an ambition in common to the two technologies was the reproduction of an aspect of human perception through its deconstruction and reconstruction.” 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 Nicéphore Niépce in Chalon-sur-Saône, 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. 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, aesthetic, 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. 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 photo-booth, precursor to the ‘selfie-stick’, 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. Researching animated photography 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 Agence Nationale de la Recherche. 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’ in an English edition. Her text first raises the way that lenticular animation, in novelty portraits and advertising, satisfied an expectation of progress toward ever more perceptual naturalism in photographic technologies, and this was expanded in the second chapter of her book 3D and Animated Lenticular Photography: Between Utopia and Entertainment, published in 2015.