type, and especially now, with digital type, each of our characters must always look the same. When they don't, it is considered an imperfection. In Chinese calligraphy, however, considerable attention is given to how the characters look. It is through their appearance that we can discern the whether the creator was hurried, what angle he wrote at, and what mood he might have been in.

The visual effect of a poem written by a great Chinese calligrapher a thousand years ago, vs. reading the same poem in a standardized font, is quite stark. We have a lot to learn from the Chinese, especially given their likely ascension of global power in the coming years. This book provides an indispensable, detailed, well illustrated reference for an important aspect of how Chinese culture differs so dramatically from our own.

Highly recommended.

A handsome book, with excellent production values. The text is well presented, and the reproductions a treat for lovers of Chinese calligraphy. The compare-and-contrast of the different calligraphic styles is satisfying to read and follow. A useful overview.

I bought this book as I am an artist who was diagnosed with breast cancer in 2006 and am going to produce images that introduce my viewer to my breast cancer journey in a positive, intimate but honest way. I thought the book might assist me in mentally prepare for creating work as the front cover and initial review portrayed imagery that was artistic and provoking. Whilst I absolutely applaud the front cover and find the book haunting, the women photographed in it brave, beautiful and positive, the overall content of the book was a bit disappointing. I don't know if it was the actual printing of the book that caused it, however some of the photos were very dark tonally and some of the impact and composition was lost. I would have liked to have seen more works similar to the front cover within the book. The photos of the women were good, but I would have liked to have seen more. Art Myers obviously has skill, empathy and the ability to communicate with the women he worked with but I felt disappointed. The contributions from the survivors was honest, amusing and well done. I have since bought two other books Turning Heads and Art.Rage.Us and found them more useful. For what this book cost me as an international buyer I was disapponted.

This is a fabulous photo book celebrating women's bodies after mastectomy. The pictures are very well done with great artistic effects.

I would recommend this for anyone going through this procedure and any medical facility providing mammograms, mastectomy and breast cancer treatment.

I first viewed this book as I waited for a retake on a mammogram - a little apprehensive, and very much reminded of my sister, who just marked one year in her fight with breast cancer. I was completely taken unaware by the beauty and courage I witnessed through Art Myers' photography, but was as deeply touched by the bravery of these women of all ages who bared not only their bodies, but their souls. Many of the photographs become portraits not just of an individual, but of their support system, as well. Incorporating husbands (including one of 50+ years), children, and significant others brought tears to my eyes. The text and captions are equally moving, extremely intimate, yet not offensive. By the time I finished, I felt renewed inner peace and strength for what lay ahead for me. I plan to use this as a gift, because I saw my sister on every page - brave, beautiful, and surviving.

Beautiful book filled with colored photographs of works of art. This book also comes in paperback from Amazon.

Based on the work in the SBC Collection, which has nearly 1,000 works of American art of the twentieth century, American Images provides a survey of art of that period. The thirteen essays take us roughly chronologically through the art of twentieth century using as reference points the work in the collection. From realist work we progress through Modernism with abstract and Cubist influences, Pop and Minimalism, to the diversity of the close of the century.

The book also contains a (selected) Catalogue of Work held in the collection, and a Bibliography arranged to follow the pattern of the essays. The essays themselves are illustrated with 72 black and white pictures, and there are 160 colour plates to be found following the relevant essays. Some 400 thumbnail black and white pictures illustrate the Catalogue of Work.

An informative book covering a wide range of work both two and occasionally three dimensional art, it is well illustrated. Perhaps some of the images could be larger, a number of the colour plates are reproduced quite small relative to the page size for no good reason, and of course the landscape pictures do not fair too well either on the portrait proportion page. There are however a few double-page spreads and a fair number of good sized images.

While there are many familiar names included in the survey and some familiar works of art, there are also many less familiar pieces, adding greatly to the appeal of the book.

I really love these books. I am fascinated by the technique used to get the 3-d affect. I have everyone out.

(3.5 stars) I've always been a huge fan of Magic Eye images, and I wanted to find a large collection that might keep several grandchildren busy and having fun during the winter holidays. This collection of 3D images, however, proved to be something of a disappointment. Though there are several hidden pictures that are clear and very professionally done (an image of football players and one of an eagle hunting, for example), about twenty-five percent of the images are either unclear, ill-defined, or uninteresting as subject matter.

Two "glass" images are simply the 3D version of the flat image. Five pages contain "no image" at all. Two mazes appear, but only one can be solved--the other has two dead ends at the beginning. Other questionable images include two jet planes with a target site superimposed, making the picture appear confused, a chariot race in which the chariot is unclear and the driver looks like a triangle; and Saturn with its rings where the bottom half of the planet is so hard to see, that the image look like a ranger's hat. Some images of little interest include those of yin and yang, a tapestry weave, an ugly cone, a cube, a car driven by a wolf, a ball seen through mesh, op art, symbols for male and female, four puzzle pieces, and penguins (not polar bears) in front of an igloo (?!?).

