As photography grew more popular following its invention in 1839, its admirers did not understand how a medium that rendered shapes and textures in exquisite detail could fail to render them in realistic color. Also disappointing was the tendency of the captured images to fade over time. Photographers, ever eager to please their public, began "painting" their photographs with substances ranging from water colors and oil to chalk and crayon. Images were enlarged, enhanced, and framed, to simulate the splendors of the traditional portrait. With its rich variety of illustrations in color and duotone, The Painted Photograph is the first comprehensive history of overpainting, from its origins to World War I. The 131 illustrations featured draw upon original nineteenth- and early twentieth-century sources, most from America and Britain, but also representing Japan, Turkey, Austria, Germany, Poland, Canada, Bohemia, India, Australia, Norway, Holland, and Russia. In describing a multitude of early techniques, the authors survey overpainting on various types of photographs, including daguerreotypes, tintypes, and imprinted porcelain, milk glass, enamel, magic lantern slides, and textiles. Particularly fascinating are discussions of overpainted death portraits, most commonly those of children, and the origins of popular "picture postcards" featuring overpainted landscape scenes. The Henisches address also the eager acceptance of the painted photograph throughout the world, despite the hostility of the art-critical establishment. The Painted Photograph will appeal to a wide public interested in photography, history, sociology, social anthropology, folk art, popular fashion, and antiques.

What could be worse than an arranged marriage to a vampire prince? This omnibus contains all three parts of Sebastian and Luna's trilogy in Tethered, Tormented, and Treasured. When Luna is sold into marriage to the Prince of Darkness on her twenty-first birthday, she thinks she knows what to expect. Arranged marriages happen all the time, right? Wrong. No one could have prepared her for the reality of being married to the vampire prince. Ever since the day he was Made, Sebastian has been living according to Queen Marguerite’s rules. After all, he’s only alive because of her. When she orders him to marry and Bind himself to Luna, a human hailing from a neighboring kingdom, he has no choice. He agrees to the marriage but never expects to feel anything for her. When their Binding Ceremony goes awry, and they are magically Tethered, everything is thrown into upheaval. Unable to leave each other’s presence, they must learn to live with each other. Or die. The Binding Sebastian and Luna's Trilogy is an arranged marriage, forced proximity high fantasy romance filled with a morally grey prince, magical bindings, vampires, an evil queen, and an epic love story. This series is upper YA. There are some instances of violence, language, and mature situations. Recommended for ages sixteen and up.This omnibus does not include Troubled.

As photography grew more popular following its invention in 1839, its admirers did not understand how a medium that rendered shapes and textures in exquisite detail could fail to render them in realistic color. Also disappointing was the tendency of the captured images to fade over time. Photographers, ever eager to please their public, began "painting" their photographs with substances ranging from water colors and oil to chalk and crayon. Images were enlarged, enhanced, and framed, to simulate the splendors of the traditional portrait. With its rich variety of illustrations in color and duotone, The Painted Photograph is the first comprehensive history of overpainting, from its origins to World War I. The 131 illustrations featured draw upon original nineteenth- and early twentieth-century sources, most from America and Britain, but also representing Japan, Turkey, Austria, Germany, Poland, Canada, Bohemia, India, Australia, Norway, Holland, and Russia. In describing a multitude of early techniques, the authors survey overpainting on various types of photographs, including daguerreotypes, tintypes, and imprinted porcelain, milk glass, enamel, magic lantern slides, and textiles. Particularly fascinating are discussions of overpainted death portraits, most commonly those of children, and the origins of popular "picture postcards" featuring overpainted landscape scenes. The Henisches address also the eager acceptance of the painted photograph throughout the world, despite the hostility of the art-critical establishment. The Painted Photograph will appeal to a wide public interested in photography, history, sociology, social anthropology, folk art, popular fashion, and antiques.

A smart, incisive look at the technologies sold as artificial intelligence, the drawbacks and pitfalls of technology sold under this banner, and why it’s crucial to recognize the many ways in which AI hype covers for a small set of power-hungry actors at work and in the world. Is artificial intelligence going to take over the world? Have big tech scientists created an artificial lifeform that can think on its own? Is it going to put authors, artists, and others out of business? Are we about to enter an age where computers are better than humans at everything? The answer to these questions, linguist Emily M. Bender and sociologist Alex Hanna make clear, is “no,” “they wish,” “LOL,” and “definitely not.” This kind of thinking is a symptom of a phenomenon known as “AI hype.” Hype looks and smells It twists words and helps the rich get richer by justifying data theft, motivating surveillance capitalism, and devaluing human creativity in order to replace meaningful work with jobs that treat people like machines. In The AI Con, Bender and Hanna offer a sharp, witty, and wide-ranging take-down of AI hype across its many forms. Bender and Hanna show you how to spot AI hype, how to deconstruct it, and how to expose the power grabs it aims to hide. Armed with these tools, you will be prepared to push back against AI hype at work, as a consumer in the marketplace, as a skeptical newsreader, and as a citizen holding policymakers to account. Together, Bender and Hanna expose AI hype for what it a mask for Big Tech’s drive for profit, with little concern for who it affects.