I really enjoy this series, but this selection was not interesting to my audience, who felt that many images were just too much work for an image of little interest. In total, I found fifty-seven of the eighty-eight images to be acceptable to good, and two are excellent. Thirty-one, which I marked in the corner so people could skip them, were inferior and detracted from what could have been a terrific collection. n Mary Whipple

This book is packed with more images than any other I own, and more vivid colors. I have a lot of favorite pictures, and I love that there are varying degrees of difficulty and depth so theres something for everyone in this book. My only regret is that I cant frame a couple of them as abstract art on my walls. If your looking for an all inclusive book of Magic Eye visual art, this is definately my top choice and top recommendation.

This book it TOTTALLY amazing. it has a hidden 3-d image inside a 3-d backaround. I do not even no how they do it without 3-d glasses. It is so easy to use to when you get used to it. later on you will just start starring into random pictures. You may think that is stupid but even though it sounds boring it, you will be sitting down starring at one picture for so long. You will love the stunning 3-d effects. I started getting into this by buying a 3-d spongebob book. It didn't include 3-d glasses so I borroed them. Then I tyhought myswell have some fun wlile I have the 3-d glasses so I searched the internet for pictures that need 3-d glasses. I found so much. Then I learned the cross eyed one. I get that one. Then i learned the parrelell trick. That was o.k. Then I found a wierd site in my search results. It said "magic eye". I looked at it. Then the next day I hatdto give the glasses back. I was sad. I looked at that site again [...] I noticed it did not need 3-d glasses and there was only one image of it instead of 2. I looked into it. I did not believe it at first. I thought it was fake. To see if i was right I printed one out. I looked at the directions. I got fustratted because I couldn't see it(it was saturn). right befor I was about to put it down I saw a big 3-d circle made of stars. Then a ring sorrounded it. I was amazed

Magic Eye Gallery: A Showing Of 88 Images
by N.E. Thing Enterprises

I am pleasantly surprised that this treasury of eighty-eight colourful random-dot stereograms is still around. The publisher is apparently the leading pioneer in this field. I thought the 'craze' had faded towards the end of the nineties.

Personally, I am also fascinated by random-dot stereograms. My first exposure to them happened when I attended the PhotoReading workshop in 1992 & then reading Andrew Kinsman's wonderful book, 'Random Dot Stereograms', about the same time. Besides books, I have also amassed a large collection of posters & post-cards in the same genre.

My personal stance towards random-dot stereograms is that they help to demonstrate the two specific phenomena of human perception i.e. binocular disparity & stereoscopic vision.

Although they are great fun to play with, I find them very educational in understanding - & appreciating - how the brain really works! In actuality, each of your two eye balls take in sensory data independently from each other. To see a random dot stereogram, your two eye balls must work together as a coordinated team to sustain a soft focus (or unfocused gaze). In other words, it takes two eye balls to tango!

For some people, random dot stereograms may be difficult to see (especially during the first attempt) when compared to conventional visual illusions found in 'Can You Believe Your Eyes' & 'Seeing Double' by J Richard Block respectively.

I often notice that many people can see the colourful random dot stereograms more readily than the black & white ones!

For your further visual entertainment, I would like to suggest the following collections, also published by N E Thing Enterprises:

- Magic Eye: A New Way of Looking at the World;
- Magic Eye Vol 2;
- Magic Eye Vol 3;
- Magic Eye: A New Bag of Tricks;

To conclude this review, I can only say that when you can readily see random dot stereograms, irrespective whether they are in colour or black & white, you will be able to understand & appreciate the power of 'splatter vision' practised by secret service agents, army snipers, fighter pilots, martial artists, fast readers, animal hunters & nature observers.

I picked up the Lightroom Workflow book as a companion to my copy of Scott Kelby's "Adobe Lightroom for Digital Photographers" book and I found it to be very comprehensive and easy to follow.

I would recommend this book to anyone who is looking to create a workflow in Lightroom, as it brings out many of the features that are useful but not obvious to the casual user.

Most folks who've been around digital imaging for any length of time know Tim Grey. An engaging, energy-filled, computer whiz who used to teach for George Lepp at the Lepp Institute of Digital Imaging and then got hired by Microsoft to head their professional photo expansion effort, Tim has a rare talent for clear, insightful writing about complex subjects. He's parlayed that skill into a whole series of books, of which this is one of his latest, and it carries on the tradition of being very thorough and easy to read and understand.

The topic of this book is one of a new breed of image editing tools that takes a fundamentally different approach to working with digital photo files from the King Kong of the industry, Adobe Photoshop. While Photoshop still is the industry leader by far, it has several serious drawbacks, including expense, complexity, and a very steep learning curve.

Enter Adobe Photoshop Lightroom. The concept for this new tool is to provide a more user friendly, efficient end-to-end workflow within one program that includes editing, optimizing, cataloguing, and output, allowing the photographer to spend less time in front of the computer and more time actually taking pictures. There are competing programs from other companies with a similar goal - Apple's Aperture (strictly for Macs), and LightZone from Light Crafts (for both platforms), but only Lightroom has near-seamless cross compatibility with Adobe's other creative products.

Lightroom has strong promise. One of its leading attributes is that it works nondestructively. When you make editing changes to images you are not altering actual pixel values within the image file but only adding a set of instructions for changes you wish to make and shows those effects on the fly. This makes files much smaller than when you create multiple variations in Photoshop, many times with many layers resulting in huge files. Many of its tools are both clever and intuitive as well, speeding the way to a polished product in less time.

There are some limitations however. While image adjustments are well mechanized, there is no provision in this version of the program to apply them selectively to parts of the image. For this type of work the file must be exported to another editing program. Also, there is no means for working on more than one monitor. A favorite approach for many who use Photoshop is to use two displays with the image on one and the palettes for various adjustments on the other; can't do that at this point with Lightroom.

Will Lightroom catch on? Very likely, especially for those photographers who yearn for a tool that gives good, quick results that increase their productivity. And when the global adjustments available within Lightroom aren't enough, it's easy to export to another tool for that kind of work. In addition, the simple digital asset management capabilities may be enough for someone whose file storage and cataloguing needs aren't too great. Furthermore, this is version 1.0, and there is every expectation that the program will grow and improve as the new conceptual paradigm gains acceptance, particularly with serious competition from at least two other quadrants.

So, how valuable is Tim Grey's take on the subject? About as good as it gets, I'd say. Tim has a rare talent for clarity of expression that leaves little doubt about what's being described. Throughout his books he makes suggestions about settings and states his personal preferences so someone new to the program has a place to start, which is far preferable, in my view, to just describing all the choices and leaving one hanging without a clue where to begin. If you purchase Lightroom, or are even just considering doing so, you should also acquire this book. It will save hours and hours of figuring it all out on your own and give you a running start toward becoming an expert with one of the best new editing programs.

This is a well written book, however talks less about workflow and more about Lightroom. if you are new to light room I highly recommend this book as it is a great introduction to the product and a walkthrough on all of it's features 1.0 (does not cover 1.1).

If you are looking for workflow and already know lightroom.... this book will teach you a few things you didn't know. I suggest taking a look at your local book store first to see if it is right for you.

There are so many Lightroom books available but I waited for Tim's because of his writing style. He's a technical guy who can also make us "visual" people understand.

Tim's effort is a noteworthy in clarity of writing style. Realistic workflow approach and sequencing in this book makes Lightroom's use far more understandable. Tech-writing of technical subject-matter always is a difficult job. Tim does it exceptionally well. Oddly, Tim's book... is the very material that - should - be included within Adobe's $300 product under the "Help" menu. User tips picked up from the book make it a worthwhile purchase. LR itself... the jury is still out on that issue. Noteworthy features, but quirky Raw conversions and exposure values and color balance readings. A product that attempts to be the proverbial "Swiss Army Knife" with the inclusion of many many functions... the number count tends to overload the user, even get in the way.

Probably the best book ever to come out of the South Shore of Nova Scotia, this book was compiled in the late 1970's by Peter Barss, a local photographer. The inshore fishery was coming to an end at that time, and Peter tape-recorded the tales of his old neighbours and friends, rendering them faithfully in the local dialect, and illustrated them with his own pictures of the slips and sheds, boats and buoys, but most remarkably the faces of the men who worked the sea handlining for a tough living. This era was passing then, is just a memory now, but we have Peter's book to keep it alive.

Probably the best book ever to come out of the South Shore of Nova Scotia, this book was compiled in the late 1970's by Peter Barss, a local photographer. The inshore fishery was coming to an end at that time, and Peter tape-recorded the tales of his old neighbours and friends, rendering them faithfully in the local dialect, and illustrated them with his own pictures of the slips and sheds, boats and buoys, but most remarkably the faces of the men who worked the sea handlining for a tough living. This era was passing then, is just a memory now, but we have Peter's book to keep it alive.

If you are looking for a good source of information and images, you will be satisfied. Maybe will you think it could have been better arranged and organized. But frankly i am very happy these informations are made accessible, a lot are almost impossible to find in books and require a lot of search on the internet to find equivalent material. I recommend this product.